.... "black behavior," thus becoming the hopeful, innocent boy at the beginning of the novel. As Invisible Man recounts his degrading experience with the white town leaders, he remembers that his lack of indignation was so great that he did not even mind scrambling for the faux gold pieces, which were only brass coins. That the Invisible Man appears to have little reaction to his debasing experience indicates how firmly others have placed his mask of passivity and tolerance of others' actions. Next, the Invisible Man changes his mask to one of a hard worker. This mask, hand .....

.... beginning. “ “I’m not going up there alone.” Simon has a sudden sense of being out played.” Here Simon knows that she has no intention of letting him go. I think Charlie is a very independent girl. “Who cares what other people think?” She also shows she is independent by being in the village without her dad. We know that Charlie is quite caring from when she won’t give Simon any sugar for his tea. She playfully argues with him. “It’s bad for you.” Charlie is a very clever girl. She has eleven O-levels .....

.... also not associate the murder of the albatross with the crucifixion of Jesus Christ. The reader is told that the Polar Spirit "loved the bird that loved the man who shot him with his bow." It is doubtful that someone with Coleridge’s Christian background and faith could fail to see here an analogy with God who loved his son who loved the men that killed him (Gardner 169). Another example of symbolism is the fact that the albatross is hung around the Mariner’s neck like a crucifix. Event the "cross" in "cross-bow" hints at the murder of Jesus, which .....

.... a monstrosity is when William Frankenstein, the younger brother of his creator and also a young and hopefully unprejudiced child, proves to see him the way any adult would, with disgust and horror. After completing the act of killing the child, he resolves to "carry despair to [Victor Frankenstein], and a thousand other miseries shall torment and destroy him" (p. 137). According to the monster, the function of appearance is to make society react to you. Whether the reaction is appropriate or not is beside the point; all that matters is the way you look. Then we have language .....

.... people, he forgets about himself. Gilbert's 'wants' started from wanting for his family, then his mother, Arnie, Ellen and we get the impression the list would have continued 'wanting' for other people, had Becky not interrupted. Gilbert's good nature is apparent from the very start when he and Arnie are waiting for the caravans to pass through Endora. We can hear Gilbert describe the scene as a 'yearly ritual' in a very tired voice. Yet, we know he is doing it for Arnie. It pleases Arnie so much to see the caravans along the road, and Gilbert feels satisfaction that his .....

.... had no intention of walking inside the house), the water beat through the boards forcing Alcee to enter the house. The water even went so far as to actually follow Alcee into the house, to the point where it was necessary to put something beneath the door to keep the water out. More instances where the storm relates with the characters is when Calixta is looking out the window, and a lightning bolt strikes a tree, and causes Calixta to fall into the arms of Alcee, foreshadowing the passion that is to come later between the two. Also, it introduces them to their lust for each .....

.... been loosèd out of hell / to speak of horrors." Or, as might say, "as if he'd seen a ghost." Hamlet grabbed her wrist, stared at her face, sighed, let her go, and walked out the door backwards. What's happened? Hamlet, who has set about to feign mental illness, is actually just acting on his own very genuine feelings. Hamlet cares very much about Ophelia. He must have hoped for a happy life with her. Now it is painfully obvious that they are both prisoners of a system that will never allow them to have the happiness that they should. When Hamlet act like a flesh-and-blood hu .....

.... symbolism animating the language itself. It is, on the poet’s plane, the labor of bringing the representative forms of knowledge home to the experience which stirred them: the labor of keeping in mind what our knowledge is of: the labor of craft. With the poetry of Yates this labor is, as I say, doubly hard, because the forms of knowledge, being magical, do not fit naturally with the forms of knowledge that ordinarily preoccupy us.” What Blackmur is arguing, is that magic and the interpretation of this, is dependent on the reader’s knowledge of magic. He continues the ar .....