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The Rocking Horse Winner By D. H. Lawrence - 1165 Words

In the short story â€Å"The Rocking-Horse Winner† written by D. H. Lawrence, Paul is a young boy who fails in his quest to obtain the love of his mother, Hester. Initially, Paul fails because Hester is controlled by the possession and admiration of material wealth. Paul has the inability to change his mother’s values and in so cannot begin to attract her love. Secondly, Hester marries for love, but such love fades in time. Paul and his sisters are incapable of interacting with their mother without her heart growing stone cold. In addition, Paul’s consistent effort for achieving Hester’s love proves to be detrimental. No amount of money can quench Hester’s greed; any money provided fuels the greed and destroys every sense of love. Lastly, Paul ends any chance at love in a final decision that leads to his demise. Paul destroys himself physically and psychologically, losing any sense of love available. Overall, Paul is unable to gain Hester’s l ove due to her corrupt morality and his inability to see her growing greed. The first prominent issue regarding Paul’s quest is his mother’s sense of self-fulfillment. Though the family is fairly well off, Hester’s ideologies bring into perspective the value of items that regard the basis of living. Desire is responsible for the growing greed in which Hester becomes trapped within. Necessities and desires become illusions of one another, and satisfaction becomes emphasized upon wealth. Hester’s actions after she is given moneyShow MoreRelatedThe Rocking Horse Winner By D. H. Lawrence985 Words   |  4 Pages In â€Å"The Rocking-Horse Winner,† D. H. Lawrence divulges into the exploration of how greed and social status can affect individuals and to those who are significant to them. A social statue to an individual signifies their interpretation of where they belong in society. It may vary between politics, influence on the community, wealth, and even power. If looked from a broad perspective, what they all have in com mon is the greed to have more, similar to the mother who supposedly married for love. GreedRead More The Hidden Truth in The Rocking-Horse Winner by D. H. Lawrence1120 Words   |  5 PagesHidden Truth in The Rocking-Horse Winner by D. H. Lawrence      Ã‚  Ã‚   The plot in The Rocking-Horse Winner by D. H. Lawrence reveals to the reader conflicts between Paul and his mother using different levels or forms of secrecy. There are secrets hidden throughout the house that leads Paul and his mother to an unpleasant life. The first level of secrecy is the actual secrets that Paul and Pauls mother keep from each other. The second form of secrecy is that D. H. Lawrence uses a story tellingRead MoreThe Rocking Horse Winner Literary Analysis728 Words   |  3 PagesThe Significance of The Rocking Horse Winner (An Analysis of Three Messages From Rocking Horse Winner By D. H Lawrence) D. H Lawrence was the author of The Rocking Horse Winner, which was one of his most famous stories, published in 1926. D.H Lawrence was intrigued with fate and destiny of life. The story was based around a young boy with intense amounts of determination because he felt he had to please his mother. D. H Lawrence expresses the conflict of economics and family, causing issues atRead MoreThe, By Graham Greene And The Rocking Horse Winner1097 Words   |  5 PagesThe two stories â€Å"The Destructors† by Graham Greene and â€Å"The Rocking Horse Winner† by D.H. Lawrence are being analyzed through literary devices on how they demonstrate the shared theme. Greene and Lawrence both use setting, symbolism, and like-minded characters to demonstrate the theme of the destruction and effects of war are long lasting in the stories â€Å"The Destructors† and â€Å"The Rocking Horse Winner†. Both Graham Greene and D. H. Lawrence set their stories in London, England, after major world warsRead MoreEssay about D. H. Lawrences The Rocking-Horse Winner1535 Words   |  7 PagesD. H. Lawrences The Rocking-Horse Winner â€Å"The Rocking-Horse Winner† is a short story by D. H. Lawrence in which he creates a criticism of the modernized world’s admiration and desire for material objects. It was published in Harper’s Bazaar magazine in 1926 for the first time (E-Notes). The story’s main character, Hester, is a beautiful woman who is completely consumed by the idea of possession, and so she loses out on the love of family