English Lit Coursework Essay Example for Free

English Lit Coursework Essay Compare the ways in which the authors present contrasting worlds/ places and their thematic significance in Othello and two other texts. In all of the novels; Othello, Wuthering Heights and The Great Gatsby, the authors, Shakespeare, Bronte and Fitzgerald, demonstrate how contrasting worlds disrupt equilibrium, especially the harmony or even possibility of relationships. The ultimate disruption within all of these texts is the barrier of class. In Wuthering Heights, Bronte compares the two houses; Wuthering Heights and Thrushcross Grange, to highlight the distance class creates between Heathcliff and Cathy, by embodying the characters and their values in the imagery of the houses. Wuthering Heights essentially is a deteriorating farm house. Bronte represents Heathcliff with this house, its anaesthetically pleasing and neglected, described as a perfect misanthropists heaven, giving reclusive and desolate connotations, reflecting the way Heathcliff becomes remote from society and isolated. On the other hand, Bronte describes Thrushcross Grange grandly, carpeted with crimson, crimson covered chairs and tables, this choice of colour gives rich connotations, of a splendid place, The choice of lexis splendid giving an upper class tone . Nevertheless neither of Cathy or Heathcliff seems to prefer the luxurious Thrushcross Grange. Bronte does present Cathy to be superficial at times, but when Cathy tells Nelly about her dreams she explains that heaven did not seem to be my home and that she woke up sobbing for joy when she was flung into the middle of the heath on top of Wuthering Heights, Bronte uses this therefore to signify that Cathy sees Wuthering Heights and the moors as her heaven. Likewise she wants the window open when ill at Thrushcross Grange; here Bronte enforces the theme of imprisonment and entrapment, in a foreign world. Equally Thrushcross Grange has always been an alien and uncomfortable place to Heathcliff as we see when he chooses to grieve on the out skirting grounds of Thrushcross Grange in contrast with Edgar who stays inside. Nevertheless Bronte relates Cathy, a Linton to be, to Thrushcross Grange, a world of refinement and elegance, complimenting Cathys own descriptions as she grows into a lady Similarly to Wuthering Heights, Fitzgerald presents the comparison in class of two places, the buildings of East and West Egg in particular. West Egg is seen to be the less fashionable of the two, lacking in conventional aesthetics of refined and classy housing estates. This is shown by the fact Nicks bungalow is carelessly built in the space between two mansions, this paints a garish image of clashing buildings. Whereas East Egg is glittered with houses that are described as white palaces with well kept lawns, suggesting well kept, good quality people, over all setting a lavish and opulent scene. Never the less, the houses themselves are concentrated on more so in Wuthering Heights as they are the dominant symbol of the two separate worlds, whereas Gatsby concentrates on the society around East Egg and West Egg, in order to emphasize the difference of the world Daisy and Tom inhabit in comparison to Gatsbys world. Fitzgerald creates the symbolism of East and West Egg by choosing to rename Great Neck and Manhasset. West Egg is a place of newly rich settled opportunists, many like Gatsby who are seen to have acquired a fortune overnight and boast this through extravagant houses. West Egg has an overall vibrancy shown through spectroscopic gayety with this Fitzgerald suggests a bright, colourful and energetic lifestyle. East Egg however is a fashionable part of Long Island, where the wealthy descendants, of a previous money making generation, live. In contrast with the West, they seem to be more withdrawn from enjoying themselves and proud of their staid nobility, with the exception of a few lapses at Gatsbys parties. This lack of living for the moment comes across also in the way that they seem to want more in life in the East, but have no intentions of looking for it. Fitzgerald mocks the ambitionless simplicity of life that for example is demonstrated in Jordan and Daisys superficial conversation, We ought to plan something, All right Whatll we plan? What do people plan? Similarly people lack genuine qualities, everything is based on etiquette and image, a prime example of this is when Mrs Sloane invites Gatsby to supper out of politeness but doesnt expect him to actually come. Equally Shakespeare employs the theme of class, as a barrier between Othello and Desdemona, but unlike Bronte and Fitzgerald, he demonstrates the distinction through the discrimination drawn upon Othello. None the less, Shakespeare does use a comparison of two separate locations, Venice and Cypress. Shakespeare accomplishes a dramatic tone in the play Othello through the use of a variation of techniques, for example dramatic irony. Likewise Shakespeare uses contrasting worlds, for instance the contrast between Venice and Cyprus, Venice is portrayed to be a respected origin, it has a positive representation in the play, being the place in which Desdemona and Othello fell in love. Cypress on the other hand is surrounded in conflict, described as a war-like isle, a direct comparison to Venice; it is also the place where Othello and Desdemonas love suffers. The two countries are essential to Shakespeares comparison between the worlds of war and love and how Othello struggles to find a balance between the two. The warlike moor encounters the conflict between the roles of being an inexperienced loving husband and a hardened military soldier. Hes used to of course an all male environment, a soldiers life style, uneducated in the domestic world of females. He can deal with the flinty and steel couch of war yet is little blessd with the soft phrase of peace. Shakespeare devises Othellos dialogue to show how he is more comfortable with language from the semantic field of war than pet nick names, calling Desdemona My fair Warrior. Othello may be respected for his military efforts, after all this is all we see him praised for, no credit is given to the fact he is marrying Desdemona even their wedding celebration is shared with a military celebration. Considering this Shakespeare presents him very much as an outsider, the only black protagonist, he doesnt qualify as a gentleman, and is included in society purely as he is an acquaintance of Brabantio and Cassio.

