Frankenstein’s creature initially shows no signs of ill will or malice when first encountering human beings (Shelley 72-73). On the contrary, through careful observation he is able to learn more about human society and personal relationships. He begins to admire the close connection between the people he observes and respects their virtue. This, however, makes him realise what he is missing. Observing the love and affection between others only increases the effect his own solitude has on him.
Monsieur Lantin and his lady had the perfect marriage, falling deeper in love with one another by each passing day. The rising theme of irony, however, proves that appearance can overshadow reality. It creates tension between an intended meaning and a literal statement, used as a form of dry humour to provoke the reader. Throughout his short story, The False Gems, Guy de Maupassant emphasizes several forms of irony to display the universal theme of deviousness. Monsieur Lantin’s lady was thought to be an idyllic wife, but readers soon found out that the love between the married was an illusion.
He boasts about his wisdom and clarity in understanding the way society works. While this is true, he does understand society, he does not understand his daughters, particularly Nise, who he likens to a female Don Quixote. There is also verbal irony in the second act, when Laurencio speaks about love, stating it can move mountains. His commentary on love is verbally ironic because the idealism he has when he speaks of love is completely contrastable to how he treats love, as a financial incentive and a way of ensuring he has enough money to correspond to his noble blood. Verbal irony is apparent is Lope de Vega’s own narrative, the turning point of the play is when Finea has a breakthrough of sense and develops a strategy into duping everyone she is still la dama boba to solve the problem of Liseo’s renewed interest in her.
However, that subtle clue of a good man can be considered as contradictions of the grandmother. She calls Red Sammy a good man just because he has a same idea with her: nostalgia. Also the grandmother calls the Misfit who is actually an evil, a good man to persuade him into not shooting her. Therefore, good men that she calls are too subjective since she only says good men for her personal idea. Then what the criteria can be a good man?
She did not have much hope left anyways for her life because she annoyed the misfit with her ugly and selfish ways. In another quote the grandmother implies that the misfit is a good man by stating, "Yes it's a beautiful day," said the grandmother. "Listen, " she said, "You shouldn't call yourself the misfit because I know you're a good man at heart. I can just look at you and tell" (421). The grandmother doesn't know the misfit from Adam, yet she already gave him a persona that he has to match.
According to notablebiographies.com Tobias Wolff “tries to treat his characters honestly once he has developed them”. Also his "standards of honesty and exactness," and his refusal "to destroy his characters with irony that proved his own virtue." is evident in this short story. Even if this means the reader cringes at the dialogue of the characters such as: "You fat moron,", "I guess you think I 'm a complete bastard. ", and "If you want to piss and moan all day you might as well go home and bitch at your
His obsession with figures and punctually can stem from the void that is left from the fabricated happiness, he has been conditioned to love what he does, but so as to not question their methods he focuses on his numbers. His four month monogamous relationship with Lenina at the beginning of the novel shows that while he conforms to many of the rules there are some he is willing to bend for her enjoyable company. His thoughts on humanity, though faint, do give hope that he does understand that the methods of the World State are questionable and can be seen as inhumane. Despite these small unconformities he doesn 't dwell on them too much knowing that nothing good can come from them, as they are not made to question the ways of the World
At first, Mr. Wickham is loved by the readers, seeming to be the perfect bachelor for Elizabeth. By the end of the novel, Mr. Wickham is seen as the enemy, a lowlife character full of empty promises. His lies add crucial back story in order for the readers to understand where the characters came from and their connections. The love triangle between Elizabeth, Darcy, and George is the focus of the readers. In the end, readers are astonished to find that the men that they saw as the good guy and bad guy are really reversed.
Through his act of self-sacrifice, Carton absolves his crude past and gains respect from readers. In Charles Dickens’s A Tale of Two Cities, Sidney Carton’s love for Lucie Manette is the driving force which ultimately redeems his character at the end of the novel; his capacity to love another person transforms his character from a self-centered alcoholic to a selfless hero. Charles Dickens quickly informs his readers of the impertinent and egoistic nature of Sidney Carton’s character. Described as “careless” and “fully half-insolent”, Carton is introduced to readers as someone who has little respect for anyone, including himself. While drunk in a tavern with Charles Darnay, Carton expresses, “‘You know I have been drinking...you shall likewise know why...I care for no man on earth, and no man on earth cares for me’” (Dickens 84).
He does not shed a tear or become hysterical over what he has heard, proving once again his sanity remains intact. The unmistakable depression found within the “to be or not to be” soliloquy is lost in this adaptation as it is calmly said by a Hamlet who is lying atop a bed. He speaks as if he is tired of solving some difficult math problem instead of life. There is also the problem of how this Hamlet does act his age, furthering the notion he is putting on an act of madness. This Hamlet is stable, mature, and emotionally intelligent.