Romanticism

Death Death is something that cannot truly be defined. It in fact is a word with a plethora of meanings. Some feel that death is something good for you because you will now be with God and spend a beautiful eternity in the afterlife. Some feel that it is a negative concept because you are leaving those you love and you are Just gone. Others are confused, not knowing what happens after you die and are actually scared of the hold concept. These different meanings were thought out during many different literary eras such as the Renaissance, Neoclassical, Romantic and Victorian

The Renaissance was a time period in which had a much more calm way of eras. Looking at death. Yes they were a bit fearful of what happens after death, but they also viewed it as a way out for them, a place where they could go in order to lose all the pain they were feeling. Death was known as a sense of relief to the people, it was an escape from reality. William Shakespeare was a writer during the Renaissance and as one could tell from his pieces, he as well viewed death more positively versus negatively.

In the Neoclassical Era, death was viewed as a portal to the afterlife. In a writer’s perspective, they usually spoke about it leading to heaven instead of hell, but the people of this time knew that heaven wasn’t the only place they could go, they knew hell was an option too. One writer is John Done who wrote “Death be Not Proud”. In this pieces of literature, Done speaks of death like it’s a human, telling it that it isn’t as scary as it thinks. One could tell that Done is from the Neoclassical Era when he says, “One short sleep past, we wake eternally’.

This shows how the people of this Era thought. That no matter how or when you die, you will awake in the afterlife and live on forever. In the Romantic Era, death was focused more on an emotional approach, rather than on the actual action. Authors such as John Keats wrote to express and share their feelings towards death. Keats does so in Ode to a Grecian Urn, he says, She cannot fade, though thou hast not thy bliss, forever wilt thou love, and she be fair! ” The Romantic period thought death was a negative action.

As shown in the quote above, people couldn’t stand watching their loved ones pass. Keats expresses devastation when he sees that his beloved is passing, showing a whole new view on the definition of Death then we have seen so far. The Victorian Era was more similar to the Romantic, but they mourned a lot more about the passing of their loved ones. The way the people in this Era viewed death is more of what we see in today’s society. When someone passed, in order to honor them, the people would mourn. Everyone, even children were aware of what was going on when a person passed.

Death was the only thing people knew would definitely append to them, so they taught their children that as well. A piece called Richard Core by Edwin Arlington Robinson shows that everyone is destined to die whether they are rich or poor. A man named “Richard” is viewed as a “king” because of all his money. The townspeople all envied him, but in the end found out he killed himself because he wasn’t “happy’. The Victorian Era was one in which brought death to a reality. They knew it existed and that it would happen to everybody so they decided it was best to honor those that passed by mourning over them.

The view on death as changed in the past hundreds of years and I believe the views are based upon experiences that happened to those people. The definition on death changes with what one experiences causing them to see things differently. These days we see death as possibly all four of the examples I listed. Some believe it’s something to be a bit fearful of because we don’t know what happens after we die, some believe we go to heaven or hell, normally we are affected emotionally over our loved ones and lastly we all know that death is destined for each and every one of us.

Shannon Divine English B block Mrs.. Bernard In the movie The Legend of Sleepy Hollow there are many examples of Classicism and Romanticism. Romanticism meaner imagination over reason, common man important, nature and beauty. Classicism is the opposite of that, it is reason over faith h, fixed laws of humanity and the idea that society and more important than the undivided In the movie many characters and places both have characteristics of both Classicism and Romanticism. In the beginning of the movie Cohabit Crane, one of the main characters, is a PRI example of classicism.

Crane is a person who believes in science and facts. When he first entered Sleepy Hollow to investigate the killings, he didn’t believe the ghost store SE about the so called “headless horseman”. He believed there was a reason for everything. He said that the heads of the victims could not have Just disappeared by magic, that the heads have to be somewhere and someone obviously took them. Cranes mother also had a big part in showing classicism in the movie. She was not allowed to be free. She believed in witchcraft but Cranes father wouldn’t allow it.

