Mary Shelley's Frankenstein depicts the remarkable resemblance to the “modern” myth of Prometheus. The intertextuality used to connect these two stories, allow Shelley to bring out the most prominent themes of Power and suffering. As both of the characters deal differently with the struggle to resist the power that comes with creating life, the inevitable end for both characters are the same; they fall at the hands of their own creations. Shelley carefully utilizes the legend of Prometheus to express the connection between punishment and creation. In the myth of Prometheus, he creates man and steals the gift of fire to give to humanity.
Morality and The Picture of Dorian Gray “The pendulum of the mind oscillates between sense and nonsense, not between right and wrong.” C.G. Jung The Picture of Dorian Gray, by Oscar Wilde, was first published in 1890, right in the middle of the Victorian Era, an era that was characterized by its conservatism. Ever since, and due to the content of the book, it has been condemned as immoral. Furthermore, on 1891, Wilde published a preface protecting his book from public punishment in which he said “There is no such thing as a moral or an immoral book. Books are well written, or badly written.
The book however was not without its irregularities as the writer composed from a significantly stubborn perspective point. All through the work one can perceive Ozment 's favoritism towards the mistreated, the underdog, and the "lady" and no place does this get to be clearer than in the seventh and finishing up part. In such a variety of words, Ozment delineated Anna as a 'surprising survivor ' having confronted great tribulation because of a malevolent, “prominent father” and “opportunistic” siblings, while an obtuse city council stood by and allowed her to be “forcibly transported…[and] chained like a dog to a table in his [her father’s] house” (183-184). What was ostensibly a trivial utilization of descriptive words at first turned out to be more confirmation that the creator was all the more undauntedly inclined in his viewpoint. Ozment contended that Anna 's story illustrated “the tragedy that awaits those who defy the expectations of their age and culture” however this announcement was displayed in a tone which learns that the creator felt these "desires" were liquid relying upon the soul of the times, which on account of sixteenth century Germany was especially compelling and censuring (183).
The laconic messages make it difficult to interpret and each reading may bring new discoveries, provoking readers to wonder and thrive to decipher the poetic message. For example, another critic, Miller finds a peculiar ambivalence in the first verse “This was a Poet-It is That”, which she considers could be replaced by “It is He”, while others state that the phrase “It is that” is proof of Dickinson’s “definition of the poet as a nearly suprapersonal asexual force” (Passion, 324). Thus, the line can have these two readings. The metaphoric ambiguity, irregular shape and lighthearted tones are a trademark of Dickinson’s poetry, though it is difficult to stick to a fixed interpretation or to analyze it in a didactical
Before delving into the illustrations of the nineteenth century, it is first worth discussing the cultural environment which surrounded illustrators at that time. The period from roughly 1880 to 1900, called the fin-de-siècle, is often considered the pinnacle and the decline of Decadence. Attempts to define Decadence abound in academic writing, and it is necessary to take into account the different interpretations of this term. Linda Dowling defines two opposite assumptions in regards to Decadence: the older view which “is that of rumour and gossip, a truth doomed to exhaust itself in the mere telling” as opposed to a “more serious view of Decadence [which emerged] as a cult of artifice in art and literature.”1 The older view Dowling mentions
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).
The human psyche is a complex and malleable part of the human body. People react, adapt, and grow to meet the needs of the situation just like any other species. Golding, through his experiences in WWI, gained powerful insight into the human mind: how easily it is susceptible to change and how quickly men of any age can and will resort to violence. This insight allowed him to challenge commonly accepted moral beliefs and principles held in society during his time period and expand on what people believed as usual and normal. Through his nearly blatant use of juxtaposition to his subtle yet powerful application of symbolism throughout the novel, Golding grants the reader a further understanding of the fragile nature of human morals and innate
Post-Modern writing often appears vague in nature, permitting the reader to infer deeper meanings upon reading the work, again and again. One feels compelled to reread the work, to better comprehend what is said in a just few sparse lines, as with Margaret Atwood’s very short poem, “You Fit into Me”. At first, the poem’s four lines appear to be deceptively simplistic in form, even a bit trite. Yet, when taking a closer look at the poem, it becomes clear that it’s so much more complex than it seems. As per many Post-Modern works, the poem shatters one’s original perceptions, when a twist is introduced.
It singles out the novel as the sanctuary of austere and unforgiving self-knowledge. The novelist’s omniscience imposes on all characters; and exposes the drama as the shoddier realm of evasive and corrupt self-dramatization. But this opposition is not blatantly stated in Mansfield Park. Although the drama is condemned, only implicitly is the novel proposed as an alternative, because the novel’s virtues are now the undemonstrative qualities of Fanny Price. The novel owes its power to its discretion in seeing through people who congratulate themselves on their impenetrability, in making the obtuse aware of their own shifty motives; it is superior because it is circumspect, stealthy and externally
The noble society is of particular interest to the author. Showing the life of his class he sees all its shortcomings and approaches this issue critically, sometimes even satirically. Being an omniscient voice of the novel, he does not conceal his disapproval of Anna's actions and wants us to see how dangerous, painful and disastrous reality could