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The effects of fame on a person
Annotated bibliography on mental illness in literature
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Recommended: The effects of fame on a person
The lovers meet in secluded places. Tonight, it is the little cafe on the Rue de La ____. They hide their fears from each other, just as they hide their faces from passers-by. They are so very discreet.
The warm wind reminds them of the passage of time, and they stand as one person. He leaves a tip. Glancing about, they melt into the crowd, only to meet once more at the street. A nod, a smile, and then he hails a cab. He holds the door for her, then closes it. He overpays the driver, turns abruptly and walks off into the twilight.
She is a diva, with the voice of an angel. She is known worldwide, as is her husband the conductor. It is not her husband she will be with tonight, however. Her lover is attractive, in an odd sort of way. But her attraction to him is not based on appearances.
The cab pulls out, and turns right at the first corner. They pass two intersections, then turn right again. In the middle of the block is a little hotel, once stylish, now quaint. It is frequented nowadays by tradesman and visitors to the city. The cab pulls up to the curb, and the driver gets out and opens her door. She feels his awe for her fame, and the discomfort it brings him. He will not accept her tip. She watches as he climbs into his cab and drives off into the evening. She throws a silk shawl over her head, turns and enters the hotel.
He will have arrived before her, and arranged for the room. They are each known within the hotel. While it is obvious that they are not married, no one who sees them could possibly think that important. They are the epitome of romance.
Room 212, always the same room. If it is not available, they have agreed to not meet for that night, despite their passions. It is part of th...
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...sliding in its channel. He imagines her stepping out and floating through the lobby and out the front door, into oblivion. Why has he done this? The question nags him; he cannot answer. Wiping his eyes with his damp handkerchief, he straightens himself up and enters the lobby in her wake. She is gone; he restrains himself from running after her, afraid of what he would do if they met. Swallowing his feelings, he strides through the door, ignoring the magic and mystery that they have woven in and around the hotel. He stands on the curb, looking first to his right, then to his left. In the early morning light, no one else is visible. He hears traffic, but the sound is muted by the heavy mist. Raising his collar, he walks off into the wind, the rain blending with his tears, the noise of the wind absorbing his sobs.
It is done; it is over. He is alone once more.
While walking downtown with her girlfriend, the author describes as, “[her] heart began to skip every other beat, pounding, pounding, pounding … [as she stood] paralyzed like a frightened, little jackrabbit.” Repetition of the word “pounding” in the text develops a fast pace, indicating the urgency and panic felt by the author; terms such as paralyzed are utilized to emphasize the urgent, panicked mood. However, sanguine moods still persist throughout the narrative. For example, in the opening paragraph the author describes how she, “watch[ed] the golden dots of morning light glide across [her] ceiling, [and she] melted into a feeling of peace specific to the freedom of early summer.” Terms such as “golden,” “glide,” “peace,” and “early summer” help the reader detect a placid mood in the text, directing the reader towards the state of contentment the author feels surrounding her relationship. Mood differentiations in the text, from the urgency of the narrator’s walk downtown to the tranquil peace of the narrator’s relationship, indicate the contrasting aspects of the LGBT+ community, both in terms of the impending fear of violence, and the love that is the
what happened. Suddenly, it was time for her to go; they say their goodbyes and she goes to
“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.
A reoccurring theme that will be discussed in the literature review as well as the chapter on The Captive will discuss the ways in which the use of the voice (or lack of) in Irene and Madame d’ Aiguines character is a signifier of their lesbianism. Sherrie
When he arrived at the home the servant who took his hoarse and directed him to the room that Mr. Usher was in greeted him. Inside the house was also very ornate, but it to had also been left alone for to long. The entire house had a gloomy atmosphere that would put a chill down most people’s spines. When he entered the room his friend was staying in he was warmly welcomed. He could not believe the changes that his dear childhood friend had endured.
As this short drama goes on the reader can witness how they change the room and furniture around trying to get it arranged perfectly to keep their guests visiting as long as possible.
The dark Romantics describe life as evil, sinful, insane, and deceptive, which is more like life today.
The night was tempestuous and my emotions were subtle, like the flame upon a torch. They blew out at the same time that my sense of tranquility dispersed, as if the winds had simply come and gone. The shrill scream of a young girl ricocheted off the walls and for a few brief seconds, it was the only sound that I could hear. It was then that the waves of turmoil commenced to crash upon me. It seemed as though every last one of my senses were succumbed to disperse from my reach completely. As everything blurred, I could just barely make out the slam of a door from somewhere alongside me and soon, the only thing that was left in its place was an ominous silence.
They arrive and get there bags dropped off, it is the last day the hotel is open
Setting: “I move onto the sidewalk and Curt and I stand there watching our cab disappear into the sea of cars making their way up and down Houston.
The reputations of Maria Callas and Madonna as divas have both been earned for different reasons and yet, both can easily place their titles next to each other. All their musical performances have and are adapted to suit the public eye and sheltered by each singer’s creative influence, in order to improve their labels as divas. √ you give your reader a sense of the discussion that will follow, which is good.
He loves his mother in addition to trying to keep her from thinking about his father’s and brother’s death after a horrific murder. He is very excited for his marriage due to his love for the bride and his trust put on the bride, that she is a well-behaved and tries to convince himself on that. He also tries to convince his mother that his bride is good, and she also tries to believe so. In addition to having a traditional, he also has an accepting side in him. For example, he might know that the bride used to be in a relationship in the past, but he accepted this fact, thinking that as long as she forgets Leonardo, everything will be alright. He is fooled by the bride’s fictitious love for him, which makes him love her even
She slammed the door behind her. Her face was hot as she grabbed her new perfume and flung it forcefully against the wall. That was the perfume that he had bought for her. She didn't want it anymore. His voice coaxed from the other side of the door. She shouted at him to get away. Throwing herself on the bed and covering her face with one of his shirts, she cried. His voice coaxed constantly, saying Carol, let me in. Let me explain.' She shouted out no!' Then cried some more. Time passed with each sob she made. When she caught herself, there was no sound on the other side of the door. A long silence stood between her and the door. Maybe she had been too hard on him, she thought. Maybe he really had a good explanation. She hesitated before she walked toward the door and twisted the handle. Her heart was crying out to her at this moment. He wasn't there. She called out his name. "Thomas!" Her cries were interrupted by the revving of an engine in the garage. She made it to the window in time to see his Volvo back out the yard. "Thomas! Thomas....wait!" Her cries vanished into thin air as the Volvo disappeared around the bend. Carol grew really angry all of a sudden. How could he leave? He'll sleep on the couch when he gets back. Those were her thoughts.
“Bildungsroman, a form of fiction which allows the novelist to recreate through the maturing of his protagonist some of his own remembered intensity of experience” (Nivin, Alastair; pg. 34)
Judith Wright’s 1946 poem “The Company of Lovers” makes a juxtaposition of two essential forces of major impact upon human existence, the effects of love and those of death. Within the poem it can be noted that the two stanzas reflect each of the certain themes. The first, a universal description of love and the ambitions two lovers might have, whilst the second a reflection of how quick all may soon be lost through the loneliness of death.