Chiang faced many problems during his period as Nationalist leader, one of which being the insurance that all warlords were defeated, especially the powerful warlord Zhang Zuolin of Manchuria, and that China would be united under one leader. Additionally, Chiang had to deal with the treat of both the Communists and the Japanese. However, Chiang did pass many policies in his period as leader in order to stabilise the Chinese economy due to the vast inflation
Religion is one of the key victims of Twain’s satire throughout the novel. During the time period in which The Adventures of Huckleberry Finn was written, religion was as much a part of civilization, as was education. This satire is no more apparent then when Huck’s guardian, the Widow Douglas, preaches to him about Moses. Huck did not think very much of the lecture; “ Here she was a-bothering about Moses, which was no kin to her, and no use to anybody, being gone, you see…” Twain uses Huck to exhibit Huck’s objection to the blind faith that civilized society towards religion. Twain uses satire in the beginning of the story, for Tom Sawyer’s Gang.
Looking at the other works that Pope mocks, he also reveals that looking back into history’s annals can reveal the solution to the problem that plagued the world then, and still infects it today. Essentially, mocking the epic is satirizing society in his time, and his scoffing is most noticeable in the invoking of the Muse, the game of cards, and the use of other-worldly creatures dealing in human affairs. These three examples all show “the powerful presence of the irrational,” as stated by Hugo and Spacks (300). Just like any of the great epics, the story opens up with Pope calling for help to let his creativity flourish. It is a traditional opening of epic poetry, as it is seen in The Iliad, The Odyssey, and John Milton’s Paradise Lost.
The feebleness of the human nature is explored through the portrayal of characters depicting good and evil as well as affirming the possibility of a personal transformation from evil to good, shown through the protagonist as he makes the journey towards his enlightenment. The good in human nature is represented by characters such as Cordelia, Edgar and Kent, whereas the evil of human nature is shown through the likes of Regan, Gonerill and Edmund. This particular portrayal of human frailty chosen by Shakespeare emphasizes the constant battle between the desire to do good and the unavoidability of weaknesses in the human nature, of which Shakespeare took a great interest. Shakespeare's seventeenth-century audience would have been familiar with the story of King Lear through a combination of myth, legend and history. Raphael Holinshed's Chronicles of England, Scotland and Ireland of 1587 tells of the King of Ancient Britain's division of his kingdom between his three daughters.
Literary Commentary: From the Lost Years of Jesus T. Christ by Jerome Chua From the Lost Years of Jesus T. Christ symbolizes the ﬁght against nature– against fate. And in many ways it can be read as a deeply philosophical work under the guise of a bildungsroman, due to its use of a child protagonist and his loss of innocence. Despite the presence of a supernatural being at the narrative’s focal point, the short story’s uses of theme, plot, imagery, characterization, foreshadowing and allusion, highlight and ultimately personify the perennial human struggle: coming to terms with the inevitability and necessity of suffering. The ability and ultimate inability to control life as a theme, is evident by the magic word that temporarily brings people back to full health: Live. With a single word, Jesus is able to heal the sick, the wounded and even the dead.
These killings would cause contradictions between the church's action and its teachings from the Bible. Voltaire, a philosopher and author of the famous story Candide, depicts his thoughts in satire, writing styles. And through the satire he is able to hint throughout out the story of the silliness and hypocritical actions taking place during the Enlightenment. Mocking religion is one of the main intentions Voltaire has when writing Candide. Outside of the world of El Dorado, religion is depicted as corrupt and morally bankrupt.
This view is borne out by a passage in the Politics where Aristotle refers to religious frenzy being cured by certain tunes which excite religious frenzy. In Tragedy: “…pity and fear, artificially stirred the latent pity and fear which we bring with us from real life.” In the Neo-Classical era, Catharsis was taken to be an allopathic treatment with the unlike curing unlike. The arousing of pity and fear was supposed to bring about the purgation or ‘evacuation’ of other emotions, like anger, pride etc. As Thomas Taylor holds: “We learn from the terrible fates of evil men to avoid the vices they manifest.” F. L. Lucas rejects the idea that Katharsis is a medical metaphor, and says that: “The theatre is not a hospital.” Both Lucas and Herbert Reed regard it as a kind of safety valve. Pity and fear are aroused, we give free play to these emotions which is followed by emotional relief.
What makes people unhappy? That is the question that Dante has been struggling with as he sees his society. Through analyzing what is good and bad in the world in which he has lived, he develops the story called The Divine Comedy. The Divine Comedy is made out of three sections, Inferno, Purgatorio, and Paradiso. Dante, a main character, goes to the spiritual journey with Virgil, his guide.
The major theme in In the Stranger and Dead Man Walking is religion. The aspect of religion revolves around both novels. They indicate the importance of religion to people in the society. The absurdist claims that, “religion is constructed by man in an attempt to create meaning to a senseless existence.” When people believe in the doctrines of religion, they live with expectations of life after death and this may seem to mean that human beings have a chance to escape death. The Stranger, by Albert Camus’ point out the high naivety and hypocrisy linked with religious beliefs.
An exploration of the presentation of the tragic hero in Dr Faustus using Othello As a comparative piece A tragic hero is defined as a literary character that makes an error of judgement or has a fatal flaw. Greek philosopher Aristotle once claimed that ‘a man cannot become a hero until he sees the roots of his own downfall’. In the play ‘Dr Faustus’ written by Christopher Marlowe, the lead character displays these characteristics in his quest to satisfy his craving of Godly knowledge. Encountering great power and evil along the way it is in the indecisiveness and subsequent determination of Faustus that one can see his devastating downfall. This recurring theme of the battle between good and evil is not dissimilar to that seen in Shakespeare’s ‘Othello’, although this Elizabethan drama highlights the deceptive evil that is common in human nature, even under the persona of those considered allies.