Literature Comparative Analysis

Keywords: an encounter james joyce, pit and the pendulum edgar allan poe, alice munro floating bridge

"An Face" by James Joyce deals with the theme of a persons yearn for escapism from the monotonous program of day-to-day life through the story of a day in which two young young boys are "miching" from college - a feeling which most, if not all, people will experience sooner or later in their lives. In this story, Joyce implies to the reader that although people yearn for get away from and adventure, routine is inescapable, and new experiences, when they certainly come, can be profoundly troubling. The writer achieves this through his incorporation of ambiguity, epiphany and writing through first person narrative, with interior monologue to point out the awareness of the protagonist and also to subtly divulge the feelings of others.

The theme of paralysis is paramount to Joyce's work; the notion is inherent throughout Dubliners as a whole. With this idea comes its antithesis - get away from - or, in the case of "An Encounter", thwarted get away from. It is due to character's desire to do this freedom, that when the day does not reach its high targets, the stagnation and restrictiveness of the surroundings are powerfully reinforced. From the outset of the tale, Joyce ponders the notion of escape. Characters searching for such an escape often express how they would desire to travel afar to achieve it. This feeling is openly exhibited in "An Encounter", as Joyce's first person narrator expresses;

"Real travels, I shown, do not eventually people who remain at home: they need to be sought overseas. "

In the storyline, Joyce evolves the theme by means of an inner monologue - the thoughts of the protagonist dictating how his "Wild West'" adventures "opened entry doors of escape". The idea functions of the young man (associated with evade) are eventually what drive the tale, quietly conveyed by Joyce through delicate details.

"An Come across" handles methods of escape other than spectacular foreign excursion found somewhere else in Dubliners, concentrating on the try out of two kids to "use of the weariness" of these everyday environment. Initially the chance of adventure excites the young young boys, although there is a frequent undertone of anti-climax carefully intertwined into the account. Joyce writes from the first person point view, often through the use of analepses, resulting in a consistent air of limitation and frustration encompassing the boys. Quite often, Joyce does not commit any impassioned feelings to incidents, preferring to make use of lacklustre qualifying adverbs or adjectives: "We were all vaguely fired up it was a slight sunny morning". Joyce decides to target in on the most insipid details such as "the docile horses. . . the groaning carts" which works to suppress the carefree, fascinating experience that your guys see as an escapism using their jaded program. The negativity which is currently apparent in almost everything encountered appears to be an entrapping agent within the boys, who sulk into a resigned and relatively resentful state, a state which is furthermore reiterated by the repetition of the adverb "too":

"It had been too later and we were too tired to handle our job of going to the Pigeon House. "

Joyce reveals Dublin as a city of incapacitation to the young personas. He begins to remove the protagonist's say; "I used to be very happy", from the reader's storage area, adding words such as "solemn", "sedulous" and finally even denotes the character's thoughts as "jaded". There may be regular repetition of the adjective "tired"; your day has become tiresome, adventure and break free have proven elusive, and the come across of your sinister old man has validated that the protagonist won't find merriment in Dublin, but is instead doomed to are in the fantasies of comic book and books.

However, despite its insufficient event, your day does provide the kids with one well known incident through the picture encapsulating the face with the old man. Dreams of get away from having been superseded, Joyce starts a new paragraph focusing mainly on the silence and "stillness" of the situation: "There is nobody but ourselves in the field. . . we had lain on the bank for quite a while without speaking".

Through creating this ominous atmosphere; sentences slowly becoming shorter and more concise with a less picturesque use of vocabulary, signalling new styles to be released through the intro of the wondering antagonist.

The old man presents the probability of in-depth monologue and direct speech. Inside the dialogue with the guys, he seemingly manages to entrap the young protagonist with his reference to books - a subject of known interest to the boy. The "monotonous" tone of the antagonist and just how his tone "slowly circles round and round in the same orbit" help to achieve the spellbinding quality of the man. This system paralyses the narrator, who seemingly allows the person to give a discourse by means of a monologue - due mainly to his apparent lack of ability to interrupt. The politeness evident in the boy's personality is hindsight, definately not being useful, instead putting the boy in times of danger.

The being concerned feature of the man's discourse is the implicitly perverse manner in which he speaks. He frequently identifies the "whipping'"of young young boys with an over-excitable zeal. Joyce's most important use of such adjectives as "magnetised" and "circle" in reference to his thought process establishes the man's odd methodology. This creates the impression that he's intent about them. Secondly, a section of reported conversation is introduced:

"Whenever a boy was rough and unruly there is nothing at all would do him any good but a good audio whipping what he wanted was to get a nice warm whipping. "

Joyce emphasises the man's positive perspective about them through the use of positive repetition; of the word "good", first of all as a noun, second as an adjective, and also use of the adjective "nice", which shows up slightly misplaced when used in conjunction with the concept of whipping.

