My Best Friend - Original Writing - 1363 Words

As a child I remembered my dog cookie, living far from any neighbors, cookie was my best friend. On every adventure she was right by my side. A pets love is a special thing to a child, most of my best memories involve her. I still remember picking her out from the pound, the worker referred to her as â€Å"the mutt†. To me that said it all, mutt sounded cool and really tough. So of course to really prove how tough she was, she was named after a dessert treat. I can recall all the times we swam in the bayou, snuck out of chores to play, and shared snacks in the yard. I also remember the day that cookie was tired, and hurting and how we had to go say our goodbyes to her so she can feel better. After ten years passed I can still remember almost†¦show more content†¦You can not train a elephant like a dog, they need professional training to perform. Although because of how common animal abuse is, it gives them stricter guidelines and people are aware of the problem. (11 F acts About Animal Cruelty)Yet, some places are not as well publicized, for example Puppy mills. These mills are actually more common than you would think. A puppy mill also called a dog farm, is a crowded living condition for pets based upon reproducing the stock at a rapid rate.(11 Facts About Animal Cruelty) The main problem with these are the conditions the animals are left to live in. Often with these come major sanitary and health issues. The animals will be locked up usually the majority of their life, living in their own filth. (Puppy Mills)Also because of the high number of pets being looked after it common for them to get serious neglect, lack of feeding and care. Commonly the â€Å"farmer† or owner of the animals will keep most female off-springs to help reproduce.Usually the females are not given time to recover after giving birth to a litter, and are immediately thrown back into the reproductive cycle. (11 Facts About Animal Cruelty)Because of the conditions the m other is put through and the reckless breeding, most litters are prone to serious health issues and diseases. The young offspring will usually die before making it to home or pet store.(Puppy Mills) The fact that they are

Dear Manny and Jennifer Free Essays

Good day! Before anything else, my father and I would like to express our deepest gratitude to both of you with regard to the real estate properties information in Phuket, Thailand. Your suggestions were closely considered and after thinking things thoroughly, my father indicated that he would like to buy a hotel that is fully established and is currently in business. Another possibility would be a hotel that is completely erected and would be in full operation in a few months’ time. We will write a custom essay sample on Dear Manny and Jennifer or any similar topic only for you Order Now My father decided on this as he is concerned that it would be difficult if he bought a property that is not yet established since he has very little knowledge about Thailand’s real estate laws and regulations. He also understands the trouble of having to deal with the hotel in Phuket while he is in Hong Kong and so he believes that this is the best way to do it. My father is also wondering about the cost of these properties. Is it possible that the prices be forwarded so that he can decide better? I would like to assure both of you that he is not rushing to buy a property, so please do not worry. He is actually waiting for the best one in the market, and, when the opportunity comes, you can be sure that he will buy it right away. Again, thank you so much for your help. Your efforts are greatly appreciated. Without you two, we would not have been able to look in to this. We hope to hear from soon. Sincerely How to cite Dear Manny and Jennifer, Papers

Azteen Managment Staff Essay Sample free essay sample

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Victorian poetry Essay Example For Students

Victorian poetry Essay The Conventional Plots For one thing, the Victorian novel continues to be largely in the Fielding tradition. The plot is generally loose and ill-constructed. The main outline of the Victorian novel is the same. The story consists of a large variety of characters and incidents clustering round the figure of the hero. These characters and incidents are connected together rather loosely by an intrigue, and the ending is with ringing of wedding bells. Secondly, the Victorian novel makes an extraordinary mixture of sentiment, flashy melodrama and lifeless characters. There is much that is improbable and artificial in hereafter and incident. We will write a custom essay on Victorian poetry specifically for you for only $16.38 $13.9/page Order now Speaking generally, the Victorians fail to construct an organic plot in which every incident and character forms an integral part of the whole. Entertainment Value Still, the Victorian novel makes interesting reading. The novelists may not construct a compact plot, but they tell the story so well. They are so entertaining that children still love to read and enjoy a novel of Dickens or Thacker. The plot may be improbable, but there is enough suspense, and the readers attention is not allowed to slang even for a single moment. They do not like to give it up unfinished. Panoramic Nature The Victorian novelists may miss the heights and depths of human passion, there may be no probing of the human heart and no psycho-analysis-?we do get such probing in George Eliot-?as in the modern novel, but they cast their nets very wide. Novels alkalinity Fair, David Copperfield, etc. , are not, like most modern novels, concentrated wholly on the life and fortunes of a few principal characters; they also provide panoramas of whole societies. In the Victorian novel, A hundred different types and classes, persons and nationalities, Jostle each other across the shadow screen of our imagination. ?