Elizabeth Barrett Browning and Fitzgerald both discern their exploration of the universal human concerns of love, hope and morality according to their own contextual influences. Notably one of the best known piece of American prose fiction, Fitzgerald’s Great Gatsby, critiques the hedonistic lifestyle of the roaring twenties and the failure of the fruitless promises of the American Dream to highlight the illusion of love and hope. Fitzgerald ultimately develops a pessimistic point of view on the materialistic and superficial society presented in the 1920’s, which prevented the ideas of pure love. Elizabeth Barrett Browning however, through her sonnets from the Portuguese, challenges the established patriarchal values of her time by subverting our expectations through the manipulation of the Petrarchan sonnets. Elizabeth Browning presents an idealistic and an optimistic view towards love and hope through sonnets I, XIV and XLIII.
He experiences humility. Donya does not love Svidrigailov, and he can no longer enjoy simple pleasures and looks forward to nothing. Svirigailov exemplifies the redemption and happiness that comes to Raskolnikov because the have two very different fates. Svidrigailov proves that the “extraordinary man” theory cannot produce anything worthwhile.
In this essay, David L. Smith is an apologist for Mark Twain, defending and even praising The Adventures of Huckleberry Finn. He particularly highlights and appreciates the subtle jabs at antebellum society that Twain delivers in his depiction of the “negro” Jim. The persona of the speaker is clearly the author himself, stating his own defense of Twain’s work. The speaker comes from a modern viewpoint, 1984, yet considers, in his argument, the “overwhelming and optimistic consensus” that reigned in 1884. He defends and speaks for not only Twain but also “Melville, J. W. DeForest, and George Washington Carver,” all other writers who did not conform to the standard portrayal of blacks as the unintelligent, insensitive, inconsiderate individuals Jefferson painted them to be.
In order to create a sense of authenticity, Nam Le abides by verisimilitude in his short stories “Love and Honour and Pity and Pride and Compassion and Sacrifice” and “Tehran Calling” in his collection The Boat. His short story narratives utilise compression, poetics and sentence structure which are artifices to create mood and meaning. In this sense this type of fiction is realistic, but untrue. Readers are aware of this from the outset of the novel with Le’s first short story, which overtly illustrates that the stories in the collection are works of fiction. The autobiographical nature of the first passage in “Love and Honour and Pity and Pride and Compassion and Sacrifice” introduces the reader to the apparent truth and reality of the story, signalling also what is to be expected in the rest of the collection.
However, whereas Victor’s hatred for the monster and relentless will to kill it drives him to his death, Walton ultimately pulls back from his treacherous mission having learned from Victor’s example, how destructive the thirst for knowledge can be. Also, in the novel, Walton highlights the fact that whilst success is great, “while glowing with enthusiasm of success” (7) if you have no friends it doesn’t matter because there is nobody to enjoy your accomplishments with. As a result Walton
He suppresses the bitter taste of his unspeakable actions and replaces them with an idealized memory of an afternoon with Hassan. The irony of this becomes apparent, as Amir has never verbally recognized Hassan as a friend. Through this memory he not only validates his friendship with
Therefore we are losing our ability to determine what right and wrong looks like. Winston the main character of 1984, is attracted to the brotherhood because they are revolutionary yet he does not know why resistance is a good thing. He gets tortured for something he does not know why he has an affinity for and this is exactly what Postman meant, we are amusing ourselves yet we have no idea why we are laughing. We are gradually becoming apathetic on what should matter and we are a basically just going with the flow. We are refusing to ask uncomfortable questions in fear of questioning our sanity and this where schools come
First, we will cover one of the simple differences in Nick, and Jay. Jay lives a sort of self-denial lifestyle. He doesn’t see himself as a hypocrite in the things he does as far as pursuing the "American Dream," and has that headstrong mentality to do what he can to reach that goal. Whereas, Nick is just a simple minded, unsure, non-self-efficient hypocrite who is unsure of himself, and has a hard time following his own goals. Everything he wants, he seems to hate at the same time.
The rejection of reality ultimately led to his demise. Nick had such an immense respect for Jay’s imagination and pursuit of his dreams that he dubbed him the “great Gatsby”. This title could be worthy of divine figures, which is exactly how nick saw Gatsby, a divine figure that pushed the limits of probability and overlooked obstacles. As defined in this quotation “The truth was that Jay Gatsby of West Egg, Long Island, sprang from his Platonic conception of himself. He was the son of god-a phrase which, if it means anything, means just that-and he must be about his fathers business, the service of a vast, vulgar, and meretricious beauty” (Fitzgerald 98).
The Stranger: Tone In Albert Camus’ novel, The Stranger, various rhetorical strategies are employed to more effectively enhance the novel. The main attitude the novel emits, the tone, dictates the way the piece is perceived by readers. The apathetic attitude radiating from the protagonist of the novel, Meursault, derives from the existentialist philosophy. This philosophy heavily focuses on indifference, detachment, and the irrationality of the universe. A sense of detachment is detected immediately at the start of the novel, when Meursault first hears word of his mother’s death.