The protagonist's isolation from intellectuals anticipated to early age and low cultural class means he is quick to warm to the old man when he talks of literature. Inside the epiphany, he even shows up isolated from his closest friend, Mahoney, and it appears compared to that the epiphany of the part (from the young boy's point of view) confirms that the older man has already established a profound impact on his views. It would appear that the isolation of the naЇve child has left him vunerable to corruption and the "encounter" has kept the boy and the audience with the realisation that the earth is not an innocent place.

"The Pit and the Pendulum" by Edgar Allan Poe, like "The Encounter", is concerned with entrapment, but unlike Joyce's tale, is centred on one individual and the terror he encounters when in isolation. The protagonist, a prisoner subject to the tortures of the Spanish inquisition, is often left thinking of what "may be" - the surrounding atmosphere offering no apparent subjects for the type to focus on. Poe incorporates a sense of perpetual unease and fear in to the thought operations of his first person narrator, departing the reader in a parallel state of mind as they go through the horror of the protagonist's situation. The point of view that the audience is allowed on Poe choosing a first person narrator provides reader a more robust sense of isolation scheduled to your constant knowing of the innermost thoughts of the protagonist. The narrative does not, unlike a third person perspective, allow the audience to transcend the situation, providing direct access to the horror which is happening on the site. There is also no direct speech in the story. This truth reinforces the thought of isolation in the way that the protagonist does not have any need to speak due to absolute solitude. Poe's use of highly descriptive vocabulary, incorporating repeated use of alliteration and anaphora, increases the terror and entrapment experienced by the protagonist, centering heavily on the senses even prior to the "ghastly" prospects of the character are realised, resulting in a heightened express of suspense.

"The odour of the sharpened steel forced itself into my nostrils. I prayed - I wearied heaven with my prayer for its more rapid descent. I grew frantically mad, and struggled to drive myself upward from the sweep of the fearful scimitar. And I fell suddenly calm, and lay down smiling at the glittering death"

To accomplish the desired atmosphere for such the tortured fate of the narrator, Poe details the physical area of the protagonist in a few detail. The "subterranean world of darkness" becomes a perfect agent to carry an unnerving, mystifying atmosphere. Further concern for the protagonist is drawn from the regular mention of his "fatigued'" express as well as the dangerously "damp and slippery" characteristics of the chamber - his elusive area becoming the antagonist of the storyplot in the absence of any other partner. The tension made depends heavily on Poe's use of an sequence of brief sentences as the protagonist encounters "The Pit", representing his relaxed and clear thought even in the throes of dread:

"'I proceeded for most paces; but nonetheless all was blackness and vacancy. I breathed more widely. "

However, as the narrator becomes evermore alert to the horrific situation, Poe mirrors his mounting terror through increasingly complex syntax, producing a faster motion of thought and an evergrowing experience of confusion:

"The issue, nevertheless, was but trivial; although, in the disorder of my nice, it seemed initially insuperable. "

Eventually, as the narrator steadily uncovers the secrets of his confinement, a greater sense of hazard inside him is realised. Poe shows this via an ever quickening pace and complex phrases. giving the effect of total bemusement and terror. Quite abruptly, with a straightforward phrase, out of step with the ever-increasing complexity of the syntax - the climax of the character's investigation is disclosed: "I stepped on it, and fell violently on my face. " With this addition, Poe indicators to the reader that the tension has peaked.

The undeniable fact that the part is written in the form of a first person narrative suggests that the protagonist is reminiscing about his ordeal, and that ultimately the piece will not result in his fatality. The narrator's salvation is reassured when Standard Lasalle of the French military involves the recovery. Poe chooses by the end of his tale, unlike the other happenings of the storyplot, to drastically reduce proceedings; deciding to summarise the rescue in a short paragraph, in an anti-climatic fashion:

"The fiery wall space rushed back!. . The French army had moved into Toledo. "

Throughout the story, the narrator keeps the capability to recount faithfully and rationally his surroundings while also describing his own emotional turmoil. Terrified and together as the narrator may be, with "the pendulum" symbolising death's literal unstoppable sway, he will not lose hope of salvation, instead recruiting his rational senses and using the starved rats for his own advantage. Along with being a story of horror, it also shows the type of human handle in a seemingly impossible situation; faced with horrific tests and the realisation of death's inevitability, the human being being's instinct for self-preservation remains, in itself, an unstoppable drive.

Alice Munro's short story "Floating Bridge" is a tale of home realism about learning to admit the tentative aspect of individuals life and an exploration of the numerous obstacles posed by cancer tumor and it's really arduous, disfiguring treatments. Like Joyce's "The Encounter", the protagonist has the opportunity ending up in a stranger with leads those to re-evaluate their lifestyle. Also, like Poe's "The Pit and the Pendulum", the protagonist is, too, confronted with the prospects of both death and salvation.

