East to west is represented as a continuous journey, like that of life to death, forever taking Gatsby away from the past and his dream. The preposterous amount of corruption in society and the end of dreams and life is symbolised by dust. This corruption is what eventually brings Gatsby to his tragic death. Although East Egg and West Egg are separated “only by a courtesy bay” they have “dissimilarity in every particular except shape and size (p.10).” The west is home to Gatsby and the nouveau rich. The West Eggers seek to tastelessly imitate the East.
Daisy’s inability to be honest to the man she claimed to love, and Tom’s stride to be powerful and in control led to the slaughter of three innocent people who got tied up in a game of wealth and competence. Agreeing with the description made by Nick Carraway towards Tom and Daisy Buchannan, they both “smashed up things and creatures and then retreated back into their money or their vast carelessness or what ever it was that kept them together and let other people clean up the mess they had
In sharp contrast ‘T’ is the brooding, malevolent personification of a post World War II generation that has never witnessed peace and calm, wanting nothing but to inflict more of the devastation that he is used to. ‘T’ has a revolutionary idealism that gradually gains momentum as the plot unfolds with striking similarities to the great revolutionaries of the time. Both protagonists have completely different settings into which they are able to influence the plot. The calm and tranquil backdrop in ‘The Country of the Blind (TCotB, 1904)’ is in direct contrast to the apocalyptic post blitz scene in ‘The Destructors (TD, 1954)’. These differences force ‘T’ and Nunez to impact on plot development and structure in very different ways.
Both composers exhibit that genuine responsibility is acquired only after the traumatic experiences of paranoia and loss, overturning the underlying presumption that it is universal and easily recognised. Ambition and fallibility are characteristics that both Victor Frankenstein and Eldon Tyrell possess. These concepts are deeply flawed because they form ominous and dystopic worlds. Victor has an obsessive thirst for knowledge and destructive ambition. As he is a product of the Romantic value of egocentrism; he is blind to the consequences of his overwhelming desire to be omnipotent and is driven to discover the “secret of life”.
Nick explains, "They were careless people, Tom and Daisy -- they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made" (188). Part of the mess left in the Buchanan's wake at the end of the novel includes the literal and figurative death of the title character, Jay Gatsby. Certainly, his undeserved murder at the hands of a despondent George Wilson evokes sympathy; the true tragedy, however, lies in the destruction of an ultimate American idealist. The idealism evident in Gatsby's constant aspirations helps define what Fitzgerald saw as the basis for the American Character. Gatsby is a firm believer in
Wilde: Flaunting Societal Flaws with Literary Device The Importance of Being Earnest is a product of the “sober and dutiful earnestness” that (Tosh 12) commanded the times coupled with the author's palpable disdain for the same. Like his main characters Jack/Ernest Worthing and Algernon Moncrieff, Oscar Wilde relies heavily on a purposeful duality; as an effective mechanism of humor, he stands the societal mores of the day on end, while the subtext beneath the comedy, fluff and wit, fingers the despicable hypocrisy of Victorian Society that ultimately brought Wilde to personal ruin (Grill 7). Wilde's writing reflects his own philosophies, namely his devotion to art above truth, and his highly prized individualism (Gale 1201). He himself has described The Importance of Being Earnest as "about characters who trivialize serious matters and solemnize trivial matters,” the very epitome of Victorian manners (Mitchell 262). Along this vein, Wilde calls on an arsenal of literary devices with which he reproaches a puerile Victorian society for holding ideals absent of sincerity, it's use of marriage as the currency of social status, and for maintaining the class divide.
However wealthy Tom may be his brutal nature cannot be hidden. His gait appears egotistical, with his choice of fitting ‘riding clothes’, his positioned ‘legs apart’ and his ‘arrogant eyes’, almost giving him a sense of entitlement. As the ‘husky tenor’, speaking for the first time in the novel, announces his ‘nice place’ he positions Nick, baring his dominating manner. His snobbish and ignorant attitude is made apparent when he decisively dismisses Nick’s job with an ellipsis – “Never heard of them”. Tom’s uninterested tone is continued when topics arise such as his daughter, and he interrupts conversation with an ‘unrestful’ approach.
Shakespeare does well in characterizing Sebastian and Antonio as not only traitorous younger brothers, but now as prideful, arrogant, and condescending. Sebastian is basically telling the boatswain to go to hell, with harsh diction that evokes images of a blotchy diseased man who is too insignificant and revolting to even be considered human. The first two adjectives Sebastian uses to characterize the boatswain, “brawling” and “blasphemous” seemingly roll off of Sebastian’s tongue by use of alliteration. The final two words in Sebastian’s raged rant get their own line, as they stand alone to deliver the ending dagger. Antonio’s quote shows that he isn’t shy in expressing his authority over a mere
Whilst this is undoubtedly the case the vast amounts of hatred and blame placed on Pope, in particular by Wilfred Owen and other prominent third stage poets, is misplaced. Much more likely this was simply Pope's idealistic and ignorant mindset of the war, and not as is placed heavily upon her, a call to send boys to their death. Pope, in all probability viewed the cases of conscience
Pride can easily be depicted as the story progresses to the very end and not only from a few minor characters, but from major characters as well. Prejudice As the novel progresses on, another prevailing theme, aside from pride, is prejudice. During the ball, Elizabeth immediately depicts prejudice towards Darcy. Darcy comes off as pompous and snobby, “[he is] the proudest, most disagreeable man in the world.” (18) His reasoning for not wanting to dance with Elizabeth was also what made Elizabeth prejudice towards Darcy, she showed “no… cordial feelings towards him” (19) by the end of the night. Mrs. Gardiner also displays her prejudice as she is the one that doesn’t want Elizabeth to associate with Wickham because of his impoverishment.