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The Open Window Character Analysis

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THE OPEN WINDOW by Saki Summary of this Short Story

Author of Lady Audley's Secret , one of the first mystery novels, and a possible forerunner to the Film Noir genre. Louisa May Alcott Barnard, and one called A Long Fatal Love Chase that everyone in her own lifetime found too scandalous to publish. The latter was written in and first published in George Du Maurier Also the grandfather of Daphne du Maurier, author of Rebecca. Ouida had Gothic elements in many of her stories. She even had some tales with zombies. Ambrose Bierce ? Another precursor to the Cosmic Horror Story. The mysterious disappearance of this author has also inspired younger storytellers. Henry James Author of The Turn of the Screw Bram Stoker Author of the self-consciously outrageous Les Chants de Maldoror , later a canonical text for the Surrealist movement in France and Belgium.

Robert Louis Stevenson dabbled in this trope. Jekyll and Mr. Hyde Most of his other work, however, is swashbuckling adventure fiction, and his other most famous book, Treasure Island , is probably the definitive work of pirate fiction. Oscar Wilde Author of The Picture of Dorian Gray Arthur Conan Doyle Creator of Sherlock Holmes. His novel The Hound of the Baskervilles uses classic gothic horror elements, but of course more in the Ann Radcliffe, "Scooby-Doo" Hoax style. On the other hand, he also wrote "Lot No. Arthur Machen Author of The Great God Pan Robert W. Chambers Montague Rhodes James Credited with updating the ghost story for the 20th century. His works often used Sealed Evil in a Can. Gaston Leroux : author of The Phantom of the Opera Edith Wharton : Disciple of Henry James.

Algernon Blackwood Influential writer of ghost stories. His better known works are The Willows and The Wendigo Both are influential works in the Cosmic Horror Story genre. William Hope Hodgson Hugh Walpole Author in several genres. Marjorie Bowen Prolific author of gothic novels, horror tales, and historical novels. Several of her stories were collected posthumously in the collection Kecksies And Other Twilight Tales Her own life story was pretty horrific as well. Daphne du Maurier Granddaughter of the above-mentioned George du Maurier; wrote Rebecca , Jamaica Inn and the original short story on which The Birds was based.

Authors influenced by Gothic Fiction. Anime and Manga. The first Fullmetal Alchemist anime has Gothic Horror themes, with heavy emphasis on symbolism, despair and Tragic Villains. Traces of the genre are found throughout the series though, since it tends to overlap with Dark Fantasy. Shiki is a pretty blatant contemporary homage to the genre, taking place in a secluded location with vampires and having some serious moral dilemmas and in general questioning the morality of man. In addition it is also a clear homage to Stephen King 's 'Salem's Lot. Film — Live-Action. Nosferatu is often listed as the Ur-Example of the Gothic horror film genre, being a very loose adaptation of Bram Stoker's Dracula , one of the key entries in the original literary genre.

The Universal Horror movies of the early 20th century did not all belong to the Gothic subgenre, but their most prominent early specimen, namely the Dracula and Frankenstein laid the foundations of the then- and now-contemporary Gothic film expression. The ur-trifecta of Gothic horror films is rounded off by Dr. Hyde , which was produced by Paramount and therefore isn't part of the Universal Monsters franchise. The Black Room is not typically labeled as Gothic probably due to its dearth of supernatural elements , but actually contains a lot of Gothic elements, starting with a dark prophecy -slash-family curse of fratricide and a classical Gothic villain in Baron Gregor Boris Karloff , who is driven by his sexual desires to transgress against human and divine laws.

Vis-a-vis the Tyrant, we also have the pure and innocent Maiden Thea, whom he abducts and manipulates into marriage; the "doubling" motif with Gregor's Good Twin Anton, whom he murders to steal his identity ; and even a revenge-from-beyond-the-grave plot, when Gregor falls onto a knife still clutched in Anton's dead hands, fulfilling the prophecy of the younger brother killing the older. The Hammer Horror canon is a series of Gothic horror movies made by the British company Hammer Film Productions between the s and the early '70s.

They were influential enough for "Hammer horror" to become a distinct subgenre label that was also applied to entirely unrelated, but similar productions. A Cure for Wellness is a modern take on the genre, particularly drawing influence on Dracula with a young urban professional traveling to an imposing, Germanic castle where he encounters a monstrous immortal aristocrat who engages in a form of vampirism. Black Sunday 's style, cinematography and story hearkens back to older Gothic horror films of the s. In Fabric is an homage to s Gothic Horror. The witch-like staff of the mysterious department store enhance this aesthetic. Guillermo del Toro 's films The Devil's Backbone and Crimson Peak are both gothic ghost tales, set in a remote orphanage in s Spain and a decaying mansion in Edwardian England, respectively.

