1984 - What does Orwell do in the opening two pages of the novel to unsettle the reader?
What does Orwell do in the opening two pages of the novel to unsettle the reader? In the novel 'Nineteen Eighty-Four', the author, George Orwell employs a range of different techniques such as similes, metaphors and symbolism to unnerve and keep the reader in anticipation, impelling them to read on. The novel is in a third-person narrative style, this technique employed by Orwell creates a distance between the central character, Winston Smith and the reader. This vagueness adds tension and mystery to Orwell's depiction, only allowing the characters emotion to be revealed through dialogue. The narrative viewpoint also allows the reader to grasp an unbiased view of the character and his circumstances. Throughout these first couple of pages Orwell purposefully refuses to expand on things which confuse the reader. For instance, "The hallway smelt of boiled cabbage and old rag mats", and simply doesn't give an explanation why. This deliberate omission is employed to purely keep the reader on edge and impel him/her to read on. Another example of this is towards the end of the second page, "The Patrols did not matter, however. Only the Thought Police mattered". This line immediately grabs attention and creates suspense, but Orwell leaves it here. The reader is now left feeling insecure and leaves us questioning ourselves through mere confusion of what may be happening in this
Death Of A Naturalist comment on how appropriate the title, "Death of a Naturalist", is and comment on how it changes meaning.
"Death Of A Naturalist" I have been asked to comment on how appropriate the title, "Death of a Naturalist", is and comment on how it changes meaning. The poem is set out in two sections of blank verse (unrhymed lambric pentameter lines). In the first section the poet. Seamus Heaney, notes the festering in the flax-dam, but can cope with this familiar scene of things, rotting & spawn hatching. Perhaps as an inquisitive child he felt some pride in not being squeamish. He thinks of the bubbles from the process as gargling "delicately". He is confident in taking the frogspawn. It's something he does every year and watches the "jellied-specks" become "fattening dots" then turn into tadpoles. He almost has a scientific interest in knowing the proper names ("bullfrog" and "frogspawn") rather than the teachers patronising talk of "daddy" and "mammy". Especially the idea of forecasting the weather by looking at the frogspawn because it's not very helpful as it is blatantly obvious if it is sunny or raining and so there is no need to look at the frogspawn. Seamus Heaney uses onomatopoeia more lavish here than in any poem - and many of the sound are very in delicate: "gargled", "slap and plop" and "farting". The lexicon is full terms of putrefaction, ordure, generally unpleasant things such as "festered", "rotted", "slobber", "clotted water", "rank with cowdung" and "slime kings".
Creative Writing - Gratuitous Vengeance
Gratuitous Vengeance "Son, hurry up, you're going to be late for school." "Yeh whatever dad, it's nothing new." "But it's your first day!" Yes - it was my first day at school and no - I wasn't nervous, I wasn't scared, and I wasn't worried, I was ready. What's the big deal anyway? Constantly, consistently moving house and schools, you kind of adapt to it, like an animal adapting to its conditions, you know? Here we were. Shattering, scratched, small windows; crumbling, decaying, aged bricks; inexpensive, inert sheds and lots of helpless, dim morons to use for my liking. Dominating this school will be as easy as A.B.C. It wasn't exactly the best looking school but no matter, I'd be gone within a week... Okay, by my second glance, this school had some pretty mischievous competition. My main worry was Derrick Hopkins; Derrick is the guy to go to when you want to know something or need permission for something else. He controls everything in this school. I guess that'll have to change... I went up to him. "Derrick, I'm Bradley Crewe, new here, I heard about a party going on this weekend, I was wondering if I can come along? We can get acquainted." "It's not that easy kid. So no, you can't just 'come along'. Get out of here you weasel faced low life." "Weasel faced? Low life? Who do you think you are?" "I'm Derrick, but nobody cares who you are." He walked up to me and
How does Shakespeare use imagery in his play Romeo and Juliet to intensify the drama, create atmosphere and illuminate the central themes?
