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The castle analysis
I'm the king of the castle analysis
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The Red Room is a significant scene in the novel I’m the King of the Castle because it shows a more complex understanding about the unfriendly relationship between Hooper and Kingshaw. In this passage Hooper and Kingshaw explore the forbidden Red Room, while they are in there Hooper intends to manipulate the scared Kingshaw into handling some of the dead moths his grandfather collected;
In this scene the power of Hooper can be found when it says, “Are you scared of dead things?” which suggests that to him being scared of death is unnatural and also reflects his dispassionate disinterested personality and gives us the sense that he cherishes dead things. Also it can be found when it says: “Yes, but you can’t touch them, can you. You’ve got to touch them.” This shows us that he has a morbid fascination and reflects his desire to gain power; he touches dead things as a way of transmitting that he has defeated them. The scene also shows the power of Hooper over Kingshaw:
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The quote “He thought suddenly of the figures of men, hiding out there, watching him, lying in wait” shows the reader that Kingshaw is highly unstable and paranoid; it is also a strong image that draws attention to Kingshaw’s fear of the unknown, which is ironic because Kingshaw craves maturity but in this extract is seen as child
The Setting in The Kit Bag, The Signalman, The Monkey’s Paw, The Man With the Twisted Lip and The Red Room
The recall of the memory is with great certainty, giving the tone an air of extreme bliss, the very childlike imagination that Walcott wants to portray. The elevated diction employed, conversely, seeks to remind the reader that it is a flashback from an aged perspective. This, at further lengths, portrays “XIV” as more than just a poem recounting an escapade of two brothers, but that it is the speaker reminiscing, giving it a brooding tone as it explores the process of growing old simultaneously through the lens of the young boy and aged man. The details in the poem,
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.
...ourneys, these men go in as an average man of the time, face a challenge that the Church thought a man of the day might experience, and come out purified and learned, as a man of those periods should behave. These stories are examples of how a life should be lived and the challenges that one may encounter. While the frames of these narratives change from fictitious to realistic according to the flow of Christianity-based, Northeastern literature, they each are pictures of the mentality of their times. As time progressed, so did the mentalities, which were heavily influenced by Christianity. This is evident in the slow removal of pagan beliefs in the supernatural monsters like dragons and giants into the more realistic literary frames. While all have their differences due to changing times, the hero's journey as a model for the everyday man is clear in these poems.
Erdrich’s intent of this novel, The Round House is to reveal the lack of justice for Native Americans even on their own tribal land. She does this by using the example of a thinly-veiled fictional reservation in North Dakota, representing the real Ojibwe reservation. The legal theme and its impacts on the lives of the men and women trapped within a Kafka-esque legal system results in a young boy acting as a vigilante to enact a tragic form of justice. Conflicts of jurisdiction and sovereignty have long made it difficult to prosecute non-Native men for the rape of Native American women. The novel operates as a mythic vessel for the beliefs and actions of a Native American, Ojibwe ethical system nearly stamped out of existence. The novel acts
because of his connection with the Klan. "The second member of the team was a
This extended metaphor likens the explorer’s desire for peace to an unravelling fabric. Once very beautiful, the satin, representing his want for quiet and calm, has worn down, and the man is left chasing a remnant of his former dream. Brooks also uses personification to show the power that inanimate objects hold over him. “A room of wily hush” eludes the man (7), and he hears “[t]he scream of nervous affairs” behind doors (13). The choices he fears to take “cried to be taken” (17). In the real world, rooms, affairs, and choices make no sound and have no human-like characteristics, but by giving them human attributes, Brooks makes them even more powerful and more personal than they ever could have been alone. They carry weight and meaning, just like in real life. Though rooms cannot be purposely deceitful and choices and affairs make no sound, these aspects of l...
Some common themes found in the work are self-discovery and invisibility. In “Battle Royal” readers are recipients of the central message self-discovery when one comes in familiarity with the part in text reading “I am nobody but myself. But first I had to discover that I am an invisible man” (Ellison 2395). Readers can see how the narrator was faced with conflict several times throughout the work in his path to discovering his true self. Readers find themselves being recipients of the central message of invisibility when the narrator reveals the M.C.’s statement before allowing him to conduct his speech saying “ ‘I’m told that he is the smartest boy we’ve go out there in Greenwood. I’m told that he knows more big words than a pocket-sized dictionary’ ” (Ellison 2402). In this text the scholar believes that narrator constructed the text in such a way to reveal that to the in the novel, the narrator was invisible and he only became visible when someone else’s perception of him was revealed. Invisibility is again revealed in the section of the text where the narrator descr...
