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Dill is the best friend of both Jem and Scout, and his goal throughout the novel is to get Boo Radley to come out of his house. The children concoct many plans to lure Boo Radley out of his house for a few summers until Atticus tells them to stop. In chapter 5 of the novel, Dill promises to marry Scout and they become "engaged."
Atticus Finch, the narrator's father, has served as a moral hero for many readers and as a model of integrity for lawyers. The historian Joseph Crespino explains, "In the twentieth century, To Kill a Mockingbird is probably the most widely read book dealing with race in America, and its main character, Atticus Finch, the most enduring fictional ...
Over the summer, Jem, Scout, and their friend Dill play games and often search for Arthur "Boo" Radley, an odd, reclusive neighbor who lives with his brother Nathan. The children have never seen Boo, who rarely leaves the house. Occasionally, Jem has found small objects left inside a tree knothole on the Radley property.
Narration is the use of a written or spoken commentary to convey a story to an audience. [1] Narration is conveyed by a narrator: a specific person, or unspecified literary voice, developed by the creator of the story to deliver information to the audience, particularly about the plot: the series of events.
Baggage (House) Barney's Version (novel) Baron Bagge; Batman: The Killing Joke; Battlefield 1; Baudolino; The Beginner's Guide; Beyond Apollo; Big Fish; The Birthday Boys; The Black Cat (short story) Black Chalk; Black Swan (film) Blood and Guts in High School; Blubber (novel) The Book of the New Sun; The Book of the War; The Butcher Boy (1997 ...
The second stanza, where the narrator describes Dial Hill as the "stony Mount", is connected to William Crowe's Lewesdon Hill (1788). It is possible that Reflections could have been an imitation of Crowe's poetry. [19] In terms of Edenic imagery, including types of plant life, Coleridge's are connected to John Milton's Paradise Lost Book Four.
In any narrative, the focal character is the character on whom the audience is meant to place the majority of their interest and attention. They are almost always also the protagonist of the story; however, in cases where the "focal character" and "protagonist" are separate, the focal character's emotions and ambitions are not meant to be empathized with by the audience to as high an extent as ...
Whichever definition of unreliability one follows, there are a number of signs that constitute or at least hint at a narrator's unreliability. Nünning has suggested to divide these signals into three broad categories. [12] Intratextual signs such as the narrator contradicting her or himself, having gaps in memory, or lying to other characters