and the happiness of life. Her son, Paul, also learnsRead MoreThe Theme Of Luck In The Lottery And The Rocking Horse Winner1514 Words   |  6 Pagesluck in both The Lottery and The Rocking Horse Winner and show how in both narratives good luck and bad luck are excuses for good and bad decisions. Outline Introduction The Theme of Luck How Both Stories Use the Theme of Luck to Unearth the Real Causes of Tragedy in Peoples Lives The Lottery and Institutionalized Stoning The Sinful Nature of Men The Inversion of the Golden Rule Mrs. Hutchinsons Death Whose Fault? The Rocking Horse Winner and Bad Luck A Mothers Materialism Read MoreCastle 1. The Dual (Good And Evil) Sides Of Human Nature.1066 Words   |  5 PagesThe Rocking-Horse Winner by D. H. Lawrence are more different than similar but â€Å"Young Goodman Brown† and â€Å"The Rocking Horse Winner† use the setting, characterization, and symbolism to depict the reasoning of acting morally or immorally. I. The settings of â€Å"Young Goodman Brown† and â€Å"The Rocking-Horse Winner† portray two different scenes for the presence of evil. A. The setting of â€Å"Young Goodman Brown† is of forests and darkness which is a part of portraying evil. B. The setting of â€Å"The Rocking-HorseRead MoreEssay about The Rocking Horse vs Lottery996 Words   |  4 PagesProfessor ENGL 102-B54 LUO 3 February 2014 â€Å"The Lottery† vs. â€Å"The Rocking-Horse Winner† In â€Å"The Rocking-Horse Winner,† by D. H. Lawrence, and â€Å"The Lottery,† by Shirley Jackson, the two authors illustrate symbols and themes throughout their stories in which one common idea is present: perhaps winning is not always positive. â€Å"The Rocking-Horse Winner,† by D.H. Lawrence is a fictional story about a woman’s obsession for money and the lack of love and affection she shows to her family. HerRead MoreThe Rocking Horse Winner By F. H. Lawrence, And The Lottery1155 Words   |  5 PagesThe Rocking-Horse Winner, the author utilizes setting, imagery, and irony to accomplish the hidden theme in this short story, which is the absence of love that prompt the quest for cash and material wealth, or greed, and will eventually obliterate happiness and prompt inevitable defeat. In The Lottery, the author uses its setting and irony to show the theme, which is violence and cruelty towards another human being shows there is a lack of love in the community. In The Rocking-Horse Winner, byRead MoreThe Lottery vs. the Rocking-Horse Winner1286 Words   |  6 PagesOutline Title: â€Å"The Lottery vs. The Rocking-Horse Winner† I. Introduction A. In what ways are the two shorts stories by Shirley Jackson and D.H. Lawrence similar and different. B. In â€Å"The Lottery vs. The Rocking-Horse Winner† we are analyzing the similarities and differences in setting from a fictional viewpoint between these two short stories. II. Body A. What are the settings of these two short stories, 1. Where do they take place 2. When do they take place 3. What similarities and differences

The Return Shadow Souls Chapter 38 Free Essays

â€Å"Talon! Uh – heel!† Elena shouted and began to race as fast as she could to get out of the room. This was strategy. Would the owl become even smaller so as to get through the door or would it destroy its sanctuary in order to stay on top of Elena? It was a good strategy, but it didn’t amount to much in the end. We will write a custom essay sample on The Return: Shadow Souls Chapter 38 or any similar topic only for you Order Now The owl shrank to dart through the door, and then resumed gigantic size to attack Elena as she ran down the stairs. Yes, ran. With all of her Power channeled to her eyes, Elena leaped from step to step as Damon had before. Now there was no time for fear, no time for thinking. There was only time to turn over in her fingers a small, hard, crescent-shaped object. Shinichi and Misao – they did make it into her nest. There must be a ladder or something made of glass that even Damon couldn’t see, in the flowerbed where Saber had stopped and barked. No – Damon would have seen it, so they must have brought their own ladder. That’s why their trail ended there. They climbed straight up into the library. And they ruined the flowers in the bed, which is why the new flowers weren’t doing so well. Elena knew from Aunt Judith, from her childhood, that transplanted flowers took awhile to revive and perk up again. Leap†¦jump†¦leap†¦I am a spirit of fire. I cannot miss a step. I am a fire elemental. Leap†¦leap†¦leap. And