Light and Dark in Heart of Darkness Essay -- Heart Darkness essays

Light and Dark in Heart of Darkness       The brightest of lights can obscure vision while darkness can contain truths: one must not be distracted by the sheen of light, which conceals the deeper reality present in darkness. Joseph Conrad's novel Heart of Darkness illustrates this idea with the use of several symbols. White Europeans are used as symbols of self-deception, and objects with an alabaster quality are symbols of barriers to inner truth. Black is the foil of white; it represents the inner truth beneath the white surface reality. White people and objects represent the exterior reality that obscures the deeper truth present in darkness.    The Europeans in the novel represent those who hide from the truth within them and within reality. In Conrad's novel, most Europeans are portrayed as self-deceptive; they use societal customs to obscure the darkness and emptiness present within their souls. The chief accountant exemplifies the self-deceptive European. Marlow gives his impression of the accountant in this excerpt, "I took him [the accountant] for a sort of vision. I saw a high starched collar, white cuffs, a light alpaca jacket... He was amazing" (Conrad 84). The accountant later stated, "The groans of this sick person distract my attention [from his work]" (Conrad 85). The accountant is so centered on maintaining a proper European image and European work ethic that he impressed Marlow, but the accountant showed no compassion for his fellow man. The accountant's appearance belied the darkness in his soul. Similar to the accountant, the General Manager maintained an aura of white civilization to hide the em ptiness and darkness that existed beneath his white surface. The manager paid proper ... ...ists within every human soul. Conrad used the contrasting images of white and black to illustrate his view that evil exists within us all. Light, which relates to civilization and its practices, helps to control and hide the dark truth within us, but that black truth of human nature will always remain.       Sources Consulted:    Conrad, Joseph. Norton Critical Editions: Heart of Darkness.   Ed. Robert Kimbrough. New York: W. W.   Ã‚  Ã‚  Ã‚  Ã‚   Norton, 1963. 3-79. Gekoski, R. A.. "Heart of Darkness." Modern Critical Interpretation: Joseph Conrad's Heart of   Ã‚  Ã‚  Ã‚  Ã‚   Darkness.   Ed. Harold Bloom.   New York: Chelsea House Publishers, 1987. 57-76.    Said, Edward W "The Past and the Present: Conrad's Shorter Fiction."   Modern Critical Views: Joseph Conrad. Ed.   Ã‚  Ã‚  Ã‚  Ã‚   Harold Bloom.   New York: Chelsea House Publishers, 1986. 29-52.    Light and Dark in Heart of Darkness Essay -- Heart Darkness essays Light and Dark in Heart of Darkness       The brightest of lights can obscure vision while darkness can contain truths: one must not be distracted by the sheen of light, which conceals the deeper reality present in darkness. Joseph Conrad's novel Heart of Darkness illustrates this idea with the use of several symbols. White Europeans are used as symbols of self-deception, and objects with an alabaster quality are symbols of barriers to inner truth. Black is the foil of white; it represents the inner truth beneath the white surface reality. White people and objects represent the exterior reality that obscures the deeper truth present in darkness.    The Europeans in the novel represent those who hide from the truth within them and within reality. In Conrad's novel, most Europeans are portrayed as self-deceptive; they use societal customs to obscure the darkness and emptiness present within their souls. The chief accountant exemplifies the self-deceptive European. Marlow gives his impression of the accountant in this excerpt, "I took him [the accountant] for a sort of vision. I saw a high starched collar, white cuffs, a light alpaca jacket... He was amazing" (Conrad 84). The accountant later stated, "The groans of this sick person distract my attention [from his work]" (Conrad 85). The accountant is so centered on maintaining a proper European image and European work ethic that he impressed Marlow, but the accountant showed no compassion for his fellow man. The accountant's appearance belied the darkness in his soul. Similar to the accountant, the General Manager maintained an aura of white civilization to hide the em ptiness and darkness that existed beneath his white surface. The manager paid proper ... ...ists within every human soul. Conrad used the contrasting images of white and black to illustrate his view that evil exists within us all. Light, which relates to civilization and its practices, helps to control and hide the dark truth within us, but that black truth of human nature will always remain.       Sources Consulted:    Conrad, Joseph. Norton Critical Editions: Heart of Darkness.   Ed. Robert Kimbrough. New York: W. W.   Ã‚  Ã‚  Ã‚  Ã‚   Norton, 1963. 3-79. Gekoski, R. A.. "Heart of Darkness." Modern Critical Interpretation: Joseph Conrad's Heart of   Ã‚  Ã‚  Ã‚  Ã‚   Darkness.   Ed. Harold Bloom.   New York: Chelsea House Publishers, 1987. 57-76.    Said, Edward W "The Past and the Present: Conrad's Shorter Fiction."   Modern Critical Views: Joseph Conrad. Ed.   Ã‚  Ã‚  Ã‚  Ã‚   Harold Bloom.   New York: Chelsea House Publishers, 1986. 29-52.   

