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themes of good versus evil essay
themes of good versus evil essay
allegory in faerie queene book 1
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Good vs. Evil in Faerie Queene by Edmund Spenser
Good versus evil is one of the most commonly used themes in literature. Edmund Spenser’s “Faerie Queene” is no exception to this theme. The story consists of a knight who must save the day and win the hand of his true love. This plot in itself is really common in story plots. The “Faerie Queene,” however, adds a little life to this old tradition. Allegory is placed in this story and really makes up the theme and brings it to life. Allegory is a literary device where a metaphor is extended throughout the narrative and the characters in the story symbolize a type of virtue. The “Faerie Queene” is full of allegory, as a matter of fact; every character symbolizes some type of virtue or person in history. Without the use of this literary device, this story would be as common as all the other good versus evil themed stories are, but instead, it has become a classic in literary history.
The main character of the narrative is Redcrosse Knight who is the typical “hero” of the story. He symbolizes the virtue of holiness and also is seen depicting Saint George who is the patron saint of England. Redcrosse is used in this manner to illustrate Spenser’s thoughts on the battle going on in England at the time between the Catholic Church, the old church, and the new Protestant church. What had happened in history at the time of the writing of the story was that of course, Catholicism had beat out the old church and become the...
The Editors of The Encyclopædia Britannica, ed. "Allegory." The Encyclopædia Britannica. N.p., 2013. Web. 9 Dec. 2013. . third
Ludwig Tieck’s novella, Eckbert the Fair, presents a certain ambiguity of moral values. The story meets a tragic ending where the main couple of the fairytale, Eckbert and Bertha, die as punishment for their crimes of betrayal, theft, and murder. However, an uneasy feeling of injustice remains about the punishment despite the clarity of their guilt. The tale itself strongly resembles a tragic play defined by Aristotle, but the narrative deviates from the structure of standard tragedy. In effect, the unique set-up of the narrative makes the evil deeds seem ultimately inevitable. The structure of the novella helps justifying the crimes, causing the distinction between the good and the bad to become unclear. In this paper, I will discuss this unique structure of the tale to analyze how this uneasy feeling about the ending emerges.
In The Faerie Queene, Spenser presents an eloquent and captivating representation of the Roman Catholic Church, her hierarchy, and patrons as the malevolent forces pitted against England in her exploits as Epic Hero. A discussion of this layer of the allegory for the work in its entirety would be a book in and of itself, so, for the purposes of this exercise, the focus will be confined to Book I, Canto 1, through the vanquishing of the dragon, Errour. Even in this small section of the work, however, it will be evident that Spenser very much took to heart both his duty as an Englishman to honour Her Majesty, Queen Elizabeth I, and his duty as a Protestant Christian to champion the Church of England. The purpose of this exercise is not to prove whether Spenser was correct in his assertions, but to explore the manner in which he sets forth his views; it is, therefore, written from the position that his views are righteous, in the interest of eliminating the need for multiple caveats stating that the ideas herein are an interpretation of Spenser's beliefs. That being said, Spenser's multi-layered allegory sets him apart as perhaps the first Anglican Apologist, in whose footsteps C.S. Lewis would later follow with his own deeply symbolic tales. That Spenser displayed the literary and imaginative prowess to lay down so many layers of richly crafted allegorical fabric has made The Faerie Queene a work for the ages, both as lessons in English and Ecclesiastical history and as a fine example of the enduring beauty of the Language.
Everyone remembers the nasty villains that terrorize the happy people in fairy tales. Indeed, many of these fairy tales are defined by their clearly defined good and bad archetypes, using clichéd physical stereotypes. What is noteworthy is that these fairy tales are predominately either old themselves or based on stories of antiquity. Modern stories and epics do not offer these clear definitions; they force the reader to continually redefine the definitions of morality to the hero that is not fully good and the villain that is not so despicable. From Dante’s Inferno, through the winding mental visions in Shakespeare’s Hamlet, spiraling through the labyrinth in Kafka’s The Trial, and culminating in Joyce’s abstract realization of morality in “The Dead,” authors grapple with this development. In the literary progression to the modern world, the increasing abstraction of evil from its classic archetype to a foreign, supernatural entity without bounds or cure is strongly suggestive of the pugnacious assault on individualism in the face of literature’s dualistic, thematically oligopolistic heritage.
