Explain the influence of T. S. Eliot on 20th century Arabic poetry, Essay

Clarify the impact of T. S. Eliot on twentieth century Arabic verse, giving models - Essay Example He kicked the bucket in 1965 however his acclaim didn't pass on with him. Infact he turned into a model for the people in the future in all pieces of the world (Nobelprize.org). Eliot’s effect on English scholars is notable to everybody. His books â€Å"Prufrock and other Observations†, â€Å"Four Quartets† and specifically â€Å"The Wasteland† has impacted numerous English authors. Nonetheless, Eliot’s notoriety and impact didn't keep itself to the outskirts of Europe and America. Where English verse under Eliot’s impact moved with a consistent pace, the Arabic verse made a mammoth jump releasing itself from the deep rooted Arabic old style graceful model, the qasida, whose structure, structure and example were set down in the seventh century and were more established than the religion Islam itself (Loya, 1971). The qasida was a couplet which comprised of two even hemistiches, isolated by a caesura followed by a fixed example of long and short vowels. Every couplet was free of the remainder of the sonnet. All the couplets followed a comparable rhyme plan and meter all through the sonnet. In Arabic verse there was likewise limitation in the choice of subjects too. This example was being trailed by the Arab writers with no noteworthy changes for as long as fourteen hundred centuries. The inborn Arab society offered path to the urbanized society which urgently requested changes in the lovely structure to communicate its message. The Arab artists got mindful of the way that the conventional qasida structure comprising of fixed meter and rhyme was not adequate to communicate the cruel real factors of life. In spite of this the Arab artists kept on writing in the conventional structure till the twentieth century. The circumstance proceeded till the impact of West, specifically, the impact of T.S. Eliot changed the pattern of the Arabic verse. Numerous Arabic writers were profoundly impacted by T.S. Eliot, whose artistic work had contacted all pieces of the world with profound respect (Loya,

The Magic LinkedIn® Formula

The Magic LinkedIn ® Formula My digital book, How to Write a KILLER LinkedIn ® Profile, identifies 18 â€Å"Mistakes to Avoid† just as 7 â€Å"Bonus Tips.† That’s an aggregate of 25 things that I believe are significant for each LinkedIn ® client to comprehend and execute (in reality more than 25, since huge numbers of the sections have subpoints also). All things considered, on Wednesday I will be giving an introduction at American Family Insurance’s DreamBank on â€Å"Top Five LinkedIn ® Mistakes.† Not 25, yet 5. It’s difficult to pick the main five, however I figured out how to do it. That, yet I even limited it down to three general classifications. I consider this my â€Å"Magic LinkedIn ® Formula† and regardless of whether you’re unfit to go to my introduction live on Wednesday, you can profit by the recipe. Accomplishment on LinkedIn ® comes down to what I have named the â€Å"3 Ls† (not to be mistaken for the class of understudies in their third year of graduate school): Locatability Amiability ALiveness 1. Locatability On the off chance that nobody discovers you on LinkedIn ®, there’s very little point in having a profile. Except if you are in an uncommon circumstance where you lean toward not to show up in LinkedIn ® look, simple locatability implies you will get before the individuals scanning for somebody like you. For work searchers and entrepreneurs, being found by an intended interest group is one major key to progress. Expanding your locatability involves two fundamental activities: 1) placing the correct watchwords in the correct spots, and 2) developing your system forcefully and properly to at any rate 500 associations. A mix of all around set catchphrases and a strong system is a triumphant LinkedIn ® methodology. 2. Amiability Because somebody discovers you on LinkedIn ® doesn’t imply that individual will get in touch with you. In the event that your profile is messy, deficient, unfocused, or askew, you will likely be skirted for somebody with a superior introduction. Assuming, be that as it may, individuals like what they see, they will be bound to demand an association or discussion. Agreeability implies seeming like an individual and not a robot; posting achievements without gloating; having an alluring photograph and arrangement; and putting your character onto the page. The more you separate yourself as remarkable, the more you will empower significant collaboration. 3. ALiveness I like to state that having a LinkedIn ® profile resembles having an exercise center enrollment. You possibly get an incentive from it on the off chance that you accomplish the work! Sitting on your butt won't get you 6-pack abs †¦ or another customer or employment through LinkedIn ®. Aliveness on LinkedIn ® incorporates yet isn't restricted to refreshing your profile, taking an interest in gatherings, sharing important data, taking part in conversations, and taking connections disconnected to the telephone or even a café! That’s my Magic LinkedIn ® Formula: Locatability, Likeability and ALiveness! Is it true that you are utilizing it? In the event that you as of now are doing everything recorded above, extraordinary you are a force LinkedIn ® client. All things considered, I suggest that you plunge all the more profoundly into How to Write a KILLER LinkedIn ® Profile for the fine focuses that will bring your LinkedIn ® accomplishment up considerably another level. I’ll possess energy for QA at my DreamBank introduction on Wednesday, and you get the chance to take part as well. What consuming inquiries would i be able to reply about my Magic LinkedIn ® Formula and your LinkedIn ® profile difficulties?