He didn’t believe in it and had a stop to it immediately. The movie also showed classicism by showing how overcrowded the Jails were. This showed how important society was and that society was more important than the individual. Classicism was shown great lay in the beginning of the film. Romanticism was shown greatly in the town of Sleepy Hollow. All of the townspeople believed in the story of the headless horsemen which is an example of romanticism. The headless horsemen shows examples of mystery and strangeness which is what romanticism is.

The witch in the cave also was an example of romanticism. It showed invigilation over reason and nature and beauty. The witch, like the headless horses was a spirit from another world. The tree of the dead that the headless horsemen iris up from also shows romanticism. The tree has no reason unlike classicism which is filled with reason. Cohabit Crane also changes his views by the ending of the book. H alkalizes that the headless horseman is a spirit and not everything can be proven by science.

He came to the conclusion that magic and the supernatural is real. He change De a lot throughout the movie. The Legend of Sleepy Hollow shows that you can have both Classicism and Romanticism together in one movie. It also showed how people can change there believes like Crane did. Classicism was shown more in the beginning of the movie whereas Romanticism was shown at the end of the movie. Romanticism and Classicism m differ greatly but in this movie they contrasted each other.

He uses symbolism, diction, and tone to enhance the readers experience and to more effectively write the story. This piece also references several real life historical events to make his story more powerful and believable. Many traits of the Romantic period are reflected in this piece, such as the focus on personal emotion and the power of the natural world. Hawthorne was also influenced by writers from the Transcendental movement and that can be seen in his work. The Speaker in Mr.. Goodman Brown” is an unidentified narrator. Even though the story is not being told from Mr..

Goodman perspective it is written in a way that reveals his emotions to the reader. Hawthorne used diction to allude to Mr.. Goodman emotions and feelings. We know that he Is feeling scared when he Is walking through the forest because words Like dreary, darkened, evil. Gloomiest, creep, and lonely are used to describe his setting. We also know Mr.. Goodman Brown is fearful of the man because when we talks to him he has a tremor in his voice. The man Is also described as “having an indescribable air, of one who knew the world. ” The tremor In Mr.. Goodman voice shows that he Is Intimidated by the figure.

It seems Ironic that he calls the man “his companion”. I believe he does this out of fear and in hopes of gaining his respect so that he will not hurt him. Hawthorne holds off on revealing the occasion of their meeting until nearly halfway through the story. The suspense makes the reader anxious and everything about the Journey becomes that much more mysterious. He keeps referring to “the journey” which is unknown, and all the reader knows is that Mr.. Goodman is uncertain of it and It Is something that he eels he needs to hide from his wife, Faith.

The reader Is given hints as to what the meeting could be about because of the evil man. He is referred to as the devil and even people who pass by recognize this. This helps to foreshadow the witchcraft ceremony that Mr.. Goodman finds himself at. ! Hawthorne uses a lot of symbolism in Muffing Mr.. Goodman Brown” to add more youth. She is describes as “thrusting her own pretty head into the street, letting the wind play with the pink ribbons of her cap. ” This image is very carefree and paints the picture of someone very small, like a young girl. Faith’s youngness serves as a double symbolism that reflects purity.

Faith is young, naive, and innocent. This innocence and purity does not come from her youth alone, but also from her faith in God. Faith’s faith is strong and it is something that Mr.. Goodman respects. Also, Mr.. Goodman own faith is tested in this story to determine whether he is good or evil. Another item in this story that has great symbolism is the evil man’s staff. His staff represents evil, and it is almost like a spirit that overcomes who even takes hold of it. The staff seems to hold all of he devil’s power within it because as soon as he touches Goody Close she proclaims, “the devil! The staff is an item of anachronism in this story. The alive and serpent like features of the staff, specifically how it turns into a snake when it is thrown on the ground refer to Moses in the Bible. God commands Moses to throw his staff on the floor before the King of the Egyptians so it will become a snake. God commands this in hopes of proving to them that He is God and he is all powerful. The staff has the same kind of power over everyone it comes in contact with, and impolitely alters who they are. The diction in Muffing Mr.. Goodman Brown” is a huge part of the reader’s experience.