Peter Nicks and William Hirsch’s 2012 documentary film, The Waiting Room, follows the lives of patients, doctors, and staff in a hospital in California. The hospital is a safety net hospital meaning that it provides care to low-income, uninsured populations. The documentary examines the obstacles faced by people who live without healthcare in addition to showing the public what goes in a safety net hospital. The Waiting Room fits into the finger categories of government and politics and science and technology. The most relevant category is government and politics. Healthcare and insurance have played large roles in the government for years. In fact, ObamaCare, the president’s plan for health care reform was one of the root causes of the 2013 government shutdown. This draws attention to just how large and important the congressional healthcare debate truly is. The documentary also fits under the finger category of science and technology. The Waiting Room discusses the technological and scientific innovations found in today’s hospitals. Additionally, it references some of the new methods being used to treat diseases that are prevalent in society. This is particularly significant because these new technologies and treatment methods are being used to save lives every day. The implications of the Waiting Room and safety net hospitals are not limited to finger categories; they are evident in tens of thousands of hospitals throughout the world.
“Its deserted streets are a potent symbol of man and nature 's indifference to the individual. The insistence of the narrator on his own self-identity is in part an act of defiance against a constructed, industrial world that has no place for him in its order” (Bolton). As the poem continues on, the narrator becomes aware of his own consciousness as he comes faces nature and society during his walk. He embraces nature with the rain, dark and moon but he also reinforces his alienation from society as he ignores the watchman and receives no hope of cries for him. The societal ignorance enforces our belief that he is lonely on this gloomy night. “When he passes a night watchman, another walker in the city with whom the speaker might presumably have some bond, he confesses, ‘I… dropped my eyes, unwilling to explain.’ Likewise, when he hears a voice in the distance, he stops in his tracks--only to realize that the voice is not meant "to call me back or say goodbye" (Bolton). The two times he had a chance to interact with the community, either he showed no interest in speaking or the cry wasn’t meant for him. These two interactions emphasize his loneliness with the
Addison, Joseph. “The Spectator, No. 69 The Royal Exchange” The Norton Anthology of English Literature vol. 1. Ed. Greenblatt, Stephen. and Carol T. Christ, eds. New York: Norton, 2012. 2649-2652. Print.
The image developed in the first stanza is especially striking, with its suggestion of once tame and friendly animals who have reverted to wildness and will no longer risk the seemingly innocent taking of bread from the speaker's hand. This stanza establishes at once the theme of change, a change from a special, privileged condition to one of apparent mistrust or fear, and the sense of strangeness (no explanation is given for the change) that will continue to trouble the speaker in the third stanza. Strangeness is inherent in the image itself -- "with naked foot stalking in my chamber" - -- and the stanza is filled with pairs of words that reinforce the idea of contrast: "flee"/"seek," "tame"/"wild," "sometime"/"now," "take break"/"range." Most interestingly, we are never told who "they" are.
Summary: In the quiet town of Malgudi, in the 1930's, there lived Savitri and her husband, Ramani. They lived with their three children, Babu, Kamala, and Sumati. Savitri was raised with certain traditional values that came into internal conflict when she took Ramani, a modern executive, as her husband. Savitri has endured a lot of humiliations from her temperamental husband and she always puts up with his many tantrums. To find solace and escapism, she takes refuge in 'the dark room', a musty, unlit, storeroom in the house. But when Ramani takes on a beautiful new employer, Savitri finds out that her husband has more than a professional interest in the woman. So, at first, she tries to retreat to her dark room. But she realises that hiding in there won't help. So she tries to leave the house. She stayed with a friend in another village. But after staying there for some time, she can't help but think of her husband and their children. What would happen to them? After doing a lot of thinking, she finally decides to go back home. In the end, Ramani has finally stopped seeing Shanta Bai, the other woman, and I guess you could say it's a happy ending. It's now up to you to go and guess the rest. Savitri is very much real. She is basically quite like most people. They treat problems like that. They find ways to escape it. Like booze, drugs, suicide, etc. In Servitor¡¯s case, she stays in the dark room, and finally, leaves her family. As I was reading "The Dark Room¡±, I felt compassion towards Savitri. I can clearly see that she was a confused woman. It was depicted through the first part of the story wherein her son was ill and she told Babu, her son, not to go to school that day. But Ramani intruded upon them and said that Babu has to go to school and that his illness is merely a headache. Savitri didn't know what to do then. She was concerned for Babu¡¯s health, but at the same time, she didn't want to argue with Ramani. In the end, Babu had gone off to school. As for Ramani, I felt like shouting at him while reading the novel because of his bullying.
He is more likely to be an abstract existence with all of the admirable values. In the tenth stanza, the silhouette of the man sustained the excessive weight his physical body can hardly maintain. Then, he became the motionless cloud, which does not possess any physical forms, in the eleventh stanza, when he stood among the moors. Any visual presentations of the leech man had been diminished in the sixteenth stanza, accompanied by the returning thoughts of Wordsworth. The leech gatherer turned into a stream, “like one whom [the poet] had met with in a dream (305).” In a certain degree, the disappeared man alluded to the appearance of an awakening inspiration, which is the same as the motivation stimulating the poet to create new poems. Thus, this man might be the much comprehensive perception and further expectation of Wordsworth himself in the written