Compare The Ostler and The Darkness Out There Essay Example

who belong to a group that aids elderly individuals with tasks such as cleaning and gardening. During one of their assignments, they visit an elderly woman who shares a story about abandoning a young German soldier to die during the war.

The children are frightened and come to understand that people's minds can be more terrifying than witches, wolves, or ghosts. The stories were written in separate centuries, with The Ostler from the 19th century and The Darkness Out There from the 20th century. There are noticeable distinctions between them that highlight this fact. The most evident distinction is that an ostler, a profession that no longer exists, is prominently featured in The Ostler. Ostlers worked at inns, taking care of the horses belonging to travelers who were staying overnight.

In The Ostler, Isaac, the main character, feels obliged to marry his fiancee despite discovering that she is the woman who attempted to kill him in his dream. This action may be unlikely in today's society as perspectives on morality and duty have shifted. Although manipulative female characters still exist in various narratives, aspects of Rebecca's background would be atypical in a 20th-century setting. It is evident that she hails from a high social class but has experienced a downfall of sorts.

The reason for her current state when Isaac initially encounters her is unclear, but common possibilities include becoming pregnant out of wedlock or engaging in a relationship with a married man. It is also feasible that she has treated other men similarly to how she treats Isaac, and this may have played a role in her downfall. The language employed in The Ostler signifies that it

is a tale from the 19th century, employing lengthy words like "woebegone" and intricate sentences that extend the descriptions.

In many 19th century stories, like Wuthering Heights, the technique of using a narrator who hears a story from another character was frequently employed. The Darkness Out There, however, is clearly a 20th century story as indicated in the first paragraph. The central character, Sandra, recalls something that was said to her, and the language used by the person speaking is contemporary and informal, with words like "wonky" and abbreviations like "op". In contrast to The Ostler, the language used throughout The Darkness Out There is more direct and uncomplicated. It predominantly utilizes shorter words and simpler sentences that promptly convey the message.

Despite its apparent simplicity, The Darkness Out There is not without complexity. Lively skillfully embeds subtle clues that allude to a deeper uneasiness, which may go unnoticed upon first reading but still create a sense of discomfort. One such example is the description of the field, which appears idyllic but features plants with unattractive names: "ox-eye daisies and vetch and cow parsley." Additionally, the pleasant weather turns out to be excessively hot.

Sandra's head feels parched and burns from the sunburn she has acquired. When Mrs Rutter is initially introduced, her face is likened to a smooth and joyful reservoir where her eyes shine and move quickly. The social backgrounds of both characters provide additional evidence suggesting that the story originates from the 20th century. Sandra comes from a respectable, middle-class family and views Kerry with disdain, believing him to be of low worth. She perceives a class distinction between them, which is likely nonexistent

as no indications are given that her family holds greater wealth than Kerry's.

Sandra's desires include finding love, having a comfortable house in the countryside, and starting a family. In contrast to Sandra, Kerry's goal is simply to secure employment at the nearby garage. The difference between their attitudes is evident – Kerry's goal is practical while Sandra's remains relatively unclear. However, despite these differences in their narratives, both stories exhibit significant similarities in structure. Both stories incorporate a "story within a story" element where one or more characters are told a tale by another character.

The main focus of The Ostler is the story within a story and the other characters are not well-developed. Conversely, in The Darkness Out There, the story within a story plays a smaller role in the overall narrative while the other characters hold more importance. Furthermore, The Ostler is narrated in third person whereas the rest of the stories are told from a first-person perspective. However, this pattern is reversed in The Darkness Out There. A recurring element in The Ostler revolves around Isaac's birthday, which holds significance as it is on this day that he has a dream, encounters Rebecca, and falls victim to her attack.

According to the landlord, Isaac is most anxious on his birthday. This behavior is described in the story as "the fatal parallel". The Ostler does not follow the typical horror story standards of the 21st century as there are no extremely violent occurrences - Rebecca attempts to kill Isaac but fails, both in the dream and in reality. Nevertheless, it incorporates many elements commonly found in horror stories, including the eerie atmosphere of a

"lonely roadside inn" and a supernatural theme. The Darkness Out There ultimately explores the idea that people are often different from how they appear.