His other films consistently draw influence from classic gothic fiction as well even if they occupy various other genres themselves. Of all the possible films, Jurassic World: Fallen Kingdom goes in this route in the climax. The third act is set in a opulent Edwardian English estate on a dark and stormy night, with the characters being stalked by a bloodthirsty creature which is a product of freakish genetic mad science and slinks around on all fours in the shadows like a nightmarish werewolf or vampire. The Innocents - an adaptation of The Turn of the Screw - is set entirely in an elegant country mansion aside from a brief interview scene at the start.

Although it is a ghost story, there is enough ambiguity to suggest that Miss Giddens could be driven mad by the vastness of the house. She often only sees the ghost at a distance, reaffirming that anything could be hidden in such a large house. What Ever Happened to Baby Jane? One is confined to a wheelchair and the other is a recluse, and the horror comes from how the latter can torture her sister emotionally. The film was going to be shot in colour, but the lead actress Bette Davis pushed for it to be done in black and white to help with the Gothic image. Baby Jane 's Spiritual Successor Hush Hush, Sweet Charlotte utilises a Southern Gothic touch for a decaying plantation house. Charlotte becomes convinced that the house is haunted by her murdered lover Drew.

Gaslight is more of a thriller than a horror, but it involves a woman being driven mad while in a spacious London manor. The Reflecting Skin puts a midwestern spin on gothic fiction by setting a tale of serial killers, lust, and madness amongst amber waves of grain and rotting barns. The climax of the film takes place during the middle of the night in the mansion, as one of the characters to rescue the mother and her child.

The Brood is David Cronenberg 's take on Gothic Horror, updated to a late '70s institutional setting, with a dangerous psychiatric method unearthing deadly secrets and emotional trauma being physically expressed as Body Horror , and a remote patients' retreat location standing in for the requisite haunted castle. A good example of the Southern Ontario Gothic subcategory described above. Live-Action TV. One of the more popular and influential eras of Doctor Who — specifically, Seasons 12, 13 and 14 , featuring Philip Hinchcliffe as producer, Robert Holmes as script editor and Tom Baker as the lead — is sufficiently influenced by this movement to be known by the Fan Nickname "the Gothic Horror era".

American Horror Story: Asylum : Deeply flawed characters in an insane asylum run by people abusing both religion and science to their most inhumane extremes with occasional visits by enigmatic beings beyond human comprehension pretty much fits the bill. Penny Dreadful is set in Victorian Britain and weaves together various Public Domain Characters from classic horror literature in a story about the supernatural. Hannibal is a strange cross between this and a Police Procedural. The Haunting of Hill House , a reimagining of Shirley Jackson's novel , about a family who moved to a haunted Gothic-style mansion and subsequently had their lives torn apart by the horrifying events that transpired there.

The series places as much emphasis on family drama as it does ghosts. An American au pair with a Dark and Troubled Past takes a job at an old English country manor, caring for two young children who have experienced their fair share of trauma and exhibit disturbing behaviors. The house is definitely haunted in this adaptation in The Turn of the Screw things are kept more ambiguous , although the story also places a lot of emphasis on romantic drama and family tragedy; one character actually states in-universe that the series is more a love story than a ghost story, and Gothic fiction frequently blends the two.

Here, Tom—usually presented as a swaggering, brutish, and unkind—breaks down, speaking with "husky tenderness" and recalling some of the few happy moments in his and Daisy's marriage. This is a key moment because it shows despite the dysfunction of their marriage, Tom and Daisy seem to both seek solace in happy early memories. Between those few happy memories and the fact that they both come from the same social class, their marriage ends up weathering multiple affairs. Daisy and Tom were sitting opposite each other at the kitchen table with a plate of cold fried chicken between them and two bottles of ale. He was talking intently across the table at her and in his earnestness his hand had fallen upon and covered her own. Once in a while she looked up at him and nodded in agreement.

They weren't happy, and neither of them had touched the chicken or the ale—and yet they weren't unhappy either. There was an unmistakable air of natural intimacy about the picture and anybody would have said that they were conspiring together. They were careless people, Tom and Daisy—they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made.

