.... pick up on things unsaid and to read other people's actions. Dewey Dell describes his intuitiveness when she says that “ he said he knew without the words, and I knew he knew because if he had said he knew with words I would not have believed…and that's why I can talk to him with knowing with hating with because he knows” (27). He uses his gift of realizing things without them having to actually be told to him to gain credibility with the reader. Who would doubt a narrator who possesses that type of adroitness? Also, his language is clear and reflective. He uses similes and metaphors and appears to have an acute awareness of spatial relationships. Darl's sophisti ....

.... ideas, or what could loosely be called the "imagination" or "mind's eye," are simply grainy photocopies of true experience. These "thoughts/ideas" are by definition marked by their inferior force or vivacity they hold compared to "impressions," which Hume defines as "real experiences": love, hate, will, desire and so on. His argument to this is that, he says, take a blind or deaf man that has been blind or deaf since birth. They cannot picture color or sound, though they have the natural capacities for such. They simply lack the necessary "impression" of sound or color, as so they can visualize and manipulate these concepts with their imaginations. These all se ....

.... Marlow is told that when he arrives at the inner station he is to bring back information about Kurtz, the basis of this comparison and contrast in this paper, who is the great ivory agent, and who is said to be sick. As Marlow proceeds away to the inner station "to the heart of the mighty big river…. resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country and its tail lost in the depths of the land" (Dorall 303), he hears rumors of Kurtz's unusual behavior of killing the Africans. The behavior fascinates him, especially when he sees it first hand: "and there it was black, dried, sunken, with closed eyelids- a hea ....

.... marvelous works for the rest of Boston. The only piece of clothing forbidden to create was the wedding vail. How could a woman wearing the scarlet letter create a dress that represents the values of marriage; having committed sin as she did to be involved in the marital bonds of another couple. Although she does the job willingly and rarely ever looks back to the horrid past behind. The scarlet letter was constantly worn by Hester with pride and dignity. Hester knew that what was done in the past was wrong and that the scarlet A was the right thing to do, therefor it is worn with a sense of pride. The child, Pearl, is "a blessing and as a reminder of her sin." ....

.... portrayed the personal agonies one would suffer by cowardly holding secrets within oneself. In the Scarlet Letter, Hawthorne set out to show the consequences of leading a double life. Arthur Dimmesdale, to the people of Boston, was a holy icon. According to the public, "never had a man spoken in so wise, so high, and so holy a spirit, as he… nor had inspiration ever breathed through mortal lips more evidently than it did through his" (167). Dimmesdale had risen through the ranks of the church and had the utmost respect of the people of Boston. Dimmesdale's "eloquence and religious fervor had already given the earnest of high eminence in his profession" ....

.... Young Goodman Brown. He cannot determine whether the events in his life actually occurred, or if they simply were created in his neurotic mind as he slept. Dreams, therefore, play an important developmental role in the explanation of Hawthorne's characters. In The Birthmark, Aylmer has a dream in which he commits an act of horrendous cruelty to his wife, Georgiana. This dream delves into Aylmer's personality, as the realization that he will stop at nothing in order to destroy the slight imperfection on the cheek of Georgiana. Dreams are often viewed as a perception of a person's unconscious mind. Aylmer is not a selfish man in his wishes for his wife to have her birt ....

.... new life, to help them expand beyond the bounds off mere characters and turn into real people. Miranda is a good example of a character whose humor enriches her personality. At the beginning of the play, it is explained to us, largely through Prospero’s exposition, that Miranda is perfect child. She’s compassionate, beautiful, well educated and obedient; She’s the apple of Prospero’s eye. At the beginning of the play of Act I sc ii , however, she comes off s being too perfect. Perfect to the point of annoyance. Perfect to the point of being sterile. despite her assets , she’s no more then a china doll. Throw Ferdinad , our handsome prince, into the mix , ND she be ....

.... friends, and himself. By tracing Bigger's psyche from before the murder of Mary Dalton, into the third book of the novel, and into the subconscious depths of the final scene, the development of Bigger's self realization becomes evident. An entire period of Bigger's life, up until the murder of Mary Dalton, portrays him under a form of slavery, where the white society governs his state of being. While he worked for the Daltons, "his courage to live depended upon how successfully his fear was hidden from his consciousness"(44), and hate also builds on top of this fear. Once he is in contact with Mary, his fears and hate pour out in a rebellious act of murder, because ....