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Analysis on roald dahl
Analysis on roald dahl
The landlady critical essay
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Roald Dahl’s realistic fiction story, “The Landlady” takes place at night in Bath, England. A seventeen year old boy named Billy Weaver needs a place to stay, and when he asks people, they all suggest The Bell and the Dragon. While he is making his way, he spots a boarding house with a sign that reads, “BED AND BREAKFAST.” He decides to stay there instead and is greeted by a middle aged woman who he feels is very kind. Later on, Billy starts to feel like the lady is a little crazy, but he ignores that because he does not want to pass up the cheap offer. Throughout the story, Billy has issues with trusting how he feels. By using irony and foreshadowing, Dahl is able to convey the theme of trusting intuition.
In the story, Billy does not
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follow what his mind is telling him. Once Billy rings the doorbell, a lady immediately opens the door. Billy thinks this is a little bit odd, but he does not care very much because he further asks the lady questions about the house. This is a red flag that Billy ignores because normally people have to wait a few seconds for a door to open because people normally do not stand and wait at the door for a visitor to come. Also, when Billy is inside the house and speaking with the lady, he does not seem very concerned about the odd things the lady is saying. Dahl even writes, “The old girl is slightly dotty, Billy told himself. But at five and sixpence a night, who could give a damn about that?”(2). This demonstrates that Billy is not even slightly worried and is staying there just for the good price. Although the old lady shows obvious signs that she cannot be trusted, Billy still does not listen to his instincts. One example of this is when the lady says, “Seventeen! That’s the perfect age!”(5) and never specifies what his age is perfect for. This leaves Billy plenty of room to question the lady, but he just brushes it off as if it is a normal thing to say, which shows he is not trusting himself. Billy ignoring his natural instincts is what gets him in a lot of danger in the end of the story. While the story progresses, Dahl conveys trusting intuition through various craft moves such as irony and foreshadowing. Dahl is able to convey the message of following natural instincts by using irony.
One way Dahl is able to show this is when he writes, “The old girl is slightly dotty, Billy told himself”(2). This is ironic because earlier in the story Billy keeps mentioning how nice and friendly the lady looks. He makes the connection that she is a little crazy, but he does not listen to what he thinks because of the cheap price of the room. Another example of this is when Dahl writes, “...he spotted a large parrot in a cage. Animals were a good sign in a place like this…”(1). This shows irony because later in the story, Billy finds out that the bird is actually dead and stuffed by the old woman. This connects to trusting yourself because Billy makes the connection that the old girl is a little crazy, and even after he finds out she stuffs all of her dead pets he still does not try and leave the place. Irony is not the only way Dahl is able to convey the message of trusting gut feelings, he also uses foreshadowing. In the story, the lady insists Billy drinks a cup of tea. Later on Dahl writes, “Billy started sipping his tea… he could feel her eyes resting on her face… the tea tasted faintly bitter of almonds”(4). This is foreshadowing because the tea tastes bitter of almonds, which is a sign that it is poisoned. The lady also stares at Billy while he is drinking the tea, which is a sign she is waiting for a reaction from Billy. This example ties into the theme because Billy knows something
is wrong with the tea and the lady, but since the price is so cheap for the room, he refuses to leave. Billy also knows he can go to the Bell and the Dragon and be around more people, but he refuses to. While still using irony along with foreshadowing, Dahl is able to illustrate the story’s theme in a unique way.
“Winter lies too long in country towns; hangs on until it is stale and shabby, old and sullen” (“Brainy Quotes” 1). In Edith Wharton’s framed novel, Ethan Frome, the main protagonist encounters “lost opportunity, failed romance, and disappointed dreams” with a regretful ending (Lilburn 1). Ethan Frome lives in the isolated fictional town of Starkfield, Massachusetts with his irritable spouse, Zenobia Frome. Ever since marriage, Zenobia, also referred to as Zeena, revolves around her illness. Furthermore, she is prone to silence, rage, and querulously shouting. Ethan has dreams of leaving Starkfield and selling his plantation, however he views caring for his wife as a duty and main priority. One day, Zeena’s cousin, Mattie Silver, comes to assist the Frome’s with their daily tasks. Immediately, Mattie’s attractive and youthful energy resuscitates Ethan’s outlook on life. She brings a light to Starkfield and instantaneously steals Ethan’s heart; although, Ethan’s quiet demeanor and lack of expression causing his affection to be surreptitious. As Zeena’s health worsens, she becomes fearful and wishes to seek advice from a doctor in a town called Bettsbridge giving Ethan and Mattie privacy for one night. Unfortunately, the night turns out to be a disastrous and uncomfortable evening. Neither Ethan nor Mattie speaks a word regarding their love for one another. Additionally, during their dinner, the pet cat leaps on the table and sends a pickle dish straight to the floor crashing into pieces. To make matters worse, the pickle dish is a favored wedding gift that is cherished by Zeena. Later, Zeena discovers it is broken and it sends her anger over the edge. Furious, Zeena demands for a more efficient “hired girl” to complete the tasks ar...