By the end of the novel, after Daisy's murder of Myrtle as well as Gatsby's death, she and Tom are firmly back together, "conspiring" and "careless" once again, despite the deaths of their lovers. As Nick notes, they "weren't happy…and yet they weren't unhappy either. So the novel ends with them once again described as a unit, a "they," perhaps even more strongly bonded since they've survived not only another round of affairs but murder, as well. Neither Myrtle's infatuation with Tom or Gatsby's deep longing for Daisy can drive a wedge between the couple. Despite the lying, cheating, and murdering that occurs during the summer, Tom and Daisy end the novel just like they began it: careless, restless, and yet, firmly united.

The stubborn closeness of Tom and Daisy's marriage, despite Daisy's exaggerated unhappiness and Tom's philandering, reinforces the dominance of the old money class over the world of Gatsby. Despite so many troubles, for Tom and Daisy, their marriage guarantees their continued membership in the exclusive world of the old money rich. In other words, class is a much stronger bond than love in the novel. Tom and Daisy somehow end the novel with a stronger marriage! One of the single most important parts of your college application is what classes you choose take in high school in conjunction with how well you do in those classes.

Our team of PrepScholar admissions experts have compiled their knowledge into this single guide to planning out your high school course schedule. In contrast to Tom and Daisy, Myrtle and George were married 12 years before the start of the novel. You might think that since they've been married for four times as long, their marriage is more stable. In fact, in contrast from Tom and Daisy's unified front, Myrtle and George's marriage appears fractured from the beginning.

Although Myrtle was taken with George at first, she overestimated his money and "breeding" and found herself married to a mechanic and living over a garage in Queens, a situation she's apparently unhappy with 2. However, divorce was uncommon in the s, and furthermore, the working-class Myrtle doesn't have access to wealthy family members or any other real options, so she stays married—perhaps because George is quite devoted and even in some ways subservient to her. A few months before the beginning of the novel in , she begins an affair with Tom Buchanan, her first affair 2. She sees the affair as a way out of her marriage, but Tom sees her as just another disposable mistress, leaving her desperate and vulnerable once George finds out about the affair.

I heard footsteps on a stairs and in a moment the thickish figure of a woman blocked out the light from the office door. She was in the middle thirties, and faintly stout, but she carried her surplus flesh sensuously as some women can. Her face, above a spotted dress of dark blue crepe-de-chine, contained no facet or gleam of beauty but there was an immediately perceptible vitality about her as if the nerves of her body were continually smouldering.

She smiled slowly and walking through her husband as if he were a ghost shook hands with Tom, looking him flush in the eye. Then she wet her lips and without turning around spoke to her husband in a soft, coarse voice:. A white ashen dust veiled his dark suit and his pale hair as it veiled everything in the vicinity—except his wife, who moved close to Tom. As we discuss in our article on the symbolic valley of ashes , George is coated by the dust of despair and thus seems mired in the hopelessness and depression of that bleak place, while Myrtle is alluring and full of vitality. Her first action is to order her husband to get chairs, and the second is to move away from him, closer to Tom.

In contrast to Tom and Daisy, who are initially presented as a unit, our first introduction to George and Myrtle shows them fractured, with vastly different personalities and motivations. We get the sense right away that their marriage is in trouble, and conflict between the two is imminent. I never was any more crazy about him than I was about that man there. Here we get a bit of back-story about George and Myrtle's marriage: like Daisy, Myrtle was crazy about her husband at first but the marriage has since soured. But while Daisy doesn't have any real desire to leave Tom, here we see Myrtle eager to leave, and very dismissive of her husband. Myrtle seems to suggest that even having her husband wait on her is unacceptable—it's clear she thinks she is finally headed for bigger and better things.

Generally he was one of these worn-out men: when he wasn't working he sat on a chair in the doorway and stared at the people and the cars that passed along the road. When any one spoke to him he invariably laughed in an agreeable, colorless way. He was his wife's man and not his own. Again, in contrast to the strangely unshakeable partnership of Tom and Daisy, the co-conspirators, Michaelis briefly taking over narrator duties observes that George "was his wife's man," "worn out. Rather than face the world as a unified front, the Wilsons each struggle for dominance within the marriage. A moment later she rushed out into the dusk, waving her hands and shouting; before he could move from his door the business was over.

We don't know what happened in the fight before this crucial moment, but we do know George locked Myrtle in a room once he figured out she was having an affair. So despite the outward appearance of being ruled by his wife, he does, in fact, have the ability to physically control her. However, he apparently doesn't hit her, the way Tom does, and Myrtle taunts him for it—perhaps insinuating he's less a man than Tom. This outbreak of both physical violence George locking up Myrtle and emotional abuse probably on both sides fulfills the earlier sense of the marriage being headed for conflict. Still, it's disturbing to witness the last few minutes of this fractured, unstable partnership.