The diction in this story helps to build the tone and makes the reader feel a certain way whether it be scared, mystified, or bewildered. At the beginning of the story Mr.. Goodman Brown is very sincere. He wants Faith to know that he truly loves her by calling her “My love, my sweet, pretty wife. ” He wants her to feel comfortable and this is reflected in the diction of this passage. Words like sleep, dreams, pray, pretty, dearest, and heart are used to show his compassion. As soon as he parts with Faith there is a major tone shift.

He begins feeling scared and doubts his decision. As he enters the woods the diction reflects his fear with words like smote, narrow, peculiarity, thick, unseen, and solitude describing his surroundings. In this passage the syntax is also very intense and is used to enhance the readers emotions as well. The sentences are sharp and Jagged like the night in the woods. Many literary devices such as, diction, syntax, and tone were used by Hawthorne in Muffing Mr.. Goodman Brown” to create a more powerful story and accurately project ear and bewilderment into the minds of his readers.

Hawthorne also used symbolism to tie his story together and penetrate it with the theme. Hawthorne was a master of emotions and creating them. Not only did the reader feel emotions while helps the reader connect with the characters and makes a very unbelievable story seem more like reality. This text is important because it opens its readers up to rich examples of how diction and syntax can be used to create extreme tones that effect its readers. It also gives some insight into the Romantic period my emphasizing the power of human emotion in nature. Total words: 1 ,093

Romantic Innocence Though Romanticism at large is not concerned with lost innocence only, but a whole array of human emotions, it is certainly an important theme for writers of this literary epoch. Several Romantic poems testify to this, as well as other Romantic or pre-Romantic literary texts. In the England of the 18th century, scientific progress along with industrialism had effected great changes in society.

Europe on the whole was shifting rapidly: economically, socially and politically. In France, Enlightenment writers such as Rousseau had already started questioning whether “Reason” as such could solve all human problems, and in England too, Swiftian satire, for instance, had shown how insufficient rational thought can be in effecting solutions to upcoming problems, not the least social ones – of which there were to be plenty in the growing urban areas, as Industrialism progressed.

Romanticism in literature was asserting itself towards the end of the century, and someone like William Blake, for instance, in his collection of poems, Songs of Innocence and of Experience, strongly questioned the state of affairs where individuals were fed into the ugly mouths of industrial society – like innocent lambs crammed into the gaping jaws of the tyrannical machinery of economic progress, administered by a state which subscribed to laissez-faire economic politics, cheered by industrialists, bankers, financiers and manufacturers.

The sentiment that much of this was against nature itself was prevalent among many romantic poets and writers. “In every cry of every Man,/ In every Infant’s cry of fear,/ In every voice: in every ban,/ The mind-forg’d manacles I hear”, wrote Blake,1 and his was not the only voice of criticism. Blake juxtaposes, as it were, two areas of human experience (Innocence/Experience) – but with his lament at “lost innocence”, there is also the view that these phases are inevitable in human experience – perhaps complementary.

William Wordsworth, on the other hand, indeed brings forth the view that nature carries a beauty threatened by materialism: The world is too much with us; late and soon, Getting and spending we lay waste our powers: Little we see in Nature that is ours; We have given our hearts away, a sordid boon 2 The poem focuses on the loss of natural values by subscribing to distasteful materialism. The general idea is that we are more at a loss than gain in treating nature – and ourselves – this way. At this Romantic horizon a lost paradise takes shape: an innocent nature disdained by human greed or folly.