GCSE Coursework: Shakespeare - Romeo and Juliet How does Shakespeare use imagery in his play Romeo and Juliet to intensify the drama, create atmosphere and illuminate the central themes? In Shakespeare's "Romeo and Juliet", Shakespeare uses imagery to create atmosphere, intensify drama and illuminate central themes. By using a variety of metaphors, dramatic irony, use of figurative language and his explanation of poetic forms he conveys meaning and character excellently. He incorporates all of these dramatic devices and more to convey the plot and reveal those things that were Elizabethan concerns. Shakespeare starts the play with a prologue. This was very popular in Shakespeare's time and he uses a sonnet to imply love because it was established as a poetic form for love and devotional poetry. It's used to set the scene and describes what is going to happen. It describes Romeo and Juliet as "Star crossed lovers"; this shows the audience the play is going to be about romance but also despair and feuds and not being in control of one's own destiny. The sonnet shows Shakespeare's ability to distil the essence of language and draw the audience into the action. Using the sonnet Shakespeare achieves the 'suspension of disbelief', which shows his class as a writer because it highlights the theatricality of the play, to show the audience that the play is completely fictional.
Commentary on Macbeth soliloquy Act V scene V"To-morrow, and to-morrow, and to-morrow,Creeps in this petty pace from day to day,
Commentary on Macbeth soliloquy Act V scene V "To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow; a poor player, That struts and frets his hour upon the stage, And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing. " Soliloquy is a speech made by a character alone on the stage or thinks she/he is alone. Through soliloquy, the audience gains an honest and direct experience of that character's mind. In this particular soliloquy, Macbeth expresses overwhelming despair. This soliloquy encompasses the entire experience of Macbeth's kingship, short to the entire play. Imagery, time, dictions and repetition each have its constituency in shaping this important soliloquy. The passage reveals to the reader the despair and desolation of Macbeth just before the deciding battle with Macduff and Malcolm. Just before the soliloquy, Macbeth has been informed that Lady Macbeth is dead. The sudden departure of Lady Macbeth marks the lost of Macbeth's only love and trusty as well as the ties to the world. By now, Macbeth is all alone, as most of the previously mentioned Thanes have taken side with Malcolm. After this soliloquy, Macbeth is
In Multicultural Britain, people from different cultures should not try to live separate lives
'In Multicultural Britain, people from different cultures should not try to live separate lives.' Many people from all over the world have been coming to Britain for over 2,000 years. This long history of immigration has made Britain a very diverse and culturally rich country. Examples of this are evident in fashion, food and language. About 8% of the British population is made up of different ethnic groups; this is approximately 4.6 million people. This essay will be addressing whether people from different cultures should try to live separately or not. People from different cultures should not try to live separate lives as this could lead to racial segregation, misunderstanding and conflict among societies. Those who live in 'parallel communities' are only in contact with their own culture and 'kind' and so live separate lives to others in the surrounding areas. This separation can cause misunderstanding to breed which could lead to hatred and unnecessary conflict. These types of conflict have been emerging from parts of Britain between Asian and White groups, who live in 'parallel communities' and therefore have never had the chance to meet. The benefits of having more people of different ethnicity in one community would mean that it would be a more accurate representation of modern Britain. It enriches people's understanding of cultures and the world, therefore leading
Lord of the Flies. The Events of the novel suggest that Golding had a negative view of Humanity
The Events of the novel suggest that Golding had a negative view of Humanity, How far do you agree? Golding gives us the implication of him having a negative view of Humanity in many different ways such as savagery, fear and conflict. The boys are stranded on an island which has no human existence and we see them reaching their extremities that are caused by the nature and humanity that surrounds them leading us to believe Golding has a negative view of humanity. Golding represents savagery in a harsh way. We see the boys slowly turn away from civilisation and towards savagery and barbarity through many ways, one being humanity. As we know in the book there civilisations vs. savagery, good vs. evil or in other words evil being a negative issue. Also Golding uses fear widely throughout the book. He does this by using the beast which symbolises fear, this gets more terrifying for the boys as it begins to believe it but also makes them even more savagery. This gets us thinking that the way Golding involves fear and savagery together that he has a negative state of mind to come up with this idea. There's a great greed for power going on through the novel. As jack wanting to be chief and losing this opportunity at the beginning it sets off rivalry. It is this that causes Jack to be a dictator and Ralph a pleasant democratic which shows both positive and negative side of humanity
'Antony's use of rhetoric in Act3, Scene2 is more effective than Brutus'.