Sandra's assumptions are all proven wrong. She expects Mrs Rutter to be a "dear old thing," but she is actually incredibly evil. Sandra also looks down on Kerry and considers her childish, but Kerry turns out to be more mature and perceptive than Sandra. Furthermore, Sandra is mistaken about Packer's End; she believes it is a frightening place where witches, wolves, or ghosts lurk. However, by the end of the story, Sandra realizes that it is simply a dump, and the true terrifying aspects are people's minds. This theme even applies to the story as a whole.

Despite the expectation of a typical horror story set in Packer's End, The Darkness Out There deviates from this genre. Instead, it shares similarities with fairy tales. These resemblances include the presence of dark woods, two children visiting an old lady's cottage, and the old lady initially appearing pleasant but revealing her evil side. However, it is worth noting that fairy tales were originally akin to horror stories, as they were used to scare children.

The Darkness Out There can be seen as a modern fairy tale, with a similar build-up of tension as seen in The Ostler. In the beginning of the story, Isaac is portrayed as an elderly man in a dreadful state, leaving the reader curious about his past. This opening section creates a high level of tension through the use of short sentences and impactful words such as "restless" and "sudden," urging the reader to read hastily. The narrator admits to feeling startled,

with their heart beating rapidly.

The tension is heightened by the recurring theme of unfortunate events occurring on his birthday. Knowing that Isaac is unlucky, you anticipate that something negative will happen to him. The setting of a secluded inn on a stormy night follows the conventional elements of a horror story, aiming to evoke unease and anticipation of a dreadful occurrence. The meticulously described ghostly attack, with its specific details like "light grey eyes" and "a droop in the left eyelid," foreshadows its significance in the future.

The text illustrates how the weather on the night just before Isaac meets Rebecca is reminiscent of the night he stayed at the roadside inn. This similarity increases the suspense and serves as the initial indication that she is the woman from his dreams. In horror stories, weather often carries symbolic meaning, reflecting past or impending disturbing events, and in this case, it reflects Isaac's troubled mental state at least during his first encounter. Further evidence that Rebecca is the dream-woman emerges when she is described as both "beautiful" and "thoroughbred," augmenting the tension in a subtle manner.

The tension escalates when Rebecca proposes deceiving Isaac's mother about her identity, indicating that she is not going to be portrayed as a "good" character. The initial encounter between Rebecca and Isaac's mother is charged with tension, as their reactions towards each other are significant. Our doubts about Rebecca are validated, and her unkindness becomes evident when she storms out of the house in anger, declaring Mrs Scatchard's mental instability. This incident marks the beginning of her tormenting Isaac, ultimately forcing him to decide between his mother and his wife.

The description

of Rebecca as "something [Rebecca] darkened the parlour window... a sudden chill ran through him." and "that fatal face" adds to the tension and implies that Rebecca possesses supernatural abilities. The gradual revelation of Rebecca's character, the death of Isaac's mother, and the impending approach of his birthday serve to further increase the tension before the ultimate attack. The title of The Darkness Out There also contributes to the anticipation of a harrowing story.

Compared to "The Ostler," this narrative begins with minimal tension. The initial paragraphs are leisurely and consist of lengthy sentences. Tension gradually develops through the depiction of Packer's End and subtle, unsettling implications regarding the field. The young girl venturing into the woods alone follows a common fairy tale scenario, usually indicating imminent danger. These elements create a sense of foreboding, causing readers to anticipate something frightening. Consequently, when the line "he rose from the plough beyond the hedge" appears, it startles both Sandra and the audience.

The text points out that appearances can be deceiving, as Kerry is the only one involved in this situation. This serves to challenge Sandra's assumptions and create tension, contributing to the eerie atmosphere. Sandra's self-awareness adds to her vulnerability, particularly when Mrs Rutter begins making inappropriate comments like "Pull [your skirt] up a bit, its only me to see if you're showing a bit of bum." The fragmented structure of the story also heightens the tension.

The story is composed of numerous small paragraphs, creating a fast-paced, fragmented atmosphere as it shifts between different elements. The advantage of these short paragraphs is that they are easier and quicker to read compared to longer sections of text, facilitating

a swift progression of the story. Throughout Mrs Rutter's recounting of the tale about the German airman, interruptions occur when she pauses to sip her tea or tend to the fire, despite the scorching weather. Kerry also disrupts the narrative by accidentally dropping his spoon and moving his chair away.

