At the onset of A Tale of Two Cities, the backstories of key characters are quite vague, but as the novel progresses, eventually fall into place. The background of Dr. Manette in particular has been especially convoluted, as major concepts are neglected and intentionally left out. In previous chapters, Dickens has mentioned Manette’s time in prison, but has not gone much further than this. However, in Chapter Nineteen, entitled “The Opinion,” Dickens gives readers a much clearer look into Dr. Manette’s unstable mental state through his extensive conversation with Jarvis Lorry. In addition, a greater understanding for Dr. Manette is developed as there is no longer quite as much mystery surrounding his past.
He believes in no religion, feels no love, and shows no emotion. Just like he covered up his problems with alcohol, he also uses the “cover” and comfort of Catherine’s hair to escape. It’s very easy to see how Henry has focused heavily on the physical pleasures of life, especially due to his lack of feelings. Because of all this, one might come to believe Henry is indeed a static character, but I feel that is not the truth. Henry learned many lessons about life throughout the timeline of the book and I feel these are the reasons he is a dynamic character.
Thus, in the opening lines, Meursault is “not presented as a son mourning for his mum” (Shobeiri), which is pivotal in understanding Meursault’s role as an absurd man. Before and during the vigil, “Meursault’s senselessness and indifference to everything except physical sensations are noticeable” (Shobeiri). Before the vigil, Meursault desires a cigarette, but hesitates because he is unsure as to whether he should do it in front of his dead mother or not. He decides to have the smoke after saying “it didn’t matter” (Camus 8). Meursault’s slight desire to have a smoke was more important to him than showing respect for his recently deceased mother.
Meursault, the protagonist and narrator in The Stranger, is a dispassionate person who shows no emotional attachment to events and couldn 't care less about consequences of any event. Meursault is an outsider to his peers due to his unusual reactions to various events like death, marriage, and trial. People try to see deeper in Meursault, however his actions clearly shows what he values. In Albert Camus’, The Stranger, Meursault’s lack of emotions towards his mother reveals that Meursault views life as meaningless, regardless of whether times are sad, happy, or violent. A man’s relationship with his mother tells all about what kind of person he may be.
Each work explores the existential consequences of their respective protagonist’s situation through the use of archetypes in order to expose issues in the societies in which they live. Ultimately, both Crime and Punishment and “The Unknown Citizen” function as studies of the societies in which their characters live and thus their own societies. “The Unknown Citizen” and Crime and Punishment share the theme of existentialism, portrayed through the main characters of each work. Auden explores the consequences of existentialism through the subject of a man only memorialized by the facts of his life that fit societal standards whereas Dostoevsky explores this concept through a character suffering from his own delusions of grandeur. Auden’s unknown citizen is referred to only by a government identification number, which immediately strips the man of any individualism.
“Maybe we stop our campaigning for a while. Maybe we should go into hibernation…” (Yousafzai, pg.118). Her proud, fearless father was shaken in a way that Malala had never seen before. Any father would act this way, he didn’t want anything to happen to his daughter. Malala, as brave as she is, remained calm in the presence of death and let her father know “No one can stop death.
Throughout the novel, readers follow the character of Raskolnikov. Every crime has to have a motive, and Raskolnikov 's crime is no different. His theory of ordinary vs. extraordinary people is part of the foundation in which Raskolnikov justifies the murder of the old pawnbroker. Despite confessing to the police, Raskolnikov does not seem to have remorse for murdering the old pawnbroker. It is not until the Epilogue that readers get to see how Raskolnikov is able to see the error in his ways.
The dialogue indicates the loyalty of the criminals for the head mobster and how they are expected to be loyal. Along with the inciting incident, morality is present between two characters and the decision of one of them. As well, self-interest is reflected in the climax to determine who gets to live and who dies. The events which took place throughout the screenplay indicates Reservoir Dogs is a tragedy due a change of the initial heist plans turning bad. To begin, the dialogue in the screenplay indicates there is loyalty amongst the recruited robbers and the head criminal.
Throughout the trial, Atticus does many things to help his family and everyone around him. Right before the trial starts Aunt Alexandra come sand moves in the house to help take care of Scout and Jem (Gillespie). Atticus knowing he is a single parent and needs help at this time isn 't afraid to ask which can be the most thoughtful thing that you can do. During Atticus’s cross-examination of Mayella Ewell, Mayella says she is scared of Attius. Instead of getting upset and raising his voice, Atticus become as calm as someone can be and politely ask her questions to where she cannot be scared of him (Harris).
Reflective Statement, The Stranger Throughout the interactive panel discussion for The Stranger, I learned about how Camus’s views were reflected in his novel and differences between the societies of the novel and of real life. The story’s protagonist, Meursault, is seen by reader as an existentialist but he has certain traits where he could be perceived as someone who wants a connection but has difficulty receiving it. I also learned about how other people viewed Meursault's character in relation to the society. To begin with, the author Albert Camus’s views and personal life of society contributed to Meursault’s behavior and the story’s tone. It is implied that Meursault felt no grief when his mother died because Camus