How does Jane Austen present Mr Collins in Pride and Prejudice
How does Jane Austen present the character of Mr Collins in chapters 13-16 of Pride and Prejudice? The character of Mr Collins is introduced by Jane Austen once the initial stage has been set for the novel-that of the Bennet family, Mr and Mrs Bennet and their five unmarried daughters. Mr Collins is a cousin of Mr Bennet and stands to inherit their property as the only male heir. Mrs Bennet refers to Mr Collins as 'that odious man' and also 'a man whom nobody cared anything about'. However this opinion was formed before the two were acquainted and is based on her feelings of injustice that Mr Collins stands to inherit Longbourn on the death of Mr Bennet. Mr Collins is a clergyman and would have held a respectable position in Jane Austen's society. He wishes to obtain a wife because in the eyes of society it is time for him to settle and be married, his sponsor Lady Catherine de Bourgh has advised him to marry and he is keen to comply with her wishes. Pride and Prejudice was originally called First Impressions and it is through the letter that Mr Bennet receives that we learn of Mr Collins and our very own first impressions are formed. Jane Austen's choice to introduce Mr Collins to us in the form of a letter gives us an idea to his formal personality and to his social awkwardness. The letter shows him to be very pompous in style, referring greatly to the fact that he was so
Chapter 35 essay on Jane Austen's "Pride and Prejudice".
AS English Literature How does Austen tell the story in Chapter 35? (20 marks) Pride and Prejudice written by Jane Austen is a well written and respected novel. Throughout Pride and Prejudice Austen uses a range of different narrative techniques in order to interest and inform her audience. Austen takes on a different aspect in Chapter 35 in the form of letters. In this essay I will attempt to show how Austen tells the story in Chapter 35 and the effect it has on the novel. Austen opens Chapter 35 with 'free indirect style', this is a form of narrative voice in which a character's thoughts and feelings seem to be directly expressed, freely taking on views and often the language of that character. 'Elizabeth awoke the next morning to the same thoughts and mediations which had at length closed her eyes'. This is an obvious example of free indirect style it takes on the thoughts and feeling of Elizabeth and allows the reader to emotionally engage with her. Austen cleverly uses this technique to allow the reader to create an intimate and emotionally engaging relationship with Elizabeth. By using this narrative technique at the opening of the chapter this allows the reader to connect to the character so throughout the chapter the reader can take on the thoughts and feelings of Elizabeth. 'Free indirect style' is a subtle take on 'stream of consciousness' and refers to the
Dracula Essay. Focussing on chapter fourteen, to what extent do you think that, in Dracula, Stoker cannot provide answers to every question?
Focussing on chapter fourteen, to what extent do you think that, in Dracula, Stoker cannot provide answers to every question? During the Victorian era the advancement of technology was immense. Van Helsing and Dr Seward are the two characters who do the most debating on science and scientific method. In chapter fourteen Dr Seward describes his predicament: 'I do not know what to think, and I have no data on which to found a conjecture'. It is, therefore, quite clear that these two characters face difficulties, this is because, the supernatural events in Dracula conflict with their rational and religious beliefs. Significantly, Van Helsing asks Dr Seward 'To believe in things that you cannot', seemingly highlighting the apparent conflict between science and the supernatural. Stoker introduces the supernatural in chapter one, with the 'wolves, with white teeth and lolling red tongues' that the coach driver - presumably Dracula - appears to control, as well as the 'blue flames'. This early introduction of supernatural phenomena prepares the reader for the horrific and violent acts in the novel, whilst also, presenting a sense of uncertainty as there appears to be no explanation for these uncanny events. It could, therefore, be suggested that Stoker is setting up the idea that there is not always an answer to every question. Van Helsing acknowledges that there are some
English Literature - Atonement (Essay 1)
By analysing two passages from Atonement, consider ways in which McEwan presents the transition between the child and adult world The prime method by which McEwan presents the transition between the child and adult world in Atonement is through specific focus on the behaviour and motivations of one character, Briony Tallis. Taking a psychological and personal approach, McEwan addresses the complexities of adolescence, "the ill-defined transitional space between the nursery and adult worlds"1, and the various archetypal effects, usually of a sexual nature, that affect a child with little or no experience of adult life. Briony, it would seem, is a character trapped in a bubble, who requires the intervention of internal and external forces in order to break into the world of adulthood. The two passages selected specifically show the distinction - or, indeed, lack of - between child and adult Briony, her coming to being and her realisation of the 'crime' "for which she will spend the rest of her life trying to atone"2. Part One mainly concerns McEwan developing a prevailing aura of obscurity and anticipation, with young Briony having intercepted a vulgar letter that she believes confirms Robbie Turner as a 'maniac'. The Part focuses on two differing viewpoints; those of Briony and the rest of the world; dropping her in solitude. The paradox is that while Briony is attempting to
'The American Dream not only fails to fulfil its promise but also contributes to the decay of social values' (Tyson 1999). How far does The Great Gatsby demonstrate this view of the American Dream?
