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English literature from Elizabethan to Victorian
English literature from Elizabethan to Victorian
Victorian and romantic periods in British literature
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Recommended: English literature from Elizabethan to Victorian
Hector Hugh Munro, an English short story writer, novelist, journalist, and historian, was a very widely known man in British literature in the Edwardian Age. He was known mainly for his short stories, his weird sense of humor, and his wit. According to Sandie Byrne, “Saki’s work is elegant, economical, and all above witty” (Byrne 240). Munro was a man that was never afraid to speak his mind in his writings. That is why many people loved his short stories. L. P. Hartley concludes, “‘Saki’ who was always willing to wound, and never afraid to strike” (Baring et al 364). Munro is an outstanding British writer because of his background, his contributions to British literature, and his short stories, such as “The Open Window.”
Hector Hugh Munro, better known by his pen name Saki, was born on December 18, 1870 in Akyab, Burma. His parents were Colonel Charles Augustus Munro, an officer in the British military police in Burma, and Mary Francis Mercer, the daughter of a rear admiral in the British Army. When the Munro family found out that they were having another baby, they returned to their home in England. Contemporary Authors Online explains, “… [Mary] was tragically killed before the baby was born. On a country lane, Mary Munro was charged at by a cow…” (“Hector Hugh Munro”). Munro was only two years old when that fateful even happened. Colonel Munro then sent his children to a small village in North Devon, Pilton to live with his mother and two sisters because he had to return to his post in Burma. Augusta and Charlotte, the aunts, disagreed over petty things constantly. They even involved the children in their pettiness and resentment towards all kinds of things. The aunts demanded the children to follow a “strict Victorian regim...
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... ghost story or a fanciful tale. But because Saki allows the reader access to the story surrounding the telling of this secondary tale, such a reading is not possible. When Mrs. Sappleton does not react with horror or surprise at the return of her husband and brother, it becomes clear that Vera’s story is a fabrication and that the hunters returning are not ghost, but living, breathing men. Thus, Nuttel’s horror becomes laughable, and the reader’s initial reaction is to identify with Vera, deriding Nuttel for his gullibility and enjoying laugh at his expense” (March).
In conclusion, Munro Hugh Munro is a brilliant and outstanding British writer. Coming from his background and his adversities, he wrote many great short stories and novels. He has contributed to a wide variety of stories to the British literature that is still read today, including “The Open Window.”
“It was a large, beautiful room, rich and picturesque in the soft, dim light which the maid had turned low. She went and stood at an open window and looked out upon the deep tangle of the garden below. All the mystery and witchery of the night seemed to have gathered there amid the perfumes and the dusky and tortuous outlines of flowers and foliage. She was seeking herself and finding herself in just such sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mourning notes without promise, devoid even of hope. She turned back into the room and began to walk to and fro, down its whole length, without stopping, without resting. She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her. Once she stopped, and taking off her wedding ring, flung it upon the carpet. When she saw it lying there she stamped her heel upon it, striving to crush it. But her small boot heel did not make an indenture, not a mark upon the glittering circlet.
May, C. E. (2012). Critical Survey of Short Fiction: World Writers (4th ed.). Ipswich: Salem Press.
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
The existence of the ghosts in The Turn of the Screw has always been in debate. Instead of directly discussing whether the ghosts are real or not, this essay will focus on the reliability of the governess, the narrator of the story. After making a close examination of her state of mind while she is at Bly, readers of The Turn of the Screw will have many more clues to ponder again and to decide to what extent the governess can be believed. While critics like Heilman argue that there are problems with the interpretation that the governess was psychopathic, textual evidence incorporated with scientific research show that the governess did go through a period of psychical disorder that caused her insomnia, out of which she created hallucinations.
Misery, trauma, and isolation all have connections to the war time settings in “The Thing in the Forest.” In the short story, A.S. Byatt depicts elements captured from both fairy tale and horror genres in war times. During World War II, the two young girls Penny and Primrose endure the 1940s Blitz together but in different psychological ways. In their childhood, they learn how to use gas masks and carry their belongings in oversized suitcases. Both Penny and Primrose suffer psychologically effects by being isolated from their families’ before and after the war. Byatt depicts haunting effects in her short story by placing graphic details on the girls’ childhood experiences. Maria Margaronis, an author of a critical essay entitled “Where the Wild Things Are,” states that “Byatt’s tales of the supernatural depend on an almost hallucinatory precision for their haunting effects.” The hallucinatory details Byatt displays in her story have an almost unbelievable psychological reality for the girls. Penny and Primrose endure the psychological consequences and horrifying times during the Blitz along with the magical ideas they encounter as children. As adults they must return to the forest of their childhood and as individuals and take separate paths to confront the Thing, acknowledge its significance in their childhoods, and release themselves from the grip of the psychological trauma of war.