The tension is heightened as we eagerly await the unfolding events. Kerry's alarmed responses are in stark contrast to Mrs Rutter's composed demeanor while narrating the tale. In general, the tension intensifies due to our anticipation of a typical horror story and the unexpected revelation of a real-life situation. The significant location in The Ostler is the "desolate roadside inn," a quintessential setting for a horror story - it is secluded, situated in an unfamiliar region, and the character encounters it amidst a tempestuous night.

The passage describes the "bleak autumn wind" as both "dreary and awful to hear". Additionally, the meticulousness with which the inn is secured, including the detailed depiction of the "bolts, bars, and iron-sheathed shutters", implies a sense of fear regarding what lies beyond its walls. This particular setting often found its way into horror stories due to the vulnerability experienced by characters when alone in an unfamiliar location. In "The Darkness Out There", significant settings include the field, Packer's End, Mrs Rutter's cottage, and her garden.

The field at Packer's End is sunny and pleasant, with polleny summer grass that glinted in the sun and the silken grass being seethed by the wind. However, unlike this peaceful scene, Packer's End is a completely different location. Similar to the inn in The Ostler, it has a classic horror story setting, with the dark reach

of the spinney adding to its eerie atmosphere. Sandra's changing fears as she grows up are represented in this dark and scary place. When she was little, she was afraid of witches and wolves, but as a teenager, her fears changed to rapists and the ghosts of German airmen. In contrast, Mrs Rutter's cottage resembles more of a fairy tale setting rather than a horror story location.

The cottage, nestled in a dip beyond the hedge, appears isolated and reminiscent of stories like Little Red Riding Hood or Hansel and Gretel, suggesting that Mrs Rutter may not be an ordinary old lady. In a similar vein to the witch in Hansel and Gretel, she offers biscuits to her guests and even going as far as making the room uncomfortably hot by adding coal to the fire on a sweltering summer's day. At first glance, the cottage embodies a typical "old lady" setting, with beribboned kittens and flowery milkmaids. However, upon closer inspection, it feels stuffy with a scent of cabbage. These subtle hints go unnoticed by most, contributing to the reinforcement of the stereotype surrounding the cottage.

Sandra's idealized vision of a countryside retreat is contradicted by the garden, which is referred to as "bedraggled" and "matted". The garden is compared to a war zone, with metaphors like "spent vegetables" and "no-man's land". In The Darkness Out There, the characters Isaac and Sandra can be compared to one another. Both are depicted as naive and innocent figures commonly found in horror stories. Isaac's lack of intelligence is emphasized, making him easily manipulated by Rebecca. This evokes pity and sympathy from the audience.

Although Sandra believes she is mature,

she lacks cleverness and is more susceptible to Mrs Rutter's influence, as Kerry notices the strange aura surrounding her before Sandra does. Isaac is adamant in his determination, which proves futile when he insists on marrying Rebecca, stating, "I have promised to marry, mother, and marry I must." Sandra's aspirations are unrealistic; she desires a country house but despises dirt, saying, "One day she would have a place in the country, but not like this," and expressing her disdain for dirt. Despite Sandra's perception of herself as mature, Kerry is actually far more mature.

By the end of the story, the main character has undergone a significant change, demonstrating her maturity. This transformation is illustrated through her realization about Packer's End. She discovers that the place is not inhabited by wolves, witches, tigers, nor prowling individuals or ghostly voices as she initially imagined. Instead, it consists of discarded metal pieces overlooked by people searching for mementos. Two figures, namely Rebecca Murdoch and Mrs. Rutter, embody evil in the narrative. They symbolize different perspectives of evil in the 19th and 20th centuries, yet they share several similarities. Notably, both women play crucial roles in the story and this aspect holds considerable significance.