This sentiment, obviously, is an ancient one. Where did we lose our step, once out of Eden? Blake would probably say that we never wholly did, whereas Wordsworth might have suffered more from nostalgia? 1 2 Blake, Songs of Experience: “London”, 1791 William Wordsworth, “The World Is Too Much With Us” Sources: Alastair Henry, Catharine Walker Bergstrom: Texts and Events, Studentlitteratur 2008 (2001) William Blake: Songs of Innocence and of Experience William Wordsworth: “The World is Too Much With Us”

James Fenimore Cooper was an important literary figure of the 1800s, best known for his novels. He is perhaps most noted for his greatest work of literature: The Last of the Mohicans: A Narrative of 1757, a tale that chronicles the journey of several English people and a few Native Americans during the French and Indian War, also known as the Seven Days War. Cooper’s work on this novel and others such as The Prairie reflects his different approach regarding certain commonly held ideas of the time.

This was especially true concerning the present-day views most people had about Native Americans. However, Cooper’s work also reflected his compliance with the most popular fine arts movement of his time: Romanticism. To completely grasp the scope of Cooper’s writing, some background on Cooper’s life, and the social customs and ideas of his time are necessary. Cooper was born on September 15, 1789 to Elizabeth Fenimore and William Cooper, the founder of the city of Cooperstown, NY.

After expulsion from Yale College, Cooper pursued a career as a sailor on a merchant ship, traveling as far as the Strait of Gibraltar. Following this was a brief stint in the United States Navy, followed by farming. During his expeditions at sea, James Cooper seriously considered becoming a writer. In fact, most of his stories tell tales of sailors and sea trips, inspired by his own days on the water (Literature Network). At the time of Cooper’s writing, Native Americans were often held in contempt, mistreated, and oppressed.

This had been a common aspect of society since the days of Columbus’ first expeditions to the Americas (Cassutto). The Native Americans were regarded with prejudice, hatred, and most of all fear, as is present when experiencing any unknown thing. Often times, brutal massacres were carried out, killing hundreds of innocent Native Americans. Cooper attempted to change such ideas through the relationships established between characters in his books, as is best shown by The Last of the Mohicans.

This book was actually the second (and best known) in a series of five “Leatherstocking Tales” In this story, the two of the main characters are a white man named Natty Bumppo and a Native American named Uncas, who is the titular “Last of the Mohicans”. These two men, though they were from completely different backgrounds, form a very close bond, and show that interracial cooperation is extremely plausible, and actually useful. Furthermore, Natty Bumppo goes as far as adopting a Native American name, Hawkeye, to show that he truly could blend in with the Native Americans and act peacefully with them.

The actual story takes place during the French and Indian War, about 30 years before Cooper was born. Though the war is named after two groups, the actual struggle was part of a huge conflict between several nations, including Austria, England, France, Great Britain, Prussia, and Sweden. In the American colonies, the war resulted from excessive pressure from the British for additional resource collection and production. This resulted in higher taxes, more strenuous work, etc. During the war in the colonies, the Native Americans (Indians) faced the French, who, allied with the British, extended the war for seven years.

Considering the effects that the events of the time period would have had on the people, the works of James Fenimore Cooper could even be considered revolutionary. Despite the heavy racism of the time, Cooper stressed the importance and possibility of interracial cooperation, and even seemed to promote it. In other words, he was not afraid to change the stereotype and provide an alternate view of Native Americans. However, as with all situations, James Fenimore Cooper also provides a negative, more foreboding side to the relationship between different cultures.

Specifically, he seems to promote friendship and brotherhood, but strongly warns against interracial romance. This seems to be a common theme of his contemporaries, who also strongly agreed that interracial romance was to be strictly off-limits. Though not stated directly by Cooper, the fates of several of the characters in The Last of the Mohicans shows that Cooper believed that interracial love would lead to tragedy. This is implicitly stated through the unfortunate deaths of two of the main characters.