“Home. I want to go home,” the story begins of a Confederate prisoner of war. A friend’s grandmother, age 76 and a worker at the historic society, tells a story of Point Lookout. During the Civil War, the Union had a prison for captured Confederate soldiers near Point Lookout. With a warm and friendly voice that shows the sign of age, the storyteller joyfully recollects the story. She has the tale in book, but recalls it from memory. She knows the story so well that one could hardly tell it was not being read word for word. When speaking the voice of the ghost, she softens her voice, making the voice sound afraid and evoking sympathy for the unfortunate boy.
Lipking, Lawrence I, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume 1c. New York: W.W. Norton & Co, 2006. Print.
Unlike the early versions, this tale is told in first person from the bridegroom’s perspective, named “Mister Fox” in reference to Jacobs, only covering the events of the storytelling incident featured at the end of both early variations, this time told not by the bride but by another woman. Thus, rather than see the supposed heroine’s visit, only her story occurs. Quickly, the heroine is established as the suspicious one, described with horror imagery, like with “meat on her bones,” and uncertainty, as in “[she] smiles crooked.” When he asks for her story, she tells a tale a pregnant maiden in gruesome terms with period “blood stopped flowing” and “belly swole beyond disgusting” and describes her suitor suspiciously like the early bridegrooms, with a “sly” smile. As part of her story in lines 43-48, she sings a version of “The Fox” folk song, its original versions connoting deceit. Then, she recounts the bridegroom character’s trap to murder his intended, digging a hole under a tree to bury her in, while she watches, hidden in the tree. This plot and a later segment (lines 71-78) are lifted from two other English “Robber Bridegroom” variants, James Orchard Halliwell-Phillipps’ “The Oxford Student” and Sidney Oldall Addy’s “The Girl Who Got Up the Tree.” She explains that when the woman’s baby is born, it has a fox paw, not a human hand. After
... was with a man. Although the story is a ghost story first of all, it is also a comment on the Victorian society, its cruelty, "destructive pressures" and "restrictive code of behavior," that led to many tragedies. The ghost motive is unquestionably the prevailing one and can be understood in the realistic as well as the symbolic way. As symbols, the ghosts stand for the restrained love and the corrupted psyche of the woman getting mad, who cannot control her sexual desires. The ghosts themselves are not scarier than the condition of the mind of the woman who in pursuit of love becomes insane.
Munro’s invention of an unnamed character symbolized the narrator’s lack of identity, compared to her younger brother, who was given the name Laird, which is a synonym for “Lord”. These names were given purposely by Munro to represent how at birth the male child was naturally considered superior to his sister.
Alice Munro’s ancestry traces back to Scottish-Presbyterian and Anglican roots which made a large impact on her outlook of the world. Anglicans were very strict and believed that using the wrong fork at dinner could be considered in itself a sin--these roots made her well behaved and very aware of her actions.The other half of Munro’s ancestry led to Scottish Presbyterians which made her explicitly aware of social class, what separated each class, how higher classes acted towards lower classes, and where she and everyone else belonged. The Presby side also led to her constantly examining her own deeds, emotions, and motives and analyzing if they could be considere...
ghost come back to life, a random woman who came to fulfill the needs. of the protagonists, and the view of, does it really matter? These possibilities will be discussed throughout the duration of this essay. and it will be left to you to decide what you think. In the support of Beloved actually being the baby ghost re-born, you could use the fact.
This story, although somewhat unique in its exact plot, contains many elements that make it a typical and traditional ghost story. These elements suggest common fears in today’s society of people in general, and children specifically.
The definition of the “ghost” is a shadow which wandering among or haunting other people. The villagers called her aunt a ghost because they are scared of her behavior. The life that they know had been attacked. Kingston uses the harsh responses of the villagers indirectly exposes her aunt ‘s challenge to the society.
One aspect in the novel Beloved is the presence of a supernatural theme. The novel is haunted. The characters are haunted by the past, the choices made, by tree branches growing on backs, by infanticide, by slavery. Sethe, Denver and Paul D are haunted by the past that stretches and grasps them in 124 in its extended digits. A haunt, Beloved, encompasses another supernatural realm, that of a vampire. She sucks the soul, heart and mind of her mother while draining the relationships that exists between Denver and Sethe and Sethe and Paul D.