Prospero using a tempest to shipwreck is previous offenders and plotting to sabotage them, and Medea plotting to kill Jason’s new female interest and her kids to avenge her husband’s mistreatment, are both using unjust acts to retaliate their offenders. Their actions, though enacted through anger, are a clear violation of basic moral reasoning, and are a driving theme between both works. In Shakespeare’s The Tempest and Euripides’ Medea the dearth of morality manifested in both main characters, is a prevalent theme similarly expressed through the author’s use of a sympathetic figure and the characters illusion of justice they strive for, yet is differentiated greatly by Medea and Prospero’s concluding acts upon their schemes for vengeance. Medea’s foremost introduction is the details of her husband, Jason’s, betrayal, “but now their love is all turned to hate …For Jason hath betrayed his own children and my mistress dear for the love of a royal bride” (17). A moral breach in marriage is the perfect beginning to a sympathetic figure, as Medea, “lies fasting, yielding her body to her grief, wasting away in tears” (17), Euripides keenly draws upon her devastation and grief towards
On the contrary, imprisoned in the Puritan way of thinking, the scarlet letter leads Arthur Dimmesdale to his fall. He is indeed gnawed by guilt and secrecy. *** The scarlet letter symbolises the Puritan’s stance on adultery and is considered as a deadly sin. The scarlet letter is referred to in almost every page. One has the impression that the letter represents the Puritan’s message that is drilled to the population in order to anchor it in their mind.
Tragedy is used to vehicle the reader’s moral justifications, sympathy and ambiguities. This is caused by the character’s experiences, as they largely aggravate human discomfort and “question traditions and expectations when they seem too immutable.” (Azar Nafisi). The greatest of human discomforts is the conflict of moral pluralism, which evokes ethical ambiguities and sympathy for those who have transgressed. In the novel, Notes on a Scandal, the character Bathsheba Hart takes on an explicit and exploitive affair with one of her students, a boy at the tender age of thirteen. Q3 (122).
The self analytical narrative by Gary Soto, a passage in which recreates the experience of his guilty six year old self, allows the reader to feel as if they were in the moment through the use of imagery, metaphors, and contrast. Poignant and recreatable, Gary Soto successfully instills a sense of guilt. With the use of imagery soto recreates his guilt of two conflicting standards of right and wrong. “..holy in almost every bone...all two hundred in his tiny body of three or four sins...”, the six year old Soto "knew enough about hell to stop." Yet his hunger overshadowed his conscious causing him to sin once more.
What changed elie from the devout believer he was at the start of the text to the spiritually empty person he becomes 600 - 700 The novel night written by Elie Wissel expresses how horrific circumstances and maturity can play a role in ones opinions on religion. It speaks of how Elie whom at the start of the novel was a devout believe develops into a spiritually empty person. Through extreme conditions his opinions on his god change and as he matures his feelings and the way he thought about his god change. He doesn’t however rid god of his life and unknowingly still turns to him. Brutal and horrific sites of babies being used as shooting targets and hangings of fellow Jews lead Ellie on his path of believing his God was not stronger nor more powerful than man.
Style Analysis The power and the glory Tone In The Power and the Glory, by Graham Greene, misery and redemption are used to describe the priest's suffering. Since his run as a fugitive began, the priest has gone through much pain. He began to sacrifice his religious beliefs because of all the obstacles put on his path. Diction The priest lives in guilt, with the sin that he is a whiskey priest and it begins to take its toll on him. He is unable to take the "responsibility" of caring for his holy father God, he is "tormented" and constantly "[aching]" of his shame.
He confuses the holy qualities between Jesus Christ and a horse, which he manifests into the god Equus. Another are the different psychological tools used as mental influences. Finally Dysart is centered in the middle of the catharsis of Alan, Mr. and Mrs. Strang and himself. It becomes clearer that Alan’s mentality is confused between two truths as “he recovere[s] when he was given the photograph of the horse” in place of the photo of Jesus. (Shaffer 45) He originally “cried for days without stopping” (45) when the depiction of his god was “[torn] off the boy’s wall and [thrown into] the dustbin” (45) by his father.
He explores in depth human rights violations. In his play “death and the maiden” Dorfman explores how the government in the past oppressed women and violated them. Paulina, the main character is portrayed as an oppressed woman, which at the time, was tortured and abused by the government. Dorman’s purpose was to show how the oppressed people by the government had hidden traumas. He made the play relate somehow to what happened to him and how this affects people.
In most cases we tend to feel unworthy, ashamed, or embarrassed with our actions which ties it to what is right and what is wrong, morality and immorality. Shame is determined by who that person is and guilt is defined by what that person does. Nevertheless both shame and guilt makes a connection to the perception of how we see ourselves and our behaviors towards other people, especially during conflict. These have to be understood because Jane Tangney argues against the use of public humiliation as punishment in her essay published in the “Boston Globe” on August 5, 2001 and is quiet daring for proving her argument by evidence acquired from her own expertise on shame and guilt. June Tangney, psychology educator and researcher born in New York, believes that there’s another way to punish a person rather than putting them behind bars.
The gap between moral rhetoric and moral action is apparent in both 'The Chimney Sweeper' and 'The Little Black Boy.' In each poem, Christian moral rhetoric --which should serve as liberatory for the weakest amongst us-- creates false promises that reinforce, rather than combat, the positions of weakness from which the poems' narrators tell their stories. Through the first four stanzas of 'The Chimney Sweeper,' it appears that Christianity is fulfilling in the lives of the chimney sweepers its ostensible role as liberator of the downtrotten ("And by came an Angel who had a bright key/And he opened the coffins & set them all free"). Yet as the poem moves towards its dramatic close, it becomes clear that, far from liberating the chimney sweepers from their slavery, it merely reinforces the involuntary system of which they are part. The effect of the dream on "little Tom Dacre" is to make him believe that if he keeps quiet,