The article discusses the moral-scheme of Henry Fielding’s novel Tom Jones that has been labeled as corrupt and immoral by most of its contemporary critics. It analysis the reasons for being treated as such. Seemingly immoral characters Tom’s admirable qualities are highlighted and what forces him to behave vilely is also studied. Instead finding him unrighteous, the author argues that he is normal human with its equal share of goodness and weakness that makes tom’s character a lifelike, a welcome change from divinely pure, pious and one- dimensional characters as portrayed by fielding’s contemporary novelists. Fielding did not want to create a necessarily moral text that ignored the truth of how people are.
Although Faustus is a brilliant scholar, he becomes a tragic hero by the end of the play due to Faustus’ failure to recognize Lucifer and Mephistopheles’ deceitful influence. They take advantage of the fact that Faustus thinks very highly of himself and will go as far as to sell his soul to the devil to prove that he is the amazing scholar and hero that he believes himself to be. At the beginning of the play, Faustus is deemed to be a hero. He is a scholar of theology, medicine, law, and logic. But, despite his scholarly achievements, he is still humble and true to himself.
In the play, Caliban is inferior to Prospero; in the poem, he is inferior to the god Setebos. He is portrayed as a subject in both works; however, this subjugation does not dehumanize him. Browning enhances Shakespeare’s play by communicating that Caliban’s humanity is reinforced not only by his emotions, language, and beliefs but also his submission to higher powers, which reveals Caliban’s acceptance of his own powerlessness and mortality. Colonialism was a prevalent issue during Shakespeare’s time, and The Tempest reflects the injustice of how conquered people were rendered powerless by their conquerors. There were frequent
TV shows such as the CW’s Riverdale are notorious for being overly melodramatic and pointlessly complicated simply for the sake of drama. Books hiding under the cover of discussing “real world issues” that do not actually offer any comment on the issues are huge sellers because they tease at the idea of having a strong meaning. People love to identify with worst-case scenarios but hate to actually live them. As a result, books like the ones mentioned above are easy sellers, and thus, publishers love to push
Harold Frederic, a journalist for The New York Times praised the story 's originality, saying, "The Red Badge impels the feeling that the actual truth about a battle has never been guessed before" (Merrill). However, not all the reactions were positive: some critics were disturbed by Crane 's young age, disapproved of his poor grammar, and found his gruesome imagery troubling, instead of impressive. The most negative and notorious criticism of the novel came from General Alexander McClurg, who bashed the novel as "a vicious satire upon American soldiers and American armies", further berating Crane 's work for his lack of patriotism (Owens). Ultimately, however, by the following year, Crane 's novel was in eighth place on the international bookseller 's list ("Critical Reception…"). Henceforward, Stephen Crane 's The Red Badge of Courage became one the most famous war novels of
The Holocaust is not an easy subject to talk about, let alone read an entire book or watch an full movie on the affair. Yet, to present the despicable situation in a tasteful manor that not only causes people to think, but also creates such strong emotion is truly brilliant writing. That is exactly what is found in both Night and “Life is Beautiful.” Both of these works are masterpieces in their own right. It is truly a spectacle that both of these works cover the same harsh topics yet feel so completely different. Night and “Life is Beautiful” are both similarly fantastic works, however, it is their differences that make them stand out.
• Zimbardo, P. Resisting situational influences and celebrating heroism. In The Lucifer Effect: Understanding How Good People Turn Evil, New York: Random House, 2007, pg. 444-488. The popular image of a hero is skewed by media’s overrepresentation of born-leaders, who are valiant, risk physical injury or even death, and are known to save damsels in distress. However, I like how this reading broke this limited perspective of heroism because not all heroes fall under that same category.
Hassen views his wife Salima as ‘flaccid' (Essop  1998: 71) with many inadequacies' (Essop  1998: 67) and has an overly negative view of his wife; however the narrator shows that Salima is kind and caring as she helps Catherine and visits Karim (Medalie 1998: xxix). Hassen's patriarchal view of society exposes gender inequality as a social inequality, also shown in ‘Devil at a Dead End'. Lastly, the climatic event of the ‘The Hajji' can be contrasted with that of ‘Devil at a Dead End'. When Karim dies without Hassen having visited him he feels conflicted emotions but ultimately wishes that he could have shown his brother ‘a final act of love' (Essop  1998: 81). While Hassen finds no closure in his brother's death and regrets his actions showing that he is not as powerful as he thinks he, in contrast, the girl on the train found power in a hopeless situation to overcome a horrid fate - showing that she held more power than she thought she was capable of.
“The comedy in Narayan,” Moore states, “emerges from the presentation of absurdity that comes from deviation from accepted Indian customs.” (57) With a remarkable truthfulness and compassion Narayan depicts the gap between the pretense and the actual modes of behavior. A strong sense of sympathy; accompanies the narration which is often maintained in an almost bland tone. The irony operates in multiple directions involving both the older and the younger generation in The Vendor of Sweets exposing the shallowness and selfishness of both. When Jagan learns of his son Mali 's desire to go to America to learn the craft of story¬telling, he is baffled and furious as well. It was outrageous and hurt his national pride Jagan’s reaction is undoubtedly parochial and chauvinistic and there is a dig at his sense of national pride closing his mind to new influences.
Anton Chekhov is renowned for his great short stories and classic dramas and, although his plays have a focus on domestic life, they were rather hard to grasp by Stanislavsky and most contemporary audiences (King n.d.). While the actors could get into characters they were rather stereotypical and seemed to miss the ironic humour of Chekhov’s writings (Styan 1981: 77). This also brings up the problems faced by modernist historians: when tracing the defining aspects of modernism what should be considered, the performance or the performance text? Chekhov’s first play The Seagull was booed on its opening night yet was a success when put in the hands of Stanislavsky (King n.d.). The work between these two contemporaries has demonstrated the evolution of tradition, however, it has proved to not always be fitting to a 21st century environment (Jones