In the story, Uncas, the aforementioned Mohican, and Cora Munro, an English general’s daughter, begin a budding romance that leads to their eventual demise. Cora is kidnapped by the villain of the story, a Native American of the Huron tribe named Magua. During rescue attempts, both Cora and Uncas are inevitably killed. The death of these two characters seems to suggest that interracial romance will lead only to failure and is highly dangerous. On a very basic level, it is the essential differences between the cultures that cause a split that leads to the failure of the romance.

In this case, the brutal nature of the Native Americans causes the death of both the sheltered English girl, and even the tough, hardened Native American man. At this point, it is clear that James Fenimore Cooper did not adhere to the racial conventions of his time. Despite some warning of the dangers of cultural mixing, in his literature, he stood by his own beliefs of interracial interaction. However, James Cooper did follow others in his era with the type of literature he wrote. His work was reflective of the Romantic style of writing and at the time of his novels’ creations, the Romantic Era was in full-swing in America.

The Romantic era was a movement in the fields of art, literature, and intellectualism that originated in Europe in the late 1700s. The movement placed a heavy emphasis on emotions such as fear, horror, and awe rather than reason. Also, there is a superiority of mystery over clarity, and importance given to the individual, rather than the standards of society. This could be easily expressed through art, but through literature, the conveyance of such emotions was a very new experience. Certain effects of the movement were clearly reflected in Cooper’s literature.

For example, along with the Romantic movement came the inspiration of political change, and also, in stark contrast, descriptions of heavily romanticized (hence the name of the period) situations and settings, such as “a mock-medieval castle perched dramatically above a craggy ravine” (History World). Elements such as these are clearly evident in Cooper’s work, especially the emphasis on setting. Using rich descriptive language, Cooper gives details of all the areas that his characters venture through. At times, the extensiveness of his description is so rich that a reader may feel as though he or she is actually experiencing the setting.

This was very common in Romantic literature, and can be seen in the following passage from The Last of the Mohicans: “The mountain on which they stood, elevated, perhaps a thousand feet in the air, was a high cone that rose a little in of advance of that range which stretches for miles along the western shores of the lake, until meeting its sister piles, beyond the water, it ran off toward the Canadas, in confused and broken masses of rock thinly sprinkled with evergreens. ” (The Last of the Mohicans, James Fenimore Cooper, 177)

Aside from the Romantic descriptions of locations and characters, Coopers work also showed a great amount of diversion from previously held ideals, as mentioned above in his explorations of interracial friendships and interaction. This seems to carry an underlying feeling of political activism, which was another of the attributes of the Romantic Movement. The activism lies in the implication that racial boundaries should be reexamined and reevaluated. Though Cooper does not say outright that his novel should spark a revolution, his work does imply that there is a desperate need for change in society.

Furthermore, some aspects of the novel could be seen as an anti-war statement made by Cooper. This was a shared sentiment among many of his contemporaries, and carried on even through the Vietnam War in the late 1900s. However, this sentiment could be seen by analyzing the novel from a Romantic Movement point of view. Returning to the idea of descriptive nature, Cooper often gives descriptions not only of the beauty of the land, but also of its inherent danger. In the story, nature provides almost as much of a struggle for the main characters as the war does for the soldiers.

In a sense, it seems as if Cooper was trying to say that nature was the real enemy, not other humans. The anti-war sentiment could not only be interpreted metaphorically through the text, it was also sometimes stated explicitly. In the following passage, James Cooper’s disgust for war and fighting is evident, as he describes the battle as an extremely gruesome occurrence: “More than two thousand raging savages broke out from the forest at signal and threw themselves across the fatal plain with instinctive alacrity.

We shall not dwell upon the revolting horrors that succeeded. Death was everywhere in his most terrific and disgusting aspects .The flow of blood might be likened to the outbreaking of a torrent and as the natives became maddened by the fight, many among them drank freely hellishly of the crimson tide. ”(Mohicans, Cooper 222) As was made clear by this passage, Cooper clearly resented the war and the horrors it brought with it. In Conclusion, the works of James Fenimore Cooper gave a clear representation of the ideals and movements of his time.

