In “A Narrative of the Captivity...”, Mary Rowlandson uses the literary device of allusion to present the philosophy of God has a plan for everyone, as long as you keep your faith. Rowlandsons’ philosophical tenant is based on the Puritan belief that you should always trust in god and is associated with the influence of religion. Rowlandsons’ personal philosophy is that her children are Gods’ children, and can be taken as easily as they are given. For example, she quotes “me (as he said) have ye bereaved of my children, joseph is not, and simon is not, and ye will take benjamin also, all these are against me” Genesis 42:36 (38). She alludes to this because she has lost her way on Gods path to her eternal salvation.
Hamlet – a 'noble' man? ACT 1 • GOOD Inspires devotion in his friends and subjects – Horatio & Marcellus follow Hamlet & are determined to protect him. BAD “I have that within which passes show, these but the trappings & the suits of woe” • Loyalty to his father's memory • Disgust at his mother & uncle's immorality “a beast that wants discourse of reason would have mourned longer” /// “oh most wicked speed, to post with such dexterity to incestuous sheets” • Remains respectful to Gertrude “I shall in all my best obey you madam” /// “It is not nor it cannot come to good, but break my heart for I must hold my tongue” [1st soliloquy – scene 2] • Certain that evil does not go unpunished on this earth “Foul deeds will rise, though all the earth o'erwhelm them, to men's eyes” “My lord he hath importuned me with love in honourable fashion” [Ophelia to Polonius] • Love for Ophelia is pure “It is a custom more honoured in the breach than the observance” • Disapproves of excessive drinking • Brave: willing to risk God's wrath to speak to his father one more time “I'll speak to it though hell itself should gape and bid me hold my peace” Is this evidence that Hamlet is good? Already we see that it is possible to corrupt Hamlet – he will risk doing the 'wrong' thing if it means easing his grief & psychological suffering. His actions in speaking to the ghost show extreme bravery (it could be the devil in disguise) but also a disregard for his own safety because he is already experiencing suicidal despair “I do not set my life at a pin's fee” and does not care if he lives or dies.
Unfortunately, he does not see that this feud only harms his kin. He causes the families’ fight to escalate, and modifies the story so much that it ultimately leads to many of the characters’ deaths. Tybalt tries everything to hurl the city of Verona into a civil war. Instead of accepting the peace between the houses that old Capulet tries to create, Tybalt can’t accept that Romeo and other Montagues gatecrashed the party of the Capulets. Tybalt tells his servant “Now, by the stock and honor of my kin, to strike him dead I hold not a sin.” (P. 55 lines 66-67) Although Romeo never harmed Tybalt, he still wants to kill Romeo because he showed up at his party because Tybalt uses Romeo as a scapegoat for all the Montagues.
Alice tells Humpty Dumpty her name and he tells her that her name is stupid. In Humpty Dumpty’s opinion, names should mean something, offering his own name as an example since it alludes to the shape of his body. He goes on to remark that with a name like Alice, she could be any shape at all. Concerned for his safety, Alice asks Humpty Dumpty why he sits atop the wall. He replies that the King made him a promise, which spurs Alice’s memory of the rhyme stating that the King’s horses and the King’s men put Humpty Dumpty back together again.
Love is simply a religion in Wuthering Heights, which is protection from the fear of death and the obliteration of consciousness. As a whole this love would clarify the inescapable connection between love and death. Furthermore Bronte uses biblical imagery to present love between Heathcliff and Catherine when he says “because misery and degradation and death and nothing that God or Satan could inflict would have parted us”, which emphasises the inseparability because no higher divine could interfere. Bronte also uses allusions where she becomes defensive of her love and says “who will separate us pray? They’ll meet the fate of Milo!” This allusion is also used as a device to show how protective Heathcliff is of their love by threatening anyone who would come between them by in addition making a mythical reference, when he says “ They’ll meet the fate of
“Desire for vengeance has apparently lain dormant in Prospero through the years of banishment, and now, with the sudden advent of his foes, the great wrong of twelve years before is stirringly present again, arousing the passions and stimulating the will to action” (Davidson 225). While it is true that Prospero does not intend to harm anyone on the ship, and asks his servant sprite with all sincerity, "But are they, Ariel, safe?" (1.1.218), he does not hesitate to put the men through the agony of what they believe is
I’m a scholar. Or I was when I had shoes, when I had eyebrows.” | | If poysonous minerals similar to wit in the poems structure, questioning/interrogating god In the last sestet he changes focus – realising the big picture. He won’t get anywhere with what he was doing in the octave (arguing with god) – much like wit – she won’t get anywhere by studying language Donne | Wit | Direct – short – punchy | recognition of need for simplicity | Donne is an iconoclastic – he innovatively breaks the rules and attacks sacred cows.Donne is recognised for his verbal ability to arrest our attention.His language is simple, colloquial, direct and forcefulHis is the language of argument; the language of logic and reasoning.He uses of short monosyllabic words to create a
DUKE I am sorry for thee: thou art come to answer A stony adversary, an inhuman wretch uncapable of pity, void and empty From any dram of mercy. ANTONIO I have heard Your grace hath ta'en great pains to qualify His rigorous course; but since he stands obdurate And that no lawful means can carry me Out of his envy's reach, I do oppose My patience to his fury, and am arm'd To suffer, with a quietness of spirit, The very tyranny and rage of his. DUKE Go one, and call the Jew into the court. SALERIO He is ready at the door: he comes, my lord. Enter SHYLOCK DUKE Make room, and let him stand before our face.
Lear praises nature which he feels that is his goddess. He prays for Goneril’s sterility or if she had a child, that it might live to return the scorn and contempt upon her which she had shown to him. Apart from this, he also makes invocations for the wind to increase during the storm scenes: ‘Blow winds, and crack your cheeks! Rage! Blow!’ Although the play is set in a pagan setting, Lear prays to the gods to expose criminals and later throughout the play, for the wellbeing of Cordelia and it is through these cries of help that we can notice that no matter how much the king prayed for righteous justice to be served that his prayers remained unanswered.
And hey, it's not like we're married or anything." When he meets her in the underworld, he tries to strike up a conversation like it's all no big deal – and then tells her again that it wasn't his fault. Come on, Aeneas, even if it wasn't your fault, you could at least show a little bit more empathy! Don't you know that the bigger man admits when he's wrong? Aeneas's not-so-nice side reveals itself again in Book 10 and Book 12, when he kills various guys (including, finally, Turnus), who are surrendering and begging him for mercy.