I have no tongue for it.” Proctor confesses to witchcraft yet refuses to incriminate others. Although the confession in the context of the play refers to witchcraft, it can be inferred that he is referring to his affair with Abigail; he is accepting his fault in the matter, and wishes not to point the finger at another. The theme of people can use the idea of virtue and piety to advance a selfish or malevolent agenda is carried out in this action. Abigail Williams quoted, “I want the light of God, and I want the sweet love of my Jesus. I danced for the devil; I saw him, I wrote in his book; I go back to Jesus; I kiss his hands.
The Relic is a poem in which Donne makes fun of the superstitions attached to the 'purely' platonic ideas of love; he also manages to satirize the society's blind prohibition against the attachment between the sexes. The persona addresses his beloved, with whom he has not yet been allowed to be intimate. They have only kissed out of the courtesy at meeting and parting, but not yet otherwise. John Donne John Donne He has taken a strand of hair from the lady out of love; and he has bound it around his wrist. Now he imagines that after some centuries, when superstitious people dig up the grave in order to bury another dead body, they will find this strand of hair around his wrist (still not decayed!)
"Tartuffe" is a fifteenth century theatrical comedy written by French playwright Moliére. "The Death Of Ivan Ilyich", a novella published in 1886, is considered to be a master piece of Leo Tolstoy's later work. Religion plays an important theme in both works. The problems Orgon and his family face in "Tartuffe" are caused by Orgon's belief that Tartuffe is a pious man who has the ability to speak with the divine. Orgon's mother is also convinced of Tartuffe's powers and, like her son, makes no action without first checking with the conman.
English 324 November 8th, 2012 Falstaff, the Vice “This chair shall be my state, this dagger my scepter, and this cushion my crown” (II.iv. 380-381). The passage from Act 3, Scene 3 Lines 168-190 highlights Falstaff’s role as the Vice as he represents Flesh and Pleasure. He dons his character with biblical allusions and preacher like prose to blanket his mischievous behaviour. Continuing the theme of morality from Richard II the scene also demonstrates Hal’s decision to take on the role as the “good angel”, to accept responsibility of serving his duty to the Crown and thereby contrasting himself with Falstaff’s role and character.
John looks at both worlds through the lenses of the religion he got from the Reservation-a mixture of Christianity and American Indian beliefs - and the old-fashioned morality he learned from reading Shakespeare. He tries to adapt; he deludes himself into thinking that the world he entered is a better one. He faces civilized society with a bright outlook, but eventually comes to hate it bitterly. His beliefs contradict those of the brave new world, as he shows it in his struggle over sex with Lenina and his fight with the system after his mother dies. In the Matrix, conflict between technology and individuality is more hidden in the intricate illusion of the world woven by the
Citing Watchmen as the point where the comic book medium "came of age", Iain Thomson wrote in his essay "Deconstructing the Hero" that the story accomplished this by "developing its heroes precisely in order to deconstruct the very idea of the hero and so encouraging us to reflect upon its significance from the many different angles of the shards left lying on the ground". [38] Thomson stated that the heroes in Watchmen almost all share a nihilistic outlook, and that Moore presents this outlook "as the simple, unvarnished truth" to "deconstruct the would-be hero's ultimate motivation, namely, to provide a secular salvation and so attain a mortal immortality". [39] He wrote that the story "develops its heroes precisely in order to ask us if we would not in fact be better off without heroes". [40] Thomson added that the story's deconstruction of the hero concept "suggests that perhaps the time for heroes has passed", which he feels distinguishes "this postmodern work" from the deconstructions of the hero in the existentialism movement. [41] Richard Reynolds states that without any supervillains in the story, the superheroes of Watchmen are forced to confront "more intangible social and moral concerns", adding that this removes the superhero concept from the normal narrative expectations of the genre.
The quote shows how Banquo cares about Macbeth, as he warns him about the prophecies. It is also important to note that the quote reveals Banquo's intelligence as well. Shakespeare shows Banquo taking a minute to reflect on the witches prophecies. He does not do this with Macbeth, instead he shows Macbeth jumping to conclusions and immediately thinking about killing the king. In this way, the quote helps the audience understand Banquo's character in relation to
How Is Imagery Used to Conclude the Tragedy of Othello in Act V, Scene II Shakespeare uses different types of imagery in Othello. In this particular scene, he uses religious, environmental and mythological imagery to conclude the tragedy in Act V, Scene II as well as the opposing ideas of light and dark. These themes are used to foreshadow the downfall of Othello and to create a more established atmosphere of hopelessness and tragedy for the audience. Shakespeare uses religious imagery a use of dramatic irony to help prove that Desdemona is pure and true, and because of this, will go to heaven, even if Othello believes her to be untruthful. It is introduced in this scene in Othello’s soliloquy where he says “flaming minister”.
Shakespeare echoes key thematic topics by the production of a series of lies that form intro deception at crucial moments. When Hero and Ursula exit and leave Beatrice alone, Beatrice declares, “…Benedick, love on; I will requite thee, taming my wild heart to thy loving hand” (III. i. 117-118). Beatrice expresses her acceptance of Benedick’s love but does not realize the love inside Beatrice exists artificially.
Lord Henry is morally ambiguous in that he plays the role of the Devil on Dorian's shoulder through out the novel. He does not provoke Dorian specifically, but tells him philosophies and gives him books that corrupt Dorian and turns him into the creature the portrait shows in the novel. An example of the corrupting philosophies is evident on page 21, where Lord Henry first tells Dorian "Yes, that is one of the great secrets of life- to cure the soul by means of the senses, and the senses by means of the soul." Dorian spends the rest of his life pondering this phrase and following it to the letter by indulging in both obscure fads for his pleasure and eventually using drugs like Opium. The book that corrupts him further is described on page 104.