His writing was reflective of the new intellectual, artistic, and literary Romantic Movement, shown by its beautifully descriptive passages and also by its deviation from what was previously accepted as normalcy. Furthermore, his works deviated from not only his predecessors, but also his contemporaries, as he implicitly supported the furthering of positive interracial interaction and cooperation. Coopers work was a great addition to his era, and greatly helped reflect the changing times and culture of the 19th century.

After the French Revolution, the Industrial Revolution, and other social reformations in Europe, the Romantic era emerged, shaping the literary sphere. From the Romantic the Romantic era , the Romantic Gothic subgenre evolved. Writers began to focus on the idea of revolutions, the limitless nature of human beings, the beauty of spontaneity, and the darkness of the sublime. Amongst many writers during this era was Jane Austen.

Historians have noticed that her writing seems “untouched by the political, intellectual, and artistic revolutions of her age,” causing many to believe that she is a Neoclassic rather than a Romantic Gothic (Abrams 16). At first glance, this accusation seems to be false; some of Austen’s novels, specifically Northanger Abbey, seem to contain Gothic characteristics; however, an in-depth analysis of Northanger Abbey suggests that Austen wrote the novel as a Gothic satire. Austen mocks the sentimental Gothic conventions of her time through the characters and setting, suggesting that she is not a Romantic.

To begin, Austen uses Catherine Morland to ridicule Gothic heroines and reveal their absurd nature. In the beginning of the novel, the reader realizes that Catherine is slightly different from the typical Gothic heroine. Gothic heroines are usually depicted as beautiful, talented, and tragic. It is apparent that Catherine does not fit into this mold when Austen states that “no one who had ever seen Catherine Morland in her infancy would have supposed her born to be an heroine” (Austen 15).

Catherine is described as awkward, inattentive, and stupid. She lacks femininity because she favors boyish games over dolls and sports over informative books. As she matures, she isn’t gifted, skilled, or passionate—three qualities that most Gothic heroines possess. Catherine’s days are spent reading stories about heroines, suggesting that she subconsciously wishes she were one. While Catherine shows some heroic qualities (she demonstrates courage when she moves away from her parents and when she leaves the comfort of Bath to stay at Northanger Abbey), she mostly is presented as naive and immature. Austen uses these negative qualities to make laugh at the Gothic heroines of her day.

Catherine’s character demonstrates how silly Gothic heroines are when she naively accuses General Tilney of murdering his wife. She is determined to prove her accusation while staying at his manor and becomes obsessed with exploring the forbidden gallery, the place where Mrs. Tilney died. While rummaging through the gallery, she realizes that there is no evidence of Mrs. Tilney’s murder—the apartments are quite normal—and she is caught sneaking around by Henry.

Henry explains that his mother’s death and criticizes Catherine’s foolish accusations and thoughts. Austen writes, “Catherine was completely awakened. Henry’s address, short as it had been, had more thoroughly opened her eyes to the extravagance of her late fancies than all their several disappointments had done. Most grievously was she humbled” (Austen 187). This brings humor into the novel and encourages readers to laugh at Catherine’s stupidity. Through Catherine’s foolishness, Austen illustrates the ridiculous nature of Gothic heroines.

In addition to the character of Catherine Morland, Austen uses General Tilney’s character to further mock the Gothic genre. She presents the General as the villain, a necessary role in the Gothic novel, but she reveals at the end of the story that he is simply a protective father. The General is depicted as evil through his short temperament, his refusal to speak of his deceased wife, and his domineering personality. During Catherine’s first night at the Abbey, she witnesses the General’s anger.

The novel reads that General Tilney “pulled the bell with violence” and ordered that dinner be set on the table “directly” (Austen 157). This startles Catherine and puts the General in an unfavorable light. The next day, he appears even more odd when Catherine discovers that he doesn’t have a picture of his deceased wife hanging in his room. “My father was dissatisfied with the painting,” Eleanor states to Catherine (Austen 160).