Character Cannot Be Developed in Ease and Quiet Critical Lens Essay

Critical Lens Essay Helen Keller once said â€Å"Character cannot be developed in ease and quiet. Only through the experience of trial and suffering can the soul be strengthened, vision cleared, ambition inspired and success achieved. In other words what this quotation means is what individuals go through in life makes them what they are. Individuals have to go through good and bad to learn love and strength. Two examples that support the validity of this quotation are Night by Elie Wiesel and The House on Mango Street by Sandra Cisneros.In Night by Elie Wiesel, the protagonist, Eliezer, is taken to Birkenau during World War Two with his father and is separated from the rest of his family. When seeing such horrific conditions in the concentration camp, Eliezer starts to lose faith in God and in himself, yet as his character builds, he starts to mature as time went on. Eliezer’s experiences educate individuals that life in not always far; some individuals lose faith and give u p yet some, like Eliezer, gain strength from their experiences and build up their character.In The House on Mango Street by Sandra Cisneros, the protagonist, Esperanza, lives on Mango Street with her family and struggles with events where she is faced with adult responsibilities and maturity. In the vignette â€Å"Red Clowns†, she is taken advantage of and experiences an act of nature where she is transformed into a woman. Esperanza shows that overcoming catastrophes make you a stronger person. With such experiences comes strength and maturity.In both Night by Elie Wiesel and The House on Mango Street by Sandra Cisneros, the protagonists, Esperanza and Eliezer are faced with events that make them stronger and better people. They are two examples of individuals that support the validity of the quote that Helen Keller once said â€Å"Character cannot be developed in ease and quiet. Only through the experience of trial and suffering can the soul be strengthened, vision cleared, ambition inspired and success achieved†. Even when the going gets tough, individuals learn love and strength which allows them to obtain victory and build character and achieve their dreams.

