Priestley exposed Birling as being a self interested capitalist whose lack of social conscience prevents him from learning the important lesson of social responsibility which constitutes the main message of the play. Birling is presented at the start of the play as being a social climber, a criticism of society's obsession of class and social hierarchy by priestly. He frequently name drops and refers to the Croft's wealth and success, and his own. At the celebration of his daughter Sheila's engagement party to Gerald Croft, he appears to care more of The Croft's aristocracy than his own daughters happiness which presents him as being a selfish man. Birling is also presented as being extremely opinionated.
Note that a metaphor is introduced in the first sentence—the idea of the past at Auschwitz and other death camps echoing down through the ages. However, it is then immediately connected with a subject—tears—that cannot echo. This problem is commonly referred to as mixing metaphors, and using metaphors in this way can cause your reader a great deal of confusion hilarity, which does not serve the subject. At the very least, it can break the flow of a good metaphor by introducing an impossible image that your reader can’t correctly visualize. Another commonly used rhetorical device is parallelism.
Leland is depicted as a victim of Kane’s insincerity, his pure morality not being able to cope with the corrupt world. Additionally, Bernstein’s complicity with Kane’s corruption is sympathetically portrayed as loyalty, while the character’s view of Kane is easily the most forgiving and even loving. Firstly, Welles makes a clear point out of representing Kane’s character through solely subjective viewpoints, sympathetically suggesting to the audience that one must not be judged solely on his actions. The prodigious director espouses an early postmodernist perspective, questioning society’s absolute faith in facts. This idea has naturally led to the empowerment of media, as their voice is believed without question.
And the emperor… pardons him, this worthless man, lets him go.” Goeth: “I think you are drunk.” Schindler: “That’s power, Amon. That is power.” This part really shows how Schindler’s mindset has changed, before he saw the Jews as a “tool” he needed to achieve his goal which was wealth, now he cares for them, and tries to “turn” Goeth as well. Although Goeth at one point seems
Why dose she ignore it? It’s because she knows that he is rich, and leaving him will do her no good. These two characters goes after what everyone wants, being rich. Sadly they both also use the wrong way. Daisy chooses money over true love, and Gastby joins illegal organization to become the newly rich.
The background a person brings as a reader causes them to superimpose their viewpoint on the writer’s work. A man with a background full of persecution and subordinate relationships would see the story of Walter Mitty very differently than a woman with an Alpha personality and dominant relationships. They both would view the theme differently. The author may have intended satirical humor. The readers may interpret it as a depressing tale in the case of the man and a how to guide in the case of the woman.
Conrad’s, however, is constantly under criticism on whether or not it deserves such an honor, with some holding the view that it even promotes some of the evils of colonialism rather than denouncing them. This is due to the ample racism and metaphors of inferiority present within the story. Indeed, Achebe himself is one of the most vocal advocates of such a stance, stating: “…the question is whether a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, can be called a great work of art. My answer is: No, it cannot” (Achebe). Yet, upon careful examination one can see that such racist views expressed in Heart of Darkness are products of the perspectives of the narrators and speak to their own motives rather than that of the book or author.
It is ironic because Gatsby’s dream-like life is not as perfect as it sounds. Gatsby earns his fortunes through illegal activities and is very dishonest to the society around him. The "old money" folks see right through his appearance and thought of him as remise. And when he starts to crumble, all of his friends turn out to simply be people who take advantage of his generosity and riches. Then there is third way of looking at this adjective, “great”.
Pip’s obsession with Estella drives him to desire wealth above everything else, and he eventually alienates Joe – his loving father figure. His relationship with Estella is much like his with the woman he believes to be his benefactor – Mrs Havisham: it is obsessional; Havisham is obsessed with trying to destroy the lives of men, and Pip is obsessed with trying to become worthy enough for Estella. It is clear that money has corrupted Pip, as he desires to change into a gentleman without gentility; whereas – it has not corrupted his friend Herbert, who makes his own fortune and is not unkind in doing so. It is clear that Pip will only find redemption through his advancement with Joe – he will have to become the boy who went out of his way to help the convict Magwitch again. Moreover, there is a parallel relationship between the clerk Wemmick and The Aged, and Joe and Pip: Wemmick generates money to take care of his father; whereas, Pip gains money just for himself and in doing so has alienated the man who has cared so much for him.
He shows that as long as his wife is rich, he will be happy. He is showing that nothing means more to him than money, which interprets that he is degrading and sexist in the way in which he acts towards women. Shortly after, Petruchio follows this up with debatably the most sexist comment throughout the whole play. After revealing to Hortensio that his only want of gain in Padua is money, he tells him he fully intends to make Katherina his own. In lines 94 and 95 this is made absolutely evident.