The skull beneath the skin part two by p.d . james

1. The skull beneath the skin part two by p.d. james presentation by melaniesugeng

2. SIMON: • Angst teenager with skittish behaviour, deemed a little bit of a basket case • Youngest character • Step-son to Clarissa • Stoic aloofness ROMY LISLE: • Frivolous figure of lackadasical lucidity • Appears gregarious if not flamboyant • While elegant, “appears sweaty in discomfort” when besides Clarissa • Obliviously obnoxious TOLLY: • Loyal and Practical, conducts a professional aura to others • Revealed later that child died • Strict and disciplinary she acts as a juxtaposition to Clarissa’s audacious spirit • Clarissa’s servant Introducing characters to which we are greeted with a bountiful concoction of exuberant souls who each contribute to the grappling suspense of the skull beneath the skin.

3. CLARISSA: • Central figure • The archetypical diva with anti-hero qualities in consideration to her personality which appears candor and callous, a manifest of self-indulging supremacy. Her imperious expose regards her as a woman of conceited arrogance. Sumptuous and stingy, she represents ultimate self-priority unlike it’s distant cousin of self-preservation which Cordelia deposits. • Fearful of her own mortality thus fearful of death. • Lecherous, later events symbolically determine her inner and outer ‘ugliness’ through the preposition of her physical condition when found. Introducing characters to which we are greeted with a bountiful concoction of exuberant souls who each contribute to the grappling suspense of the skull beneath the skin.

4. Cordelia is on her way to Courcy Island where she will stay to supervise and secure the safety of Clarissa Lisle. • Cordelia accustoms herself to the various characters who are in alliance to her employer. • Introduction of the main setting “before anyone had a chance to respond, the launch had turned the eastern edge of the island and the castle itself suddenly came into sight.” CHAPTER EIGHT PART TWO

5. Further elaboration and description of the ‘manor’ setting. • Clarissa pulls Cordelia aside to properly introduce her and get to know her. “It wasn’t, thought Cordelia, an auspicious introduction. The woman neither smiled nor spoke, but Cordelia didn’t feel that the steady gaze which met her own held any resentment” / “The envelope in her pocket confirmed that the job was real…wits against a human adversary at last.” • Clarissa then asks Cordelia to fetch Simon as if she is an inferior being who is in Clarissa’s power to boss around. CHAPTER NINE PART TWO

6. Further elaboration and description of the ‘manor’ setting. • Clarissa pulls Cordelia aside to properly introduce her and get to know her. “It wasn’t, thought Cordelia, an auspicious introduction. The woman neither smiled nor spoke, but Cordelia didn’t feel that the steady gaze which met her own held any resentment” / “The envelope in her pocket confirmed that the job was real…wits against a human adversary at last.” • Clarissa then asks Cordelia to fetch Simon as if she is an inferior being who is in Clarissa’s power to boss around. CHAPTER TEN PART TWO

7. Direct and indirect characterization of Simon- we are notified that he often feels “anxious, paranoid, guilt and failure” most likely on account of his step-mothers treatment to him. Identifies his fathers death, Simon ruminates. • Simon and Tolly’s relationship. • They converse about Clarissa, Tolly informs Simon of her phobia to death. “Supposed she die, what would you do then?” / “She thinks she is going to die, sometimes when people think that strongly enough they do die.” CHAPTER ELEVEN PART TWO

8. Backstage and before the play which Clarissa is going to star in. • Embellishing details on props and dresses that mimic a Victorian aesthetical theme. • Clarissa shows her menacing self when she throws a tantrum at the Scottish box which isn’t actually a music box. • “Lugubrious disgust at finding himself semblance of realism.” CHAPTER TWELVE PART TWO

9. Introduced with Cordelia walking along the beach and ruminating over her father. • Reference to Clarissa who played Macbeth which is an allegory to the crime/forensics of an isolated household. • Talks about Tolly’s daughter • Talks about how Clarissa’s sexual innuendos and past affairs (mainly from Ambrose to whom she is a mistress to). • “The family with a small ‘f’ served the Family with a large ‘F’ for three generations.” shows classism and is percieved as “horrible, ridiculous and degrading- it’s Victorian” which seems to be used in a negative aspect. CHAPTER THIRTEEN PART TWO

10. Omnipresent third person narrator expresses Cordelia’s disdain for the island and her longing for the “solid reassurance of the mainland, of towns and fields and hills ranged at her back.” This may indicate that the level of disorder is simply too unbearable or that she is still not comfortable with such an alienated prospect. • The meals at dinner implies Clarrisa’s eminent wealth. • Dinner conversations turn stoic and frigid and the mannerism of the guests (pushing food around or leaving it untouched and sitting on the plate) ensures the structural aspect of tension in crime fiction has now been introduced. CHAPTER FOURTEENAND FIFTEEN PART TWO

11. Shifted to Ivo’s POV at the start of chap 16. He recalls the dinner party to be “sufficiently grim” and had “every intention of getting quietly but thoroughly drunk.” • Self-disgust at Clarissa’s ability to manipulate and provoke him. • Cordelia enjoys herself for the night and sings with Ambrose and Roma by the piano which is being played by Simon and is “linked by her enjoyment, seemingly unaware of their audience, transposing and consulting, choosing and comparing and collapsing into laughter when a piece proved beyond their range or competence.” • The mirthful mood is thwarted when Clarissa storms who promptly but unnessicarily dampens the mood by stating her departure. This shows her thrive for attention and attitude of imperiousness, stating that she believes that her absence should be recognized and perhaps even halted. Indirect Characterization. CHAPTER SIXTEEN PART TWO

12. Cordelia notices Clarissa’s mannerism and excuses herself quietly, denying the offer to drink with Ambrose. She walks into Clarissa’s room with authority and does not even knock. • Clarissa bluntly rebukes Cordelia and says that she was “hired as a detective not an after-dinner entertainer” which settles the apparent expectations and assumptions of the narrow-minded host. Cordelia is too tired to counter this attack. • Clarissa is shown to appear distant despite requesting Cordelia’s presence herself and acts as if her vanity procedure for the night is more important than anything. Cordelia with the observant nature of her personality finds herself studying Clarissa’s face and drawing impressions, more so flaws than not. • They discuss Simon much to Cordelia’s discomfort in fears of saying the wrong thing. • Cordelia suggests that Tolly might be behind the letters but Clarissa who views Tolly as a loyal follower shoots this idea down immediately, scorning Cordelia and asking “whatever put that idea into your head?” • Clarissa uses accusation to get others to sympathize her and manipulates Cordelia’s words to think that she has trying to judge her. Basically a bitch to be honest. CHAPTER SEVENTEEN PART TWO

13. T H E E N D YEAR 12 CRIME FICTION EXTENSION ENGLISH COURSE 2013