Whereas, Edgar Allen Poe, author of The Cask of Amontillado, uses an ambiguous relationship between Fortunato, a man full of ego and arrogance, who wrongs protagonist Montresor. In both stories, the Antagonists believe themselves above the laws of society and nature; and this ultimately leads their respective demises. The arrogant never realize that their own arrogance leads to their downfall. The characters,
From beginning to end, Irving demolishes the credibility of the myth, with things such as the invention of the historian Knickerbocker to the judge. Irving points out the flaws that exist in America through the use of Rip. When he does not recognize himself this is synonymous with America’s inability to recognize or define themselves. The society is not in harmony with its thought’s and action’s which disillusions the purpose of the myth giving them a sense of identity. Irving plays off of various inspirations and his character Rip undergoes the typical heroic journey.
I. Introduction A. Literature Review The Rocking-Horse Winner has been widely read as a Lawrentian fable accounting the “，nemesis of the unlived life” (Martin 65) in a lower middle class family. Debates has been raged over whether this story is of objective impersonality under modernism standard. While Martin highlights the story’s self-consciousness by its technical perfection, Burroughs, leaning towards Leavis, Hough, Gordon and Tate, insisted RHW’s inefficiency for its lack of imagination and failure to present life in a naturalistic objective standard, and indicated that its didactic purpose relying on the boy’s death is an outdated Victorian pathos (Burroughs 323).
In contrast, Adam Bede achieves a sinister psychological impact through its striking representational absence of children, but evokes a disappointingly shallow depiction of youth in the characterization of Hetty Sorrel. This notion of childhood, whether as a temporal vacuum of spiritual harmony or as a site for base selfishness, emerges as a primary recurring theme in both novels, but is used to a far greater effect in The Mill on the Floss. Early in the narrative of The Mill on the Floss, the narrator
In his novel The Stranger, Albert Camus creates an emotionally incapable, narcissistic, and, at times, sociopathic character named Meursault to explore and expose his philosophies of Existentialism and Absurdism. Throughout the story Meursault follows a philosophical arc that, while somewhat extreme - from unemotional and passive to detached and reckless to self-reflective - both criticizes the dependent nature of human existence and shows the journey through the absurd that is our world. In the onset of The Stranger, following his mother’s death, Meursault acts with close to utter indifference and detachment. While the rest of “maman’s”(9) loved ones express their overwhelming grief, Meursault remains unphased and, at times, annoyed at their
As a result of our author's commitment to realism, the representation of this fictionalized colony is enriched with accuracy while Doyle's portrayal of the Indian Mutiny was strikingly unreliable. It is worth noting that realism is one of this novella's distinguishing characteristics. As a matter of fact, it genuinely depicts humanity's primitiveness including the natives' childlike gullibility, the traders' deliberate wickedness, and the missionaries' unwavering religious devotion. Another clear evidence of realism in Stevenson’s narrative is the use of dialect. While Doyle shrewdly weaves cockney into The Sign of Four, Stevenson's tale attempts to represent an evolving and unstable dialect of English generally known as Pidgin.
Kirillov is viewed with good-humoured irony as a professed communist who is yet very much Indian at heart. Kirillov is proclaimed by the novelist as an ‘Inverted Brahmin’ (CK: 119) probably in the sense that as a Marxist, and quite unlike a true Brahmin. He has place the material ends of life over the spiritual. As a spokesman of India and all that is best in Hinduism, the protagonist remains a simple and unified personality but the sway of an alien ideology over his mind brings all the complexity in his character. The equation in his case is reversed as he uncritically receives what the West gives to a rational and inquisitive mind, changing the Brahmin into an anti-Brahmin.
Sahgal focuses on cultural identity, a phenomenon that is very delicate, especially in a country having a diversified culture like India. Her concern for a united nation caught within the clutches of a multicultural society is brought to the lime light. Mistaken Identity is set in the twilight years of British rule in India. The novel centers around the year of 1929, India is torn by strikes, the British Raj is close to panic, and Bhushan Singh, the purposeless but amiable son of a minor Raja, is arrested on his train journey home to north India, mistakenly charged with treason, and thrown into jail. Around the mystery of his arrest and into his stories Sahgal infuses suspense, gentle irony, and a wealth of Northern India’s culture.
Hartley 's The Go-Between (1953) analyse the present by looking backwards, searching for the flaws that cause the desolation of the individual speaking in the present. This return to a personal past shows, above all, why innocence has been the main casualty of war, and suggests that despite its apparent placidity, the best that the pre-war world could offer in social terms was inherently corrupt. The idea that civilisation contains the seeds of corruption is perhaps best expressed in William Golding 's Lord of the Flies (1954). In this novel Golding does not examine a particular moment of the recent past, but childhood, as the site where adult civilised values are implanted, only to find there sheer
As a post modern novelist Kiran Desai’s Hullabaloo in the Guava Orchard depicts a biting satire of the nutty situations of human nature in various aspects of Indian society by the interplay of fantasy and reality. Unlike Rushdie’s ‘imaginary homelands’ Desai’s Hullabaloo in the Guava Orchard suggests the vulnerability of natural havens and of any attempt at retreating from society and aims to examine “the difference between what things are and what they ought to be”(Pollard,3). She portrays a kaleidoscopic picture of Indian culture, tradition and ethos by a simple form of narrative; the story is told by a third-person narrator. The vivid description of everyday, Shahkot echoes R.K.Narrayan’s Malgudi in its evocation of small- town of India.