2/28/2023 0 Comments Falling action o captin my captinThe poem also uses a few poetic devices, such as apostrophe when the narrator says “O Captain! My Captain” (1). The poem is literally about a captain who has died after completing a quest, but it is supposed to also represent the event of President Lincoln’s assassination. In fact, this connection is what makes the poem so significant. Connotatively, Abraham Lincoln was killed but everything he has done for America is still remembered, and he is widely respected. This thematic statement matches the poem because even though, the captain is dead, everything he has done will still be remembered by the crowds and by the speaker in the poem. A thematic statement for the poem could be, when someone important is lost, their successes are still remembered. The crowds are still celebrating, thus them not realizing the captain is dead. ![]() Towards the end of the poem, he says “Exult, O shores, and ring, O bells” (21). The narrator continues to speak to his captain and tell him that there are crowds on the shore, celebrating their return and victory and it is all because of him. The mood has now become frantic and mournful. At this moment, the narrator, who we’ve inferred is a crew member, realizes that his captain has, “Fallen cold and dead” (8). The mood at first, is celebratory because they have completed their journey, but it soon switches when he says, “But O heart! heart! heart” (5). The poem is written in first person point of view and it begins with the narrator addressing his captain by exclaiming, “O CAPTAIN! My Captain! Our fearful trip is done” (1). The last chapter discusses the 2009 cinematic representation's inclusion of traits of the epic hero in its portrayal of a Gothic villain.It is important to understand poems such as, “O Captain! My Captain!”, by Walt Whitman because of the connections to historical events. The next two chapters investigate how Doyle explores the traces that Holmes's leaves behind in London, redefining detection as a different art form, while remaining caught up in a system of feminine desire and victimization. The chapters on Anna Katharine Green's character Amelia Butterworth explore how she operates within a liberating spiritual shadow world of "providences" yet incorporates a particularly elitist version of history that denies progress. ![]() The chapters on Fontane's novels discuss how his deceptive protagonists illustrate the illusory sensibility of nature and introduce a new kind of humanity and responsibility into a traumatizing urban Berlin. The London depicted by Arthur Conan Doyle (1859-1930) in his Sherlock Holmes stories is the culmination of a development that begins with the German author Theodor Fontane (1819-1898) and was developed by the American novelist Anna Katharine Green (1846-1935). ![]() Thus the Gothic detective novel maps out and recreates the urban landscape as it pursues its desire to confront criminality and, subsequently, impose a sense of order, retribution, and hierarchy. Concerned with the return of the repressed, the Gothic and the detective novel both represent reality in terms of tainted physical bodies and twisted geographical spaces in order to address the issue of the volatile, transgressive nature of the Gothic by exploring Gothic writings as "a para-site" of perverse and criminal impulses. found in the older form, first, a model for geographical movement from the countryside to the urban spaces and, second, an elegant way to express the often repressed fears and anxieties that were the deeper concern of detective fiction at this time. By borrowing from the Gothic, late nineteenth-century detective fiction revitalized the Gothic mode and. Detective fiction needed a way to express its key themes, specifically the study of social masquerade and the psychological roots of criminal behavior. In the decade of the 1890s, the detective story genre turned to the older form of Gothic fiction as a way to express its own thematic concerns.
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