(David Cecil) Immense Variety The Victorian novelist is a man of varied moods. His range of mood is as wide as his range of subject. Just as he deals with all aspects of society, so also he renders human moods in all their manifold variety. He is not a specialist in any one mood or temper. The novelists of the age cannot be categorized. As David Cecil puts it, They write equally for th e train Journey and for all time; they crowd realism and fantasy, thrills and theories, knock-out farce and effects of pure aesthetic beauty, check by jowl on the same page; they are Mr.. Goalmouths and Mr.. Huxley and M Christie and Mr.. Woodlouse, all in one. A book like David Copperfield school boy hamper of fiction with sweets and sandwiches, pots of Jam Victoria greased paper caps, cream and nuts and glossy apples, all packed tog heterogeneous deliciousness. Creative Imagination Not only have the Victorian novelists width and range of subject and m are they entertaining story-tellers, they have also creative imagination measure. Their imagination works on their personal experiences and t transmutes them. Their renderings of the real world are not photograph pictures, colored by their individual idiosyncrasies, vivid and vital. O is fanciful and romantic. At other times, it sticks close to the facts of AC but these facts are always fired and colored by the writers individual creation is always performed. Dickens is, the romancer of London street Thacker, too, transports us to an entirely new world, call it vanity fair land or what you will. The creative imagination of the Victorian novelist setting of his story and transforms it. This creative imagination is also on the incidents or the stories of the Victorian writer. They linger long because they have been made dramatic and picturesque by the magi novelists. They abound in dramatic and picturesque scenes as in Vain As a picture is an invention of line and color, so are these, brilliant I scene and action. -?(David Cecil) Humor This creative imagination is also seen in the humor of the Victorian n of the great Victorian novelist is a humorist, and each is a humorist in own. They have created a number of immortal figures of fun, each com different way. There are hundreds of fine Jokes and witty remarks spree Victorianism. Mr.. Microware and Mrs.. Passer are immortal figures of f Characterization The most important expression of this creative imagination is to be SE important part of the novel, I. E. In the characterization. The Victorians make their characters live. Their characters may not always be real, the much in them that is improbable and false, but they are amazingly an alive. They are wonderfully energetic and vital. They are all individuals own existence, and lingering long in the memory once we have formed acquaintance with them. They act in their own characteristic way; they own tricks of speech, their own way of saying and doing things. A Victor crowd of breathing, crying, living, laughing people. It has a crowded ca with living, breathing individuals. Technical Weakness The Victorian novel lacks uniformity. It is extremely unequal; it is an e mixture of strength and weakness. It is technically faulty. This is so be in its infancy, it is still considered as a light entertainment, and not a s art, and the laws of its being, have not yet evolved. In this connection Cecil observes, Because it was in its first stage, it was bound to be etc It had not yet evolved its own laws; it was still bound to the convention stage and heroic romance from which it took its origin, with their artifact and stock situations and forced happy endings. Because it was looked TVA eight reading, its readers did not expect a high standard of craft nor if it had occasional lapses; especially as they themselves had no trade which to estimate it. On the other hand, they strongly objected to SP hours of light reading on themes that were distressing or put intellect them. One-sided View of Life Then again the Victorian prudery comes in the way of a free and Fran the animal side of life. In this respect, the Victorian novel shows a De from the earlier English novel. Any lapse from virtue is shrouded in a of, drawing the blinds and lowering the voice. Free and uninhabited the animal side is lacking. The Victorian novel gives only a partial, on life. Its Real Greatness For these reasons, the Victorian novelists cannot be ranked with the they have greatness in them. They have their imperfections. Their Pl improbable and melodramatic, their endings are conventional and t is loose. They do not have any high artistic standards. But their mere They are very entertaining, they can capture and hold the attention, creative imagination, and they have the incomparable gift of humor the qualities which only the great have. Its Two Phases The novel in the Victorian era is so abundant and prolific that it is us Victorian novelists into (a) Early Victorian Novelists, and (b) the Later Novelists. Writes Walter Allen in this connection, Thacker was boor 1811,Dickens in 1812, Trollope in 1815, Charlotte Bronze in 1816, Emil 1818,George Eliot in 1819. Mrs.. Seashell had been born in 1810, and born in the Regency period include Charles Reader (1814) and Charge Together, they are the names that first came to mind when we think novel. They do not form a coherent body; and Emily Bronze will prove all generalizations we care to make about the rest of them. Yet if we the chief novelists born in the generation after the Regency, Samuel Butler (1835), George Meredith (1828), Thomas Hardy (1840) and Hen shall see that they have much more in common with one another that the younger men. What they have in common is a special climate of feelings, a set of fundamental assumptions. It was this special climate assumptions, that the later novelists of the century were to question, great mass of the reading public still took them for granted. And HTH another main difference between the novelists of the first half of the and those of the second half. The former were at one with their pull remarkable degree; they were conditioned by it, as of course any novo UT for the most part were willingly conditioned by it. They identified their age and were its spokesmen. They may criticism their age as do Thacker, but on the whole they accept the prevalent customs and institutions. The later novelists, however, were writing in some sense age; they were critical, even hostile, to its dominant assumptions. The Victorian morality and the institution of marriage; Samuel Butler sac by flouting Victorian taboos and conventions, and Henry James went literary canons of the age by his advocacy of the novel as an art-form novels reflect the