'The American Dream not only fails to fulfil its promise but also contributes to the decay of social values' (Tyson 1999). How far does The Great Gatsby demonstrate this view of the American Dream? The American Dream is often portrayed in literature as the pursuit of ultimate happiness with regard to life and employment. The stereotypical protagonist of an early-twentieth century American novel is self-reliant and a hard worker, seeking to make a successful living through motivation and perseverance. Jay Gatsby himself has pursued this dream and is a success story in terms of wealth, though the novel may be viewed as an exploration of the corrupted ideal that the American Dream became in the 1920's when people with newly acquired wealth sought to flaunt what they owned. It is largely the owned wealth in the novel that is presented as an ideal; social values and morality are shown as corrupt and indeed unimportant alongside material prosperity. Nick narrates in Chapter One, "I decided to go east and learn the bond business," and presents a stark contrast between his small new house and those on either side that 'rented for twelve or fifteen thousand a season'. This affirms the importance of wealth from Nick's perception and equally from that of the other inhabitants of West Egg. They are the newly rich, who have worked hard and earned their money in a relatively short period
To what extent is Dracula a conventional Gothic protagonist
To what extent is Dracula a conventional Gothic protagonist? Within the Gothic genre, features of the Gothic protagonist include sharply contrasting character traits, some degree of tragic stature, a striking physical presence, an element of the sexual, and an association with the bestial. Stoker presents Dracula with greatly contrasting traits, from the impeccably polite and courteous host who greets Harker at the door, to a raging psychopathic monster. The aristocratic and noble nature of Dracula's heritage gives him charisma and credibility, on first encounter he seems strange but eccentric, however this lulls Harker, and obviously his female victims, into a false sense of security: "The light and warmth of the Count's courteous welcome seemed to have dissipated all my doubts and fears." Stoker reveals Dracula's true self slowly and subtly, so as to build tension, such as when Dracula touches Harker and he feels: "a horrible feeling of nausea." This imagery hints at the horror of Dracula's true character, which is finally revealed when he encounters the Brides: "But the count! Never did I imagine such wraths of fury, even in the demons of the pit!" Stoker presents the count as being: "lapped in a storm of fury," foreshadowing the terrible storm at Whitby when Dracula arrives on English soil. Stoker's uses the imagery of hell to describe Dracula's rage, writing: "his eyes
The role of minor characters in the novel, The Great Gatsby
A work of literature would not be complete without the pair; major characters and minor characters. While major characters lead the story, minor characters supports it and also add to the key elements of the story. This is particularly evident in the novel, The Great Gatsby, by F.Scott Fitzgerald. This novel is narrated by Nick Carraway, and throughout the novel, he is introduced to many other minor characters namely Myrtle, Jordan Baker, and George Wilson. The author has strategically placed these minor characters as instruments in the plot to add variety to the story, support the development of the main character, and also to accentuate the overall theme of the novel -. In The Great Gatsby, minor characters are essential to the progression of the plot because it is through minor characters where foils to the main characters are aroused. This can be seen through Myrtle's character and George Wilson's awareness of her relationship with another man. After the incident of Myrtle's death, George believed that her lover was also her murderer. "It was the man in that car. She ran out to speak to him and he wouldn't stop." This misconception of his was a significant piece of the novel's plot as it led to the murder of the protagonist in the novel, Jay Gatsby. In other words, George Wilson was the one responsible for Gatsby's death and this is shown in the quote; "It was after we
!['So where does love come in? It's not strictly necessary, is it?' What are Barnes' views of the role of love in history and in this novel? [A History Of The World In 10 1/2 Chapters]](https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/834991/listing/834991_1.jpg)
