The thing is, in the story, the the townspeople are represented as the chorus. So they express their feelings about Creon stating, “fortunate is the man who has never tasted God's vengeance!/ Where once the anger of heaven has struck, the house is shaken/ For ever: damnation Rises behind each child”(Sophocles 465-467). In a way his people are mocking him, they call him lucky for not feeling the anger of the Gods because he is going against the the Gods. Being arrogant to his religion Creon creates a conflict between him, his State, and the Gods.
He says, “But Polyneices, killed as piteously, an interdict forbids that anyone should bury him or even mourn.” (192). Through disobeying the Gods, Creon implies that his laws are more important than the Gods. Creon’s disregard towards the Gods, explains why he dismisses Tiresias’s power. Creon’s overall power grants him his free will.
The noun “despair” communicate his desire to be dominant over others and cause them the reason to fear him like the God. Ozymandias here is comparing himself to the Gods as inferred in the words” king of kings”. Shelley paints an unflattering picture of the pharaoh, perhaps to show his dislike for monarchs and rulers. Shelley uses enjambment to perhaps represent something ‘ongoing’- which is of course what the Pharaoh wanted: immortality. And to be considered to have been powerful forever The line “Look on my works, ye mighty, and despair” seem idiculous and pathetic as no-one is looking at all.
In The Stranger by Albert Camus, the main character, Meursault, struggles to conform to the societal norms that are expected of him due to him being an absurdist. Absurdism is based on the idea that the universe has no order or meaning and that humanity’s search for meaning to the universe is fundamentally futile. As an absurdist, Meursault views society’s standards and rules as unnecessary and pointless and because of this belief, he does not grieve after losing his mother because he feels it to be unnecessary. His lack of grief, however, contrasts with his neighbor, Salamano’s, intense grief after losing his dog on the street despite having a poor and relationship with his dog. Salamano’s grief represents the societal norms of grieving, and
Friar Laurence did not even try one bit to help out Romeo and calm him down after he had gotten banished. The Friar had just started yelling at Romeo and kept saying that he should stop being ungrateful for his punishment because it was not that bad of a punishment. He could have been executed. Friar needed to be more supportive of Romeo’s banishment because Romeo
For instance, The reader knows that the narrator is a bad brother when the brother renames him Doodle. The brother says,"It was perhaps the kindest thing I ever did for him because nobody expects much from someone called Doodle" Hurst 8. Renaming a loved one would be an act of kindness but not renaming someone a rude name. He renames him Doodle because his little brother is weak and doesn't do anything; he is invalid. This shows the brother brings him down instead of lifting him up.
The notion of Caulfield’s desire to live as a “poor deaf-mute bastard”(Salinger 1994:179) where “they’d leave me alone”(Salinger 1994: 179) is a prime example of Caulfield’s wish to become detached and alienated from those around him. Through alienation and detachment from those around him, he avoids confrontation and interaction with people which he believes will be the saviour of his own self falling victim to phoniness. However, as Caulfield acts quickly to criticize and label others as, “that was the phoniest bastard I ever met in my life” (Salinger 1994:12), he does not realise that he is actually guilty of the phoniness that he so easily labels others with. Holden Caulfield exhibits a clear dislike for the idea of change, where he shows visible signs of fear towards this idea, “Certain things they should stay the way they are” (Salinger 1994:110). Caulfield finds safety and security in The Museum of Natural History, “I loved that damn museum” (Salinger 1994:108) as it an example of the ideal stagnant and predictable world that Caulfield longs for, “The best thing, though, in that museum was that everything always stayed right where it was” (Salinger 1994: 109).
In chapters 14-16, Mary Shelley teaches the readers that the monster is very lonely and didn 't have any friends. Satan had his companions, fellow-devils, to admire and encourage him; but i am solitary and abhorred.” The monster yelled and asked his creatour why he created him and him only and asked why Victor made him so ugly looking. “Do not despair. To be friendless is indeed to be unfortunate, but the hearts of men, when unprejudiced by any obvious self-interest, are full of brotherly love and charity.
He depicts his “solid flesh”, urging it to melt and “resolve itself into a dew (129-130). Shakespeare emphasizes his grief - he truly is upset. Hamlet even calls to “the Everlasting”, wishing he had not deemed “self-slaughter” to be a sin (131-132). His cries “O, God! God!”
Crawling backwards made him look like a Doodlebug, […] because nobody expects much from someone called Doodle.” Society’s attentiveness is predominantly towards the aspects of and in this story Doodle’s impairment seemed to have negative impacts on him that the society has caused. His brother saw him as a burden in many ways. Doodle must be treated gently as he was forbidden from certain activities and conditions, at the same time he was embarrassed to have a crippled brother at the age
Equality 7-2521 tries to persuade them to listen to him, telling them that he gives them "the power of the sky" and the "key to the earth." The scholars respond, saying, "What is not done collectively cannot be good” (Rand 73). Ayn Rands anthem shows opposition to collectivism through the topics, selflessness, family, and invention One way Ayn Rand shows opposition to collectivism is with selflessness, for example “Men never see their own faces and never ask their brothers about it, for it is evil to have concern for their own faces or bodies” (rand 61). Individuals in the dark ages are not allowed to see their face or bodies because that would reinforce sense of individual self.
But you’re not, you’re not, and let you remember it! Let you look sometimes for the goodness in me, and judge me not.” (Miller 70). Here again John shows hypocrisy. He berates his wife for keeping such a cold and judgeful disposition, as if he is free of qualms.
Kingsolver’s first goal of the Poisonwood Bible is proposing how an individual could make peace with the aftermath of their worst mistakes and flaws, as shown through the voices of the Price girls. Kingsolver’s decision to leave Nathan Price voiceless represents the seemingly untouchable arrogance and offensiveness of large powers that drag peaceful innocents into conflict for their own gain. Nathan has no voice because Kingsolver wanted him to be viewed from the outside. Nathan is the uncontrollable darkness that festers in humanity; he is the crimes of a previous generation that are inherited by a new, unsympathetic one that is helpless to change its past and must come to terms with it. Therefore Kingsolver’s main goal of the Poisonwood Bible was for different generations and their individuals to question their preexisting beliefs and spark moral conversations and debates amongst each
Many times it is not because of age that the mind goes crazy, but the length of time a sane mind is kept in an unhealthy environment. The authors use the adjunct characters in both King Lear, by William Shakespeare, and Sunset Boulevard, by Billy Wilder, to indicate why the main characters, Lear and Norma, are so delusional. Comparing the two we can see a pattern of “loyalty to a fault” that, in the end, leads to the main characters’ downfalls. Examining King Lear, we can see that Kent is responsible for King Lear’s delusion of power. In Sunset Boulevard, Max is to blame for Norma’s false sense of pomp.
Lear is deceived by his two daughters Goneril and Regan. During the pageantry, both Goneril and Regan provide flattering answers as to how much they love Lear. This is the deception itself in that Goneril and Regan do not love Lear, but rather power. After the pageantry, when Goneril and Regan are alone and the two discuss their fathers behaviour, Goneril proposes, “we must do something, and i’ th’ heat’” (1.1.336). Goneril wishes to take action right away in as Lear is senile and vulnerable.