rationalism of the age. The relation of these novelists to the reading public was nearer to that of the twentieth-century novelists than to that of the early Victorians. The English Novel in the Age of Thomas Hardened we speak of the Victorian novel we do not mean that there was a conscious school of English novel, with a consciously common style and subject-matter, a school which began creating with the reign of Queen Victoria and which came to an end with the end of that reign. The English are too individualistic for such conformity. However, there can be no denying the fact that the English novel during the second half of the 19th entry, with the exception of one or two novelists, shows certain common characteristics. The purpose of the chapter is to deal with those characteristics and also to examine how far they are represented in the novels of Hardy. Adherence to the Fielding Tradition: Loose Plots the same. The story consists of a large variety of character and incident clustering round the figure of the hero. These characters and incidents are connected together rather loosely by an intrigue, ending with the ringing of wedding bells. Thacker follows, on the whole, this convention. A Mixture of Strength and Weakness Secondly, the Victorian novel is an extraordinary mixture of strength and weakness. There is too much of false sentiment, flashy melodrama and lifeless characters. There is much that is improbable and artificial in character and incident. Speaking generally, the Victorians fail to construct an organic plot, a plot in which every incident and character forms an integral part of the whole. Thackers plots, though much better constructed than those of Dickens, are still loose and theatrical. There is much superfluity even in Vanity Fair and much that is unconvincing anticlerical. Its Entertainment Value impact plot, but they tell the story so well. .u113139080182190338356fb8fef6ab7d , .u113139080182190338356fb8fef6ab7d .postImageUrl , .u113139080182190338356fb8fef6ab7d .centered-text-area { min-height: 80px; position: relative; } .u113139080182190338356fb8fef6ab7d , .u113139080182190338356fb8fef6ab7d:hover , .u113139080182190338356fb8fef6ab7d:visited , .u113139080182190338356fb8fef6ab7d:active { border:0!important; } .u113139080182190338356fb8fef6ab7d .clearfix:after { content: ""; display: table; clear: both; } .u113139080182190338356fb8fef6ab7d { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u113139080182190338356fb8fef6ab7d:active , .u113139080182190338356fb8fef6ab7d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u113139080182190338356fb8fef6ab7d .centered-text-area { width: 100%; position: relative ; } .u113139080182190338356fb8fef6ab7d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u113139080182190338356fb8fef6ab7d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u113139080182190338356fb8fef6ab7d .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u113139080182190338356fb8fef6ab7d:hover .ctaButton { background-color: #34495E!important; } .u113139080182190338356fb8fef6ab7d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u113139080182190338356fb8fef6ab7d .u113139080182190338356fb8fef6ab7d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u113139080182190338356fb8fef6ab7d:after { content: ""; display: block; clear: both; } READ: Robert Burns: Poetic Analysis EssayThey are so entertaining, that children improbable, but there is enough of suspense, and the readers attention is not allowed to flag even for a single moment. They do not like to give it up unfinished. Its Panoramic Value may be no probing of the human heart and soul, and no psycho-analysis as in the modern novel, but they cast their nets very wide. Novels like Vanity Fair are not, like most modern novels, concentrated wholly on the life and fortunes of a few principal characters: they also provide panoramas of whole societies. Thus in Vanity Fair the action ranges from the city to the town, from London to Brighton, from England to France, Brussels, and other countries of Europe. A hundred different types and classes, persons and nationalities, Jostle each oilier across the shadow screen of our imagination. (David Cecil) Its Immense Variety novels reflect the rationalism oft public was nearer to that to the t Victorians. The English Novel In t the Victorian novel eve do not me novel. With a consciously comma creating with the reign of Queen that reign. The English are too in be no denying the fact that the E century. Tit the exception of on characteristics, The purpose of t also to examine how far they are the Fielding Tradition: Loose Plot For one thing, the Victorian novel plot is generally loose and ill-con the same. The story consists of a round the figure to the hero. The rather loosely by an intrigue, once follows, on the whole, this convey Secondly, the Victorian novel is a There is too much of fals e sentient is much that is improbable and Incident. Speaking generally. The which every Incident and chair plots, though much better consort theatrical There is much suppers unconvincing anticlerical. Its En Still, the Victorian novel makes In compact plot, but they tell the us till love to read and only a now improbable, hut there is enough allowed to flag even for a single The Victorian novelists may miss may be no probing of the human modern novel, but they cast their most modern novels. Concentrate characters: they also provide par action ranges from the city to the France, Brussels, and other count classes, persons and nationalities Imagination. (David Cecil) The Victorian novelist is a man of range of subject Just as he deals human moods in all their manifold temper. The novelists of the age cannot be categories write equally for the train Journey and for all time; t whirls and theories, knockabout farce and effects of by Jowl on the same page; they are Mr.. Goalmouths a Mrs.. Christie and Mr.. Woodlouse, all in one. A book vast schoolboy hamper of fiction : with sweets and s greased paper caps, cream and nuts and glossy app heterogeneous deliciousness. Imaginative Rendering Not only have the Victorian novelists width and rang are they entertaining story-tellers, they have also cry measure. Their imagination works on their personal transmutes them. Their renderings of the real world pictures, colored by their individual