'Antony's use of rhetoric in Act3, Scene2 is more effective than Brutus'.' To what extent do you agree with this statement? 26 If one considers merely the apparent 'winner' of the argument in Act 3, Scene 2, then Antony is the obvious choice as the better orator. However, Brutus probably had a more difficult job as he had to convince the crowd to forgive him for the murder of the (effective)1 head of the Roman Empire. In fact, the use of rhetorical devices in both speeches is extensive and generally well balanced. This has been affected by the order in which the men spoke to the crowd, which could, to some extent, alter the opinion of the rhetorical devices used. Rhetorical devices in the passage are well used, especially in the case of Antony and his use of pathos, although one may argue that in this instance pathos is particularly easy to use. An example of pathos2 is,'...I should do Brutus wrong and Cassius wrong (who you all know) are honourable men. I will not do them wrong; I rather choose, to wrong the dead, to wrong myself and you, then to wrong such honourable men.' This quote in some ways appears at first glance to be pro-Brutus but the undertones are more malicious and if said in grief3, could evoke powerful emotional reactions from the audience which is one of Antony's main objectives, so to make the plebeians4 turn against the conspirators in their, and at the
Discuss Shakespeare's treatment of courtship and marriage in "Much Ado About Nothing". In your essay you should refer to modern interpretations of the play and consider the context in which they were produced as well as the context of the original play.
Discuss Shakespeare's treatment of courtship and marriage in "Much Ado About Nothing". In your essay you should refer to modern interpretations of the play and consider the context in which they were produced as well as the context of the original play. In 'Much Ado About Nothing' there are two love interests on which the play is mainly focused. The courtship between the two couples Beatrice and Benedick and Hero and Claudio gives the audience a glance at two completely different forms of love. The relationship between the characters Claudio and Hero is one which is very traditional and a very safe way of communicating their feelings to one another. Shakespeare borrowed the story of Hero and Claudio from a man called Matteo Bandello, this shows that this may not be his own view of how love should be expressed. He did however invent the story of Benedick and Beatrice; this may mean that he believes that the way in which love is expressed should be much more spontaneous and heart-felt. The way that Beatrice and Benedick treat each other offers humour as this is one of Shakespeare's comedies whilst also providing a relationship which seems much more modern and extraordinary for the time. The courting between Beatrice and Benedick is slightly vicious as they seem never to compliment each other but instead comment on each others faults 'he is no less than a stuffed man' and the
The Gender Transformation of Caesar
The Gender Transformation of Caesar Shakespeare's Julius Caesar opens with the concurrent celebrations of Caesar's defeat of Pompey and the annual fertility festival of Lupercal. The coupling of the two historically separate events each celebrating distinct gender roles dramatically highlights the importance of gender characterization. Rome's patriarchal society demands a leader who embodies the virile spirit of the state with leadership marked by strength, courage, and constancy. Caesar quite fittingly assumes this role as he returns valiant and victorious from the battlefields; thus, in order to remove him the strong ruler of Rome, Caesar's enemies must retrench his masculinity. Roman society considers women as the embodiment of weaknesses, thinking that their physical, mental, and political inferiority make them of little use beyond reproductive purposes, explaining why aspirants to the throne feminize the identity of the masculine warrior figure to position him as unfit for the crown. The portrayal of the two female characters of the novel, Portia and Calphurnia, captures the prevailing stereotypical perceptions of women. Caesar's wife, Calphurnia, demonstrates women's predisposition towards fearfulness and superstition when she pleads with Caesar to remain at home after dreaming that a statue made in the likeness was Cesar pouring forth blood. Calphurnia establishes
