Poet T.S. Eliot infamously referred to Titus as “one of the stupidest and most uninspired plays ever written,” while playwright Edward Ravenscroft dismissed it simply as a “heap of rubbish” (Shakespeare, 399). Yet for all of Titus’s grotesque horrors, the violence that seemingly repulsed Eliot and company should not be viewed as erratic, uncalculated acts. Rather they should be understood as representations of a wider, symbolic significance. It is through dismemberment, and the dismemberment of hands in particular, that the play can be seen through an emblematic perspective to signify the justification of vengeance and the loss of political and personal agency.
Imagery is used to show Plath as an aggressive person, such as through the line “smash it into kindling”. The emotive line “The bloody end of the skein” creates the sense of abandonment and eternal suffering that by no means that one could be aware of. It suggests that Plath’s mind, the labyrinth, was something that Hughes struggled to understand, and propose that her psyche was beyond his control. He also utilises speech in The Minotaur, creating a sense of truth in Hughes’ part. While he is not seen as a saint within the poem (he remarks in a sarcastic matter to Plath in the poem), he positions the reader to empathise with him, painting the image that he is the placid one in the relationship, and the one who encourages her to embark on her creative pursuits “Get that shoulder under your stanzas/ And we’ll be away.”.
The sooner people accept that we are all human, the better. Moving on, the author’s style was unusual, criticizing, and degrading, and the tone was less than likeable. However, it was a direct approach to displaying human faults and how people turn the other way rather than acknowledge them. Lady Montagu, clearly took offense to Swift’s poem and so, wrote her own riposte to put him down for writing such an unflattering poem. She certainly did not “pass in silence without matching wits”(292) with Swift.
This novel in its entirety emphasises the difference between facts and imagination. One of the most important quotes in the novel is, “the agnostic ... if he stays beholden to dry, yeastless factuality ... to the very end, [will] lack imagination and miss the better story.” The juxtaposition of “dry, yeastless factuality” with “the better story” is repeated numerous times, and fantastical descriptions are utilised to emphasise this dichotomy. It criticises those who do not believe in imagination, or do not have faith to believe in something. Without stories, religion and imagination, our existence becomes ‘dry and yeastless’. As Pi has embraced speculation and imagination since childhood, he has added meaning and dimension to his life.
In this passage George Orwell makes the assertion that amongst the confusion of long literary or political critiques, the writing often becomes meaningless as a result of improper language and jargon. The use of such “meaningless” words allows them to be openly interpreted and often abused in political writing. What one might regard as Democracy, another would describe as Fascism, but neither carries a definition in this instance, but merely a positive or negative connotation. Consequently, these meaningless words often allow the reader to be deceived by the author. Orwell’s Six Rules 1) Do not use metaphors that you are use to reading in other texts.
With an abundance of asides, which the whole passage is, and bits of detail that create and amazingly complex set of ideas, Hawthorne manages to successfully conjure his image of Puritan society and how they treat Hester. Without using such circuitous grammar and syntax, Hawthorne might have failed to recreate the formal, deeply psychological Puritan society and ways that the novel attempts. The tones that Hawthorne uses in the paragraph are more so detached, moralizing, impassioned, formal, and skeptical, and he makes it very obvious that he does not care for the Puritan society (The Scarlet Letter - Linguistic
The Canterbury Tales: An Analysis of the use of Allusions and Textual Authority The reliance on textual authorities in Chaucer’s iconic story, the Canterbury Tales, reflects his characters inabilities to obtain any authority of their own. Although misguided and misconstrued, his characters contradictory stances against the Medieval Church and their own social status’ are both strengthened and hindered by these biblical and classical citations of textual authorities. Chaucer explicitly uses his characters voices and conflicting actions to portray the moral hypocrisies of medieval institutions of that time including those of marriage and the church. Chaucer’s key stereotypical characters, the Wife of Bath and the Pardoner, express the irony
This is where Gardner uses the epic poem Beowulf to disparage the belief that life has no purpose. He does this by making Grendel into a tragedy as a way to place emphasis on the fact that if you have no purpose in life, you are basically a failure. Gardner shows us the differences between two contrasting sides as the novel brings closure with a battle of human meaning verses having no purpose in
Perspectives within a literary text tend to be depicted in different ways in order to confront the responder, challenge perceptions and promote a varied perception of the human condition. This depiction of conflicting perspectives creates a makeup of the entire construction of the text, as it effectively creates a cause for conflict; the protagonist of a story very rarely does not have a differing perspective on an issue to the antagonist of the story, inevitably leading to conflict, and therefore, a story line. This notion of conflicting perspectives is powerfully expressed through various textural forms, as shown through William Shakespeare’s 1399 dramatic text, Julius Caesar, Mark Haddon’s 2003 novel, The Curious Incident of the Dog in the Night-Time, and Sylvia Plath’s 1966 poem Morning Song. Throughout Julius Caesar, Shakespeare effectively utilises textual form to shape the responder’s understanding of the conflicting perspectives surrounding the personality of Marcus Brutus. Throughout the dramatic literature medium, Brutus experiences many different forms of conflicting perspectives relating to his own sense of identity as well as his relationships to those around him.
The outsider is self-destructive and reflective. One can see these characteristics within the characters Holden and Meursault. I would argue that J.D. Salinger presents ‘The Catcher in the Rye’ as the bildungsroman novel with a prevalent satirical tone in order to demonstrate the cult of the ‘outsider’ teenager; however Albert Camus displays ‘The Outsider’ as a novel of the Absurd infused with his existential philosophy, for which he is renowned for such as his work ‘The Myth of Sysiphysus’. The main comparison which can be illustrated between Meursault and Holden is that they both have different thoughts to those within their society, Holden sees himself as a “goddam madman” due to his thoughts differing from his peers such as Stradlater and Ackley, Meursault rather than viewing himself as strange, views his thoughts as normal as he passes no sideline comment to the observations he makes with the exception of Marie and the sun.