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What is the importance of character development in literature
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“Stage to Lordsburg” is a short story about a group of strangers travelling from the town of Tonto to the city of Lordsburg via stagecoach. It was adapted into a film titled Stagecoach, which possesses the same premise of its source material but features several major alterations, additions and removals of important characters. After finding Schrieber’s ranch ravaged by Native Americans, the stagecoach continues its journey to Lordsburg. Henriette, the gambler, the Englishman, the army wife and the cattleman are all riding inside the caravan while Malpais Bill rides on the roof. The gambler reassures the army wife by telling her that she will be safe between the Englishman and the cattleman and removes a gun from his pocket. He then asks Henriette how old she is and she responds by shrugging her …show more content…
shoulders. He comments that she is young enough to be his daughter and that the world is rotten. This line indicates to the reader that the reader that the gambler is an empathetic man.
The Englishman and the cattleman also draw their weapons. The preparation for conflict aids in building anticipation. The road growing narrower and the dust obscuring vision also serve to create tension by making the characters feel trapped by their surroundings. Despite the tense mood, Henriette stares at her fingertips and reminisces about her conversation with Malpais Bill the previous night. The tone briefly becomes dreamlike as she notes that he treated her as though she were a desirable woman, which due to her reputation as a prostitute is something she is not likely used to experiencing. She is pulled out of her daydream by the gambler grabbing her arm and quietly telling her to get down. A firefight begins between the stagecoach and several Apache warriors. Vivid descriptions of the Apache warriors, the smell of gunpowder, and the extreme volume of the gunfire echoing within the caravan allow the reader to become completely immersed within the battle. The gambler hands Henriette his gun and tells the army wife to stay between the Englishman and the cattleman. His face is
described as desperate and forlorn as he collapses onto the sill of the caravan. Once more, the gambler is shown to be a caring individual as even in his final moments he is attempting to keep Henriette and the army wife safe. The fighting ceases as the stagecoach descends the mountain into the desert below. Lordsburg is now visible within the distance. The Englishman broodingly stares out the window of the caravan, the cattleman sweats profusely and the army wife makes a face as though she is having a nightmare. By showing how the characters react to the shootout, the reader is given a deeper understanding of the individuals within the stagecoach, despite the fact that several of them have been given very little in terms of character development throughout the story. Henriette attempts to pull the gambler up, but realizes he has died.
On their way to the village they are stopped by Nazi soldiers who says they must come with them to be relocated. Hannah is the only one who knows what is actually about to happen. She tries to explain why they must not go with the soldiers but the adults explain that they have no choice. They are loaded in trucks and drove off to a train station where they are gathered into cars with barely any room to breathe. The ride on the train lasts for days and several children and infants do not live
The townspeople then surround the townhouse where the kings money was lodged threatening to kill the troops with clubs. He then received information the mobs of people have declared to murder the troop by taking him away from his post. Captain Thomas Preston then sent a non-commissioned officer and 12 men to protect the sentry and the king’s money in hopes to deescalate the situation before it gets out of control. After arriving Captain Thomas Preston came across the rural crowd screaming and using profanity against the troops telling them to fire. C...
She then moves on to describe each of the characters, and in doing so, their surroundings and how they fit in: "He was cold and wet, and the best part of the day had been used up anyway. He wiped his hands on the grass and let the pinto horse take him toward home. There was little enough comfort there. The house crouched dumb and blind on the high bench in the rain. Jack's horse stood droop-necked and dismal inside the strand of rope fence, but there wasn't any smoke coming from the damned stove (28)."
Numerous scenes depict this second stage of storming – Gatewood constantly fight with Curly for leadership in deciding whether or not to return to Tonto as Gatewood insists the Stagecoach forges on while Curly calls for a democratic vote. Furthermore, Hatfield and Doc Boone find themselves in conflict when they argue about the wording of the Civil War – whether it was the War of Southern Confederacy or the War of Rebellion. This seemingly meaningless conflict evolves into one in which Hatfield criticizes Doc Boone’s alcoholism and Boone hints at Hatfield’s criminal background, recalling that “gentleman did not shoot other people.” Despite these conflicts, as Tuckman mentions, certain group members continue to be silent throughout the conflicts – Ms. Mallory, is almost entirely silent throughout the entire journey with the exceptions when she asks where her spouse, a captain in the military, is. At the stage of the film, it seems as if the passengers are still “feeling each other” out, gauging their personalities and tendencies. Tuckman mentions that that group members must move from a “testing
Madame Schächter, one of the many Jewish women to be captured, after being on the train without food and water begins to crack and starts to scream out she sees fire. In
After breakfast Lizzie went outside to the barn to find some metal of some sort so that she could use it on her planned fishing trip that day. In the twenty minutes she spent in the barn her parents were murdered (Martins, Michael, and Binette 78).
As they drove she talks Bailey, her son, into taking a detour to see an old plantation she visited when she was younger, halfway...