Kickstart My Art

Kickstart My Art There was a great article in the Tech earlier this week about startup culture at MIT. MIT has a lot of students who are creative, self-starting people; cool ideas pop into their heads and off they go to make them into reality. One such example is Mark Fayngersh 15. Mark is an exceptionally talented web developer and photographer studying Computer Science here at MIT. Now, Mark could do a lot of things in a lot of organizations, and all of them would be great and cool. But the project hes currently working on is a kickstarter called The Institvte: A Photobook: Hi! My name is Mark, and Im currently a freshman studying Computer Science and Philosophy. When Im not doing homework, Im writing programs and taking pictures of objects and places around me. I need your help: Im striving to create a photobook that encompasses environment and culture while focusing on architecture, people, and events representative of life at MIT. The Institvte is a story about a school, its architecture and environment. Most of all, its a story about culture, mindset, and people. MIT is known as a rigorous research facility and one of the best universities in the world, but theres more to the institute than numbers. The goal of this project is to present MIT to the world under new light, exposing its multidimensional nature while telling a story from a fresh perspective. By helping Kickstart this project, youre not just getting a photobook, youre getting an experience. Now I have no idea whether this kickstarter will be successful or not. But to some degree thats beside the point (though I hope it will be, and am backing it, because I would like a copy of the book). The point is that this is an excellent example of a student just doing something simple, creative, and cool. Remember this! Theres no reason not to try to do cool things when the cost is low and the opportunity awesome.

The Political Economy Of The Media - 978 Words

This unit â€Å"The Political Economy of the Media† we try to understand what the correlation is between the political economy and its influence on the media and when did the economy start to effect the media. We will discuss within three different issues based on the readings issued; Newspaper, the discipline of journalism and the politics of the film industry. Each reading makes valid points and gives great real life examples of how politics and the media are in a symbiotic relationship. In Bennett Chapter 7 â€Å"The political Economy and The end of the journalism era† Bennett 227 describes the evolution of journalism from the heyday of the 1990s just before the age of the internet to the sequestration of the 2000s, he tries to explain how we got from inspection to dissolution in such a short period of time. The author talks about how the newspaper is fading into history, but the article did not reference the number of papers that have shut down to make the information relevant and quantitative. The point is made that gone are the days of multiple media outlets in a market that compete for the most in depth news stories. With multiple choices to receive information readership of printed news is fading. Small newspapers are merged into large companies to try and stay profitable. Even with these changes no longer can a company such as CBS Viacom use the newsroom as a loss leader in order to produce good solid hard nose journalism? The media companies these days also answer to theShow MoreRelatedThe Political Economy of the Media in Zimbabwe1491 Words   |  6 PagesThe Political Economy of the media in Zimbabwe The political economy of the media in Zimbabwe is mostly centered on the hands of the government. The government has control over major media players like the public media which include print and broadcasting media. Through its control of the public media it has greatly impede freedom of expression, freedom of the press, freedom of information and freedom of opinion in the media. However, the government has manage to give some private players room toRead MoreSocial Media And Political Economy1174 Words   |  5 PagesFuchs s article relates social media with power and political economy, which roots in Karl Max s critical theory toward capitalism s exploit on free labor sources. Recall from what Fuchs mentioned on chapter one, he discussed about the concept of social media by introducing a four dynamic process: cognition, communication and co-operation. Each one is closely associated with a notion of sociality from different philosophical points of view. However, in this chapter, he extends the critical theoryRead MoreThe Political Economy Of Media And Communications Essay2262 Words   |  10 PagesThose who control the media, control the message, but does the format in which the media is consumed, or the message delivered contain within in it political economy. Faced with ever increasing media consumption options, how users choose to access television programming, via terrestrial broadcasting or through digital downloads, plays an important role in the political economy. Through the commodification of audiences, content consumption and creation, the spatialization of programming, and the structurationRead MoreThe Theory Of The Political Economy872 Words   |  4 PagesThe theory of the political economy in the context on media studies, is that behind every media product, has a commercial and economic imperative and as such, has particular impacts on the media content that would not exist if such imperatives ceased to exist. 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The issue with Gina Rinehart’s share in Fairfax, is that one of the most powerful sectors in Australian society, theRead MoreThe Power of and the Powers Behind Mass Media901 Words   |  4 PagesBehind Mass Media Mass media is a powerful method of communication, entertainment, education, and socialization. The necessity and the relevancy of mass media becomes more prominent and urgent in the 21st century world, as the 21st century landscape is exceptionally more mediated than in previous eras of human history. It behooves producers, distributors, and consumers of mass media to understand and consider the interplay between power and discourse within the context of mass media. Where is the