idiosyncrasies is fanciful and romantic. At other times, it sticks close UT these facts are always fired and colored by the creation is always performed. Dickens is, the aroma Thacker, too, transports us to an entirely new world land, or what you will. His creative imagination work transforms it. Dramatic and Picturesque This creative imagination is also seen at work on the advertorial writers. They linger long in the memory dramatic and picturesque by the imagination of the dramatic and picturesque scenes in Hardy. As a epic color, so are these brilliant inventions of scene and This creative imagination is also seen in the humor of the great Victorian novelist is a humorist, and each win. They have created a number of immortal figure different way. They are hundreds of fine Sock and WI over Advertorial novel. Characterization The most important expression of this creative image important part of the novel, I. E . , in the characteristic make their characters live. Their characters may not much in them that is improbable and false, but they alive. They are wonderfully energetic and vital. They own existence, and lingering long in the memory on acquaintance with them. They act in their own char own tricks of speech, their own way of saying and d crowd of breathing crying, living, laughing people. F crowded canvas, crowded with living, breathing India Standards The Victorian novel lacks uniformity. It is extremely mixture of strength and weakness. It is technically in its infancy, it is still considered as a light entertain art and the laws of its being have not yet evolved. In observes, Because it was in its first stage, it was bob not yet evolved its own laws; it was still bound to the conventions of the comic stage and heroic romance from which it took its origin, with their articulatenesss and stock situations and forced happy endings. Because it was looked on as light reading TTS readers did not expect a high standard of craft, nor did they mind if it had occasional lapses; especially as they themselves had no traditions of tastes by which to estimate it. On the other hand, they strongly objected to spending their hours of light reading on themes that were distressing or put intellectual strain on them. Lack of Liberalism Then again the Victorian prudery comes in the way of a free and frank treatment of the animal side of life. In this respect the Victorian novel shows a definite decline from the earlier English novel. Any lapse from virtue as that of little Emily in David Copperfield is shrouded in an atmosphere of, drawing the blinds and lowering the voice. Free and uninhibited treatment of sex is lacking. Beckys relationship with Lord Sterne is left ambiguous for this reason. Conclusion For these reasons, the Victorian novelists cannot be ranked wit the very greatest, yet they have greatness in them. They have their imperfections. Their plots are improbable and melodramatic, their endings arc conventional, and their construction is loose. They do not have any high artistic standards. But their merits also arc many. They are very entertaining, they can capture and hold the attention, they have retentive imagination, and they have incomparable gift of humor. And these are qualities which only the great have. The important women novelists of Victorian Age with special reference to George Ultracentrifugation: The Victorian era is known for the galaxy of female novelists that it threw up. They include Mrs.. Trollope, Mrs.. Gore, Mrs.. Marsh Mrs.. Bray, Mrs.. Henry Wood, Charlotte Young, Mrs.. Elephant, Mrs.. Lynn Lyndon, M. E. Brandon, Outdid, Rhoda Brought, Edna Loyal, and still many more now Justly forgotten, but the four most important women novelists, who yet are quite Charlotte Bronze (1816-1855) important, are : (I) Mile Bronze (1818-1848) (iii) Mrs.. Seashell (1810-1865) George Eliot (1819-1880) Mrs.. Seashell may need some special pleading for being included among the rank of the great women novelists of the Victorian era, but as for the rest, their place in theosophist of English literature appears to be secure enough. Of the four, the two first-named were sisters and their methods and achievements as novelists met at many planes. But each of the remaining two pursued her own line and made herself known in the field of English novel in her own particular way. After these preliminary marks, let us consider individually the work underachievement of the important women novelists of the Victorian era. Charlotte Bronze: The three Bronze sisters-Anne, Charlotte, and Emily-collectively known often as the stormy sisterhood, who took the England of their time by storm, were in actual life shy and isolated girls with rather uneventful lives. All of them died young and died of tuberculosis as their two other non-literary sisters did. They were daughters of a strict Irish person who made them lead a life of what Compton-Rickets calls, the sternest self-repression. But behind their outwardly ripples lives lurked tempest- tossed souls which found an outlet in their novels which are all so patently autobiographic. They poured their inner life into the mould of the novel. This consideration leads Hugh Walker to assert: The Bronzes belong to that class of writers whom it is impossible to understand except through the medium of biography. But too much of preoccupation with biography should not be allowed to lead us to a lopsided appreciation of their novels. Thus Samuel C. Chew observes : The three Bronze sisters have been overlaid with so much biography, criticism, and injectors that in reading about them there is danger lest their own books be left unread. Charlotte Bronze wrote the following four novels: (I) Vitiate Jane Rye Shirley The Professor The first two novels were based on her personal experiences at a Boardinghouse- house where she most probably fell in love with the Belgian scholar Hager who perfectly answered her conception of a dashing hero of the Byronic type. Her soul had always yearned for such a Illogical, but she being the daughter of a village parson, the men who made propos als to her actually were lackluster curates with one f whom she ultimately settled down in 1854-a year before her death. But she worshipped a dashing, splendid, masculine figure as Hager was. Her frustrated passion for him provides the