The Stage Manager is a man of many roles. Usually a stage manager is part of the non-acting staff and in complete charge of the bodily aspects of the production. In Thornton Wilder’s Our Town, the Stage Manager goes well beyond his usual function in a play and undertakes a large role as a performer. In Our Town the Stage Manager is a narrator, moderator, philosopher, and an actor. Through these roles the Stage Manager is able to communicate the theme of universality in the play. The main role of the Stage Manager is that of narrator and moderator. He keeps the play moving by capsule summations and subtle hints about the future. "I’ve married over two-hundred couples in my day. Do I believe in it? I don’t know? M….marries N….millions of them. The cottage, the go-cart, the Sunday-afternoon drives in the Ford, the first rheumatism, the grandchildren, the second rheumatism, the deathbed, the reading of the will-once in a thousand times it’s interesting"(699). Here the Stage Manager is giving insight about George and Emily’s future. He is hinting about their life and fate to come. "Goin’ to be a great engineer, Joe was. But the war broke out and he died in France. All that education for nothing" (673). The incidents discussed about are great events in George, Emily, and Joe’s lives. The Stage Manage emphasizes that the short things in these people’s lives are overlooked. There isn’t realization that it is the small parts of their lives that make a difference. His role as narrator differs from most narration. The Stage Manager’s narration shows casualness. The casualness connects the Stage Manager to the audience. "Presently the STAGE MANAGER, hat on and pipe in mouth…he has finished setting the stage and leaning against the right proscenium pillar watches the late arrivals in the audience."(671) The informality is evident since he smokes a pipe, wears a hat, and leans formally against the proscenium pillar. He also greets and dismisses the audience at the beginning and end of each act. The stage manager interrupts daily conversation on the street. The Stage Manager enters and leaves the dialog at will. He is also giving the foresight of death in the play. His informality in dress, manners, and speech, connects the theme, universality, of the production to the audience.
Twenty-five younger men arrive as reinforcements. Paul believes Kat is the most resourceful soldier he knows, always able to scrounge up food. The men learn Himmelstoss is coming up to the front. Tjaden especially hates the Corporal because of his cruel punishment for Tjaden's bed-wetting problem. For vengeance, Paul and his friends ambushed and beat Himmelstoss before they left for the front. The soldiers are sent to put up barbed wire at the front. At night, during an artillery bombardment, the soldier dive for cover. The men set up the wire. Soon the artillery attacks them. Several men are hit, as well as horses.
The theme of the play has to do with the way that life is an endless cycle. You're born, you have some happy times, you have some bad times, and then you die. As the years pass by, everything seems to change. But all in all there is little change. The sun always rises in the early morning, and sets in the evening. The seasons always rotate like they always have. The birds are always chirping. And there is always somebody that has life a little bit worse than your own.
Elizabethan times in the 1600s was a progression for the world of the theater. A period named after Queen Elizabeth I of England, it is from this period that modern day society has its foundation for the entertainment industry. From the violence that was prevalent because of the Black Death, people turned to the theater for its poetry and romance. During this time period, there were two types of theatrical performances that were available for the people’s viewing, comedies or tragedies. These two genres were never really intertwined until the time of William Shakespeare. His play, Romeo and Juliet, is an example of both a comedy and a tragedy. It starts off as a comedy with Romeo weeping like a baby because of his love Rosaline, who did not love him back and ends as a tragedy when Romeo and Juliet, a pair of star crossed lovers, commit suicide because the lost of each other. It was also during Shakespeare’s time that writer were finally acknowledged by the people. Before this time, writers were not considered upper classman. Another group of people that began to rise into a higher social class were the actors. Actresses were not present back then because women were not allowed on stage. It was considered unladylike to have a female actor. Men played all the parts. Theater owners were dependent on actors to make them a profit. Rehearsals for the plays were fairly short, only lasting for about a week. The performances themselves would only show for three to four days.
Macbeth rejects conformation to traditional gender roles in its portrayal of Lady Macbeth’s relationship with her husband, her morals and their effect on her actions, and her hunger for power. Her regard for Macbeth is one of low respect and beratement, an uncommon and most likely socially unacceptable attitude for a wife to have towards her spouse at the time. She often ignores morality and acts for the benefit of her husband, and subsequently herself. She is also very power-hungry and lets nothing stand in the way of her success. Lady Macbeth was a character which challenged expectations of women and feminism when it was written in the seventeenth century.
What Grandmother does not realize is that Mrs. Shimerda is offering something of importance to her that she brought over from her homeland as a gesture of loyalty to Grandmother Burden because she brought food to them. This cultural difference of beliefs brings external conflict when Jake, one of Grandfather Burden’s farmhands, loans a horse collar to Ambrosch and he does not return it. When Jake goes to get it back, first Ambrosch acts like he does not know what Jake is referring to. Then when Ambrosch retrieves it and Jake sees the condition it is in and how it has been abused, he is angry and goes after Ambrosch. Ambrosch kicks Jake in the stomach, but ultimately, Jake hits him in the head, almost knocking him out. Mrs. Shimerda calls the police, and Jake has to pay a fine for hitting Ambrosch, “These foreigners ain’t the same. You can’t trust’em to be fair. It’s dirty to kick a feller. You heard how the women turned on you – after all we went through on account of ‘em last winter! They ain’t to be trusted. I don’t want to see you get too thick with
Even though the girl thought that she would be in trouble for letting the horse out she did not regret it, even though she wasn’t sure why she had done it. After everyone arrived back home they had dinner. Laird was excited and showed off the blood that he had on his arm from the horse. During dinner Laird told everyone how she had let the horse out of the gate. She began crying and her father said, “Never mind, she’s only a girl.” Finally she didn’t protest it and thought that maybe it was true.
turn into animals but when one of them turns into a rat it has no tail,