'So where does love come in? It's not strictly necessary, is it?' What are Barnes' views of the role of love in history and in this novel? [A History Of The World In 10 1/2 Chapters]
'So where does love come in? It's not strictly necessary, is it?' What are Barnes' views of the role of love in history and in this novel? In this novel, Barnes makes little reference to love in any of the 'main' chapters of the novel, however he explores the concept in some depth in the 'parenthesis' chapter. He seems to display very confused and contradictory views of love, his opinion oscillating wildly as the chapter progresses. Julian Barnes, at the beginning of the chapter, starts to ponder on the necessity of love. He begins by listing various languages' words for 'I love you', and muses upon the concept of tribes without words for the saying. 'Or have they all died out?' he wonders. This seems to be idle thought, in which Barnes merely hypothesises that, perhaps, without love humanity cannot survive. However, he later expands upon and contradicts this idea. 'Our love does not help us survive... Yet it gives us our individuality, our purpose.' States Barnes. It is perhaps worth noting the conclusive tone evident in this phrase; here, he doesn't pose a question, but instead offers an answer. This appears to imply that he has a certain confidence in his answer, that he has reached a personal conclusion in his mind. Therefore, one can read into it that Barnes decisively views love ass being superfluous to survival in practical terms, but is necessary to make us
English Literature - Atonement (Essay 2)
"Atonement offers us no heroes and no villains- only victims" How far, and in what ways, does your reading of Atonement lead you to agree with this view? Atonement conveys a dichotomous message. Ian McEwan - the reality, the tangible author - is supplemented by a deeper layer; his construct - the potentially unreliable narrator - Briony Tallis. Essentially, branding any of the enigmatic individuals offered to us in Atonement as 'heroes' and 'villains' is impossible - and indeed unjust - simply because of the sheer amount of ambiguity and subjectivity involved - "there is nothing either good or bad but thinking makes it so"1. The select tendencies these individuals relay on the other hand is another matter; the notion of 'victimhood' must imply some malicious behaviour beforehand. Taking 'villainy', the Concise Oxford Dictionary, necessarily - though feebly - lists it as a derivative of 'villain'; alluding to it as an individual's moral essence. The Collins Dictionary, on the other hand, defines it as a "vicious behaviour or action"2, supporting the notion that select 'behaviour' and themes are the 'heroes' and 'villains' of the novel. For example, on the surface Briony is a 'villain' whose actions merely generate destruction and deprivation. Yet, the Observer gives the view that "the personal story - especially Briony's childhood 'failure to grasp the simple truth that
Critical Appriciation of the Two Minuets Hate in 1984
Write a critical appreciation of pages 16-18 "in its second... uttering a prayer". How does the two minutes hate contribute to your understanding of the nightmare world in which Winston lives? The two minutes hate is almost a celebration of a cult, a sort of gathering of religious fanatics to honour their ruler, Big Brother. Orwell uses it to show the expressions of anarchy amongst the 'leaping and shouting' people and how this would be their only chance to express their human feelings in the nightmare society in which they are forced to live. Winston's dystopian world is displayed in Orwell's unsympathetic parody of the two minutes silence in commemoration of WWII and epitomises the 'frenzy' of emotions, the terror and violent culture that Winston has to tolerate. His elaborate view of religious or political fanatics scrutinises these kinds of obsessions and demonstrates how it can over-power a person's life. Control is one of the main components of the two minutes hate. The people are helpless, they are 'like that of a landed fish' in the robotic machine that is Big Brother. They cannot escape from 'the voice' that 'continued inexorably' and there is no escapism to be had in the 'frenzy' of voices yelling at the screen. This reflects a nightmare that is inescapable until we awake. Winston longs to awaken in a society capable of love, without suffering, but it seems he