groundwork of her first two novels. The heroine of her third novel is a governess, Just like her sister Anne. Her tempestuous love-affair with Rochester-a combination of wonderful nobility and meanness is the staple of this novel. In Shirley, to quote Leagues, she set a story of intimate emotion against a background of Yorkshire in the time of the industrial disturbances. Perhaps the elemental and unchaste presence of the Yorkshire moor among which the Bronzes lived is to some extent responsible for the fierce passions and elemental emotions which are characteristic of their works. Charlotte Bronze in her novels revolted against the traditions of Jane Austin, Dickens, and Thacker. Thackers Vanity Fair she praised in glowing terms, but she herself never attempted anything of the kind. Her novels are novels not of manners but of passions and the naked soul. Her characters- mostly the effusions of her own soul-are elemental figures acting in the backdrop of elemental nature. .u899ae328e6da58025bdb40bd8291de24 , .u899ae328e6da58025bdb40bd8291de24 .postImageUrl , .u899ae328e6da58025bdb40bd8291de24 .centered-text-area { min-height: 80px; position: relative; } .u899ae328e6da58025bdb40bd8291de24 , .u899ae328e6da58025bdb40bd8291de24:hover , .u899ae328e6da58025bdb40bd8291de24:visited , .u899ae328e6da58025bdb40bd8291de24:active { border:0!important; } .u899ae328e6da58025bdb40bd8291de24 .clearfix:after { content: ""; display: table; clear: both; } .u899ae328e6da58025bdb40bd8291de24 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u899ae328e6da58025bdb40bd8291de24:active , .u899ae328e6da58025bdb40bd8291de24:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u899ae328e6da58025bdb40bd8291de24 .centered-text-area { width: 100%; position: relative ; } .u899ae328e6da58025bdb40bd8291de24 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u899ae328e6da58025bdb40bd8291de24 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u899ae328e6da58025bdb40bd8291de24 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u899ae328e6da58025bdb40bd8291de24:hover .ctaButton { background-color: #34495E!important; } .u899ae328e6da58025bdb40bd8291de24 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u899ae328e6da58025bdb40bd8291de24 .u899ae328e6da58025bdb40bd8291de24-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u899ae328e6da58025bdb40bd8291de24:after { content: ""; display: block; clear: both; } READ: Elements of Poetry Handout EssayThe social paraphernalia is altogether dispensed with. Gone, says David Cecil, is the busy prosaic urban world with its complicated structure and its trivial motives, silenced the accentuate everyday chatter, vanished are newspapers, fashions, business houses, duchesses, footmen, and snobs. Instead the gale rages under the elemental sky, while indoors, their faces rugged in the fierce firelight, austere figures of no clearly defined class or period declare eternal love and hate to one another in phrases of stilted eloquence and staggering candor. According to Compton-Rickets three characteristics detach homeless from the writings of Charlott e Bronze. They are: (I) intimacy; the note of passion; and the note of revolt. The note of The note of intimacy is caused by the markedly autobiographic slant of her novels. The note of passion is struck by a lonely sensitive woman on behalf of another woman. Her point of view is specifically the point of view of a woman. Like Mrs.. Browning she effectually represents in her life and novels the pa woman whose Prince Charming is yet to come. She pictures and primeval woman A s regards the note of revolt, we must point o rebel by nature and a Puritan by training. She could not reconcile elements. Charlotte, says Compton-Rickets, had the soul of a p leashed in by a few realization conventions, and she is always the leash while upbraiding at herself for doing so. Though she appreciably, revolt against social conventions, she at least revolt prevailing conventions of the novel. Emily Bronze: Emily was a poet as well as a novelist, and her only novel wither as well as a- novel There is no other book. Says Leagues, which the-troubled, tumultuous, and rebellious elements of romantics than even Charlotte but her fierceness is strangely accompanied tropes of intuitive illumination. She looks like a Byron in petticoat rebel, but her rebelliousness is tempered by a sense of spiritual very few do, the Infinite passionate the pain of finite hearts that Withering Heights is a story of primal passions enacted amongst environment. Cath erine Earns in her wildness and beauty is Heathenish, with his consuming passion for Catherine and his flag revenge,looks like a character from an ancient Greek tragedy. Ca Heathenish from her grave has about it all the mystery of the hid the universe. Indeed, Walter Allen observes: The central fact ABA hat she is a mystic. Her mysticism lies not only in her handling dead Catherine calling Heathenish to her, but also in her use of sys other forms throughout the novel in expressions like the following Catherine: Newly, I am Heathenish If all else perished, and he ream continue to be: and if all else remained, and he were annihilated turn too mighty stranger: I should not seem a part of it. There Samuel C. Chew, that she was deeply read in adulterate of m equally no doubt that she was a mystic. This critic believes that in her youth, Emily had attained the mystical experience in its e Bronze in Shirley also refers to Shirley (Emails) visions and trans poems, too, Emily tries to give expression to her mystical expire one place she exclaims: Speak, God of visions, plead for me, And chosen thee. Mrs.. Seashell: Mrs.. Seashell had nothing of this passion and frustration of the B was the wife of a quiet Unitarian clergyman in Manchester-one centers of English industry. She was mother of seven children, a according to Walter Allen, what may be called the serenity of the accepted everything with the air of, what David Cecil calls, sere sense of humor and deep human sympathy are obvious manifest reentry. What distinguishes the novels of Mrs.. Seashell is her De consciousness combined with a compassionate observation of the Her novels divide themselves into two well-defined categories. (1 have novels like Mary Barton (1848) and North and South (1855) social and industrial problems