In conclusion, All the symbols have some sort of ties to the decline of the American dream in the 1920’s. The Great Gatsby is full of people doing unethical things for all the wrong reasons and for fulfillment in their lives. Everything that was once in the dark had come to light causing many tragedies. Not to mention, judgment, wealth, and infidelity are the prominent factors in this story. Ultimately the symbols represent a life that was unattainable to reach which led to a tragedy in the
Conceited, haughty, foolishly proud, and intoxicated by their wealth, they offer sacrifice to God in name only, for outward show, without following the sacred rituals. These malignant creatures are full of egoism, vanity, lust, wrath,
Tom Buchanan, the Great American Scoundrel In the novel The Great Gatsby by F. Scott Fitzgerald, Tom Buchanan is the classic representation of an American scoundrel in the 1920 's. Tom 's role is of the wealthy, powerful, controlling, and unfaithful husband to Daisy Buchanan. Tom is of the privileged class, and he is proud of his old money, of where he lives, and his white race. Fitzgerald characterizes Tom as a manipulator, this being the worst of his qualities. Tom is a scoundrel, and no sliver of empathy can be given to Tom, due to his reckless behavior.
Okonkwo wants Nwoye “to be a great farmer and a great man” however, Nwoye is showing signs of laziness like his grandfather Unoka. Since, Nwoye was starting to be lazy, Okonkwo would “correct him by constant nagging and beating.” Okonkwo thought beating him was teaching him to not be lazy and be a great man. However, it just made turn and push away. Okonkwo’s relationship with Nwoye “is turning father hating into a new trend into the family.” Okonkwo hated his father Unoka and wanted to be nothing like him and now Nwoye hates his father Okonkwo and wants to be nothing like him. This means Nwoye wants to be like his grandfather Unoka because he was lazy and that is the opposite of his father Okonkwo- a hard
This reflects entirely on the utter careless in which Daisy and Tom live; Nick says that Tom and Daisy are “careless people… they [smash] up things and creatures and then [retreat] back into their money or their vast carelessness or whatever… and let other people clean up the mess they [have] made” (Fitzgerald 187). The Buchanans and the ultra-rich live their lives without any purpose or care. They simply drift through the world spending their endless amounts of money without contributing anything to society. Fitzgerald incorporates both the universal and more profound of white to critique the carelessness and hollowness of the
The tragedy of Willy Loman has found an echo in the hearts of many readers since the time of its inception. Willy, the symbol of common man, wages an ineffective war against the materialistic American society where “it’s all cut and dried” and no chance for “respect, and comradeship, and gratitude” (Miller 63). Incidentally, Willy’s psychological deterioration in the play goes hand in hand with the surrounding ecological decay. His tragic flaw is his unrealistic desire of mixing “natural” and “civilised” world together. Though almost all of Miller’s plays deal with “the dialectic of enclosure and freedom, nowhere is this theme so dominant than in Death of a Salesman, in which Willy Loman dreams of the open road as urban confinement encroaches
You have thrown it all away. You are shallow and stupid” (Dorian Gray, 63). This disconnect between the two underscores how Sibyl killed Dorians love. This is more of a metaphorical killing of love, but Oscar Wilde shows a more literal meaning behind killing their love. When Henry says “My letter----don’t be frightened----was to tell you that Sibyl Vane is dead” (Dorian Gray, 71) Dorian is shaken about how his drastic actions caused Sybil to kill herself.
His words and about amusements and life delectations, that Dorian dives into sensual pleasures, debauchery, and crimes. Kohl argues that “Dorian’s fatal error is to take Lord Henry’s theories as practical guides for life” (156). In “wild desire to know everything about life” (Wilde 44) Dorian destroys destinies of people, corrupting them with his thirst of pleasures. Friendship with him is pernicious for people around: Alan Campbell commits a suicide; Adrian Singleton conducts a pathetic life of the addict, having slid on the bottom; the reputation of the cousin of Lord Henry, Lady Gwendolyn is forever discredited—even her children are not allowed to live with her in one house. Liebmann emphasizes that among the major characters only the Mephistophelean Henry survives, and all others—Sybil, Basil, James Vane, Sir Henry Ashton, Lord Kent’s son and aforementioned characters are the victims of Dorian’s influence (451-452).
Of all the tales in Chaucer’s novel, the Miller’s is unquestionably the most vile, due to the author’s focus on infidelity, tricks, and revenge. As he tells his story, the Miller is passive-aggressive and spiteful, specifically toward the Reeve, showing his disrespectful personality. These few character traits, of the many poor traits the Miller expresses, show the audience that he is the most disgusting and greedy character of them all. If he were to interact with modern individuals, no one would have any
Lear becomes a vagrant wanderer while his Fool attains knowledge and competence. ‘I am better than thou art now; I am a Fool, thou art nothing’ (1.iv.53). He continuously relishes in his mocking of society, of the disjointed positions and the social shuffling of the cards of class. The Fool essentially subverts the hierarchy found in King Lear making all social structures egalitarian. This unruly clash is the undertone for Lear’s conflict between him and his two