The Withered Arm free essay sample

Does Hardy portray a typical view of ghost stories with The Withered Arm? In my opinion I dont think so. Lets have a look at the comparisons. A typical ghost/ supernatural story has usually three ghost sightings but in The Withered Arm its a different story. The ghost of a living person appears once in the form of a vision. This is very unlike the stereotypical ghost stories of today. I feel Thomas Hardy has uncovered a whole new type of ghost story. One of the messages the story conveys is dont wish bad on others or it will come back to haunt you Our story is set in the ictional region of South West England known as Wessex. There we meet our three main characters, Rhoda Brook, Farmer Lodge and Gertrude Lodge. Rhoda is a faded milkmaid and twelve years before the story is set Rhoda had an affair and fell pregnant with Farmer Lodges child. We will write a custom essay sample on The Withered Arm or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page As he was of a higher class, Farmer Lodge soon abandoned Rhoda and his child. He is now newly wed to the more suited, Gertrude. Although Rhoda had never met the new bride, she carried a strong grudge against her. One night Rhoda had a supernatural vision of the young Mrs Lodge with features shockingly distorted and wrinkled as by age These are some of the phrases used to describe the vision. Also Gertrude flashes her new ring at Rhoda taunting her, the fgure thrust forward its left hand mockingly. I feel this is the point in the story in which the reader is engaged. I do not feel this is typical of a ghost story, like I said previously; the vision was of a living person and not the undead. Setting doesnt play a strong part in the story but it is still important. Take the description of Rhodas house for example; a rafter showed like a bone protruding hrough the skin This allows the reader to empathise with Rhodas situation. The description of her house then goes on to say the walls were made of mud, this shows the reader Just how working class Rhoda is and how life must be a struggle for her and her son. Also the description of Egdon Heath and the atmosphere around it plays a significant role in the story. dark though it was as yet only early afternoon the wind howled dismally The language used describes the atmosphere of Egdon Heath as mysterious and quite frightening. This story is written in the third person so the reader can observe all the characters and also it makes the story unbiased. I dont feel in some ways the characters are typical of a ghost story and in some ways are not. The number of characters, a small amount, is typical of a ghost story. Also there is a fortune teller, conjuror Trendle, like in many supernatural stories. There are no ghost characters as such, making the story different to most other ghost/supernatural stories. Hardy uses chapters in his short story to create suspense and to break it down. The chapters often end on cliff hangers which hooks the reader in. The use of rhetorical questions proves a deal of suspense. Could this be the explanation, and had such things as this ever happened before? Hardy leaves a lot to the imagination for example, the egg in the glass, you never see what Gertrude sees in the glass and you never hear what conjurer Trendle says to her. This is left to the readers imagination. It is obvious what Gertrude sees in the glass, yet Hardy does not tell us, making the reader question what they originally thought. The d ream scene with Rhoda and Gertrude is an excellent example of how tension suspense and tension the fgure thrust forward its left hand mockingly addened mentally and nearly suffocated by pressure I think the ending of the story is very well done. For some the ending may seem rushed, but it is a short story and it delivers its message quickly but effectively. The twist in the story is that the young man being hanged was in fact Rhodas son and all three main characters are present for the first time. Hardy sums up at the end what happens after Gertrudes eath, following the hanging. This is important for the reader, as it ties together what happens with the characters later on in life. Hardy raises concerns about social class in The Withered Arm He feels that the working class were mistreated and shows this, in the description of Rhodas house, the fact that Rhodas son is so unimportant he doesnt have a name and, because of his working class how he was hanged as an example to trouble makers, even though he was innocent. He wants the reader to share his views. Hardys own life was somewhat similar to the events that happened n The Withered Arm He was an outcast when it came to working in London, Just like Rhoda in the dairy. His mother was of higher class than his father, like Rhoda, Farmer Lodge and the boy. This is significant to the story as it has some relation to Hardys personal life. Also he was a strong believer in the supernatural and supernatural forces and his mother would have known conjurors in the village he grew up in, people like conjuror Trendle. As a modern reader I feel that Hardy has succeeded in telling an effective tale as it scared me like it would have scared the readers in

Types of Plots

Types of Plots Types of Plots Types of Plots By Mark Nichol How many plot types are there, and does it really matter? And if you write nonfiction, rather than fiction, why should you read this post? (I guess you’ll have to read the post to find out.) Throughout the years, writers have posited various opinions about how many distinct types of stories exist. Several of the more prominent theories follow: Three Types William Foster Harris, in The Basic Patterns of Plot, suggests that the three plot types are the happy ending, the unhappy ending, and tragedy. What’s the difference between the second and third types? A tragedy is distinguished from an unhappy ending partly by the magnitude of the outcome but mostly in that the lead character attempts to do something marked by excessive pride, overweening ambition, or another character flaw and that the outcome seems preordained by fate. Seven Types Christopher Booker, in The Seven Basic Plot Points: Why We Tell Stories, lists the plot types as Overcoming the Monster, the Quest, the Voyage and Return, Rags to Riches, and the Rebirth, as well as Comedy and Tragedy. At first glance, the last two terms seem more like genres than plots, but a comedy, though it might also fit into one of the other five types, is often marked by a standard array of miscues and misadventures, and, as intimated in the previous paragraph, a tragedy has a narrow focus: The protagonist tempts fate, and fate responds. Another septet, one that may seem slightly off topic, is a list of plot conflicts, but the items encapsulate basic storylines as well. In (somewhat arbitrary) order of increasing complexity, the duels are person versus fate (or God), person versus self, person versus person, person versus society, person versus nature, person versus the supernatural, and person versus technology. Twenty Types Ronald Tobias, in 20 Master Plots and How to Build Them, shares a score of story types. I won’t list them all (you can easily find them through an online search), but they range from the basic (the Quest) to the moderately complex (Revenge) to the more sophisticated (Metamorphosis) and beyond. Thirty-Six Types Georges Polti, in The Thirty-Six Dramatic Situations, eschews the basics in favor of specific concepts including Daring Enterprise, Fatal Imprudence, and Erroneous Judgment, as well as several varieties of tales of love and sacrifice. (Again, the full roster is available by searching online.) Pigeonholing Plot Types Is it necessary for writers to consider these distinctions? Does one need to know the plot type of one’s story? Can’t you just write your story? You’re welcome to ignore categorization, but consider the benefits: By matching your story to one or more plot types, you can mine the traditions of that type (or those types). If you write a quest tale or a similar type whether set in a fantasy realm or in the real world without exploiting the rule of three, for example, it will lack the resonance of its forebears. You can, of course, defy expectations by avoiding clichà ©s, but if you give a name to the type of story you are telling, you are more likely to recognize opportunities to do so. But what does plot have to do with nonfiction? All stories even factual ones have a plot, and especially when you write narrative nonfiction, you should recognize the parameters you are following or exceeding. Is your profile of a person or a company or organization, or your account of an event or an incident, a tale of redemption, or one of hubris, or one of revolt against complacency or a predetermined path, or something else? Consider your story’s metaphorical and allegorical potential, and capitalize on its resemblance to other tales as you build it. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Fiction Writing category, check our popular posts, or choose a related post below:When to use "on" and when to use "in"Latin Plural EndingsGrammatical Case in English