Despite the societal expectation that women are supposed to be loving and caring, the concept of an evil woman remains more fearsome than an evil man. Both contradict the attributes typically associated with a wife or mother. Mrs Rutter commits an unnaturally cruel act, abandoning a child who is no more than a toddler to perish. Conversely, Rebecca Murdoch, instead of providing love and support to her spouse, unreasonably ruins his life, attempts to murder him,

and leaves him traumatized. Notably, their names are intentionally chosen - "Murdoch" phonetically resembles "murder," which reflects her attempt to harm Isaac, while "Rutter" is an unpleasant term resembling "rotter" or "nutter."

Victorian men categorized women into two distinct types: whores or virgins; likening them to either Mary Magdalene or the Virgin Mary. Within this spectrum, Rebecca falls more towards the "whore" end, thereby attracting disdain from Victorians. In addition, the ambiguity surrounding her possession of supernatural abilities adds to her daunting nature. She is often portrayed in a menacing manner with descriptions such as, "Something darkened the parlour window" and "That fatal face." Similar to Mrs Rutter, Rebecca possesses certain peculiarities in her appearance, such as a droop in her left eyelid. While Mrs Rutter embodies genuine evil rooted in reality rather than the supernatural.

In the 20th century, attitudes towards the supernatural have changed due to scientific advancements. This has resulted in a decreased belief in ghosts compared to a century ago. The characterization of Mrs Rutter is significant, as she is described as having a friendly appearance with vibrant and lively eyes. However, this description serves to surprise and unsettle the reader. Mrs Rutter invades Sandra's privacy in a disturbing manner, commenting on her physical shape and urging her to maintain it. Mrs Rutter demonstrates cruelty not only towards the German airman but also towards Kerry and Sandra.

The woman intentionally makes the children uncomfortably hot by constantly adding more coal to the fire, despite the already scorching weather. Additionally, she deliberately pauses the story at critical moments, hoping that the children will ask questions, even though she knows that the story is dreadful and

will frighten them. Ironically, she continuously mentions her ability to empathize with young people, despite the fact that she abandoned a 20-year-old German soldier to die and is now being incredibly cruel to these children. Once she finishes telling the story, she displays no remorse, intensifying the feeling of horror. She neither assisted the soldier nor sought help for herself, demonstrating her lack of care. Ultimately, she exhibits traits of wickedness.

Both Mrs Scatchard and Kerry share similarities. They are portrayed as being more sensible compared to the main characters, Isaac and Sandra. Mrs Scatchard, in particular, exhibits a protective nature towards Isaac and possesses a clearer understanding of things compared to him. She is portrayed as superstitious, keeping a record of the dream's details and recognizing Rebecca. On the other hand, Kerry is looked down upon by Sandra but demonstrates greater maturity, realism, and perceptiveness. His aspirations for the future are more practical and specific than Sandra's, as he mentions being hired at the garage. Similarly to Mrs Scatchard's discernment with Rebecca, Kerry senses that something is strange about Mrs Rutter before Sandra does, saying "I don't go much on her."

He is more emotionally impacted by the story compared to Sandra. He has been raised to view women as caring and nurturing individuals, making it horrifying for him to contemplate that a woman could mistreat someone in that manner. His reactions are more obvious and exaggerated than Sandra's, as illustrated by phrases such as "The boy's spoon clattered to the floor" and "The boy shoved his chair back". Sandra's perception of him changes over time, going from considering him "not up to much" to recognizing

that "he had grown - his anger eclipsed his acne." I have discovered that there are multiple distinctions between 19th and 20th century literature. The different time periods in which these stories were written influence how the characters behave and what they fear.

Despite the complicated language and structure typical of 19th century literature, The Ostler is ultimately a more straightforward horror story as it revolves around the fear of violence rather than the complexities of the human mind. Both stories parallel each other in that not much actual horror occurs, but rather they focus more on the characters' fears. Personally, I found The Ostler to be less appealing compared to The Darkness Out There, as it delves into supernatural horror that only affects the character within the narrative, thus lacking the same impact on me.

I enjoyed The Darkness Out There because it is thought-provoking and relatable, which adds to its chilling effect. Sandra undergoes a transformation at the end of the story. Despite the absence of fictional witches, wolves, tigers, and lurking men in the woods, she does not feel any better. The old fears were somewhat comforting as it was reassuring to imagine being in a place like Packer's End where those fears did not exist. However, the new fear cannot be ignored or escaped from because it resides within her - within every human being who has the capacity for unspeakable horror.