...Lester Small LITR 220 24 February 2013 The Masque of the Red Death vs. The Cask of Amontillado “The Masque of the Red Death” and “The Cask of Amontillado” written by Edgar Allan Poe are somewhat different. The major themes of these stories differ significantly, as does the emphasis placed on each character which dealt more to The Cask of Amontillado” than to “The Masque of the Red Death” Regardless of this, the stories are similar in many ways. For instance, both belong to the literacy of the gothic genre, it shared a small theme, and the characters shared a lot of the same characteristics. Poe known as a great writer how was his overall literary style determined for these two short stories? The similarities of both tales belong to the gothic genre. This is true from large number of features presented in either one or both of the stories. The most prominent were the dreary, damp, and decaying catacombs of the “The Cask of Amontillado” and the dark themes such as death and insanity, which was a consistent presence in both stories, in the forms of madness of Montresor and Prince Prospero and death of Fortunato and Prince Prospero, along with his guest who took shelter from the Red Death in Prospero’s palace. Other features common to the gothic literature of the narratives were mysteries in the shape of the mysterious shrouded figure in “The Masques of the Red Death” and how Montresor would avenge himself against Fortunato in “The Mask of Amontillado” and the fact the setting was...
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...The Inevitability of the Red Death Edgar Allen Poe's “The Masque of the Red Death” is an extravagant allegory of the futility of trying to escape death. In the story, a prince named Prospero tries to avoid the Red Death through isolation and seclusion. He hides behind the impenetrable walls of his castle and turns his back on the rest of the world. But no walls can stop death because it is unavoidable and inevitable. Through the use of character, setting, point of view, and symbol, Poe reveals the theme that no one, regardless of status, wealth or power can stay the passing of time and the inevitable conclusion of life itself, death. Like many of Poe’s works, the number of characters in “Masque of the Red Death” is limited; however they all work to reveal the theme. Only three characters, Prince Prospero, the Thousand Friends and the Masked Figure are mentioned. The central figure of the story is Prince Prospero. The author describes him as “happy and dauntless and sagacious” (Poe, 386). His name is used to infer royalty, wealth and happiness, and suggests that the prince is untroubled by the plague and is confident of his survival and the survival of his one thousand friends. Prospero has been described by scholars as a “feelingless ruling prince” (Wheat, 51). This is due to his apparent lack of concern for the people of his land: “The external world could take care of itself” (Poe, 386). Prospero is a flat character as he remains confident in his survival up to...
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...There was a great deal of death throughout Poe’s life. So much that a lot of his writing is based off of these deaths surrounding him. His mom, brother, and foster mom all died of tuberculosis (Poe’s Life). This impacted the writings of multiple stories. One in specific is “The Masque of the Red Death”. The story is about Prince Prospero trying to escape death (in particular, the red death) but it eventually catches up to him, and kills him. This parallels him trying to escape the ‘red death’ but people continue to die around him of the same disease: tuberculosis. Many critics speculate that the red death symbolizes tuberculosis, as they have similar symptoms: profuse bleeding, pain, and dizziness. “Blood was its Avatar and its seal—the redness...
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...Edgar Allen Poe’s “The Masque of the Red Death” is a horrifying tale with three allegorical elements. The first element comes into play in the very beginning when the royal court locks themselves up in a fortress, ignoring the dying peasants outside their gates. Poe says “When [Prince Prosepero’s] dominions were half depopulated, he summoned to his presence a thousand ... light hearted friends from among the knights and dames of his court and with those retire to the seclusion of one of his castellated abbeys” (87). This marks the beginning of Poe’s scolding against ignoring others and selfishness. Instead of helping the dying peasants, Prince Prosepero and his court begin a magnificent party. This leads the second element of the allegory,...
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...Cornelius Hughes Dr. Montgomery LibA 102 October 13, 2009 Poe’s Use of Irony in His Short Stories Gargano says that “Poe intends his readers to keep their powers of analysis and judgment ever alert;…” (178). Poe is not your average type of literary figure. He often uses personification, metaphors, and symbols in order to give hints at details that would otherwise be unknown. These type of tactics help to keep the readers on their toes, otherwise they would be subject to misinterpreting what they read. In particular, Poe was a profound user of irony in his short stories. Poe used irony to depict the errors in his characters’ ways of thinking and their actions. Stories such as “The Cask of Amontillado”, “The Tell-Tale Heart”, and “The Masque of the Red Death” are all short stories that convey this notion. It is my intention to, based on the evidence found and presented, to prove this point. Let us first look at how Poe’s use of irony proves this point in “The Cask of Amontillado.” . The setting of the events is an “evening during the supreme madness of the carnival season” (Poe, “Cask” 426). This setting alone is symbolic for in this time during a carnival, people dressed themselves in costumes, becoming for a short time something other than their normal selves. Both Fortunato and Montresor are outfitted. Fortunato is wearing “a tight-fitted parti-striped dress, and his head was surmounted by the conical cap and bells” (426). In short, his attire was much...