Research Paper on Organizational Culture Mentoring

Research paper On Organizational culture amp; mentoring SUBMITTED BY: Anora Muriel dsilva Class: MBA (IB) INDEX TOPIC | PAGE NUMBER | Introduction | 2 | Why do we study organizational culture | 2 | Levels of organizational culture | 3 | Consequences and implication of organizational culture | 4-5 | Research findings on organizational culture | 5 | Mentoring | | Introduction | 5 | Functions of Mentoring | 5 | Characteristics of a good mentor | 6 | Personal and organizational implications of mentoring | 6 | Building an effective mentoring network: | 7 | Research finding on mentoring | 8 | Bibliography | 9 | oRGANISATIONAL CULTURE AND MENTORING INTRODUCTION: The word culture has been is derived from the idea of†¦show more content†¦Eg: dress code to be followed in the organization, company logo etc. b) Shared Values: Values refer to the second level of the organizational culture. It refers to ones beliefs as to what should be done and what should not be done. It refers to those principles and qualities which shape our thinking process and behavior. Values can be divided into instrumental values and terminal values. Values are usually emotionally charged and learned during our life especially through the process of socialization through the environment, family , friends etc. c) Common Assumptions: Assumptions are the top most and the fundamental level of cultural diagnosis. They refer to the beliefs that cannot be observed but are present in the behavior of people so strongly that the violation of it is unthinkable.eg: the companies emphasis on truth and loyalty of its employees.eg: when IBM opened its operations in Japan in 1960, the local Japanese workers were shocked to learn that the company emphasized its goal as highest return on investment to the stockholders where as in Japan it usually is the employees who get stay with the company and are the ones who are really interested in the company. 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The Castle of Otranto †a Gothic Novel Free Essays

string(116) " of King Richard the Third† Apart from the above-listed works, Walpole is known for his extensive correspondence\." The Castle of Otranto – A Gothic Novel Picture of the Title Page of the Second Edition A Dossier by Luisa Hiller, Johannes Klein, Benjamin Priebst, and Claudia Haack Table of Contents: 1. Introduction – The Gothic Novel 2. Horace Walpole 2. We will write a custom essay sample on The Castle of Otranto – a Gothic Novel or any similar topic only for you Order Now 1. The Life of Horace Walpole 2. 2. The Works of Horace Walpole 3. â€Å"The Castle of Otranto – A Gothic Novelâ€Å" 3. 1. Introduction 3. 2. Index of Characters 3. 3. Summary of the Plot 3. 4. The Characters’ Appearance 3. 5. The Character Constellation 3. 6. Gothic Elements in The Castle of Otranto . Bibliography 1. Introduction – The Gothic Novel In the first half of the 18th century the word â€Å"Gothic† was mainly related to the Nordic invaders, the Goths, who were disliked because of their barbarous behaviour and their brutal invasion. Therefore â€Å"gothic† had a pejorative connotation, which, nevertheless, changed in the middle of the 18th century into a word being related to supernatural and fantastic events. The first gothic novel appeared in 1764, when Horace Walpole? s â€Å"The Castle of Otranto† was published. From this time on to approximately 1820 there was an explosion of gothic writings, which almost turned into addiction, especially for the female readership, who were craving for popular entertainment. This form of writing dominated British literature during this period and can be described as a hybrid between novel and romance, also encompassing drama and poetry. Though the gothic novel had many critics, it became unexpectedly successful due to the fact that it signified morality, beauty, a lack of reason and feudal beliefs which formed, at that time, a sharp contrast to the actual values of the Age of Enlightenment. Consequently, the gothic novel functioned as a mirror of 18th century conventions and values. The emergence of this new development in literature implied the assumption that there was a need for sacred and transcendent forces due to the denial of the existence of supernatural forces by the modern enlightened society. So the gothic novel provoked a rebellion against the predominant ideal of order and unity, which caused a lot of annoyance and was a socially subversive force for many critics. Finally, the author? intention was to evoke fear and terror, but also grandeur, and to make people be reverential. Writers of that period wanted, moreover, to wind up the reader? s feelings. This aim could be achieved by the usage of particular elements, which appeared in almost every gothic novel. Some of these elements are mentioned below. setting The action usually takes place in some ruined castle or abbey in a remote and dark time, like the Middle Ages. Furthermore, the buildings are in many cases