The most hated plot in America is the underdog’s demise- the empathetic pain of scrutiny, and the failure we all miss to escape. The scrawny, glasses-wearing outsider is often the underdog, the hero we all cheer for. The one who makes all the refinements in a society that is stagnant to change. And his most successful storytelling, or retelling, is that in the setting of high school. He walks awkwardly down the hall with his shoulders slightly hunched inward and mouth slightly ajar.
Wilhelm Reich once wrote “A little man does not know he is little and is afraid to know. He hides his pettiness and narrowness behind illusions of strength and greatness”(). So then, what does that say about societies that hide their pettiness and narrowness between the covers of time-honored works of literature? Axiomatically, one must deduce that such social orders are cast within a matrix of irrational fears. Phobias that in maturation bring forth the illusion of greatness and strength by reactionary hostility, hatred, and violence.
It enabled the readers to see beyond the surface of things and people, into deeper meanings. In the end, even through the rather judgmental filtration of the narrator’s view, Reb Saunders was presented as a very complex, conflicted, and multifaceted character. He represented the dangers of fanaticism and harmful isolationist behavior, but he also showed a profound, painful love for Danny and a deeply human sense of the importance of empathy and
Since the very first attempts at establishing civilization, the human race has strived to keep their animal like instincts at bay. Thousands upon thousands have failed, and erupted into chaos, but why? In “The Lord of the Flies” by William Goldberg, a group of young boys is stranded on an uncharted island during the events of World War 2. They eventually turn on one another as they become entranced by the hypnotic curse of savagery. The theme of civilization vs. savagery plays an essential role in the text and it becomes clear that the savagery of humans is solely controlled by the rules and order created through civilization.
In William Golding’s classic novel, The Lord of the Flies, Golding demonstrates the dark reality sleeping underneath humanity’s supposedly civil nature. To accomplish this, he follows the struggles of a group of stranded boys, whose paranoid isolation on the island leads to their degradation as a civilization. As one of the castaways, Simon stands as an integral part of the tribe throughout the novel. While his peers turn to savagery, he finds himself changed in a different way--an outcast among his wild peers due to his role as a symbolic Christ-figure. In this way, Golding develops Simon’s character into a religious symbol to highlight the group’s fall from grace, as they turn against the only inherently good and moral character on the island.
Incestuous sexual desire is deemed immoral by the superego, yet the id can successfully repress the superego at times to form the Oedipal or Electra complexes, thereby introducing a darker dimension into the concept of familiar love, and probing readers to question love in relation to morality. The complexes also illustrate the repression of Lear’s masculine power as he loses his superiority in relationships and politics, which contributes to the destructive three-way relationship of love, power and morality. The Shakespearean notion of love is inevitably connected to larger ideas of power and morality, though the existence of each concept may also potentially cause the demise of
A Clockwork Orange by Anthony Burgess is a dystopian novel that was published in 1962. It depicts a period of time where a reckless, disrespectful culture specific to younger people has emerged. Within the novel, Burgess brings to light one significant idea in particular. This concept is that free will, and a balance of good and evil are a fundamental part of human nature. Through various examples, A Clockwork Orange displays that, without these crucial factors a person loses their humanity, the removal of evil creates only an illusion of good, and that forcing the choice of good can be just as dangerous as allowing the choice of evil.
Consider the Importance of the Title of the Novel in Relation to the Events in the Novel ‘The Catcher in the Rye’. The title ‘The Catcher in the Rye’, by the American writer J.D. Salinger, has a significant connection to the story; It portrays the protagonist, Holden Caulfield, and his feelings towards young adult life. Throughout the novel, Holden perceives adulthood as ‘corrupted’, vulgar and tragic. While admiring children for their kindness, genuine nature and innocence, he believes in the idea that adult corruption has ruined virtuous children.
Stephen clearly recognizes his state of mortal sin and he acknowledges the interconnection of his lust and pride. It is possible to see the wading girl episode as the complete deliverance of Stephen from the restraints imposed on his sexuality by the church. Joyce seems to think that certain aspects of egocentricity are essential in the development of an artist. For instance, it would perhaps not have been possible for Stephen to find his true identity or his real vocation as artist without the following expressions of his egocentricity: Firstly, he feels compelled to excel at Belvedere in essay writing; secondly, he shows his defiant non-conformism in his encounter with Heron; thirdly, he is so rebellious that he identifies himself with Lucifer; lastly, his pursuit of individuality is ruthless, and it is this pursuit which shatters the collective ties to family, nation and religion. In case of Paul
In fact, Kennedy 's and Fornes ' characters use writing diaries to portray their imaginative world, their fear, hopes and how the cultural and social rules that lead them to eventual destruction. Through writing their diaries, these characters travel through imagination and consequently feel desperate and depressed when facing the ugly reality. H. Abbot argues that" in diary fiction of any psychological pretension, the diarist is usually concerned with greater or less intensity, to see himself through the agency of his diary"(25). However, the dairy does give the diarist the exact image "because of its lying and misrepresentation, becomes the lens through which the artist can catch glimpses of his unpresentable self"(Abbot 27). In Abingdon Square, Fornes portrays the story of a young Marion, who marries the old Justor.