Authors Context 1-.docx

What is the author’s context in doing literary piece? Francis Bacon’s writings fall into three categories: philosophical, purely literary, and professional. Bacon’s philosophy emphasized the belief that people are the servants and interpreters of nature, that truth is not derived from authority, and that knowledge is the fruit of experience. Bacon is generally credited with having contributed to logic the method known as ampliative inference, a technique of inductive reasoning. Bacon’s method was to infer by use of analogy, from the characteristics or properties of the larger group to which that datum belonged, leaving to later experience the correction of evident errors. Upon knowing it, what is your context as a reader Francis Bacon claims that studies serve purposes of "delight," "ornament," and "ability." In his view, studies help enrich life for both enjoyment and practical purposes. However, key to his point of view, Bacon also believes that moderation is necessary to make the most useful studies. He thinks that one should not study so much that it distracts from applying one's studies and living. Bacon says dishonest men condemn education ; silly men admire education ; but wise men use learning as they dictate their real world. He warns the trained person not to unnecessarily use his education to argue with people ; not to assume that education leads to good behavior or understanding, not to use education just to focus on conversations with others. In fact, Bacon argues that education should not be read, but their advice should be ignored ; other books, totally ignored ; and some books, "Chewed and Digested," should be perfectly understood and used as guiding conducts. Furthermore, Bacon advises that some books can be read by others who take notes and that the notes are substituting the reading of a complete book.

How do these contexts relate and how do they differ? Bacon encourages studies, he warns that 1) too much studying leads to laziness; 2) if you use your knowledge to talk to others too frequently, you are shown; and 3) One only becomes a scholar and not a practical man to be guided by one's studies. Bacon's argument about the value of studies is that moderation is the key to using studies appropriately: studies are wonderful only if influenced by experience because a person's natural abilities are enhanced by studies, but studies without experience, lead to confusion in dealing with the outside world. History, argues Bacon, makes people wise ; poetry intellegent ; mathematics smart ; logic and rhetoric, skillful in argument. Bacon believes that it is not a problem to think that the appropriate study can not fix – just as the right physical exercise cures physical diseases. Each mental disorder has a cure - for example, Bacon advise the law study if a person can not use certain facts to prove the truth of an unrelated set of facts.

What is the author’s context in doing literary piece? Edgar Allan Poe's literary style is very dark, with many supernatural meanings. Poe has a unique and dark way of writing. His mysterious style of writing appeals to emotion and drama. Poe’s most impressionable works of fiction are gothic. His stories tend to have the same recurring theme of either death, lost love or both. Many of Poe's stories and poems are written in 1st person point-of-view and the narrator is nearly always untrustworthy. In this way, Poe's stories come across as scary/mysterious in themselves, but additionally eerie due to a creepy narrator. Poe is also known for creating compelling atmosphere in all of his stories. As a literary element, atmosphere is the combination of a specific setting and tone. Poe often creates an eerie or spooky atmosphere through setting stories in remote places and adding to the already spooky place bad weather and illness. Upon knowing it, what is your context as a reader Montresor doesn't like Fortunato because of the thousands of injuries he has caused, wounds he bears magnanimously, but when Fortunato resorts to insult, Montresor vows revenge, a revenge that excludes punishment and a revenge that makes Fortunato fully aware of who gets the revenge. It's Carnival in Italy and there's a premium for good wine. In order to exact his revenge, Montresor uses stratagy to lure Fortunato in his underground vaults. Fortunato, ever so happy to show his wine wisdom, agrees to accompany Montresor to test the wine in the catacombs, hoping to expose Montresor as a fool, ironic, considering Fortunato's costume of the fool. Two things allow the plan of Montresor to succeed: Fortunato is exceedingly drunk; Montresor is a master of reverse psychology and irony. Numerous times, he cautions Fortunato about his cough and declares his desire to go to Luchesi–whom we know little more than Fortunato thinks he is an "ignoramus." This mention of Fortunato's rival makes him all the more eager to prove Montresor's imbecility in buying Amontillado from a huckster. The two go down the old corridor when Montresor suddenly strings Fortunato to a wall, where he has been since then. How do these contexts relate and how do they differ? As in several of Poe's stories, the terror of "The Amontillado Cast" resides in the fact that there are no evidence accompanying Montresor's claims for "thousand injuries" to Fortunato and his "injuries." Law is not on the radar screen of Montresor — or Poe's — and the permanent horror of the story is punishment without evidence. In this narrative, Montresor makes himself an abusive narrator, using his subjective experience of Fortunato's insult. This story is confessed by Montresor fifty years after its occurrence, which is made all the more unreliable by such an important passage of time between the events and the events. Poe often uses foreshadowing to build suspense in this story. For instance, Montresor answered when Fortunato said "I won't die of cough," "True," because he knew that Fortunato will die of dehydration and hunger in the crypt. Also Montresor is forecasting future events in the description of his family's coat of arms. A human foot is on the shield, which crushes a holding snake. The foot is Montresor in this

picture, while the serpent is Fortunato. Fortunato hurt Montresor, but Montresor crushed him ultimately, although with biting insults. The Masons conversation also predicts Fortunato's disappearance. He challenges the claim of Montresor that he is a member of the Masonic order and insidiously answers Montresor by a visual pun. If, by showing his trowel, he declares that he is a mason, he means that he's a literal stone mason— that's, he builds things out of stones and morter, that's the grave of Fortunato. “For the love of God, Montresor!” has provoked much critical controversy. Some critics suggest that Montresor has at last brought Fortunato to the pit of desperation and despair, indicated by his invocation of a God that has long left him behind. Other critics, however, argue that Fortunato ultimately mocks the “love of God,” thereby employing the same irony that Montresor has effectively used to lure him to the crypts. What is the author’s context in doing literary piece?