"Floating Bridge" is written in the first person narrative, the protagonist is a cancer tumor sufferer called Jinny, whose life is divided into the time before the diagnosis and the time after. The understated and restrained language and rhythm of the prose, recommending Jinny's resigned approval of her disorder and her impending death, is suffered throughout, even though at the start of the story, Jinny has found that her tumor has moved into a stage of remission. Because she's already accepted the relative flexibility from responsibility that understanding of her incurable disease gave her, she shows no exuberance as of this new knowledge that she has more time than she thought she does.

On the day where the story is defined, the physician has informed her that there surely is reason for cautious optimism, but this does not make Jinny feel better. Before, she was relatively sure of her future, knowing that she had short amount of time kept in her life. This new information makes her to go back and start the year all over again, taking away a certain "low-grade independence" from her life. The brand new knowledge has removed a "dull, safeguarding membrane" she did not even know was there and leaves her sense raw and vulnerable. Since learning of her disorder, she has sensed a kind of "unspeakable exhilaration" that results whenever a disaster produces one from responsibility on her behalf life. Now that is gone and a sense of apathy remains. She reflects on a period she still left her partner, Neal, briefly to sit down in a bus shelter near her home, reading graffiti on the wall structure and determining with people who have left announcements there. When she results home, she asks Neal if he'd ever have come after her, and he says: "Of course. Given time. " Neal's detached attitude toward Jinny and his cavalier treatment of her despite her life-threatening disease can be an undercurrent that works throughout the storyplot.

Part of Jinny's psychological turmoil at the time of the story is due to Neal's excited a reaction to Helen. He becomes more animated, enthusiastic, and ingratiating around her, as he often does around other people. Helen has a "fresh out-of-the-egg" look, and Jinny feels that everything about her is right on the surface, gives her an innocent and disagreeable electricity. Neal teases Helen, his whole being "invaded" with foolish bliss. It isn't that Neal needs Helen; alternatively, it is the fact her innocence and simpleness seem a pleasant rest from the complexity of Jinny's situation.

When they arrive at the trailer recreation area where Helen's foster parents live, they are simply invited in, but Jinny desires to stay outside the house. There is a strong feeling of isolation or the time that Jinny is looking forward to Neal to return; he has accepted the invitation while Jinny, his sick and tired wife, is kept alone, fatigued and excessively hot from the daytime temperatures.

The assembly of seventeen-year-old Ricky creates a similar effect in Jinny concerning her husband's thoughts towards Helen. There appears to be an instant chemistry between the pair. A feeling of connection is made when they find that they both choose never to wear a watch. It appears in Jinny's sense of isolation, something as mundane as this is enough to cling to. In contrast to her partner, Ricky shows simple factor to her by offering her a ride home. It is then that Munro will take the reader from realism and introduces an almost wonderful element with Ricky's innocent ease in his desire showing her the floating bridge where he needs his girlfriends, allowing the reader and Jinny herself to forget momentarily about her disease and the self-consciousness she feels over her baldness; his kiss providing an innocent approval of her, no matter these things. When Jinny is on the floating bridge, she imagines that the street is a floating ribbon of globe, underneath which is all water. After the kiss, Jinny feels of Neal getting his lot of money informed, "rocking on the edge of his future, " and allows the tentative aspect of her own future, feeling a lighthearted compassion for Neal. Ricky's interest provides to remind her that she is still alive and capable of adventure and secrets.

The most difficult subject of the storyplot is Neal's treatment of Jinny, which seems, if not cruel, at least unfeeling. The reader may feel he is much too excited by the presence of the young girl Helen and much too indifferent to Jinny's plight. However, you can find nothing to claim that he does not love Jinny. . He, too, is over a moving floating bridge, looking for something to cling to, even if it is of such little product as an innocent young woman who's healthy and sound. Similarly, there is nothing to claim that the son, Ricky, by the end of the storyline has any desire to have Jinny. As opposed to the sloppy complexity of her life, his kiss is the epitome of innocent approval, instilling in her a tender-hearted type of compassion. The story's composition performs a balancing work similar to that required of walking on a floating bridge. The firmness of sound ground is merely an illusion; all around lies the danger of loss of do it yourself. However, even though the bridge appears to be shifting and tentative, it is enough if you are content to live in the world of the uncertain. Munro's tale effectively reflects this tentative and delicate balancing.

In all three reviews which I have detailed, it is the writer's subject material and careful narrative technique which enrich our reading of these, allowing the audience not only pleasure and entertainment, but to see their lives more evidently. To permit the reader to seriously engross themselves in a work of fiction, the storyline must be intellectually challenging and appeal to your senses and our own life experience. Joyce, Poe and Munro propitiously accomplish this, proving themselves as true masters of their artwork.

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