One of the Puritan ladies in the crowd suggests that Hestor has “brought shame upon us all, and ought to die. Is there no law for it? Truly there is, both in scripture and statute book.” The Puritans wish further torture on Hestor, even though they themselves too have committed similar crimes. But in looking for a reason to bring more harm to Hestor, they break a commandment worse than Hestor’s; using the Lord’s name in vain. Just for their own satisfaction they look to manipulate the writings of their
"Boyce talks of the jealousy and hate that drives Iago to deceive the moor to "show how a noble man can lose faith and go in a frenzy caused by the loss of trust." (Boyce 570). Othello is tricked into believing all the wrong things which causes him to lose his sanity. Over his web article critic Christopher Baker says that Iago's only reason for all of his evil plans to infect Othellos mind with lies were because he wanted revenge for not being promoted. He thinks that all the tragedy that takes place "shows the true means of physcological derangement."
Paradise Lost begins, not with the expected potential heroes of the Genesis stories, God or man, but he begins instead with Satan, thereby placing focus on him and his actions. Milton, introducing Satan by blaming him for the fall of man, "Who first seduced them to that foul revolt?/Th' infernal Serpent..." (1.33-34), appears to set him up as the definitive adversary, not just of the epic, but of humanity. He briefly tells of Satan's pride that led him to try to overthrow God and how he was cast into Hell, but he also tells us, "...for now the thought/Both of lost happiness and lasting pain/Torments him..."(1.55-56), right away trying to make Satan someone to be pitied, more human and less evil. Milton describes Satan's physical character to be "in bulk as huge/As whom the fables name of monstrous size,/ Titanian..."(1.196-198), and then "Deeming some island," (1.205), meaning Satan's size is so vast a sailor would mistake him for an island on which he can moor his boat. Satan's size growing larger with each new comparison supports Satan as the hero.
In saying this, Oedipus is saying that he vows to find the murderer of Laïos, and hopes that their life is accursed. However, this is an example of irony because the audience knows that Oedipus is himself the murderer. This is also an ironic statement because Oedipus’ life is already wretched and will continue to get worse. This statement shows use of verbal irony in the play. Another example of verbal irony comes when Oedipus first begins his address to his people.
In Miller’s play, Abigail and Reverend Parris are both “base” people who find it necessary to defend their image and act immorally to protect their reputation because if not, they will be seen as a follower of the devil and may be hanged. In the Puritan colonies in 1692, the muffled cry of
Pearl symbolizes evil in the story by representing God's punishment of Hester's sin, symbolizing the guilt and the scarlet letter that controls her behavior and defying Puritan laws by being cheerful and associating with nature. Pearl is a greater punishment then Hester’s “A”. First, Pearl represents God's punishment by her mocking and nagging of Hester. This is shown throughout the novel she sometimes seemed to her mother as almost a witch baby (Hawthorne 88).Second, Pearl is a baffling mixture of strong emotions with a fierce temper and a capacity for evil; with Pearl, Hester's life became one of constant nagging, and no joy. This is proven when Hester remarks to herself, "Oh Father in heaven - if thou art still my father - what is this being which I have brought into the world" (Hawthorne 89).Thirdly, Pearl represents the sins of both Hester and Dimmesdale.
On the contrary when he locks up Nelly and Cathy we see him as an evil villain attempting to fulfill his malevolent plan of revenge. What is trying to be said is that Bronte through the deep character of Heathcliff evokes ambiguity and contradiction through his intentions, the blurred lines that make him a hero or a villain and lastly the contradiction of either pity or anger the reader feels towards Heathcliff in Wuthering Heights. To begin with, Bronte effectively evokes uncertainty through the fact that Heathcliff wants to be with Catherine but at the same time wants to exact his revenge on Hindley for separating him from Catherine and making his life childhood miserable. The ambiguity is shown by Bronte is the fact that the reader does not know whether Heathcliff’s intentions have sincere or malicious intent. For instance, when Heathcliff runs away from Wuthering Heights and returns a reformed man with exceptional manners, the reader is
The lines that follow will clarify the poem and the violent imagery, so as to help the reader understand Donne’s motivations. Batter my heart, addressed towards God, portrays the writers confused and conflicted state of mind. He appears guilty for his sins he has committed in his life but has come to realise that he has no chance of redemption without the help of God’s love, “imprison me…never shall be free”. He also strongly considers he has been wrongly taken by “your enemy”, Satan through his use of metaphors “imprison me”. Satan has captured him “take me to you” through temptation and sin “unto your enemy”.
Othello and Desdemona’s marriage is sabotaged by Iago’s deceit, which in the end succeeds in deteriorating Othello’s mentality to the point that he murders his own wife Desdemona despite her innocence. Iago’s malignant, misogynistic persona is unveiled in his Soliloquy when he declares “I hate the Moor”. His resentment in Othello and women as well as his inner torment is seen when he envisions to “…make the net that shall enmesh them all” leading to the act of evil, Iago also claims that he had “Never found a man who knew how to love himself,” which further emphasises and suggests his narcissistic and misogynistic personality. Despite being a flawed character himself Iago highlights the flaws in other characters and exploits them for his own desires. Othello, despite his noble characteristics and valiant conduct, is shown to have weaknesses vulnerable to Iago’s hidden agenda.
200) The monster conceives of him as a tragic figure, comparing himself to both Adam and Satan. Like Adam, his creator shuns him, but he strives to be good. “Did I request thee, Maker, from my clay To mould me Man, did I solicit thee From darkness to promote me?” (Book X, 743–745) This shows the monster’s ill will toward Victor for abandoning him in a world relentlessly hostile to him, and foist responsibility for his ugliness and eventual evil upon Victor. In Walton’s final letter to his sister, he recounts the words that the monster speaks to him over