His appearance restrains him from having a normal life despite the capacity for love and affection he harbors in his heart. In both The Picture of Dorian Gray and Frankenstein, Shelley and Wilde offer an insight to British people in the nineteenth century; they focus too much on outward appearance versus the character of a person. Dorian asserted that “[e]ven those who had heard the most evil things against him . . .
Dickinson expresses her belief of the more threatening nature internal demons possess over the external demons society fears, while Poe goes on to theatrically portray the power of an internal demon. Poe’s description of humanity is very significant when trying to understanding the difference between effects internal and external conflicts. Humanity is played by mimes, or puppets, in the tragedy of “Man”. The puppets symbolize the lack
Henri Regnault’s “Summary Execution in Granada Under the Moorish Kings” is a riveting visual experience on multiple levels. Through calculated artistic choices, Regnault ensures that the painting’s grotesque nature strikes first, shocking the viewer on a primal level. He plays with theatrical scale, angles, and lighting to elevate the drama of this scene in a way that would certainly have appealed to the fantastic imaginations of his audience in 19th century France. But equally as mesmerizing is how Regnault quietly imbues the painting with a sense that its characters are subject to some larger, unseen power. Through the use of line, color, and brushwork, Regnault forces the viewer to suspend judgement of the scene by alluding to the the complexity of what influenced the action.
Thomas Dawicki Toni J. Weeden Honors Senior English November 9, 2017 Research On Victor Frankenstein 's Misfortune In the gothic novel “Frankenstein” by Mary Shelley, the main character Victor Frankenstein 's pursuit of knowledge and fame, is commonly blamed for the disastrous events that transpire throughout the novel. However, the notion that knowledge and the pursuit of fame can alone cause so much turmoil is false. As a firm and unwavering believer of the words of Kofi Annan, “Knowledge is power. Information is liberating. Education is the premise of progress, in every society, in every family”, I believe that knowledge is inherently good, and other factors could have been changed to prevent disaster.
By fabricating conflicts and achievements that are magnified out of proportion by the main character of his satire, Fitzgerald exposes a weakness that human reasoning can adopt in the face of pressure. The author sprinkles various instances of hyperbole and figurative language in his work that give color to Bernice’s absurd impressions of reality. He also unmasks the deprivation which underlies trivial changes Bernice makes to her character, showing how the impact of a self-indulgent society can render someone attentive to surface issues while oblivious to fundamental ones. In merely eleven pages, F. Scott Fitzgerald outlines one of the most egregious and humiliating deficiencies in human
Phobias that in maturation bring forth the illusion of greatness and strength by reactionary hostility, hatred, and violence. Further, to make mainstream hate more palatable it is interwoven into indoctrinations of morality and values: faith, patriotism, and family. These calculated perversions of values are expressed throughout Bram Stoker’s Dracula as well as its fortuitous reconstruction, The Clansman by Thomas Dixon Jr. An analysis of alterity as portrayed in both Dracula and The Clansman reveals congruent invisible empires of systemic cultural oppression erected upon the foundations of white supremacy, religiosity, and patriarchy. Semiosis and propaganda emerging in literary discourse during the late nineteenth and early twentieth centuries commonly conveyed
Satire is one of the most eminent techniques that writers use to criticize a societal concept that they deem a flaw. Perhaps one of the greatest satirists, Mark Twain constantly denounces certain flaws about society in his writing. In The Adventures of Huckleberry Finn, Twain satirizes gullibility, hypocrisy, and mob mentality through the actions and thoughts of Huck and the other characters. In chapters one through eight, Twain satirizes superstition and the gullibility that comes along with it to prove that superstitions are foolish and unbelievable. Jim is the definition of a superstitious person.
A powerful work of literature can offer diametrically opposed perspectives, which in turn provokes a plethora of reviews, literary criticism, and even doctoral dissertations aimed to explain a certain literary dilemma. Much like the contention over the real monster in Mary Shelley's Frankenstein, the quest for discerning the underlying meaning of true heroism in Beowulf evokes the essential question: does Beowulf embody the elements of an ideal hero: selflessness, peace, and wisdom? The ambiguity of the epic partitions readers into two groups: those who believe Beowulf was heroic through his many sacrifices and those who contend that Beowulf did not have the qualities or demeanor to be considered a real hero. His conceited nature, interactions with Hrothgar, tendency to be violent, and his final sacrifice which jeopardized his fellow Geats, thoroughly explored by literary critics, suggest that the latter is true and Beowulf lacks the basic traits necessary to be considered a hero by Anglo-Saxon and modern standards. In Anglo-Saxon culture, humility is valued as a heroic trait, but Beowulf’s actions do not reflect this characteristic, and he is rather conceited.
Stevenson’s clever illustration of the danger of knowledge reveals the troubling reality of awareness and reveals Jekyll’s brilliance to be the Achilles heel that leads to his demise. The relevance of the concept of ‘consuming knowledge’ plagues those who know, and proposes there is a degree of truth to the belief that ‘ignorance is bliss,’ because if Jekyll lacked the scientific prowess to create a concoction to tap into his repressed and animalistic nature, his path may alter. The complexity of Stevenson’s themes acknowledges both his literary genius and the philosophical dilemma of the grayness of the world in which we
In Mary Shelley's Frankenstein, the author utilities traditional Gothic literary elements to create a semi-autobiographical, supernatural metaphor for her own experiences. Drawing from past tribulations as an outcast, Shelley tugs at the fabric of a classist society, unraveling the shroud of status to reveal a far darker plausibility- perhaps the development of an individual's character lies not solely on oneself, but rather, "individuality" evolves as a reaction to society. Through the manifestation of characterization, emotive diction, and select allusions, the author paints an insightful, poignant, multilayer -portrait of man's quest for righteousness, additionally illuminating the internal desire humanity possesses for acceptance.