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...different ways of viewing life. Since writers of this time were more idealistic, they looked at life at how it could or should be, not as it was. Great literary works such as Irving's "The Devil and Tom Walker," Hawthorne's "Dr. Heidegger's Experiment," and Poe's "The Masque of the Red Death" are representative of their literary age because they exemplify numerous Romantic Age characteristics. In Washington Irving's short story, "The Devil and Tom Walker," great use of imagination is shown. As Tom is walking through the forest, several inventive stories explain what he sees. A firm piece of ground is said to be from an Indian fort for refugee squaws and children during...
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...The Masque of the Red Death “The Masque of the Red Death” by Edgar Allen Poe is an eerie short story about the “Red Death”, Poe’s twist on the Black Plague. This plague swept across an unknown kingdom killing many people as it went. There were sharp pain, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. Poe had two main themes for readers to think about. These themes were proven through five main symbols: The ebony clock in the black room, Prince Prospero in the abbey with his friends, the colors of the seven rooms in the abbey, the format of the hallway and rooms and, Prince Prospero running after death through all the rooms.One theme that Poe intended to portray is the fact that death can’t be cheated or escaped, no matter how powerful or prosperous a person is. In the short story, Prince Prospero tries to hide from the “Red Death”. After some time the “Red Death” slips into the abbey taking Prince Prospero’s Life. This proves that even the most prosperous die. Another theme that Poe tries to portray is that people can’t go through life feeling that they are invincible and death will never get them. When the ebony clock in the black room tolled out every hour, the guest ignored their nervous sensations and continued with their masquerade. After the ebony clock tolled the last hour of the night, every guest in the abbey died. The ebony clocked symbolizes the time that goes by leading up a person’s death. This ties to into both themes because...
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...The Masque of the Red Death by Edgar Allan Poe 1. Plot. The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and one thousand other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by convulsions and sweat blood. The plague is said to kill within half an hour. Prospero and his court are indifferent to the sufferings of the population at large. They intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut. One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color". Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. The same room is the location of a large ebony clock that ominously clangs at each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade. At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's face resembles...
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...“The Masque of the Red Death” by Edgar Allen Poe is an eerie short story about the “Red Death”, Poe’s twist on the Black Plague. This plague swept across an unknown kingdom killing many people as it went. There were sharp pain, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. Poe had two main themes for readers to think about. These themes were proven through five main symbols: The ebony clock in the black room, Prince Prospero in the abbey with his friends, the colors of the seven rooms in the abbey, the format of the hallway and rooms and, Prince Prospero running after death through all the rooms. One theme that Poe intended to portray is the fact that death can’t be cheated or escaped, no matter how powerful or prosperous a person is. In the short story, Prince Prospero tries to hide from the “Red Death”. After some time the “Red Death” slips into the abbey taking Prince Prospero’s Life. This proves that even the most prosperous die. Another theme that Poe tries to portray is that people can’t go through life feeling that they are invincible and death will never get them. When the ebony clock in the black room tolled out every hour, the guest ignored their nervous sensations and continued with their masquerade. After the ebony clock tolled the last hour of the night, every guest in the abbey died. The ebony clocked symbolizes the time that goes by leading up a person’s death. This ties to into both themes because many of the guests were prosperous...
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...In Aesop’s fable, “The Wolf and the Lamb,” the moral of the story asks the reader to examine the desire for an object—and how we justify our behavior if we cannot obtain that object. This moral is graphically presented through the repeated use of key words to describe the fox’s repeated failure to get what he wants. The fox’s first attempt is foiled as he “just missed” the grapes (35). He attempts “again and again”, running and jumping repeatedly, but has “no greater success” (35). He then becomes disgusted and walks away. These successive descriptions of his failure build to his disdainful comment that the grapes are probably sour (35). The repeated demonstration of fox’s failures and his self-rationalization of why is he walking away—not that he has failed but because he has decided that the grapes are sour and he does not want them anyway—cleverly portrays the moral of the fable: if you can’t get it, blame something else, not yourself. It therefore asks the readers to Aesop’s Fables 3 of 93 The Wolf and the Lamb Once upon a time a Wolf was lapping at a spring on a hillside, when, looking up, what should he see but a Lamb just beginning to drink a little lower down. ‘There’s my supper,’ thought he, ‘if only I can find some excuse to seize it.’ Then he called out to the Lamb, ‘How dare you muddle the water from which I am drinking?’ ‘Nay, master, nay,’ said Lambikin; ‘if the water be muddy up there, I cannot be the cause of it, for it runs down from you to me.’ ‘Well...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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