then Elena was looking at level ground, trying not to leap into it, but a prisoner to her body which was already leaping. She fell hard enough to numb one side, but she kept hold of the precious crescent clenched in a deathgrip in her hand. A gigantic beak smashed into glass where she had been a moment before she slid. Talons raked her back. Bloddeuwedd was still after her. Sage and his group of sturdy young male and female vampires traveled at the pace of a running dog. Saber could lead them, but only as fast as he himself could go. Fortunately few people seemed to want to instigate a fight with a dog that weighed as much as they did – that weighed more than many of the beggars and children they encountered as they reached the bazaar. The children crowded around the carriage, slowing them further. Sage took the time to exchange an expensive jewel for a purse full of small change and he scattered the coins behind the carriage as they went, allowing Saber free reign. They passed dozens of stalls and crossing streets, but Saber was no ordinary bloodhound. He had enough Power to confound most vampires. With perhaps only one or two of the key molecules stuck to his nasal membrane he could hunt down his goal. Where another dog might be fooled by one of the hundreds of similar kitsune trails they were traveling through, Saber examined and rejected each of them as being not quite the right shape, size, or sculpture. There came a time, though, when even Saber seemed defeated. He stood in the center of a six-way crossroads, regardless of traffic, limping slightly, and going in circles. He couldn’t seem to choose a path. And nor could I, my friend, Sage thought. We’ve come so far, but it’s clear they went on farther. No way to go up or dig down†¦Sage hesitated, looking around the crimson-colored wheel of roads. And then he saw something. Directly across from him, but to his left was a perfumery. It must sell hundreds of fragrances, and billions of scent molecules were deliberately being released into the air. Saber was blind. Not blind in his keen liquid dark eyes. But where it mattered he was numbed and blinded by the billions of scents that were being blown up his nose. The vampires in the carriage were calling to go on or go back. They had no sense of real adventure, them. They just wanted a nice show. And undoubtedly many had slaves who were recording the whipping for them so they could enjoy it at leisure at home. At that moment a flash of blue and gold decided Sage. A Guardian! Eh, bien†¦ â€Å"Heel, Saber!† Saber’s head and tail drooped as Sage randomly picked one of the directions and had him race alongside the running vampire to get out of the thoroughfare and onto another street. But then, miraculously, the tail went up again. Sage estimated that there could not be even one molecule of the kitsune’s scent left in Saber’s nostrils now†¦ †¦but the memory of the scent†¦that was still there. Saber was once again in hunting mode, with head down, tail straight, all his Power and intelligence concentrated on one goal and one goal only: to find another molecule that matched the three-dimensional memory of the one in his mind. Now that he was not blinded by the searing smell of all those different concentrated odors, he was able to think more clearly. And thinking alerted him to slip in between streets, causing a commotion behind him. â€Å"What about the carriage?† â€Å"Forget about the carriage! Don’t lose sight of that guy with the dog!† Sage, trying to keep up with Saber himself, knew when a chase was about to end. Tranquillit! he thought to Saber. He also barely whispered the word. He had never been certain if his animal friends were telepathic or not, but he liked to believe that they were, while behaving as if they were not. Tranquillit! he told himself. And so, when the huge black dog with the shining dark eyes and the man ran up the steps to one particular ramshackle building, they did it silently. Then, as if he’d had a pleasant stroll in the country, Saber sat and looked at Sage in the face, laughing-panting. He opened and closed his mouth in a silent parody of a bark. Sage waited for the young vampires to catch up with him before be opened the door. And, as he wanted the element of surprise, he didn’t knock. Instead he smashed a fist with the Power of a sledgehammer through the door and groped for locks and chains and bolts. He could feel none. He did feel a knob. Before opening the door, and going into who knew what peril, he said to those behind him, â€Å"Any loot we take is the property of Master Damon. I am his foreman and it was only through my dog’s skills that we have made it so far.