full of crypts, catacombs, dungeons, trap doors and secret underground passages. atmosphere The atmosphere of the whole story seems threatening and mysterious due to some inexplicable events as ancient prophecies and curses coming true, visions or other supernatural occurrences which sometimes can be elucidated. There are, furthermore, extreme landscapes as thick forests and rugged mountains often containing caves. Additionally a terrifying atmosphere is created by the apparent gloom, shadows, moonlight or a flickering candle. emotions A gothic novel always contains powerful emotions like pride, anger, sadness, surprise, and especially, terror. Romantic elements like love and its often tragical implications (uncertainty of reciprocation, rival lovers, †¦ ) are also part of many gothic novels. Characteristics for the partly overwrought emotions are crying and melodramatic speeches, as well as panic and fainting. distressed women Frequently women are oppressed and threatened, either by male relatives or other powerful men, for instance kings or lords which are mostly tyrannical. These women are often the main characters, demanded to do something unbearable as marrying someone they do not love. After the outstanding success of the gothic novel in the 1790? s, it began to fade in 1820. One reason for this was the frequent imitation, so that people became bored and the gothic novels stereotypes. Moreover, critics have been slow to accept the gothic novel as a valuable genre, for which reason it has almost vanished from European literature. The most important representatives: Horace WalpoleThe Castle of Otranto (1764) Ann RadcliffeThe Italian; or the Confessional of the Black Penitents (1797) Mary ShelleyFrankenstein (1818) Charles MaturinMelmoth the Wanderer (1820) 2. Horace Walpole 2. 1. The Life of Horace Walpole Horace Walpole was born on September 24 in London, the forth son of later Prime Minister Robert Walpole. Rumour has it that the eight-year-old boy met Alexander Pope during a summer holiday spent at Cambridge House, Twickenham, in 1725. Stages of his education include such famous names as Eton (1727-1734) and King? s College, Cambridge (1735-39). The following two years of his life were spent on the obligatory â€Å"Grand Tour†. Walpole was accompanied by his schoolfriend, the poet Thomas Gray, and the two of them toured France and Italy. When he returned to England in 1741, Walpole could immediately take up office, having been elected Member of Parliament for the family borough Callington in Cornwell while he was still abroad. For the following quarter of a century Walpole served as an MP in varying constituencies, before he finally retired in 1767. 1747 marked the beginning of a lifelong â€Å"obsession†. In this year, Walpole took up residence at Strawberry Hill, Twickenham, and began transforming his domicile into â€Å"the most celebrated Gothic House in England†. In 1757, a private printing press was set up at Strawberry Hill and Walpole brought out some of his own works by means of it. After the death of his nephew in 1791, Horace Walpole succeeded him as fourth Earl of Orford. He died five years later, on March 2, 1797. 2. 2. The Works of Horace Walpole –1747First book, â€Å"Aedes Walpolianae†, a description of the paintings at Houghton (the family seat in Norfolk), published –1751Walpole starts writing his â€Å"Memoirs†, a process continuing until 1791 –1758â€Å"Catalogue of Royal and Noble Authors†, 2 vols. 1762â€Å"Anecdotes of Painting in England†, 5 vols. (-1780) –1764December 24, â€Å"The Castle of Otranto† published –1768â€Å"The Mysterious Mother† (a tragedy) â€Å"Historic Doubts on the Life and Reign of King Richard the Third† Apart from the above-listed works, Walpole is known for his extensive correspondence. You read "The Castle of Otranto – a Gothic Novel" in category "Papers" 4000 of his letters have been preserved. 3. â€Å"The Castle of Otranto – A Gothic Novel† 3. 1. Introduction On December 24, 1764, the English readership was presented with â€Å"The Castle of Otrantoâ€Å", a novel which gave rise to a new literary genre: the Gothic Novel. Its author – Horace Walpole – obviously had not reckoned with the immediate success of his work. Why else would he have published the first edition of it anonymously? In fact, Walpole concealed his authorship by a rather complex story of the origin and discovery of â€Å"The Castle of Otrantoâ€Å". His anxiety about the reception of his novel was basically founded on the â€Å"novelty of the attemptâ€Å" (Otranto 7). Two aspects shall be mentioned to explain what he meant. Firstly, one of Wal-pole? s major intentions in writing the book was â€Å"[†¦ to blend the two kinds of romance, the ancient and the modernâ€Å" (Otranto 7), the former distinguished by imagination and improbability, the latter by a more realistic presentation of life (Walpole himself used the term â€Å"natureâ€Å" rather than â€Å"realisticâ€Å"). His object was to reconcile the two different approaches by showing people acting in a natural way while being exposed to the most u nnatural situations. The second motive that originally prevented Walpole from revealing his authorship were the super-natural elements contained in the story; ironically enough the very reason for its later fame. But by the time of its publication Walpole could not be sure that the mysterious events around â€Å"The Castle of Otrantoâ€Å" would meet with the approval of mid-18th century readers. After all, this was the Age of Enlightenment, the period of â€Å"cold reasonâ€Å" (Letter to Mme du Deffand, 13 March 1767, quoted from Otranto x) in which there was no place for