In 1983, author Margaret Atwood published the short story Happy Ending. It is written in third person swapping from limited to omniscient, though ultimately being told directly toward the reader finishing off with second person and sentences talking directly to the reader mixed in along the way. The story consists of letters going from A to F, with every letter telling of some scenario that takes place involving the only five characters: John, Mary, Madge, James and Fred. Story A holds the typical boy meets girl, falls in love, marry and live happily ever after until death. With this familiar story, it is granted the title Happy Ending and becomes the symbol that the rest of the story will build off of.
Billy proves throughout the book that he is not mentally stable, yet somehow, he is persuasive in his interpretation of the truth.
Negative experiences of belonging within the individual’s place of residence results in low self-esteem and develops the desire to escape and seek belonging elsewhere. We witness this in Herrick’s The Simple Gift in Longlands Road, when Billy says, ‘this place has never looked so rundown and beat’, which conveys his lack of connection to the place through pejorative colloquial personification of place. The “rundown and beat” nature of “place” parallels Billy’s perception of both himself and his home by using the pathetic fallacy of rain. Moreover, his hatred towards “Nowhereville” is expressed using coarse language and the symbolic action of vandalising the houses of his neighbours with pejorative colloquialism in ‘I throw one rock on the road of each deadbeat no hoper shithole lonely downtrodden house.’ This shows the place of residence is an important influence on creating a sens...
Have you ever been lead to expect one outcome, but then had the situation turn out in a completely different way? The Interlopers ending is ironic and surprising since the author, Saki, leads the reader to believe the story will end opposite of how it actually ends. In the short story, Ulrich’s and Georg’s families previous feud over hunting land causes tension and suspense. Their feud builds the story and specific details based on the action guides the audience to the unexpected resolution. Irony also helps to develop an unpredictable, surprising conclusion in The Interlopers.
Nine-year-old Sylvia is a child who lives in the wood. Her name, ‘‘Sylvia,’’ and her nickname, ‘‘Sylvy,’’ come from the Latin silva meaning ‘‘wood’’ or ‘‘forest.’’ Sylvia lives in the middle of the woods with grandma Tilley and hardly sees anyone else. She remembers when she lived in the city but never wants to return there. However, when she comes across a hunter who is an older man, she enjoys being around another human being and is not sure what to do with the conflicting emotions she starts to feel. He offers to give her money in exchange for giving up the nesting spot of the white heron. She is the only person who can give him what he needs. What she has to think about though is the betrayal of her relationship with nature and whether or not it is worth it. In the end, she does not reveal the heron’s nesting place.
The story starts out with a hysterical.woman who is overprotected by her loving husband, John. She is taken to a summer home to recover from a nervous condition. However, in this story, the house is not her own and she does not want to be in it. She declares it is “haunted” and “that there is something queer about it” (The Yellow Wall-Paper. 160). Although she acknowledges the beauty of the house and especially what surrounds it, she constantly goes back to her feeling that there is something strange about the house. It is not a symbol of security for the domestic activities, it seems like the facilitates her release, accommodating her, her writing and her thoughts, she is told to rest and sleep, she is not even allow to write. “ I must put this away, he hates to have me write a word”(162). This shows how controlling John is over her as a husband and doctor. She is absolutely forbidden to work until she is well again. Here John seems to be more of a father than a husband, a man of the house. John acts as the dominant person in the marriage; a sign of typical middle class, family arrangement.
The story begins with the narrator’s description of the physically confining elements surrounding her. The setting is cast in an isolated colonial mansion, set back from the road and three miles from the village (674). The property contains hedges that surround the garden, walls that surround the mansion, and locked gates that guarantee seclusion. Even the connected garden represents confinement, with box-bordered paths and grape covered arbors. This image of isolation continues in the mansion. Although she prefers the downstairs room with roses all over the windows that opened on the piazza the narrator finds herself consigned to an out of the way dungeon-like nursery on the second floor. "The windows in the nursery provide views of the garden, arbors, bushes, and trees”(674). These views reinforce isolationism since, the beauty can be seen from the room but not touched or experienced. There is a gate at the head of the stairs, presumably to keep children contained in their play area of the upstairs with the nursery. Additionally, the bed is immoveable " I lie here on this great immovable bed- it is nailed down, I believe-and follow that pattern about by the hour" (678). It is here in this position of physical confinement that the narrator secretly describes her descent into madness.
