.... he had no memories or experiences of his own. When the monster was given life he had no concept of good or evil. Everything that he did or experienced was something new to him. All of the monster’s behaviors would have to be learned Once he was finished and brought the creature to life, he asked himself why he even thought of creating such a horrible looking creature. He rejects the creature and is completely disturbed by the sight of it. This disturbance leads him to a restless night and which he is haunted by the image of his creation. The next day, Victor sees his friend Henry Clerval and when he brings Henry back to his apartment, he discovers that the creature h ....

.... who set off on a pilgrimage to a cathedral in Canterbury, England, about five miles south of London. The cathedral was a special place. It was a shrine where the archbishop Thomas A. Becket was murdered in 1170. This was the pilgrimage the twenty nine characters would make. They would start at the Tabard Inn in Southwark, which is near London. The characters in this story tell the stories themselves. This style of writing is called framework. There are twenty-four different stories told by the characters who interact with each other throughout the entire tale. The stories are mostly old familiar ones revamped and retold with the Chaucer style. Most of the stori ....

.... never happy, and some desired death. Others just didn’t care, and thought their lives were meaningless. Their desire for death reflected a social malice of purposelessness and hopelessness. Montag comes home from work to find Mildred lying deathlike on the bed in the darkness listening earplugs. The room is described as not empty and then empty indeed, because she is physically there, but her thoughts and feeling are elsewhere. Montag will not turn on the lights in the bedroom and will not open the window to let in outside light, even though he feels as if he cannot breathe in the room with the windows closed. Mildred suffers from a hidden melancholy which she canno ....

.... to be on our guard against what he says, and even though he's our guide, we can't follow him everywhere, which is just what Swift wanted. Gulliver makes many apologies for himself and his actions and puts us the reader emotionally involved in the story. Gulliver seems to direct a good deal of hostility toward us, creating a tinge of hostility back at him. Ultimately, Gulliver works as a narrator because we can relate to him and as a result find him engaging. We too can jump from emotion to emotion, but in the long run, Swift is not attempting to create an Everyman. This Gulliver is not, by any means a wholly allegorical character, but as much an individual as the next ....

.... female. In order to prevent violence, it needs to stop before it starts. To do this, we start at childhood. The social, family, and educational environment must change for the better. This is not an easy task and no one is saying that it is going to take place over night. However, it is known that what we are, what we know, and how we act all reflects on the way in which we grow up and develop. Not to state the obvious, but I was raised very different from what the novel describes as an African-American male. Considering I am a Caucasian female, I was not raised with the attitude that I need to fend for myself. I did not need to learn self-defense in order to stay safe on ....

.... really like and why they feel this way. Jonathan Kozol really got to know the people individually. We can take his knowledge and stories to try for a better understanding of the environment in which they live. By doing this, we can explore the many reasons why the people have problems, what some levels of intervention could be, and possibly find some solutions to making the South Bronx a healthier and safer place for these children and others to live. Problem Identification The environment in which we study these people can only be defined by first taking a look at possible reasons why the people have problems. Some of the problems discussed in Amazing Grace have fes ....

.... we sat inside warmed by the stove and drank hot red wine with spices and lemon in it. They called it gluhwein and it was a good thing to warm you and to celebrate with. The inn was dark and smoky inside and afterward when you went out the cold air came sharply into your lungs and numbed the edge of your nose as you inhaled. The simplicity and the sensory richness flow directly from Hemingway's and his characters'--beliefs. The punchy, vivid language has the immediacy of a news bulletin: these are facts, Hemingway is telling us, and they can't be ignored. And just as Frederic Henry comes to distrust abstractions like "patriotism," so does Hemingway distrust them. Instead he se ....

.... town stands for lawfulness and purity. It serves as a contrast to Hester Prynne’s scarlet letter. The prison that the city was built around serves as a symbol as well. It represents guilt and the human tendency to sin, and it also symbolizes penance. Hester is forced to spend time in jail for committing the sin of adultery, and it is the starting point of Hester’s trek of shame to the scaffold in the market place. The scaffold itself is another symbol Hawthorne uses. Like the prison, it also symbolizes sin and guilt. “The very ideal of ignominy was embodied and made manifest in this contrivance of wood and iron” (60). It provides the setting of sev ....