Poseidon’s destruction of the wall was justifiable since the king of Troy breached his agreement to compensate Poseidon and Apollo with vines of gold for the year of strenuous labor. The king of Troy’s actions was an outrage, especially towards a god who frequently received praise and offerings for this blessings upon humans. When a mortal breaks a promise to a god, it could result in the utmost punishment, death. Poseidon showed mercy to the kind of Troy by sparing his life, but destroying the wall. “When the king of Crete requested a gift from Poseidon, a fine bull to sacrifice, Poseidon generously sent him the very finest from his herd, so fine in fact that King Minos decided to keep it himself instead of sacrificing it.
(http://www.essortment.com/all/navajosandpaint_rjrl.htm) The medicine man is responsible for painting on the ceremony grounds. The person who needed sits on the sand painting to absorb some of power which would give healing power through the painting process. Afterwards, they destroyed all these beautiful paintings because of the sacred nature of the ceremonies. The sand paintings are begun, finished and destroyed usually in one day. (http://en.wikipedia.org/wiki/Sandpainting).
Shylock’s actions reveal a lot about his ethical beliefs: that he would go as far as to kill a man in order to get revenge. In addition, Shylock’s actions reveal that he can get so caught up in his anger and so determined about his vengeance that he loses all sense of ethics. However, his motivation to get revenge and kill Antonio is fueled by his desire to be treated equally and respected by the Venetian society. In Act 1, Scene 3, when Shylock and Antonio are discussing their deal, Shylock says, “Fair sir, you spat on me Wednesday last, / You spurn’d me such a day, another time / You call’d me dog”(1.3.121-123). Antonio has treated Shylock very rudely and disrespectfully, even calling him a “dog” because of his religion, and now he is coming to him for money.
It comes to us and then it goes quicker than you think, and how that when the tide comes in it erodes the land much like us getting older. There is nothing we can do about it and that is the link to time and life. Hambling states that the sea is a metaphor for life and death [2]. Jackson is all about the drama of the landscape. He revisits places over and over to discover changing light and the impact from the weather.
Meursault as a Sociopath From the time it was first published in 1942, Albert Camus's The Stranger aroused the interest of the public through the novel’s enigmatic protagonist, Meursault. Rather than behaving in accordance with social norms, Meursault chooses to live for the sensual pleasures of the present moment. Without any regard for right and wrong, he lives by his own standards based on absurdist values. From his lack of grief over his mother’s death to when he arbitrarily murders an Arab “because of the sun”, Meursault displays irrational behavior that creates a sense of uneasiness in society. Meursault’s actions closely resemble sociopathic behavior, leading some to believe that his is a threat to society.
The rhythm of the poem is constructed in such a way as to confront the reader, and the language used throughout the poem changes from being very soft and comforting, to blunt and shocking. The image of the beach is also particularly important, as beaches represent beauty and purity. Even though this poem was written from an Australian author’s perspective, it does
Reading Response 5 Isak Dinesen shoots an iguana with the intention of using the skin for aesthetic beauty. She fails to understand the reality of what she is trying to do. I feel the unequal distribution of power between the gun and the iguana may represent humanity's domination over animals. Dinesen alludes to the negative impact of humans on planet earth and our parasitic nature when she quotes a saying of a hero in a book she had read as a child: "I have conquered them all, but I am standing amongst graves" (73). My own experience in "shooting an iguana" involves hunting and capturing sand crabs.
Throughout the chapter, Camus uses pathetic fallacy in order to create tension, which is mirrored in Meursault’s mood. This is shown when Meursault states that ‘the bright morning sunshine hit me like a slap in the face’ and also when he describes the heat, just prior to the shooting of the Arab, as ‘unbearable’. Meursault ends up shooting the Arab, which he blames on the weather because of how desperate he was to get out of the sun and wanted to get into the shaded area where the Arab was sitting, and so Meursault uses the weather as a reason to make the murder seem acceptable. By using the weather like this, Camus is displaying themes of the absurd, because of the way Meursault is used as an absurd character, in that he is emotionally detached from the murder, and feels that his dislike of the weather is an acceptable excuse for killing a man, because of this, the murder becomes symbolic of the themes of the absurd in society. Also, Camus uses the weather in the form of the novel, as the weather is used whenever there is a high tension situation involving Meursault.
Atreus himself was involved in the tragedy in which he murdered his brother’s children and served them up as a dish to eat. In the Ancient Greek world, this was seen as placing a curse of the house of Atreus which could provide an explanation to the events that occur within the play. Cassandra calls it the ‘house that hates god, the echoing womb of guilt’ which implies that there will always be terrible things happening there as the gods do not approve of it. This starts the argument that the characters have no control over their fate as Agamemnon was always going to meet a sticky end because of the
John Donne’s poem “The Sun Rising” is satirical in a number of different respects. The poem opens, for instance, with explicitly satirical words, as the speaker calls the sun itself a “Busy old fool” (1). Immediately, then, a satirical tone is established, and this tone continues for much of the rest of the work, as when the speaker next condemns the sun by calling it a “saucy pedantic wretch” (5). The speaker’s mockery then moves from the sun to various kinds of human beings, such as “Late schoolboys,” “sour prentices [that is, apprentices],” “court huntsmen,” and “country ants [that is, rural workers]” (6-8). First the sun is mocked, and then a wide social spectrum is satirized.