arising out of the masters-workmen struggles which were a feature of the industrial age which had then Just got under way. Being herself a resident of Manchester, Mrs.. Seashell was a witness to the blessing of the Industrial Revolution. She pressed into service her personal observation of the tuition prevailing in the hungry forties. layman Barton the heroine who gives he name to the title is daughter of a workman who led by the fervor of trade unionism murders Henry Carson, a fiery master, after his wife and son are dead from starvation. The novel gives a realistic picture of the poverty of the working classes and their animus against their masters whose cruelty is, however, considerably exaggerated by Mrs.. Seashell. North and South is a realistic, thoughtful, and thought- provoking presentation of the conflicted raging between the industrial North and the feudal, agricultural South. (2) Secondly, we have novels like Crawford, Ruth, Wives and Daughters, Andalusias Lovers which eschew all industrial problems and are concerned with rural life and manners which Mrs.. Seashell knew so well, thanks to her long stay at Knutson with her aunt, before she settled at Manchester with her husband. Of all the novels of decorticates the best and the best known is Crawford which is a disguised name for her own Knutson. Crawford is a classic o its own kind. It portrays a world inhabited by women alone. These women belong to middle-class families, and their main occupation is gossip, tea-making, and tea- ringing. W. J. Long observes: The humanity, the keen observation, and the gentle humor with which the small affairs of a country village are described make Crawford one of the most delightful stories in the English language. In Ruth Mrs.. Seashell foreshadows the psychological novel of George Eliot. Wives understates is a social comedy, and contains the character of Cynthia Kirkpatrick-? one of the most striking young women in English fiction. Sylvia Lovers is a rather didactic story in a domestic setting. George Eliot: With George Eliot we come to the most philosophical of all the major Victorian violists, both female and male. Philosophy is both her strength and weakness as a novelist. It keeps her from falling into pathos or triviality, but at the same time gives her art an ultra serious and refl ective quality which makes it heavy reading. Even her humor-the faculty in which she doubtlessly is quite rich-has about it the quail of ponderous reflections. But often there are some aphoristic strokes which do tell-as the following: Animals are such agreeable friends, they ask no questions, the pass no criticisms. What a man wants in a wife mostly is to make sure of one fool galls tell him hes wise. Im not denying the women are foolish-God Almighty Madames to match the men. Im not one of those who see the cat in the dairy and wonder what shes come after. George Elites important novels are the following: The Mill on the Floss Dammed Ormolu Felix Holt Daniel Adorned Middleware. All of them are marked by extreme seriousness of purpose and execution. As Samuel C. Chew observes, in George Elites hands the novel was not primarily for entertainment but for the serious discussion of moral issues She is, indeed, too didactic and makes every incident a text for moralistic expatiation. She, says the critic Just quoted, inculcates the importance of being earnest: but the virtues so earnestly striven after-industry, self-restraint unconsciousness-are very drab; school-teachers virtues they have been unkindly called. In her novels we invariably meet with the clash of circumstances with the human will. She, indeed, believed that circumstances influenced character, but she did not show circumstances entirely determining character. A man called upon to choose between two women or a woman to choose between two men is the common leitmotif of her novels. She emphasizes the need for a moral choice uninfluenced by any selfish motives. She herself did not believe in any convent ional moral creed and lived with Less as his wife without marriage, in spite of the defamatory rebukes of her priggish contemporaries. But inspire of her frank agnosticism and contempt for strait- casketing traditionalism, she valued ethics both in her life and her work as a novelist. Another important feature of her novels is their very deep concern with human psychology. Her novels are all novels of character. She, says Compton-Rickets, was he first novelist to lay the stress wholly upon character rather than incident; to make her stones spiritual rather than physical dramas. In her characterization she displays both subtlety and variety. Her studies of the inner man, but more particularly the inner woman, are marvelous. She puts all the emphasis on the inside, very little on the outside. David Cecil observes in this connection: We do not remember her serious characters by their appearance or the way they talk, indeed we do not remember these things clearly at all. Her portraits are primarily portraits of the inner man. George Eliot excels at portraying the tragedy of unfulfilled female longings. She identifies herself with her chief female characters and unfolds their inner feelings with masterly strokes. Compton-Rickets points out: Magpies cry was for fuller life, Removals for ampler knowledge, Tracheas for larger opportunity, for doing good. These themes are dealt with by George Eliot with a striking psychological profundity which makes her a very worthy forerunner of the psychological novelists like Henry James. Let us conclude with David Cells words: She stands at the gateway between the old novel and the new, a massive caryatid, heavy of maintenance and uneasy of attitude, but noble, monumental, profoundly impressive. Novelists of the Early Victorian Period the early Victorian period the novel made a rapid progress. Novel-reading was one of the chief occupations of the educated public, and material had to be found for every taste. The result was that the scope of the novel, which during the eighteenth century dealt mainly with contemporary life and manners, was considerably enlarged. A number of brilliant novelists showed that it was possible to adapt the novel to almost all pur poses of literature whatsoever. In fact, if we want to understand this intellectually of the period.