While Tom and Daisy's marriage ends up being oddly stable thanks to their money, despite multiple affairs, Myrtle and George's marriage goes from strained to violent after just one. In other words, Tom and Daisy can patch things up over and over by retreating into their status and money, while Myrtle and George don't have that luxury. While George wants to retreat out west, he doesn't have the money, leaving him and Myrtle in Queens and vulnerable to the dangerous antics of the other characters.

The instability of their marriage thus seems to come from the instability of their financial situation, as well as the fact that Myrtle is more ambitious than George. Fitzgerald seems to be arguing that anyone who is not wealthy is much more vulnerable to tragedy and strife. As a song sung in Chapter 5 goes, "The rich get richer and the poor get—children"—the rich get richer and the poor can't escape their poverty, or tragedy 5.

The contrasting marriages of the Buchanans and the Wilsons help illustrate the novel's critique of the wealthy, old-money class. Myrtle and George are a very slow burn that eventually explodes. The relationship at the very heart of The Great Gatsby is, of course, Gatsby and Daisy , or more specifically, Gatsby's tragic love of or obsession with Daisy, a love that drives the novel's plot. So how did this ill-fated love story begin? Five years before the start of the novel, Jay Gatsby who had learned from Dan Cody how to act like one of the wealthy was stationed in Louisville before going to fight in WWI.

In Louisville, he met Daisy Fay, a beautiful young heiress 10 years his junior , who took him for someone of her social class. Gatsby maintained the lie, which allowed their relationship to progress. Gatsby fell in love with Daisy and the wealth she represents, and she with him though apparently not to the same excessive extent , but he had to leave for the war and by the time he returned to the US in , Daisy has married Tom Buchanan.

Determined to get her back, Gatsby falls in with Meyer Wolfshiem, a gangster, and gets into bootlegging and other criminal enterprises to make enough money to finally be able to provide for her. By the beginning of the novel, he is ready to try and win her back over, ignoring the fact she has been married to Tom for three years and has a child.

So does this genius plan turn out the way Gatsby hopes? Can he repeat the past? Not exactly. In the first chapter, we get a few mentions and glimpses of Gatsby, but one of the most interesting is Daisy immediately perking up at his name. She obviously still remembers him and perhaps even thinks about him, but her surprise suggests that she thinks he's long gone, buried deep in her past. This is in sharp contrast to the image we get of Gatsby himself at the end of the Chapter, reaching actively across the bay to Daisy's house 1. While Daisy views Gatsby as a memory, Daisy is Gatsby's past, present, and future. It's clear even in Chapter 1 that Gatsby's love for Daisy is much more intense than her love for him.

Then it had not been merely the stars to which he had aspired on that June night. He came alive to me, delivered suddenly from the womb of his purposeless splendor. In Chapter 4, we learn Daisy and Gatsby's story from Jordan: specifically, how they dated in Louisville but it ended when Gatsby went to the front. She also explains how Daisy threatened to call off her marriage to Tom after receiving a letter from Gatsby, but of course ended up marrying him anyway 4. Here we also learn that Gatsby's primary motivation is to get Daisy back, while Daisy is of course in the dark about all of this.

This sets the stage for their affair being on unequal footing: while each has love and affection for the other, Gatsby has thought of little else but Daisy for five years while Daisy has created a whole other life for herself. Daisy and Gatsby finally reunite in Chapter 5, the book's mid-point. But this initial dialogue is fascinating, because we see that Daisy's memories of Gatsby are more abstract and clouded, while Gatsby has been so obsessed with her he knows the exact month they parted and has clearly been counting down the days until their reunion. They were sitting at either end of the couch looking at each other as if some question had been asked or was in the air, and every vestige of embarrassment was gone.

Daisy's face was smeared with tears and when I came in she jumped up and began wiping at it with her handkerchief before a mirror. But there was a change in Gatsby that was simply confounding. He literally glowed; without a word or a gesture of exultation a new well-being radiated from him and filled the little room. After the initially awkward re-introduction, Nick leaves Daisy and Gatsby alone and comes back to find them talking candidly and emotionally.

Gatsby has transformed—he is radiant and glowing. In contrast, we don't see Daisy as radically transformed except for her tears. Although our narrator, Nick, pays much closer attention to Gatsby than Daisy, these different reactions suggest Gatsby is much more intensely invested in the relationship. Gatsby gets the chance to show off his mansion and enormous wealthy to Daisy, and she breaks down after a very conspicuous display of Gatsby's wealth, through his many-colored shirts.