ghosts, spectres, visions, prophecies and the like supernatural phenomena. With his fears not being confirmed and the positive reception of the novel, Walpole finally revealed his authorship with the appearance of the second edition in April 1765. The second edition brought another innovation: the subtitle â€Å"A Gothic Novelâ€Å" was added to the book, thereby providing the term for a whole literary branch which became very popular with readers in the following decades. Beside the above-mentioned supernatural elements which can be applied to any Gothic story there are several elements which are peculiar to â€Å"The Castle of Otrantoâ€Å". One of them can be perceived whenever servants and aristocratic characters meet. In writing these scenes Walpole was inspired by and imitated another prominent figure of English literary history, and he freely admits: â€Å"That great master of nature, Shakespeare, was the model I copiedâ€Å" (Otranto 8). And in another passage from the second edition Walpole describes the function of the domestics in the following way: â€Å"The simplicity of their behaviour, almost tending to excite smiles, [†¦ ] appeared to me not only not improper, but was marked designedly in that manner. My rule was nature. [†¦ In my humble opinion, the contrast between the sublime of the one [the noble characters] and the naivete of the other, sets the pathetic of the former in a stronger lightâ€Å" (Otranto 8). Finally, the last aspect to be mentioned is one that is not missing from any description of Walpole? s life and works. At the end of the preface to the first edition Walpole writes: I will detain the reader not longer than to make one short remark. Though the machin e- ry is invention, and the names of the actors imaginary, I cannot but believe that the groundwork of the story is founded on truth. The scene is undoubtedly laid in some real castle. The author seems frequently, without design, to describe particular parts. â€Å"The chamberâ€Å", says he, â€Å"on the right hand: the door on the left hand; the distance from the chapel to Conrad? s apartmentâ€Å": these and other passages are strong presumptions that the author had some certain building in his eye (Otranto 5-6). This extract could well be seen as a proof for Walpole? s sense of humour. In fact, the author – Walpole himself – did have a certain building in mind, namely his own domicile, Strawberry Hill. . 2. Index of Characters Manfred, Prince of Otranto†¢Hippolita, Princess of Otranto Conrad, their son and heir†¢Matilda, their daughter Isabella, engaged to Conrad, daughter of †¢Frederic, Marquis of Vicenza Bianca, the princesses’ chambermaid †¢Jaquez and Diego, the prince’s servants Theodore (heir to Alfonso the Good,)son of†¢Jerome (Count of Falconara,) friar of the church of St. NicholasTwo knights, Frederic? s escort†¢A herald A giant knight, Ghost of Alfonso the Good†¢A phantom, ghost of a wise hermit Manfred? s servants, soldiers, people of the nearby village 3. 3. Summary of the Plot The story takes place in the old castle of Otranto, south Italy, in the Late Middle Ages. Because of an inscrutable prophecy, Manfred, Lord of Otranto, fears the downfall of his dynasty. After his only son Conrad’s sudden and mysterious death on his wedding day, Manfred intends to merry Conrad’s fiancee Isabella, which results in her flight from the castle. Theodore, a suspicious stranger, seems to be involved in her escape. Later, Frederic, Father of Isabella, who was reckoned to be lost in the last crusade, arrives to claim the authority over the Castle. He pretends to be the successor of Alfonso, the former legitimate Lord of Otranto, who died during the crusade. By offering his beautiful daughter Matilda to the challenger, Manfred tries to come to an arrangement with Frederic. Frederic should merry Matilda and Manfred should become husband to Isabella. Manfred’s wife Hippolita does not offer much resistance. However, because of increasing cryptic occurrences that remind Frederic of a prophecy he had been told, he rejects Manfred’s offer. Meanwhile, Manfred is becoming more and more jealous of Theodore, suspecting him to be Isabella? lover. His jealousy leads to the sad climax of the drama: Manfred, taking his daughter for Isabella, kills her accidentally when he discovers her secretly meeting Theodore. Manfred slays his only heir. Completing the prophecy, the giant ghost of Alfonso appears and Manfred resigns his dominion. Theodore? s identity as the true heir of Alfonso is revealed and he becomes the legitimate Lord of Otranto. 3. 4. The Characters? Appearance Throughout the Chapters (Only characters significant to the plot have been indexed. ) Man-fredHippo- litaCon- radMatil- aIsabel- laTheo- doreJeromeFrede-ricBian- caJaquez + DiegoGiantPhan- tom 1. XXXXXX—XX- 2. XX-X- XX-X— 3. X–XXXXX—- 4. XX-XXXXX—- 5. XX-XXXXXX-XX 3. 5. The Character Constellation 3. 6. Hippolita Frederic Jerome Manfred Isabella Theodore Matilda Bianca Manfred + Hippolitamarried; he wants to divorce her; she obeys him in everything (exception: authority of the church) Manfred + JeromeM. respects the friar, but suspects and scorns the man; J. exercises the authority of his position and his knowledge of the prophecy Manfred + TheodoreM. suspicion, anger, jealousy, aversion, but respect; T. obedience, ‘superiority of manners’ Manfred + Frederic business-like relationship, trying to come to an arrangement Manfred + IsabellaM. she is the object of his desire I. repulsiveness, fear Isabella + Fredericfather and daughter; I. dutiful child; F. considers ‘exchanging’ her for Matilda Isabella + TheodoreT. a friend in need, chivalrous helper I. thankful for the assistance of the ‘peasant’ T. , later falls in love with the ‘ true heir’ T. Isabella + Matildamutual affection and confidence (like sisters); for some time rivals ( Theodore) Matilda + Theodoretragic lovestory Jerome + Theodorefather and son; J. fatherly love and concern; T. less emotional, retains some distance Jerome + Hippolitathe friar as confidant and advisor; H. devoted and obedient Christian Matilda + Biancamistress and maid-servant 3. 