Chapter 3: Roanoke’s Brethren: “That Souls May Be Saved” Roanoke City, and even the Roanoke Valley as a whole, operated as a Southern “Hebron,” giving its citizens an assortment of choices for their spiritual inclinations. The same may be said about those who are referred to as the “Brethren,” though as it will be shown, there are several different groups who have adopted the title of “Brethren.” On his eighty fifth birthday, Elder Jonas Graybill preached a sermon in Troutville, a nearby town to Roanoke, at a Church of the Brethren congregation. In it, Graybill stated, “I heard a man tell of a good country, what fine farms it had. It was good for wheat, and all that kind of thing, but there was no church there.
In Isabel Allende’s short story, “The Proper Respect,” she artfully conveys the theme that the way to carve a path to the true top of society is thick with deception, and she does this to create a biting criticism of popularity in the modern era. As Allende describes Abigail’s accumulation of wealth and luxury, she notes that “By then, she was obese, laden with jewels, the spit and image of Nero.” (229). Allende artfully paints with her diction a tone of scathing disapproval. By describing Abigail as “the image of Nero”, Allende is ascribing the nature of a murderous, self-indulgent madman to her.
In the short story “St. Lucy’s Home for Girls Raised by Wolves,” author Karen Russell uses short epigraphs to provide a reference for characters’ progress throughout the 5 “stages” present in the story. The story follows a pack of wolf-girls who have been sent to St. Lucy’s, a facility dedicated to helping human children raised by wolf parents adapt to human culture. These “stages” represent the five chapters in the process of adapting, each of which begin with an excerpt, or epigraph, from The Jesuit Handbook on Lycanthropic Culture Shock. These epigraphs describe the emotions and difficulties that the wolf-girls are likely to experience, as well as how they are likely to act during the stage. In Stage One, the girls still acted as a pack,
Miss Strangeworth proves herself to be highly insensitive and masquerading. These traits best represent Mrs. Strangeworth’s personality because she seems to devalue the emotions of others and pretends to be pleasant being in public. All of her letters show her judgemental thoughts about others but she pretends to a kind person in front of
Roses can vary in colour and type, just like any other flower. All roses may symbolize different sentiments and have different meanings. They are presented on occasions of all kinds. Shirley Jackson's short story "The Possibility of Evil," uses Miss Strangeworth's roses to symbolize her hidden back story to her spiteful, colourful notes. Is she really evil or does she just simply want a perfect, pleasant life?
Lies and Deceit Arthur Miller’s The Crucible reveals to the reader about lies and deceit in the small town of Salem. Abigail Williams, a 17 year old girl who lets her jealousy of Elizabeth Proctor turn her into this evil person and affect the lives of many. Several lies unfold from the actions of the two characters as the court questions them. The development of characters, setting, and plot are revealed through John Proctor’s growth. Miller reveals the central idea of lies and deceit in Abigail's actions throughout the play.
Reverend Parris is a middle aged man, who we first meet in The Crucible by Arthur Miller, around his late 30’s or mid 40’s. He has a high status. He is the one of the town pastors. Parris has a ill daughter, Betty Parris. Who he discovered dancing in the forest with his teenage niece, Abigail Williams.
In Edith Wharton’s most remarkable novel, Ethan Frome, the main character, Ethan Frome, is in love with a prohibited woman… his wife's cousin. His wife, Zeena, is a sick woman who has a villainous essence to her and an irrevocable hold on Ethan. Mattie Silver is Zeena’s cousin and the woman Ethan is infatuated with. Through Ethan’s eyes, Mattie is described as youthful, attractive, and graceful basically everything Zeena isn’t.
The conflict was between the narrator and herself. She knew the girl was not good for her but she did not care and wanted her anyways. She could deal with all of her annoying qualities because she loved the way she always looked. The other conflict I saw was Charlotte cheated on both the narrator and the boyfriend, Maurice.
After one of those summers when Bonnie returned from
The amount of anger and frustration expressed to keep their marriage together is emphasized by the rhetorical device. It also shows that hatred is expressed in a family when one is lost for patience, becoming a problem and resolution. In the metaphor, “He’s not a rough diamond-a pearl-containing oyster of rustic: he’s a fierce, pitiless, wolfish man”(Bronte 101), Heathcliff is described by Nelly Dean to be powerful and potentially hurtful to Isabella. Dean protects Isabella by warning her at the cost of dehumanizing Heathcliff. The metaphor is used to describe and illustrate an image for readers and Isabella.
Oftentimes, minor characters help to reveal a theme or contribute to the characterization of the protagonist. In the novel Jane Eyre by Charlotte Brontë, Helen Burns serves as a foil character to the protagonist, Jane Eyre. Throughout the novel, Helen’s docile and pious nature helps to emphasize Jane’s development from a passionate girl to a modest woman. Helen’s theological beliefs also allow her to serve as a foil character to Mr. Brocklehurst, the headmaster of Lowood Institution, and St John Rivers, a zealous missionary, in order to reveal how Christianity is used to control Jane. Compared to the male characters in the novel, Helen’s positive use of religion proves to be more effective in encouraging Jane to adopt Christian values.
Elizabethan morals are majorly based upon christian beliefs, rulership of the throne was said to have been precedent which relate to the chain of being. Richards core value of ambition negates this belief and does whatever means necessary to achieve his goal, sin that disbands the divine right of rulership. Where by the end of the play he dreams of the consequences of his actions, “Murder, stern murder, in the direst degree; All several sins, all used in each degree, Throng to the bar, crying all, Guilty! Guilty!”. The sincere tone of the scene emphasises his despair as he repeats the lines “guilty” and “murder” to the highest “degree”, portraying the protagonist at the lowest point of the story. The proclamation of his guilt to all of his sins and that no matter what he is the murderer that killed his family, upholds the belief that the tyranny Richard enacts is evil and even he knows it.
Of course, one almost intuitively understands that the novel’s leading women adhere rather closely to socio-gender norms; both Adeline and Clara, the two women who most represent Radcliffe’s idealized morality, are traditionally beautiful, focus on emotional intelligence via poetry and music rather than on scientific pursuits, and represent the appealing innocence of ingénues. In the same manner that Adeline’s unconsciousness contributes to her integrity, it also appears that her extensive physical beauty results in part from her inherent saintliness, her beautiful eyes linked to some intrinsic purity (7). Further highlighting this ethical preference for femininity, Adeline exhibits fear related directly to the presence of men; in the Marquis’s chateau, her terror specifically abates when she realizes that “elegant” and “beautiful” women surround her, and later the inverse occurs as she balks in fear at “the voices of men” (158, 299). On some level, Adeline seems to recognize that masculinity poses a significant threat to her, and instinctively shies away from its
In a setting of cheap thrills and false emotion” (23). Hannah is a logical thinker and is condemnatory towards emotion, a primary perspective of the Romantic Age. “The height of human excellence is in reason NOT emotion. Sidley Park through its history represents the idea of “the decline from thinking to feeling” (23). Arcadia deconstructs the binary oppositions of reason and emotion when depicting Bernard and Septimus.
