Dostoevsky argues confinement and subjugation of the self—through Russian society, as personified in the dank St. Petersburg—is perverse, creating inhuman caricatures of men. Gothic techniques illustrate the extent of Golyadkin’s subjugation. As in Poor Folk, Petersburg is a city with intention; it punishes and ravages. Dostoevsky’s Petersburg is negatively personified in The Double to heighten the idea that the city itself creates the unnatural ‘rational egoist’. Gothic technique features in this concept of Petersburg-as-villain: the physical and psychological confinements of hierarchy result in a ‘doubling’ of the self.
Comparing society in Beowulf and society in Frankenstein is like comparing a simple farm to the processing plant; futuristic and totally dissimilar. Although, the core ‘monsters’ are unchanged; grotesque, horrifyingly pagan-esque beings of the dark that strike terror in to the hearts of even the stoutest of fighters and the sanest of men. In the Christian and Medieval world, monsters were human beings with an unnatural birth or a birth deformity (Stitt, 2003). The term ‘monster’ derives from the Latin term ‘monere’ which means ‘To warn’ or ‘to advise’ and ‘monstrum’ which is ‘a sign or portent that disrupts the natural order as evidence of divine displeasure’. The aspect of ‘Divine Displeasure’ is attributed almost perfectly to Grendel, the monster of Beowulf and the terror of Hrothgar.
Claggart as naturally depraved: “depravity which marks the whole of the fallen human condition” This quote and specific word choice used by Melville point out John Claggart’s natural evil. The definition of natural depravity is a state of corruption due to original sin. This justifies how claggart is naturally evil. b. "soft yearning, as if Claggart could even have loved Billy but for fate and ban" (Melville 73) The specific word choice of fate means that Claggart had already been determined to apprehend Billy and in turn sabotage him for mutiny.
Judas Iscariot is in the central mouth, Brutus and Cassius in the mouths either side. “‘The soul that suffers most,’ explained my Guide, ‘is Judas Iscariot, he who kicks his legs on fiery chin and his head inside. Of the other two, who have their heads thrust forward, the one who dangles down from the black face is Brutus, there with the huge and sinewy arms, is the soul of Cassius. But the night is coming on and we must go, for we have seen the whole.’” (pg. 281)This imagery shows that these three sinners are the worse human kind, because Judas betrayed Christ and Brutus and Cassius betrayed Caesar.
Thus, the female characters within the poem represent two distinct roles of women: either as pure and holy beings, or as sinful beings. Dante allows Francesca to commit a sin in real-life; she does not take the responsibility for her desire; and Dante’s attitudes reveal why Francesca is in Hell, while Beatrice is in Paradiso. Francesca di Rimini and Paolo Malatesta are in the second circle of Hell, where the lustful sinners are punished. Francesca had an affair with her husband’s brother; two of them were innocently reading a romantic story – Lancelot, and swept up with romantic passion. Consequently, they are being punished together in Hell.
Lady Macbeth is calling to the spirits to assist her murderous ideations and to do that make her less of a women and more like man which will then fill her with deadly cruelty. This supports how she feels, about needing to be manly to commit these horrible
Hawthorne demonstrates the effects of sin on the lives and reputations of Hester, Dimmesdale, Pearl, and Chillingworth. Although many might argue, especially given the Puritan setting of the novel, that public confrontation of sin tarnishes a person’s reputation, Hawthorne’s recurring motif of sin serves to make a broader point about the dangers of repressing sin. The Scarlet Letter suggests that the acknowledgement of sin as an innate aspect of humanity ultimately fosters personal growth. Mentions of sin recur frequently throughout Hawthorne’s The Scarlet Letter. For instance, Hawthorne describes Hester’s holding Pearl as “taint[ed] of deepest sin” (Hawthorne 85).
or can it be the old story of Dr. Fell? or Is it the mere radiance of a foul soul that thus transpires through, and transfigures…”,(Stevenson 19), Stevenson is utilizing the popular Victorian phrase—troglodyte—in a Darwinian fashion to emphasize the primitive nature that is Mr. Hyde. Comparing that to the, “large handsome face” of Dr. Jekyll allows Stevenson to apply the Victorian belief that physical properties had a direct correlation to a person’s tendencies
“The Rape of the lock” by Alexander Pope, analyzes the world’s cruelness. Pope used Satire to uncover the unpleasant world along with the humans in it. “The Rape of the lock” Canto III by Alexander Pope, commences by first juxtaposing tyrants and the nymphs. Pope compares the fierce dictators and the nature-loving mythical creatures at the start of the Canto. Pope further on lampoons, “Dost sometimes counsel take-and sometimes tea” (8).
Koby and Loby 's punishment are cruel and unconventional however they match their crime perfectly "Butler: What did you swear, Walter Perch and Jakob Duckling, before the court in Güllen? / The Pair: That we slept with Clara, that we slept with Clara." (33). The witnesses ' failure to testify truthfully equated to the punishment of blindness and castration for lying about what they saw and performed sexually. She is guided by the principle of retaliation when she punished the two false testifiers showing that Claire is actual more archaic by drawing on old methods of viewing
By slow degrees, these feelings of disgust and annoyance rose into the bitterness of hatred.” (9) This displays the narrator’s inner feelings of hatred towards an innocent and loving animal, which only reinforce the fact that he is deranged. It is revealed to the reader that the narrator has gone from a logical, loving man, to a vile, cruel one with a withered mind and a rotten heart. The narrator’s actions help to establish his personality as well. His maiming and eventual murder of Pluto show his increased detachment and sadism. “I took from my waistcoat-pocket a penknife, opened it, grasped the poor beast by the throat, and deliberately cut one of its eyes from the socket!” (5) The narrator’s actions illustrate his insanity just as well as his inner thoughts.