According to chapter two, dying for Christ in the manner in which he himself died has become the ideal for generations. This is where it appears that Jesus demonstrates as being "weak". The cause for this is that no one could mistake him for being the only divine. It is argued in chapter two that the death of Jesus appears as a kind of philosophical martyrdom but in the aspect of where Christians are borrowing Jewish and pagan martyrdom traditions. For instance, Jesus comes into comparison with Socrates in references to be a philosopher according to Luke.
It is ironic to me that when Larry finally decides to not be passive he is still punished. My interpretation of it is because he did accept the bribe and it was the unholy thing to do, God is punishing him more vigorously than usual. God returning to speak with Job is relatively similar to tornado at the end of A Serious Man because the tornado is most likely a representation of God. Though it may seem similar here, the reason for God 's return is for different reasons. In the book of Job, God 's reason for return was to set Job straight for questioning God.
(New Kings James Full Color Bible, John 18.15-27) Also showing peer pressure, in The Iliad, specifically book six, Menelaus is peer pressured into knocking Adestrus away from him, and then is killed by Agamemnon for doing so. Before pushing Adestrus, Agamemnon criticizes him harshly and then it states, “...with these words, by this appeal to justice, he changed his brother’s mind. So Menelaus shoved heroic Adestrus.” (Homer 73-75). Agamemnon called Melelaus “soft-hearted” and said, “Let no one escape. Let everyone in Troy be slaughtered,without pity, without leaving any trace.”(Homer 63-72) Menelaus was motivated by the criticism to push Adestrus to satisfy Agamemnon.
Bartley is not a hero, and Powers never destines him to be one. As Bartley, the main character of the novel, confesses, the American soldiers “were not destined at all” (Powers, ch. 1). Bartley is the war’s prey. And though Bartley, unlike his friend Murphy, never dies, the war gains control over him; through structured, balanced sentences and Bartley’s rote attitude, Bartley has been imprisoned.
For example, a lance and armour is theatrically placed around him. Cheekily, the satyrs in this image, have stolen Mars’ lance. Botticelli most likely added this detail comically, to express that Mars is now disarmed. The atmosphere of this painting also exhibits iconography. Perhaps, the woodland is symbolic of the garden of the Greek goddess of love, Aphrodite.
The narrator starts to notice strange things about Bartleby: “he never spoke but to answer,” “never visited any refectory or eating house,” and “never went out for a walk” (Melville par. 92). The narrator realizes that Bartleby’s “body did not pain him; it was his soul that suffered” (Melville par. 93). The power to heal Bartleby’s leprosy is vested in the narrator as he is a boundary keeper of society: “Bartleby’s depiction as a leper – his isolation and rejection – that must be healed” (Zlogar 517).
The ultimate loss of identity is evident through the loss of name for handmaids shown as “My name isn't Offred, I have another name, which nobody uses now because it's forbidden. I tell myself it doesn't matter, your name is like your telephone number, useful only to others; but what I tell myself is wrong, it does matter.” Their unique individual names are replaced with OF followed by the first name of the commander they work for. This shows that handmaids are seen as a possessive item of the commander. Throughout the text, we are given the ultimate loss of identity as we are never told Offred’s real name which demolishes her individuality. As Offred deserted a bland meal, she hurried home to Commander Warren’s home.
He realized that no one is not born of woman and so he does not worry about what the first apparition told Macbeth. He does not take the warning seriously. “Be lion-mettled, proud, and take no care Who chafes, who frets, or where conspirers are: Macbeth shall never vanquish’d be until Great Birnam wood to high Dunsinane hill Shall come against him” (Shakespeare, 4.1.94-98). Listening to the third apparition as a threat he takes it as a something that will boast his confidence even more. He does not take this as a warning and believes that he is going to be king forever and that woods cannot move and that he will be the king until he dies.
Neither the tyrannical punishment or anarchist leniency can solve this dilemma. However, Athena, the goddess of wisdom, reveals the answer. She says, in a remarkable conclusion to the issue, “Neither anarchy nor tyranny, my people. Worship the Mean, I urge you, shore it up with reverence and never banish terror from the gates, not outright (BLANK).” This quote explains that on their own, neither side is a viable solution, but that the mean of the two is the answer. The mean is a rare thing, and it must be valued.
More interesting, however, is why this metaphor alludes to pagan mythology, despite the play’s Christian setting. There is a pervasive motif of Roman culture throughout Hamlet. For example, later in the soliloquy, Hamlet says his mother “followed my poor father’s body, / Like Niobe, all tears” (I.ii.152-53), and says his uncle is “no more like my father / Than I to Hercules” (I.ii.157-58). Niobe is a Greek maternal figure who mourned her children so much she turned to stone, while Hercules is an archetypal hero. Of course, these Greco-Roman references manifest to oppose Hamlet’s Christian morality, splitting him between Roman revenge and Christian forgiveness, and he cannot pick a side.