Thus do I ever make my fool my purse--/ For I mine own gained knowledge should profane/ If I would time expand with such a snipe/ But for my sport and profit (Shakespeare 55). Iago feels that Roderigo is a foolish man who exists only for his use. He manipulates Roderigo to his fullest extent then says he does so for his own sport and profit. This idea is strengthened by the use of the word snipe. The New Arden Shakespeare defines snipe as fool and states that the word meant gull or dupe before Shakespeare (Honigmann 159).
How Jay Gatsby is Morally Ambiguous and its Significance In fictional literature, morally ambiguous characters cannot be characterized as purely good or purely evil. These complex characters play pivotal roles in many acclaimed novels, like the main character Jay Gatsby in F.S. Fitzgerald’s The Great Gatsby. In this novel, the author portrays Gatsby as a morally ambiguous character whose pure desire for Daisy’s love may have progressively changed into immoral desires. Gatsby’s moral ambiguity helps express one of the novel’s critical themes: the corrupt American Dream of the 1920s, a false ideal that influenced people to futilely pursue dreams of wealth and status.
What do the war and the death of Rip’s wife have in common in terms of how Rip and the colonialists will live the rest of their lives? Explain. 5. One of the hallmarks of Irving’s humor is his use of inflated diction (pompous, high-flown language) to describe commonplace things. For example, rather than simply saying that Rip is “lazy,” or that he “hates work,” Irving states that Rip has “an insuperable aversion to all kinds of profitable labor.” Now that you have read the story, go back and find two more examples of Irving’s use of inflated diction.
In the text, he assumed the persona of a concerned economist, who ideally wants to see his nation grow and prosper. On the other hand, he presented the corrupt landlords and royalty as savages who needed to be compensated for if the nation had to move forward. He intentionally used an ironic and comical tone to mock these "savages" by bringing into light their characteristics of greed, pride and apathy towards others. One very good
Other may take advantage of one’s naivety and innocence and take the opportunity to negatively influence them for their own satisfaction. Through Dorian Gray’s relationship with Lord Henry (Harry); he is manipulated into adopting a Hedonistic view of life. Lord Henry seizes the opportunity to lure Dorian into his dark and vain views of relationships. Harry shares his values with Dorian in the opening chapters “The aim of life is self-development. The duty one owes to one self.” The use of repetition of ‘one’ in the quote highlights Harry’s egocentric nature and individual mentality of self-pleasing.
He thinks that Aquinas had made an error in linking cause and effect – as have any other humans that have done the same. Cause and effect are two completely different things, linked incorrectly in the mind by induction. Hume argues that because of this error, there is no cause and effect chain and therefore, no first cause. He argues that we have no direct experience of the creation of the universe and so we cannot speak meaningfully about it. Immanuel Kant (1724-1804) agrees with the idea that we cannot try to comprehend something outside of our reach – we can
Treatment of Willy Loman as a Tragic Hero: Death of a Salesman, Miller’s most famous work, while addressing the painful conflicts within one family, tackles larger issues regarding American national values. The play examines the cost of blind faith in the American Dream. In this respect, it offers a postwar American reading of personal tragedy in the tradition of Sophocles’ Oedipus Cycle. Miller charges America with selling a false myth constructed around a capitalist materialism nurtured by the postwar economy, a materialism that obscured the personal truth and moral vision of the original American Dream described by the country’s founders. The tone of Miller’s stage directions and dialogue ranges from sincere to parodying, but, in general, the treatment is tender, though at times brutally honest, towards the protagonist’s plight.
Along this vein, Wilde calls on an arsenal of literary devices with which he reproaches a puerile Victorian society for holding ideals absent of sincerity, it's use of marriage as the currency of social status, and for maintaining the class divide. The plot is propelled by farce, combining exaggerated, stereotypical Victorian characters with an absurd quandary of origins (Grill 3). As characters work toward marriage and uncovering misplaced identity, they weave themselves into a comedy of errors spurred by an undue value of appearance over substance. Jack employs his alter ego, Ernest, to behave scandalously in town, leaving his ward, responsibility, and given name unbesmirched in the country. He finds a cohort in Algernon, whose own ruse is bunburying, so named for the imaginary invalid “Bunbury” whom he cites as an alibi to break undesirable social engagements.
Camus’ philosophical beliefs are evident throughout his first work, The Stranger. Meursault, much like Camus, believes that many things in the world just exist, with no explanation or reason. The philosophy that our reality is nonsensical and illogical is a reoccurring motif through the story with Raymond Sintes one point exclaiming “It’s just that I’m here, and you are there and I’m shaking. I can’t help it.” (Camus 37). Meursault is also described as being very dismissive to the outside world, “Looking back on it, I wasn’t unhappy.
It is a well known fact amongst them and others that neither they, nor any other person can provide a completely accurate and unbiased document stating past history. To try to achieve this, historians use creative writing, artifacts such as paintings and sculptures, letters,