Gothic History and Origins

The term Gothic was used in the Renaissance to describe certain types of art and architecture in the Middle Ages. This art was considered inferior, just as the Romans had held themselves superior to the barbarians. In the 18th century, the term Gothic morphed into a genre of literature that had elements of horror. In the late 20th century it morphed again into a style and subculture characterized by heavy eyeliner and all-black clothing. Originally, the Goths were one of the barbarian horseback riding groups that caused trouble for the Roman Empire. Ancient Source on the Goths The ancient Greeks considered the Goths to be Scythians. The name Scythian was used by the ancient historian, Herodotus (440 B.C.), to describe barbarians who lived on their horses north of the Black Sea and were likely not Goths. When the Goths came to live in the same area, they were considered Scythians because of their barbarian way of living. It is hard to know when the people we call Goths began to intrude on the Roman Empire. According to Michael Kulikowski, in Romes Gothic Wars, the first securely attested Gothic raid took place in 238 A.D. when Goths sacked Histria. In 249 they attacked Marcianople. A year later, under their king Cniva, they sacked several Balkan cities. In 251, Cniva routed Emperor Decius at Abrittus. The raids continued and moved from the Black Sea to the Aegean where the historian Dexippus successfully defended a besieged Athens against them. He later wrote about the Gothic Wars in his Scythica. Although most of Dexippus is lost, the historian Zosimus had access to his historical writing. By the end of the 260s, the Roman Empire was winning against the Goths. Medieval Source on the Goths The story of the Goths generally begins in Scandinavia, as is told by the historian, Jordanes, in his The Origin and Deeds of the Goths, chapter 4: IV (25) Now from this island of Scandza, as from a hive of races or a womb of nations, the Goths are said to have come forth long ago under their king, Berig by name. As soon as they disembarked from their ships and set foot on the land, they straightway gave their name to the place. And even to-day it is said to be called Gothiscandza. (26) Soon they moved from here to the abodes of the Ulmerugi, who then dwelt on the shores of Ocean, where they pitched camp, joined battle with them and drove them from their homes. Then they subdued their neighbors, the Vandals, and thus added to their victories. But when the number of the people increased greatly and Filimer, son of Gadaric, reigned as king--about the fifth since Berig--he decided that the army of the Goths with their families should move from that region. (27) In search of suitable homes and pleasant places they came to the land of Scythia, called Oium in that tongue. Here they were delighted with the great richness of the countr y, and it is said that when half the army had been brought over, the bridge whereby they had crossed the river fell in utter ruin, nor could anyone thereafter pass to or fro. For the place is said to be surrounded by quaking bogs and an encircling abyss, so that by this double obstacle nature has made it inaccessible. And even to-day one may hear in that neighborhood the lowing of cattle and may find traces of men, if we are to believe the stories of travellers, although we must grant that they hear these things from afar. Germans and Goths Kulikowski says the idea that the Goths were associated with the Scandinavians and therefore Germans had great appeal in the 19th century and were supported by the discovery of a linguistic relationship between the languages of the Goths and Germans. The idea that a language relationship implies an ethnic relationship was popular but doesnt bear out in practice. Kulikowski says the only evidence of a Gothic people from before the third century comes from Jordanes, whose word is suspect. Kulikowski on the Problems of Using Jordanes Jordanes wrote in the second half of the sixth century. He based his history on the no longer extant writing of a Roman nobleman named Cassiodorus whose work he had been asked to abridge. Jordanes did not have the history in front of him when he wrote, so how much was his own invention cant be ascertained. Much of Jordanes writing has been rejected as too fanciful, but the Scandinavian origin has been accepted. Kulikowski points to some of the far-fetched passages in Jordanes history to say that Jordanes is unreliable. Where some his reports are corroborated elsewhere, they can be used. Where there is no supporting evidence, we need other reasons for accepting. In the case of the so-called origins of the Goths, any supporting evidence comes from people using Jordanes as a source. Kulikowski also objects to using archaeological evidence as support because artifacts moved around and were traded. In addition, archaeologists have based their attribution of Gothic artifacts to Jordanes. If Kulikowski is right, we dont know where the Goths came from or where they were before their third-century excursions into the Roman Empire.