Catherine notices that the General never speaks of his wife and that he avoids anything that reminds him of her. From these details, Catherine infers that the General killed his wife. Later, General Tilney seems even more evil when he orders Catherine to leave the estate immediately.

Catherine calls his actions “grossly uncivil” (Austen 212). Although the General’s anger, rudeness, and strangeness towards his deceased wife make him appear as the villain, the General is in reality a normal father who misses his wife and wants the best for his children. By presenting General Tilney to be scarier than he is, Austen brings humor into the novel and mocks the Gothic convention of a villain.

Along with the characters, Austen uses the setting to further poke fun of Gothic conventions. Northanger Abbey, the setting of the second half of the novel, appears to be spooky and mysterious. Austen describes the estate as “rich in gothic ornaments” and gloomy in appearance (Austen 168). On the carriage ride to Northanger Abbey, Henry scares Catherine by telling her that she will experience horrors once they arrive, making her believe that his home is haunted.

Catherine falls for this joke, especially when she finds a mysterious chest in her room quarters upon arriving. Later that night, she looks into a cabinet and finds a scroll of paper. While trying to read the writing, her candle goes out. Here, Austen builds the suspension. The scene is written in a way that encourages the reader to, like Catherine, believe that Northanger Abbey is haunted. Catherine breaks into a sweat as she stands in the dark with a storm occurring outside her window.

After Catherine crawls into bed, Austen writes, “Hollow murmurs seemed to creep along the gallery, and more than once her blood was chilled by the sound of distant moans” (Austen 162). It is evident that the purpose of this section is to scare the reader and present Northanger Abbey as a typical Gothic setting.

By the end of the novel, the reader realizes that Northanger Abbey is not haunted. When Catherine returns to the estate, Austen writes, “The Abbey in itself was no more to her now than any other house” (Austen 198). This provides more humor to the novel as the reader realizes that the mysterious chest and the forbidden gallery aren’t as frightful as Catherine initially saw them to be.

Although Austen includes Gothic conventions in her novel, she makes it apparent by the end that everything scary about Northanger Abbey (the place itself and the General) stems from Catherine’s foolish imaginations, presenting the novel as a gothic parody. Thus, while Austen initially appears to be a Romantic, she separates herself from the Romantic group by playfully using Gothic conventions to poke fun of the Gothic genre.

Hint, Bryon Douglas, who needs to go through his personal journey, has a friend, Mark, who is a tedious person who is endangering Bryon, and causes Bryon to aka a life-changing decision in order to fully mature; I once had to go on a profound personal journey to adapt to middle school. In this “then” period, Bryon was influenced by Mark. For example, on page 23, Bryon and Mark had the following conversation still in the mood for a little action? ‘Sure’ said” By “action” Mark meant fighting.

This shows that Mark influenced Bryon. He was probably so influenced by Mark who was his best friend from childhood. Mark grew into a manipulative and disarming teen. Bryon was doing illegal and irresponsible actions, but he felt bad about hem. However Mark,had no regrets. In Baryon’s current lifestyle he is a calm person who stands up for the right and legal things. At this time, he is no longer friends with Mark because Mark was in prison due to Baryon’s calling the cops on Mark for selling drugs.

On page 154 Bryon narrated “l ended up with straight As that semester… ” After his transformation, he had better logic. L developed and changed in order to survive middle school by pacing my work. I became more earnest about how much time I have to complete something and when I should start. In conclusion, Bryon matured because he abandoned Mark and made a personal exploration of who he really is; I made a rough choice for the better to adapt to middle school.

Byron made his personal journey by calling the police on Mark as an act of self preservation because Byron saw Mark doing something really dangerous, and realized that he did not want to be Mark’s friend. Knew it was a bad idea to put things off to the last minute, even though it pained me to give up on my free time. Change is inevitable.