With all these details of morality and value already given, what does the introduction of John add? Simply put, he adds context. Being a satire, Brave New World is fairly ludicrous. Without the inclusion of a truly human character for the reader to identify with, Huxley's message would have remained strictly theoretical but John's reaction to the moral decay he sees around him parallels that of the reader. He is, more or less, a placement of the reader within the novel's setting.
Pray can I not, Though inclination be as sharp as will. My stronger guilt defeats my strong intent,” (III.iii.36-40). Claudius opens his soliloquy in a way that almost makes the reader feel sorry for him. A confession of his own immoral behavior to God that stems from a deep conviction. This is proof that Claudius is in a battle within himself.
Rather than viewing conflict as a threat, the transformative view sees conflict as a valuable opportunity to grow for the better and increase our understanding of ourselves and others. Miller explores the interior landscape of John Proctor who grapples with his conscience in a world that sees him as good when he is not. His character contains a caustic blend of pride and self loathing. He knows the truth of himself as an adulterer, and the fact that his respected face in public is a mask for his real self, heightens his internal battle. The cause of the conflict, his sin of lechery with Abigail destroys his very belief in his own integrity, ‘he is a sinner, a sinner not only against the moral fashion of the time but against his own vision of decent conduct’.
A Real Tragic Hero: John Proctor In Arthur Miller’s The Crucible, John Proctor fits the definition of a tragic hero. Although he has a human weakness, Proctor’s strong conviction, quest for truth, and insightfulness make him a tragic hero. Courage is not the absence of fear, rather it is the judgement that something else is more important than fear. In Arthur Miller’s The Crucible, many characters have decided whether they should confess to dealing with the devil and lose their “good name” or be hanged for something they did not do. A tragic hero is someone of noble birth with heroic qualities, but the hero struggles mightly against this fate and this cosmic conflict wins our admiration.
This is how Parrillo specifies it: Some philosophers argue that we are not so much rational creatures as we are rationalizing creatures. We require reassurance that the things we do and the lives we live are proper, that good reasons for our actions exist. If we can convince ourselves that another group is inferior, immoral, or dangerous, we may feel justified in discriminating against its members, enslaving them, or even killing them. (Parrillo 507) Parrillo shows us that self justification is something everyone is good at and when one is capable of justifying their actions they can become very dangerous. By justifying their acts of prejudice they can argue that their actions are for the greater good and that what they are doing is right.
The result is typically the worse the crime the harsher the punishment according to the jury’s collective moral beliefs. With that being the mentality of others, when placed in a position of leadership, the costs of being successful are questioned. Is it better to follow the golden rule and lead people with a gentle heart or to create a façade portraying certain characteristics wanted by the people, but ultimately ruling with an iron fist? The comparison of Beowulf and Machiavelli’s The Prince display both aspects of this argument. Always doing the right thing by others led Beowulf to his death, showing that what is believed to be a virtue will not help a kingdom to thrive, but destroys it.
Each country, especially the United States, had an almost isolationistic view of their role in the world. Today, however, we face the challenge of enemies who do not think rationally and will die for what they think is the greater good, so the view of seclusion is not longer valid. The suicidal attitude of these new adversaries makes these types of people’s actions very hard to predict and track which leads to a danger that is unpredictable and around which we cannot devise a defensive plan. Another idea is that the civilized world believes that the economically developed countries take care of the less developed countries. In an article written by James G. Pradke called “Idealism vs. Realism: a Modern Approach to Capitalism Vs. Socialism,” dated April 16, 2010, he quoted Merriam-Webster’s dictionary (2010) which “claims that realism dismisses idealization and presents a theory which focuses on concern for fact or reality while rejecting
This soliloquy perhaps raises more questions than answers, and the answers may be shaded grey, but it is in that respect that “To be, or not to be” is such a success as a work of art. Hamlet’s soliloquy embodies the question of whether or not it is better to die by one’s own hand than to live a difficult life. Morally, in modern terms, this is still a relevant proposition. Hamlet proclaims “The insolence of office, and the spurns / The patient merit of th’ unworthy takes, / When he himself his quietus make / With a bare bodkin?” (3.1.74-77). When in the throes of trouble, and everything is bleak and it seems as though nothing is able to be fixed, Hamlet proposes that
He struggles with humiliation. His illness is the result of his wounded pride. Porfiry’s reasons for most of his methods he used was he saw the intellectual potential in Raskolnikov and wanted him to see that in himself. In the beginning of the book, Raskolnikov views himself as sort of a “Superman,” or above the moral rules of society or above what is socially acceptable. This viewpoint compels if not encourages him to separate from society or the established Russian social order.
In Miller’s All My Sons, Chris Keller is initially portrayed as the righteous and “holy” figure that pushes for societal responsibility and love for our fellow Man. Chris’s appearance of Christ-like goodness is slowly peeled off as the play progresses when his hypocrisy is revealed through various methods such as the contrast between his insistent calls for social responsibility and his revelation of self-interest and suppression of truth; offering audiences the possibility that Chris may not be less guilty or a better person than anyone. In addition, Miller problematizes Chris’ ideals through his persistent pursuit for justice and morality that irrevocably sacrifices the family unit, which holds Chris responsible for destroying his own family in his relentless chase of his own obsession with his own set of ideal values. Finally, the neighbors function as the Greek chorus sheds light on Chris’ involvement in his father’s crime through the suppression of truth and omission of actual action to reveal Keller’s crimes. Hence, Chris Keller has every reason to feel as guilty as his father because while Keller’s guilt lay with his wartime misdeeds, his guilt lies in his hypocrisy, betrayal of the family and his implicit participation in Keller’s crime.