† There was agreement, ranging from grumbling to indifferent. â€Å"By the same token,† Sage said, â€Å"whatever danger is in there, I face first. Saber! NOW!† They burst into the room, nearly taking the door off its hinges. Elena cried out involuntarily. Bloddeuwedd had just done what Damon would not, and lined her back with bloody furrows from her talons. But even as Elena managed to find the glass door to the outside, she could feel other minds surging to help sustain her, to lift and share some of the pain. Bonnie and Meredith were picking their way through huge shards of glass to get to her. They were screaming at the owl. And Talon, heroically, was attacking from above. Elena couldn’t stand it any longer. She had to see. She had to know that this metallic-feeling thing that she’d picked out of Bloddeuwedd’s nest wasn’t some bit of filthy rubbish. She had to know now. Rubbing the tiny scrap of metal against the ill-fated scarlet dress, she took a moment to glance downward, to see crimson sunlight sparkle against gold and diamonds and two folded-back little ears and two bright green alexandrite eyes. The duplicate of the first fox key half, but facing the other way. Elena’s legs almost gave way underneath her. She was holding the second half of the fox key. Hurriedly, then, Elena brought up her free hand and plunged her fingers down into the carefully made little pocket behind the diamond insert. It concealed a tiny pouch, specially sewn there by Lady Ulma herself. In it was the first half of the fox key, replaced there as soon as Saber and Talon had finished with it. Now, as she shoved the second half-key into the pocket with the first, she was disconcerted to feel movement in the pouch. The two pieces of the fox key were – what, becoming one? A black beak slammed into the wall beside her. Without even thinking, Elena ducked and rolled to escape it. When her fingers flew back to make sure that the pouch was tied up and secure, she was astonished to feel a familiar shape resting inside. Not a key? Not a key! The world was spinning wildly around Elena. Nothing mattered; not the object; not her own life. The kitsune twins had tricked them, had made fools of the idiot humans and the vampire who had dared to face up to them. There was no double fox key. Still, hope refused to die. What was it Stefan used to say? Mai dire mai – never say never. Knowing what a chance she was taking, knowing she was a fool for taking it, Elena thrust her finger again into the pouch. Something cool slipped onto one finger and stayed there. She glanced down and for a moment was arrested by the sight. There, on her ring finger, gleamed a gold, diamond-encrusted ring. It represented two abstract foxes curled together, one facing each way. Each fox had two ears, two green alexandrite eyes, and a pointed nose. And that was all. Of what use was a trinket like this to Stefan? It bore no resemblance to the double-winged keys shown in the pictures of kitsune shrines. As treasure, it was surely worth a million times less than what they had already spent to get it. And then Elena noticed something. A light shone from the eyes of one of the foxes. If she hadn’t been staring at it so closely, or if she hadn’t been by now in the White Waltz Ballroom, where colors showed true, she might not have noticed it. But the light was shining straight ahead of her as she turned her hand sideways. Now it was shining from four eyes. It was shining in exactly the direction of Stefan’s prison cell. Hope rose up like a phoenix in Elena’s heart, and took her soaring on a mental journey out of this labyrinth of glass rooms. The music playing was the waltz from Faust. Away from the sun, deep into the heart of the city, that was where Stefan was. And that was where the pale green light from the fox’s eyes was shining. Riding high on hope, she turned the ring. The light winked out of both fox’s eyes, but when she turned the ring so that the second fox was in line with Stefan’s cell, it winked on. Secret signals. How long could she have owned a ring like that and done nothing if she hadn’t already known where Stefan’s prison was? Longer than Stefan had left to live, probably. Now she only had to survive long enough to reach him. How to cite The Return: Shadow Souls Chapter 38, Essay examples

