By Louisa May Alcott
This assortment represents the easiest of Alcott's grownup oeuvre, beginning with A sleek Mephistopheles, a dismal Faustian story encouraged through A lengthy deadly Love Chase. The tales during this quantity reveal dramatic depth and exciting, suspenseful plots that express Alcott to be a fancy and passionate author. Readers will become aware of inside of this maelstrom of homicide, deceit, obsessive wish, treachery, duplicity, and betrayal that love and honor can nonetheless overcome all.
The e-book takes its name from the story "A Whisper within the Dark," arguably Alcott's high-gothic masterpiece, a narrative of imperiled innocence.
Also featured are: "The Abbot's Ghost," considered one of Alcott's few thrillers that employs the supernatural; "Perilous Play," a sensationalist tale during which she means that with the precise stimulation—in this example hashish—even the blameless display a gloomy facet; and V.V.; or Plots and Counterplots, fraught with ardour and jealousy that introduces the mysterious Virginie Varens, the darkest heroine in all of her paintings.
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Additional resources for A Whisper in the Dark: Twelve Thrilling Tales by Louisa May Alcott
Reimagining Religious Extremes While the ﬁrst verse paragraph of “Satire 3” identiﬁes religious devotion with the courage to abandon secular pursuits in order to ﬁght traditional Christian enemies, the second paragraph identiﬁes it with the courage to seek true Christianity in a world of warring, state-imposed sects. Those who simply accept one of the national churches provide Donne with satiric examples of how not to seek true religion. Some of the satiric portraits have Juvenalian models, but their careful arrangement recalls Horatian depictions of opposite deviations from the mean rather than Juvenal’s looser mode of progression.
He claims that the Christian’s fear of God is in fact “greatest courage” [summa . . 17). Adapting Lactantius’s point, Donne identiﬁes the fear of damnation with “great courage” (ll. 15–16) and claims that the truly courageous, God-fearing man dares to confront the most terrifying things, the “foes” of God, the infernal triad of the devil, world, and ﬂesh that the poet proceeds to describe (ll. 33–42). In a paradox asserting that “only Cowards dare dye,” Donne argues from the Aristotelian premise that courage is a mean between recklessness and DONNE AND THE PERSONAL MEAN 25 cowardice to a radically non-Aristotelian conclusion.
A further pun reenforces Graccus’s self-serving suppression of crucial distinctions. ” Donne’s elegy “On his Mistris” uses the pun when he begs his beloved not to follow him as a disguised page and not to “change / Thy bodies habit, nor mindes” (ll. 32 The pun on “habits” undercuts Graccus’s love of all churches: while the dressing of a church or woman may not matter, their “divers habits” in the sense of divergent dispositions deﬁne them as good 30 CHAPTER ONE or bad. The names Phrygius and Graccus clarify Donne’s attitude toward their positions.