The narrator is only slightly upset by the fact that his brother is an invalid, but when confronted with the information that Doodle might be “not all there” his pride is absolutely destroyed. Therefore, his pride wins over, and the narrator sets out to kill Doodle and eliminate his embarrassment. However, love wins out in the end when Doodle smiles at the narrator and the narrator decides not to kill Doodle. This incident is given much meaning when Hurst writes, “Pride is a wonderful, terrible thing, a seed that bears two vines, life and death” (172). That quote is very powerful, as it not only explains the narrator’s ambitions to kill Doodle for his own pride, but also the entire scenario of Doodle becoming a regular person, followed by his death.
Although we see how destructive Proctor’s sin has been and how flawed he is as a result, we admire his determination to atone and sympathise with his dilemma. We see how Proctor realises his mistakes and how he acts differently around Abigail after the sin has been committed, ‘I will cut off my hand before I reach for you again’. This shows how he is devoted to Elizabeth and knows he has done wrong, with the extent of using harsh verbs, such as ‘cut’ to imply the force he feels towards her. The severance that Proctor has implied makes him gain our admiration as he shows his willingness to atone. The relationship between Proctor and Abigail is used as a heat metaphor, built on lust not love.
Harding says this to himself mocking the voice of a god who finds joy in the pain and sorrow of others. This also says a lot about his view of religion, Harding sees gods as malevolent beings that will “profit” off of his loss. He has little respect for whatever god he is addressing because the word “god isn’t capitalized anywhere in the poem. Harding blames his problems on the malevolence of the gods by saying “Then would I bear it, clench myself, and die,/Steeled any the sense of ire unmerited;/ Half-erased in that a Powerfuller than I/Had willed and meted me the tears I shed.” (Hardy ll. 5-9).
To start, the lukewarm spirits are stung to the point that their “faces irrigate with blood,” which brings with it a feeling of justification (Alighieri III). As the Bible clearly states that it is better to be completely against God than a lukewarm, uncaring soul, the neutral sinners are given the punishment that they deserve, proving God to be one of justice, and supremacy. Next, as Dante travels on to the first circle of Hell the reader comes across a mood of hopelessness; moreover, the sinners are “without hope” as they “live on in desire,” replicating a humanly life without God (Alighieri IV). The mood in this canto acts as a tool to show “the holy power” of God in the way that dark feelings arrive in the midst of his absence, making him light (Acocella). After this, Dante approaches an “infernal hurricane that never rests,” and creates a chaotic atmosphere for the reader (Alighieri V).
When Enkidu heard glorious Shamash his angry heart grew quiet, he called back the curse a (Sandars, N. K., trans. The Epic of Gilgamesh. London: Penguin, 1972. p. 91). This essay proposes that civilization is preferable to the primitive or innocence of an untamed wild existence. On his death bed, Enkidu curses Shamhat the temple priestess or harlot who has brought him from the wilderness into the civilized world– thus leading to his eventual death by the curse of the Gods.
The poet tends to use informal diction throughout the poem which demonstrates how the speaker seems to still be in that childish stage and is not admitting to his mistake. He refers to his “butterfingered way…of asking [her if she would marry him]”, and the word choice shows that he is reminiscing and inserting himself in that situation again. The word “butterfingered” is not only childish, but butter is used to soothe pain from burns, so it connects with the incident he described. The poet informs the readers that love is difficult to express, and this is perceptible because the poet has an irrational way of expressing his emotions to the girl he loves. He uses specific words that have buried meanings in them.
Dante’s Inferno Canto III Explication Canto III begins with Dante reading an inscription above the Gates of Hell. From where Dante is standing, the screams and cries of the damned souls can be heard. These souls were rejected by God and not accepted by Hell; therefore these souls can be found “nowhere” because of their cowardly refusal to choose between God and Satan during their life. Their punishment is to be tormented by wasps and hornets for eternity while remaining in the Ante-Inferno. Dante uses precise descriptive imagery and symbolism to expose the perverse affliction these unfortunate souls are forced to endure and illustrates an insight to their previous life and current suffering to the reader.
This makes Benedick want to right Hero because he wants Beatrice to love him. When Beatrice says this, she should turn away from Benedick, cry and perhaps cast a sly look towards Benedick to alert the audience that this is the start of her manipulation. Benedick should look as if he has just found the light at the end of a tunnel and show signs of hope and desperation. A few lines later, Benedick confesses his love for Beatrice by saying “I do love nothing in the world so well as you. Is not that strange?” At the end of this line, Benedick asks if it is strange for him to love because they have always had a friendly war of words between each other and due to the fact that they squabble frequently.
However, I am sure he would not want the bullying gene. “The child still struggle, and loaded me with epithets which carried despair to my heart: I grasped his throat to silence him, and in a moment he lay dead at my feet” (Shelley 102). Sadly, something so fascinating turned into something murderous because of his appearance “can you wonder that such thoughts transported me with rage? I only wonder that at that moment, instead of venting my sensations in exclamations and agony. I did not rush among mankind, and perish in the
The blind De Lacey is proficient in distinguishing the sincerity in the monster’s voice when confronted by him. Presented that De Lacey is unfit to examine the shell that enclosed the beast’s true nature, the wretch was for the first time welcomed by another being. It was not until the remaining peasants returned to the cottage that the peace was destroyed. The compassion-desiring creature is repeatedly beat, by Felix, with a stick that came from the firewood that the monster so generously collected. The wretch flees the scene only to feel “rage and revenge” (Shelley 137) amidst his educators.