Reader Response Theory free essay sample

Readers have been responding to what they have read and experienced since the dawn of literature. For example, we have Plate and Aristotle who were concerned about audience responses and how plays generated pity and fear on them. Still, the audience or readers were passive. After the appearance of reader response theory, readers are activated. They involve themselves to elaborate the text, fill in the gaps and enact their experiences with the text. Most reader response critics can be divided into three groups. One of these groups is, as they are called, the structuralist. They believe that the reader must be an active participant in the creation of meaning. The meaning, for them, is considered as a complex system of signs and codes that the reader should discover. Borrowing their linguistic vocabulary, theory and methods from Saussure, structutalists believe that codes, signs and rules must be solved in the text to get its meaning. We will write a custom essay sample on Reader Response Theory or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page They also think that every reader has literary competence that makes us, as readers, unite with the text, provide interpretation and adjust our reading or other`s interpretation`s to it. We, as a structualist reader, can see that Edgar Alan Poe`s â€Å"the Fall of House of Usher† is a good example to be read through the strucsturalist criteria. We can apply it on the thematic unity and two important codes in the story. To begin with the thematic unity, we know that the unity is not only a textual unity, but it is the way that the readers use to interpret the text. At the begging of Allan Poe`s story, the thematic unity is established. Then we can follow it through the whole story. It is a theme of a mysterious unity of a universe. We can find mystery in words and images such as â€Å"a dull, dark, soundless day in the autumn of the year†. Even the year here is not specified to make it more ambiguous. The title itself â€Å"the Fall of House of Usher† includes the name of the man and the house itself, so we have analogy between the house and the people which make it more united and ambiguous at the same time. In addition, our literary competence makes us discover that in the opening paragraph, there is a â€Å"pathetic fallacy†. We can see that the gloomy natural events reflect the human events. For example, â€Å"oppressively low†, â€Å"singularly dreary† and â€Å"melancholy house of Usher† all of these represent the gloomy and sad situations of the characters. Moreover, the building has the same atmosphere â€Å"bleak wall, black and lurid tarn†. Therefore, we have a mysterious unity that links time, house and people. At the end of the story, all of them collapse in one fall after the death of Usher. To speak about the first code which is hermeneutic one, it is concerned with enigma, puzzle or unanswered question. We can notice the use of this code through the narrative of the story. The way of narrating mystifies us. It makes us ask several questions such as why the scene is frightening? Why the year is not specified? Who does Usher fear? What will happen next? This code works since the narrator kept the solutions for these questions hidden. He only gives us partial answers such as â€Å"I know not how it was†¦ but is was a mystery† and â€Å"it was beyond our depth†. The second code is symbolic one. It concerns about the binaries that may control the story. Binary operation can be pictured in Poe`s story from the boundary between humans and non-humans which are transgressed. For example, the building has human`s features as he said, â€Å"vacant eye-like windows†. Therefore, we can feel the merging of human and inanimate things. We also can notice the same thing when Usher refers to the effect of the building as â€Å"physique†. This personification of the house relates to his belief that the unique and ghastly atmosphere around the house shares the same â€Å"sentience†. All in all, reader response theory gives a space to readers to speak out, to enact themselves in the text and to involve their experiences to it. Structualists are one of those critics who find that the meaning of a text can be discovered by readers through following the thematic unity and through solving the codes. In Edgar Allan Poe`s story, we find the mysterious- thematic unity, and we find out the hermeneutic and symbolic codes.