.... She kneels in front of him and speaks to him in third person. She pleads with Brutus to reveal the identity of the masked men who appeared at her door in the middle of the night. She even stabbed herself in the thigh. Yet, Brutus refuses to divulge any information, and says nothing to her other than to go to bed. From her dialogue with Brutus Portia reveals, that Brutus is indeed, a pompous self-centered man and that they have an un-pleasant relationship. Calpurnia plays a similar role in the story. She reveals an un-clear part of Caesar. Calpurnia shows Caesars' vague suppositious trait. Until the conversation with calpurnia, Caesar never directly admitted to being sup ....

.... and underlies Joseph Conrad’s Heart of Darkness and James Joyce’s “The Dead” using opposite elements; moreover, from the surrounding death, both main characters, Marlow and Gabriel, go through a symbolic rebirth. Before it is proven how Marlow and Gabriel have symbolic rebirths, it first must be shown how death exemplifies itself within the works, as it does through three main elements: the motif, the setting and the characters. While it is obvious that James Joyce’s title for the his work, “The Dead” refers to the death the story portrays, Joseph Conrad’s book Heart of Darkness, expresses death through its title in a more subtle way by depicting it ....

.... Tarrou can't be considered heroes. Paneloux believes in sainthood and God, but he offers no resistance to the plague since he believes it was divinely sent. Rambert chooses to run from the problem rather than face it. McCarthy also points out that he neglects his basic duty as a reporter by failing to record anything (109); a duty which Rieux and Tarrou fulfill. Grand produces two sentences and does nothing to fight the plague, which McCarthy interprets as a parody of Rieux's inability to explain the plague (109-10). Cottard wholeheartedly embraces the plague, revels in it, and attempts to profit from it. The rest of the people either waste their time, waiting for the e ....

.... the main character representing this theme. Her sister and mother were assaulted by the brothers Evrémonde. After this, she vows to herself that all members of the Evrémonde family will die. She turns into a ruthless killer because she must get revenge. When her husband tells her to stop, she replies, "tell the wind and fire to stop, not me" (pg 338). We now see that she is a person teeming with hatred. Revenge is so powerful. When she found out Charles Darnay is an Evrémonde and is planning to marry Lucie Manette, she began to knit his name into the shroud she was making, symbolizing his impending death. Also, she tried to kill Lucie and her daughter, just because they ....

.... the story of a man's obsession with a fantasy, and his resulting downfall. However, Fitzgerald seems to weave much more than that into the intricate web of emotional interactions he creates for the reader. One interesting element is the concepts of greatness each has. For Daisy, it lies in material wealth, and in the comfort and security associated with it. Daisy seems to be easily impressed by material success, as when she is touring Gatsby's mansion and seems deeply moved by his collection of fine, tailored shirts. It would seem that Tom's relative wealth, also, had at one time impressed her enough to win her in marriage. In contrast to that, Gatsby seems ....

.... existence. Milton, in Paradise Lost, establishes that with sex, as with religion, he is of no particular hierarchical establishment. However, Milton does not want to be confused with the stereotypical puritan. Milton the poet, seems to celebrate the ideal of sex; yet, he deplores concupiscence and warns against the evils of lust, insisting lust leads to sin, violence and death. From the beginning, Satan, like fallen humanity, not only blames others; but also makes comic and grandiose reasons for his evil behavior. Yet, despite his reasoning to seek revenge against God, "his true motivation for escaping from hell and perverting paradise is, at least partly, something mor ....

.... and ride the bandwagon. The two boys Ralph and Piggy meet each other in a thick jungle and discover that they crashed in an airplane and are stranded. They also learn that there are no adults present on the island and that none of the adults survived the crash. As they approach a beach, they find an enormous conch shell. Piggy gives the conch a little toot and summons the rest of the boys on the island to the beach. The boys assemble and elect Ralph as the leader. Ralph then assigns the Choir, led by Jack, to be the hunters. Then Jack, Ralph, and Simon set out to explore the island. Near the end of their journey, they encounter a wild pig. Jack tries to kill it, but is unsuc ....

.... may only appear briefly, they still possess a sense of lifelikeness. When a character is introduced, Tolstoy provides the reader with details of the characters appearance and actions that give a sense of realism. For example, the waiter that Stiva and Levin encounter at their dinner, although a flat character is definitely presented in a manner which allows him to have a sense of lifelikeness and fullness. From the speech patterns the waiter uses to the description of the fit of his uniform, one is presented with the details that allow the waiter to contribute to the novel in means beyond simply the presence of a minor character. His description and actions provide the ....