6. Gothic Elements in â€Å"The Castle of Otrantoâ€Å" Not before the second edition did Horace Walpole admit that he himself wrote the book, which in its initial edition had the title: The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto (Otranto 1). But it was not before the work had been such a success that he admitted that â€Å"The Castle of Otranto† was in fact a work of fiction and not, as he had claimed in the preface of the first edition, which was published in 1764, â€Å"[†¦ ]found in the library of an ancient Catholic family in the north of England† (First Edition 3) and had only been translated. To further strengthen the point that the original story was based on reality, he adds that â€Å"Though the machinery is invention, and the names of the actors imaginary, I cannot but believe that the groundwork of the story is founded on truth† (First Preface 5) and proves his conviction by giving the reader examples of where he thinks that the original author must have unconsciously been referring to a specific place: â€Å" ‘The chamber,’ says he, ‘on the right hand; the door on the left hand; the distance from the chapel to Conrad’s apartment’ [†¦ †(Second Preface 6). Through the preface to the first edition Horace Walpole sets the setting and describes the scene to have happened â€Å"[†¦ ] between 1095, the era of the first crusade, and 1243, the date of the last, or not long afterwards† (First Preface 3). Main themes of a gothic novel include ancient prophecies that are almost forgotten. In this case there are two which are both linked to the true heir of Alfonso and thus the rightful lord of Otranto. The reader hears the first one already in the second paragraph where it says, â€Å"[t]hat the castle and lordship of Otranto should pass from the present family, whenever the real owner should be grown too large to inhabit it† (Otranto 15). The next one is more in the sense of a classical prophecy: â€Å"Where? er a casque that suits this sword is found, [w]ith perils is thy daughtercompass’d round: Alfonso? s blood alone can save the maid, [a]nd quiet a long-restless prince’s shade† (Otranto79). It is in rhyme and not, as the first one, passed on oraly, but written on a giant sabre which was found far far away from the castle of Otranto. Another defining characteristic of a gothic novel are inexplicable sounds: â€Å"At that instant the portrait of his grandfather, which hung over the bench where they had been sitting, uttered a deep sigh, and heaved its breast† (Otranto 23). Furthermore, there are visions of things that can not possibly exist: â€Å"[I]t is a giant, I believe; he is all clad in armour, for I saw his foot and part of his leg, and they are as large as the helmet below in the court† (Otranto 33). And, most importantly, the one that sets the whole story in motion: â€Å"He beheld his child dashed to pieces, and almost buried under an enormous helmet, an hundred times more large than any casque ever made for human being, and shaded with a proportionable quantity of black feathers† (Otranto 17). Further characteristics include women in distress. Since Hippolita, Manfred’s lawfully wedded wife, can not concieve any more children, and Conrad has been squashed by the gigantic helmet, Manfred needs a male heir and thus decides to divorce Hippolita and to marry Isabella:â€Å"Isabella, since I cannot give you my son, I offer you myself (Otranto 23). In the end, every hint that has been given throughout the story is packed together in a great vision for all the protagonists to see: A clap of thunder at that instant shook the castle to its foundations; the earth rocked and the clank of more than mortal armours was heard behind. [†¦ ] The moment Theo- dore appeared, the walls of the castle behind Manfred were thrown down with a migh- ty force, and form of Alfonso, dilated to an immense magnitude, appeared in the centre of the ruins. Behold in Theodore, the true heir of Alfonso! â€Å" said the vision: and having pronounced those words, accompanied by a clap of thunder, it ascended solemnly to- wards heaven, where the clouds parting asunder, he form of saint Nicholas was seen; and receiving Alfonso? s shade, they were soon wrapt from mortal eyes in a blaze of glory. The beholders fell prostrate on their faces, acknowledging the divine will (Otran- to 108). 4. Bibliography Walpole, Horace. The Castle of Otranto. 1764. Oxford: O xford University Press, 1964. How to cite The Castle of Otranto – a Gothic Novel, Papers

The Adventure of the Speckled Band by Sir Arthur Conan Doyle and A Lamb to the Slaughter by Roald Dahl Essay Example