George Eliot’s Adam Bede offers a realistic and highly detailed look into the everyday life of ordinary people in rural Treddleston. Although the characters are fictional, several of them are based upon people Eliot knew or knew of, which adds to the realism. As she delightedly observes and describes the intricacies of the natural, ordinary world, Eliot pays attention to human nature, applying keen psychological insight to characters’ thoughts, choices, and actions. Eliot seems to understand that certain people are a certain way, and she encourages her reader to gently evaluate, rather than hastily judge, both her characters and people in general. Within the novel, Hetty’s infatuation with Arthur, and the personal shame, social ostracism, and legal punishment she experiences as a result, require an extra dose of empathy and understanding. Eliot demonstrates the characteristics that render Hetty liable to a fall and shows, using Dinah as a contrasting example, how the stereotypical perception of the “fallen woman” needs to be adjusted in order to allow for human weaknesses and mistakes.
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
The story begins as the boy describes his neighborhood. Immediately feelings of isolation and hopelessness begin to set in. The street that the boy lives on is a dead end, right from the beginning he is trapped. In addition, he feels ignored by the houses on his street. Their brown imperturbable faces make him feel excluded from the decent lives within them. The street becomes a representation of the boy’s self, uninhabited and detached, with the houses personified, and arguably more alive than the residents (Gray). Every detail of his neighborhood seems designed to inflict him with the feeling of isolation. The boy's house, like the street he lives on, is filled with decay. It is suffocating and “musty from being long enclosed.” It is difficult for him to establish any sort of connection to it. Even the history of the house feels unkind. The house's previous tenant, a priest, had died while living there. He “left all his money to institutions and the furniture of the house to his sister (Norton Anthology 2236).” It was as if he was trying to insure the boy's boredom and solitude. The only thing of interest that the boy can find is a bicycle pump, which is rusty and rendered unfit to play with. Even the “wild” garden is gloomy and desolate, containing but a lone apple tree and a few straggling bushes. It is hardly the sort of yard that a young boy would want. Like most boys, he has no voice in choosing where he lives, yet his surroundings have a powerful effect on him.
In the opening scenes of the story the reader gets the impression that the boy lives in the backwash of his city. His symbolic descriptions offer more detail as to what he thinks about his street. The boy says “North Richmond Street, being blind, was a quiet street [it’s houses inhabited with] decent lives within them, gazed at one another with brown imperturbable faces” (Joyce 984). This shows that the boy feels that the street and town have become conceited and unoriginal. While to young to comprehend this at the time the matured narrator states that he now realizes this. The boy is also isolated in the story because he mentions that when the neighborhood kids go and play he finds it to be a waste of time. He feels that there are other things he could be doing that playing with the other boys. This is where the narrator starts to become aware of the fact that not everything is what is seems. He notices the minute details but cannot quite put them together yet. As the story progresses one will see that th...
The boy is haplessly subject to the city’s dark, despondent conformity, and his tragic thirst for the unusual in the face of a monotonous, disagreeable reality, forms the heart of the story. The narrator’s ultimate disappointment occurs as a result of his awakening to the world around him and his eventual recognition and awareness of his own existence within that miserable setting. The gaudy superficiality of the bazaar, which in the boy’s mind had been an “oriental enchantment,” shreds away his protective blindness and leaves him alone with the realization that life and love contrast sharply from his dream (Joyce). Just as the bazaar is dark and empty, flourishing through the same profit motivation of the market place, love is represented as an empty, fleeting illusion. Similarly, the nameless narrator can no longer view his world passively, incapable of continually ignoring the hypocrisy and pretension of his neighborhood. No longer can the boy overlook the surrounding prejudice, dramatized by his aunt’s hopes that Araby, the bazaar he visited, is not “some Freemason affair,” and by the satirical and ironic gossiping of Mrs. Mercer while collecting stamps for “some pious purpose” (Joyce). The house, in the same fashion as the aunt, the uncle, and the entire neighborhood, reflects people
Dennis J. Reardon and Roald Dahl were the writer of Subterranean Homesick Blues Again and Lamp To The Slaughter,though one for drama the other are fictional story but both has a similar theme and meaning. Dennis Reardon use foreshadowing as a hint to what might happen next long with many other literary devices for humouring the audience; while Roald Dahl did also use foreshadowing but not as much as irony and the description are very detailed.For example in S.H.B.A,written by Dennis Reardon, the tour guide through the use of foreshadow hint in each level for where their destination might lead them.As for L.T.T.S, the author use of irony can be seen at the end of the story. Dennis and Roald has different writing style but the message are the same, which is that death are unpredictable.
The setting is realistic and presents a vivid picture of the 19th century New England farmhouse. The story takes place in three days and is structured according to seasons (summer, autumn, spring) over a period of three years. Of unity of action, time and place, only the action is patterned after Greek tragedy.