Your Guide to Writing a Narrative Essay

Your Guide to Writing a Narrative Essay Narrative essays are a common assignment seen across educational levels and programs and can be incredibly fun to write with the right planning and execution. In this article, were going to break down the elements of a narrative essay, as well as discuss formatting issues you might run into as you are writing your rough draft. Then, well discuss common issues you might run into as you are revising your essay and writing the final draft.Planning - Choosing your storyThe core of a narrative essay is the story you tell. However, a well-written narrative essay moves beyond just a personal anecdote and illustrates an important theme or topic using that story. This means that in addition to providing a story, your narrative essay will also need to include an analysis of that story or experience from your point of view (as both the writer and the person who experienced the event).Focus on a themeSo, in the planning stages of your narrative essay, you need to determine two important facts: 1 ) what theme and analysis of that theme will you focus on and 2) what personal story will you use to do this?In some cases, you might be given the theme as part of the narrative essay assignment. For example, your assignment might read something like this: Racism and sexism are two pervasive and complicated issues in American society. Write an essay about your experience with one or both of these concepts and what you learned from that experience.If your narrative essay prompt is open, you will still need to focus on a particular theme and analysis of that theme in the process of choosing which story you want to tell about your life or life experiences. Lets say, for example, you want to write a narrative essay about a time when your favorite childhood pet passed away. While that story might be an interesting narrative, without thematic analysis to let your reader know what you are sharing the story in the first place, your narrative essay will fall flat and miss the mark of what a narrative essay is meant to do.So, keep this in mind as youre choosing your story. It should be an entertaining or heartfelt story, certainly, but you will also need to analyze it thematically in the process of sharing it to write a true narrative essay.Avoid making it too broadAnother important consideration to keep in mind as you are choosing your story is to avoid making it too broad. A well-written, entertaining narrative essay often includes vibrant details and even dialogue, which means that if you dont narrow down the topic and theme precisely, it will be too broad for the constraints of your page and word count.For example, a narrative essay on your senior year in high school or even your summer vacation will likely be too broad. A narrative essay on your senior prom or a weekend getaway over the summer would be a better choice, leaving you room to include sensory details and dialogue without having to rush the story to fit page or word count.In other words, if your story un folds over a series of weeks or months, it is likely too broad for a narrative essay.Choose a story with vibrant detailsThe best narrative essays are the ones that include vibrant, sensory details throughout to engage the reader and make him or her feel as if they were present when the events happened. These details are the reason narrative essays are so powerful in their ability to inform, and even persuade, readers about important themes and topics.This is why it is important to choose a story with vibrant details to relate in your narrative essay. If you arent sure whether the story youve chosen will work well for a narrative essay assignment, consider how many details youll be able to provide about the sights, sounds, tastes, smells, and sensations you experienced during the event. If youre trying to decide between multiple stories to relate in your essay, choose the one that is most vibrant in your memory.First draft – The writing process in narrative essaysNow that youv e chosen the story you want to write about in your narrative essay, the hardest part of the assignment is over. Now the fun begins with the writing process!Create an informal outlineAs with any essay assignment, its important to begin the writing process with an outline. However, the outline for a narrative essay will be different than one you would create for an expository or persuasive essay and will be much less formal and structured. Basically, it should consist of bringing together the elements of a story in a logical way, so youll want to include information about the beginning, middle and end of the story, along with your thesis or thematic analysis.Brainstorm sensory detailsAs mentioned earlier, the sensory details that you include in your narrative essay will be the most important elements for engaging your reader. A great way to get started on these in the writing process is to take a few minutes to complete a sensory inventory of the event or situation you plan to detail in your essay.The easiest way to do this is to take a piece of paper and create five columns on it for the five senses: sight, sound, taste, touch, and smell. Within these five columns, write what you remember from the situation or event. For example, if my narrative essay will be about the day I buried my childhood pet, I might include the following details on my sensory inventory.Sight: Fur blowing in the wind, my dogs eyes closed, loose dirt, yellow and purple wildflowersSound: The silence without his bark, the wind in the trees, the shovel hitting rock, a bee buzzing aroundTaste: My moms blueberry pancakes she made before we buried him, the saltiness of my tearsTouch: The feel of his soft fur one last time, the crumbling dirt between my fingers, the heavy box carrying his weight.Smell: His comforting dog scent, the coffee on my mothers breath as she spoke to me.Use scenes and summariesAll narrative writing is made up of scenes and summaries. A scene is when you describe details that occurred at specific points in the story, including dialogue that happened, while a summary is what fills in and progresses or moves the action between scenes.Include an antagonist, even if its youThe best narrative writing includes an antagonist, who serves as a counterbalance, opposing force or obstacle for the protagonist. This doesnt necessarily mean that you need an alternate bad guy in your story. In fact, in many cases, we are our own antagonists with struggles like self-confidence, self-worth, self-limitation, etc., keeping us from a desired goal or outcome. Therefore, for your narrative essay, be sure to include details of the struggle between protagonist and antagonist, whether those are two different people or two different perspectives that fought for control of the outcome of the situation. Without that struggle between antagonist and protagonist, the narrative arc of the story falls flat because the protagonist (you) doesnt change. Your reader needs to see progres sion in your character within the story as you overcome an obstacle- be that a self-imposed one or one you encountered because of someone or something else.Format dialogue correctlyBesides details, dialogue is a useful way to bring a story alive and engage the reader, making him or her feel that they are right there experiencing the event(s) with you. To use dialogue, however, its important to know how to format it correctly. An example of correctly formatted dialogue for my narrative essay on burying my childhood pet might go something like this:I dont want to bury him, Mom, I said, with tears rolling down my face.My mom looked at me tenderly and wiped away a tear.I know, sweetheart, but we have to. Thats the way things are done.But what if he gets lonely and cold down there in the ground? I asked.Then youll just have to come visit his grave often to keep him from being lonely, my Mother replied.Final draft – Refining your writingNow that youve reached the final stage of wri ting your narrative essay, its important to keep in mind some best practices for making sure your final draft is in tip-top shape. This includes proofreading to find grammatical or spelling errors, as well as ensuring that your analysis of the theme you chose corresponds to the story you told.