The Adventure of the Speckled Band by Sir Arthur Conan Doyle and A Lamb to the Slaughter by Roald Dahl Paper The Adventure of the Speckled Band and A Lamb to the Slaughter were written in different centuries and yet both share some characteristics of murder mysteries. In this essay, I intend to compare the motives for the murders; the crime and cover-ups/ alibis; the personalities of the murderers and their victims and look at how the authors create suspense in their stories. The Adventure of the Speckled Band by Sir Arthur Conan Doyle gives a detailed account of one of Sherlock Holmes and Dr. Watsons most interesting cases. A young woman Miss Helen Stoner, comes to consult them about the death of her sister, Julia, two years previously, in very mysterious circumstances. Julia died alone and the coroner could not find the cause. Now Helen has begun to fear that she to is in danger and is alarmed at the violent behaviour of her step father, Dr. Grimesby Roylott. Holmes and Watson go to Stoke Moran and solve the mystery of Julias death. We will write a custom essay sample on The Adventure of the Speckled Band by Sir Arthur Conan Doyle and A Lamb to the Slaughter by Roald Dahl specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Adventure of the Speckled Band by Sir Arthur Conan Doyle and A Lamb to the Slaughter by Roald Dahl specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Adventure of the Speckled Band by Sir Arthur Conan Doyle and A Lamb to the Slaughter by Roald Dahl specifically for you FOR ONLY $16.38 $13.9/page Hire Writer A lamb to the Slaughter by Roald Dahl tells the story of Mary Maloney and her tense relationship with her husband, Patrick. One evening Mary Maloney is waiting for her husband to arrive home. Once Patrick Maloney returns home and tells his wife, Mary some unpleasant news which she cant believe she is hearing. He tells her that he is leaving her for another woman. This upsets Mary Maloney and in a fit of anger she kills her husband. Now she must cover it and fool the police detectives into believing she is innocent. The motives for the murders in the stories are very different. Dr. Grimesby Roylotts motive for murdering his step daughter, Julia, and the attempted murder for Helen was for the money Helens mother left for herself and Julia. When Helen and Julias mother died she left for them in her will that a certain sum would be given to each of them when they got married: each daughter gets à ¯Ã‚ ¿Ã‚ ½250 when they marry (page 7-8). So Dr. Roylotts motive for killing Julia and trying to kill Helen was that he would get all the money which his wife left for them. Mary Maloney, however, had a very difficult motive; she killed her husband, Patrick Maloney, because of her anger and jealously about some news he had told her. He had told her that he was leaving her for another woman: This is going to be a bit of a shock for you, Im afraid, he said. But Ive thought about it a good deal and Ive decided the only thing to do is tell you right away. I hope you wont blame me to much. And he told her. It didnt take long, four or five minutes at the most, and she sat very still through it all, watching him with a kind of dazed horror as he went further and further away from her with each word (page 16). Then once he had told her, he was leaving her, she went to the freezer and took out a leg of a lamb and was about to make dinner, then with all her might she swung the piece of frozen lambs leg onto his head which killed him. She now has to cover it up using an alibi because she does not want to go to jail especially that she is pregnant and she does not want the baby taken away from her: did they kill them mother and child? Or did they wait until the tenth month? What did they do? Mary Maloney didnt know. And she certainly wasnt prepared to take a chance (page 17). The murder weapons in both stories were very unusual but were similar to each other in a way. In The Adventure of the Speckled Band the murder weapon was a deadly snake which was called a swamp adder: I took a step forward. Suddenly this strange headband began to move, and rearing itself up from his hair was the diamond-shaped head and puffed neck of a snake! (page 13). Whereas in A Lamb to the Slaughter, the murder weapon was a leg of a lamb, which was frozen solid. The crimes themselves were different. Dr. Grimesby Roylott trained a deadly swamp adder to attack the person sleeping in Julias bedroom. His plan was well thought out and involved the bed in her room being fixed to the floor so it could not move its position. The bed was against the wall which had the vent in it. There was a false bell rope that did not work, which was above the bed. The bell rope was over the vent. Dr. Roylott trained the snake to go through the vent and slither down the bell rope to attack its victim (Dr. Roylott carried the snake to the vent by using the dog lead). Dr. Roylott trained the snake to do what he wanted it to do by using a whistle for commands and a saucer of milk for a reward. In contrast Mary Maloney did not plan ahead; she went downstairs into the cellar to get something for dinner from the freezer. When she entered the living room with a frozen piece of leg from a lamb in her hands, her husband Patrick grunted that he was going out for dinner and already told her not to make dinner. Mary then gripped the piece of meat and with all her might she swung the frozen leg and brought the frozen leg onto Patricks head: At that point, Mary Maloney simply walked up behind him and without any pause she swung the big frozen leg of lamb high in the air and brought it down as hard as she could on the back of his head (page 17). As you can see the two different weapons use have things in common such as they are both animals and would not be suspected by the police. These weapons are very strange and unusual because when we listen to the news, when someone gets murdered nine out of ten times the murder weapon is a knife of some sort and a gun. The personalities of the murderers, although different, are very similar in some ways. Dr. Grimesby Roylott seems very evil and mad and he looked like a fierce old bird of pray but he is a very clever man. He trained a deadly snake with a whistle