They serve many purposes, as both demonstrated by Lurie’s article “What Fairy Tales Tell Us,” as well as what is investigated in this paper. Nevertheless, one must keep in mind how dated of many of these stories are; what some may view as having a deeper meaning, such as abuse, may also be reflecting the habits and occurrences of the time period, such as seen in “Hansel and Gretel.” That is not to say, however, that these stories are to be taken lightly. Ostensibly, romantic tales where true love is apparently the only motive may actually be harbouring important ethics and beliefs. This can be seen in the tale of Sleeping Beauty; criticized in modern times for being a feminist’s nightmare, the tale actually consists of genuine messages about the world. It takes insipid daily lessons and turns them into something magical, or, more eloquently, “the fairy tale survives because it presents experience in vivid symbolic form”
...d theme between The Knight’s Tale and The Miller’s Tale, it is evident that genre has an influence on the creation of meaning within the two stories; it also allows the reader to recognize The Miller’s Tale as a parody of the courtly and aristocratic values of The Knight’s Tale. By first recognizing that both stories are grounded in a similar basic plot, it is easier to compare the differences between them. Some major themes that exemplify the influence that genre has on meaning are divinity and predestination and love at first sight. By examining these themes and other aspects of the stories such as the combat and the endings, it is clear that style, theme, and genre are crucial in influencing the creation of meaning in a story. And this is how two stories can shift meaning from a tragic idealized courtly love among nobility, to a comic affair among middle class.
Evil. It is a word that has been used for hundreds of years, yet the
...n” is a great example of an old myth or tale reconstructed and adapted for a modern audience in a new medium. It is a progression on one hand in its use of modern language, setting, and style but it is also the product of the old myths in that it is essentially the same on the thematic level. In addition, the level of self-awareness on the part of the narrator and, by extension, the author marks it out as an illustration of the very notion of evolutionary changes of myths and fairy tales. Adaptation is the solution to the fairy tale, and fairy tales have been endlessly changing themselves throughout history and, by some strange transforming or enchanting power endlessly staying the same.”
Good vs. Evil in Macbeth The good characters in Macbeth are less interesting than the evil ones. Everybody has an evil seed planted in them. Only the really evil person acts on them and commits something morally wrong. Like a Macbeth. When Macbeth first received the prophecies, he actually considered them.
Murder. Evil. Prophecies. Persuasion. These concepts aid Macbeth to transform into the “dead butcher” Malcolm describes him as. At the beginning of the play, Macbeth is described as being heroic and noble since he proudly fought for his country in the war. However, he is soon described as a “tyrant” and as “wicked” after learning of the witches’ prophecy and pursuing their misleading vision. The witches and Lady Macbeth push Macbeth in order to cross the line between good and evil: the witches implant the idea of murdering King Duncan and usurping his throne, while Lady Macbeth persuades Macbeth to kill the King. Although Lady Macbeth and the witches push Macbeth to commit these acts of murder in exchange for power, Macbeth possesses evil, an ambitious desire to carry out these atrocities.
At the beginning of the play Lady Macbeth is shown as a strong independent woman that has almost no morals and thinks only of herself. As soon as Lady Macbeth learns there is a possibility of Macbeth becoming King and her becoming Queen, she prepares herself to become a killer. “Come, you spirits That tend on mortal thoughts, unsex me here; And fill me, from the crown to the toe, top-full Of direst cruelty.” In this quote Lady Macbeth is asking the spirits to fill her from head to toe with cruelty, making her less like a woman and more like a man who can commit an evil deed. During the beginning of the play she bosses Macbeth around and persuades him to kill the King even after he had changed his mind. “When you durst do it, then you were
Wealth or family? A life old question that is yet to be answered. The choice is very difficult, the outcome is spontaneous. Stuck in the middle, with no way out but disaster. After a disaster nothing gets better, the sight of hope is lost as a person’s gnarled mind takes over and nothing from that point on is predictable. This concept is conveyed throughout The Pearl written by John Steinbeck, the main character Kino is faced with this decision. Steinbeck uses motifs of Good vs. Evil and different songs expressed through Kino’s thoughts throughout the book. Greed can alter a person’s thoughts making them do unpredictable things.
him from a hero to the traitor he is at the end of the play. They
Some fairy tales are so iconic that they withstand the passing of time. One of those fairy tales is that of Cinderella. The rags to riches story that gives even the lowliest of paupers, hope that they may one day climb the social ladder. While the core message of the story has transcended time, over the years it has been adapted to address a variety of audiences. One of those renditions is Perrault’s Cinderella where the traditional idea of gender is conveyed and therefore associated with good/evil. This idea is challenged by a fellow 1600’s French author, L’heriter de Villandon’s, who’s version of Cinderella brings about a female protagonist who is also the heroine.
2. Edmund Spenser's "The Faerie Queene" is considered a Romantic epic poem. What is the definition of an "epic"? Does Spencer's poem appear to you to be an epic? Why, or why not?