Selling Your Novel Without an Agent

Selling Your Novel Without an Agent Many authors mistakenly believe you must have a literary agent to sell your novel to a publisher – especially one of the big New York publishers. While it’s true that the right agent can help you find a publisher and negotiate a contract, it’s also possible to have a flourishing career without an agent. If you’re interested in selling your novel without an agent, here are some tips and guidelines to help you: 1.  Ã‚     Research Your Market – While many people rely on their agent to match them up with the right publisher, my experience has been that I knew as much about my chosen market as most of the agents I talked to. You, too, can become an expert in your genre. Read editor and agent blogs. Visit publisher websites. Follow publishers and agents on Twitter. Read publications devoted to your genre. Read the dedications and acknowledgments in your favorite books in your genre and note the names of editors – these are the pros you want to work with. 2.  Ã‚     Perfect Your Pitch – Your manuscript or proposal is a product you’re trying to sell to a publisher, so polish your one-to-two sentence pitch. You’ll use this pitch in query letters and as an â€Å"elevator pitch† when you meet editors at conferences. Your pitch should tell what your book is about, but it should also â€Å"sell† the project, making it sound intriguing and marketable. For instance, my pitch for my November release, The View From Here, was â€Å"Northern Exposure in the Rocky Mountains.† This immediately conjured up the idea of a small, rugged town filled with quirky characters. 3.  Ã‚     Know Publisher Policies – Though some publishers say they’ll take only agented manuscripts, plenty of publishers are still open to unagented submissions. Smaller presses such as Bell Bridge Books are open to unagented authors, as are most digital publishers and many larger publishers, including Kensington Books,   St. Martin’s Press, Berkley Books, Harlequin Books and many others. Read the publisher’s guidelines on their web sites and in market guides, but go a step further. Make a phone call and ask if they’ll accept a query from an unagented author. The worst that can happen is they’ll say no. And many will say yes. 4.  Ã‚     Attend Conferences – Even publishers with policies against unagented material will   send editors to conferences to take pitches. If you’re targeting a particular publisher and an editor you’d like to work with is attending, the price of the conference fee could be a good investment in your career. Pitch your project to the editor and they may request you send them the manuscript. I sold The View From Here to Kensington 5.  Ã‚     Enter Contests – Contests are another way to get your work in front of editors even if you don’t have an agent. Most contests will list the names of final judges. Select contests with judges who are editors you want to work with. (You’ll know this because you’ve been doing   your research – see #1). 6.  Ã‚     Find a Literary Attorney – Once you’ve successfully sold your novel, you’ll need to hire a literary attorney to review the contract for you. Be sure you get a literary attorney, and not just any lawyer. You want someone familiar with the contract terms used in publishing. You can find a literary attorney through a Google search or from referrals from writer’s organizations. Expect to pay several hundred dollars for the contract review, but it’s a one-time fee and well worth the money.

The World According to Miranda July Research Paper

The World According to Miranda July - Research Paper Example While she attended U.C. Santa Cruz only for a few years, her subsequent move to Portland, Oregon began the catalyst that would push her career forward and convince her to pursue her creative impulses as a career, whether in film, writing, performance art or music (Durbin 2005). Â  Portland was an artist-friendly location where Ms. July could flourish and grow as a performance artist. In 1996, now an experimental filmmaker, she began a project called Joanie4Jackie as a way to inspire and showcase the works of female filmmakers, soliciting short films that would then be put on videotape and distributed as a cinematic chain letter (Wenclas 2010). She later created a second collection of submitted films called the Co-Star series. The Joanie4Jackie series would eventually find a larger audience through screenings at film festivals and DIY events. Her level of creative success and the productive nature of her portfolio would continue to grow. Â  Why the newly defined focus on filmmaking? For Ms. July, the move was a natural progression as she matured creatively and understood that the power of film allows the author a unique means of expression that other creative mediums may lack. As she told an interviewer for Believer Magazine: Â  I became really interested in how much I could show this hard-to-articulate, kind of magical or somewhat ephemeral things through really worldly, grounded ways. And it just seemed like this medium was good for that. (Horowitz 2005) Â  Artistically preoccupied with the human condition, primarily the weight of loneliness and our desire to relieve that burden through some type of personal connection, Ms. July breathes life into the mundane.