and used a saucer of milk as its reward, to climb down the bell rope and attack the person that lay on the bed. We could tell that he was a bad tempered man, because it says so in the text, when Holmes sees the vivid bruises on Helens wrist. Helen stoner also tells Sherlock Holmes that he beat his Indian butler to death because he suspected him of theft. Roylott had planned his moves carefully and succeeded once. As the readers we see him as someone when they want something they would do anything to get it. When we see Mary Maloney, she gives us the impression of a very nice peaceful housewife, and someone that cares for her husband a lot. However, she is not what she seems when she kills her husband with a frozen leg of lamb. When she strikes Patricks head with the piece of frozen leg, we think that she is out of control and unstable: The violence of the crash, the noise, the small table overturning, helped her out of the shock. She came out slowly, feeling cold and surprised, as she stood for a while blinking at the body, still holding the ridiculous piece of meat tight with both hands. (page 17). However both of them are very intelligent, sly and cunning in the way they cover up the murders and provide themselves with alibis. In The Adventure of the Speckles Band, Dr. Roylott can prove he was nowhere near Julia Stoner when she was murdered. Dr. Roylott was in his room at the time of the murder. Dr. Roylott also had an alibi who was Helen. This is because she could prove that Dr, Roylott was in his room at the time and could not have murdered Julia or gained access to her room because the rooms were locked at night because the wild animals that lived there, were allowed loose in the ground: The door had been locked from inside and the windows were blocked by shutters with broad iron bars (page 6). He planned his moves very carefully by using a way to kill Julia without him touching her or being in her room. He used a poisonous snake to kill Julia. This was not any snake how ever, it was a snake from India, so the poison at that time was not known in England so he knew that he could get away with the crime he committed. Because the poison was not known at that time, they could not find any cause for Julias murder. And the same would have happened to Helen if she did not go to consult Sherlock Holmes. In A Lamb to the Slaughter, Mary Maloney also arranges a perfect alibi; after she has killed her husband she stands in front of a mirror rehearsing her lines: Hullo Sam, she said brightly, aloud. The voice sounded peculiar too. I want some potatoes please, Sam. Yes, and I think a can of peas. That was better. Both the smile and the voice were coming out better now. She rehearsed it several times more. Then she ran downstairs, took her coat, went out the back door, down the garden, into the street (page 18). She then goes to the grocers where she asks Sam, the grocer for some potatoes and peas and then comes home. Her alibi was that when she came home from the grocers she found her husband dead lying on the floor. She then phones the police screaming someones killed her husband. The police then come over and she is acting very upset about what had just happened. For some one to do an alibi like this is very clever and cunning. The police check her alibi but Sam backs her up and so they do not suspect her: Which grocer? one of the detectives asked. She told him, and he turned and whispered something to the other detective who immediately went outside into the street. In fifteen minutes he returned with a page of notes, and there was more whispering, and through her sobbing she heard more whispering phrases . . . acted quite normal . . . very cheerful . . . wanted to give him a good super . . . peas . . . cheesecake . . . impossible that she . . . (page 20). Both of them hide the murder weapons very cleverly; Dr. Grimesby Roylott hides his snake in a metal safe and Mary Maloney gets rid of the leg of lamb by cooking it in the oven and feeding it to the policemen who are colleagues of Patrick. Although they are both very clever the major difference is the endings to the stories. At the end of The Adventure of the Speckled Band, Dr. Grimesby Roylott gets caught by Sherlock Holmes and dies by his own weapon (the snake) however Mary Maloney does not get caught and gets away with it completely as the police eats the evidence. The victims in the story are different. This is because in The Adventure of the Speckled Band, Helen is an innocent victim and Roylott wants her money which her mother left in her will (basically for greed and selfishness) but in A Lamb to the Slaughter, the victim, Patrick, was murdered by chance not design. The only reason Mary Maloney murdered him is because of anger and shock. The two authors create suspense in different ways; Arthur Conan Doyle builds up the tension gradually by using powerful adjectives such as; strange, fear, terror. Whereas Roald Dahl builds up suspense and tension when Mary Maloney, a pregnant woman who is peaceful and loves her husband, murders him with a frozen leg of lamb by bringing it down on his head. Also the alibi that was included raises tension as well because the reader doesnt know if the police will fall for it. Some things I liked about The Adventure of the Speckled Band was that there was a lot of tension and strange things involved, such as the unique murder weapon and the investigation which I thought was very interesting. What I liked about A Lamb to the Slaughter is how she got rid of the evidence. She got the police to eat it. Not only that but the alibi she used to get away with the crime was very clever.