In Daisy's tears, you might sense a bit of guilt—that Gatsby attained so much just for her—or perhaps regret, that she might have been able to be with him had she had the strength to walk away from her marriage with Tom. Still, unlike Gatsby, whose motivations are laid bare, it's hard to know what Daisy is thinking and how invested she is in their relationship, despite how openly emotional she is during this reunion. Perhaps she's just overcome with emotion due to reliving the emotions of their first encounters. His heart beat faster and faster as Daisy's white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning fork that had been struck upon a star.

Then he kissed her. At his lips' touch she blossomed for him like a flower and the incarnation was complete. In flashback, we hear about Daisy and Gatsby's first kiss, through Gatsby's point of view. We see explicitly in this scene that, for Gatsby, Daisy has come to represent all of his larger hopes and dreams about wealth and a better life—she is literally the incarnation of his dreams. There is no analogous passage on Daisy's behalf, because we actually don't know that much of Daisy's inner life, or certainly not much compared to Gatsby.

So we see, again, the relationship is very uneven—Gatsby has literally poured his heart and soul into it, while Daisy, though she obviously has love and affection for Gatsby, hasn't idolized him in the same way. It becomes clear here that Daisy—who is human and fallible—can never live up to Gatsby's huge projection of her. I can't help what's past. Here we finally get a glimpse at Daisy's real feelings— she loved Gatsby, but also Tom, and to her those were equal loves.

She hasn't put that initial love with Gatsby on a pedestal the way Gatsby has. Gatsby's obsession with her appears shockingly one-sided at this point, and it's clear to the reader she will not leave Tom for him. You can also see why this confession is such a blow to Gatsby: he's been dreaming about Daisy for years and sees her as his one true love, while she can't even rank her love for Gatsby above her love for Tom. Despite Daisy's rejection of Gatsby back at the Plaza Hotel, he refuses to believe that it was real and is sure that he can still get her back.

His devotion is so intense he doesn't think twice about covering for her and taking the blame for Myrtle's death. In fact, his obsession is so strong he barely seems to register that there's been a death, or to feel any guilt at all. This moment further underscores how much Daisy means to Gatsby, and how comparatively little he means to her. She was the first "nice" girl he had ever known.

In various unrevealed capacities he had come in contact with such people but always with indiscernible barbed wire between. He found her excitingly desirable. He went to her house, at first with other officers from Camp Taylor, then alone. It amazed him—he had never been in such a beautiful house before. But what gave it an air of breathless intensity was that Daisy lived there—it was as casual a thing to her as his tent out at camp was to him.

There was a ripe mystery about it, a hint of bedrooms upstairs more beautiful and cool than other bedrooms, of gay and radiant activities taking place through its corridors and of romances that were not musty and laid away already in lavender but fresh and breathing and redolent of this year's shining motor cars and of dances whose flowers were scarcely withered.

It excited him too that many men had already loved Daisy—it increased her value in his eyes. He felt their presence all about the house, pervading the air with the shades and echoes of still vibrant emotions. In Chapter 8, when we get the rest of Gatsby's backstory, we learn more about what drew him to Daisy—her wealth, and specifically the world that opened up to Gatsby as he got to know her. Interestingly, we also learn that her "value increased" in Gatsby's eyes when it became clear that many other men had also loved her.

We see then how Daisy got all tied up in Gatsby's ambitions for a better, wealthier life. You also know, as a reader, that Daisy obviously is human and fallible and can never realistically live up to Gatsby's inflated images of her and what she represents to him. So in these last pages, before Gatsby's death as we learn the rest of Gatsby's story, we sense that his obsessive longing for Daisy was as much about his longing for another, better life, than it was about a single woman. Daisy and Gatsby's relationship is definitely lopsided. PayPal Donations and Patreon Supporters: Click one of the following if you want to make a small donation to support the future development of this tool. AntFileSplitter A freeware text file splitting tool.

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With further analysis, The Open Window Character Analysis positive evolution understandably would be impossible without voyeurism—or as Robin Wood puts it in his book Hitchcock's Films Revisited"the indulging of morbid curiosity and the consequences of that indulgence. But I don't know what every column is. Adam Shepard Research Paper Chapter The Open Window Character Analysis, we learn Daisy and Gatsby's story from Jordan: John Mandels Station 11 Analysis, how they dated The Open Window Character Analysis Louisville The Open Window Character Analysis it ended The Open Window Character Analysis Gatsby went to the front.