Retribution in The Canterbury Tales Retribution is essential to a balanced humanity, acting as an offset for immoral deeds. Although retribution remains a necessary part of existence, it can be circumvented through penance, as exemplified in The Canterbury Tales by Geoffrey Chaucer. Upon entering the process of penance, the sinner must take the initial step and feel repentance for their immoral actions. However, without contrition, avoidance of punishment can only be achieved through
Capital Punishment: Justice in Retribution The American government operates in the fashion of an indirect democracy. Citizens live under a social contract whereby individuals agree to forfeit certain rights for the good of the whole. Punishments for crimes against the state are carried out via due process, guaranteed by the Fourteenth Amendment. The use of capital punishment is decided by the state, which is legal in thirty-seven states. It is a moral imperative to protect the states' rights
Heroism, Magic and Retribution in Lord of the Rings and The Hobbit A fantasy is an imaginary world where all things imaginable can be brought to life. J.R.R Tolkien portrayed fantasy through his use of skilled craftsmanship and a vivid imagination, which was presented in each piece of literature he wrote. In Tolkien's two stories The Hobbit and The Lord of the Rings we see the theme of fantasy brought to life through three essential elements, heroism, magic and retribution. Heroism is shown through
Comparing Retribution in Achebe’s Things Fall Apart and Roy’s The God Of Small Things A close look at two novels, Things Fall Apart, and The God Of Small Things, reveals examples of how their authors illustrate that fate supplies retribution for wrongs done. In Chinua Achebe’s novel Things Fall Apart, there are three linked instances of this type of retribution. First, Ikemefuna details an innocent young man who is unknowingly punished for the crime of another person. Second, Okonkwo is exiled
philosophies of punishment. In the philosophies of punishment, we have retribution, deterrence, rehabilitation, isolation, incapacitation, reintegration, restitution, and restoration. I’ll define these philosophies of punishment. Retribution: It refers to revenge or retaliation for harm or wrong done to another individual. This was an unearthed written code dated back more than 3500 years that clearly spell out a retribution approach by the Archaeologists. “If a man destroy destroys the eye of another
speaker describes the fearful dream she had. Bogan introduces the symbol of a mighty horse that embodies the fear and retribution carried from the speaker's childhood, fear and retribution that have been "kept for thirty-five years" (3). Bogan effectively uses metaphorical language as she describes the fear personified inthe horse as it "poured through his mane" (3) and the retribution as it "breathed through his nose" (4). The source of her fear is unclear, but it may be that the horse is a symbol
Scarlet Letter - Pearl as a symbol Pearl is a symbol of Hester’s transgressions and even has similar qualities as the sin which she represents. Pearl’s life and behavior directly reflects the unacceptable and abnormal nature of Hester’s adulterous sin. Hester is plagued with more than just a letter “A”; she is given a child from her affair who is just as much a reminder of her sin as the scarlet letter. Ultimately Hester overcomes the shame associated the scarlet letter and creates a sense of
is not a sufficient explanation as he is eager to avenge the death of his father, but cannot bring himself to take action. It is obvious that the reason for not carrying out the revenge is not due to any moral apprehensions or fear of divine retribution. There is something special about this task that makes it impossible for Hamlet to carry out the deed. The inability to take action stems from distinctive feelings within Hamlet, his Oedipal Complex. Hamlet has the perfect opportunity to kill
An obvious portrayal of his need to keep his masculinity is his murder of a boy. The boy was practically a son to him who had been raised in his home among his family. It is decided by the town elders that the boy, Ikemefuna, should be killed in retribution of a woman murdered three years ago. Even after the boy cries out to Okonkwo calling him his father, “…Okonkwo drew his machete and cut him down. He was afraid of being thought weak.”(61) Okonkwo’s culture pushed him to become a heartless man in
and a loving husband. It is strange that the Prince did not convey information about being a loving father. It is left for us to infer that there must have been a special bond between father and son for the Prince to be so willing to carry out retribution against his father's murderer. Hamlet describes his father in this way: "See, what a grace was seated on his brow:/ Hyperions curls, the front of Jove himself,/ An eye like Mars, to threaten or command/ A station like the herald Mercury" (Act
all people could see them. It had a prologue, an epilogue, and 282 articles, and included rights for women, even though they didn’t have as many rights as men did. Hammurabi’s code was based on the saying ‘an eye for an eye’. This means that the retribution for the crime would roughly fit the severity of the crime. For example, if someone poked someone’s eye out, someone would poke that someone’s eye out. I think this is fair because it doesn’t make sense any other way. For instance, if one was jailed
Retribution When someone takes a life, the balance of justice is disturbed. Only the taking of the murderer's life restores the balance and allows society to show convincingly that murder is an intolerable crime which will be punished in kind. Retribution has its basis in religious values, which have historically maintained that it is proper to take an "eye for an eye" and a life for
exception. The Call to Arms came only after Japan’s killing of unprepared men in Pearl Harbor. The nation did not see the attack as an attack on a legitimate target but as an immoral attack. Giving in to its warrior spirit, the nation looked for retribution. Unable to shake a conscience developed and tempered by its early religious heritage, though, the nation needed more justification than mere revenge for the coming actions it would take. America’s policy of “Unconditional Surrender” provided this
The Dark Side of the Mind Exposed in Cask of Amontillado "A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong." With that statement, Montresor begins his tale of revenge deciding that the act must be slow and sweet and that in order to fully enjoy it, his adversary must be aware of his intentions. Hidden within those same few lines, lies not only this horrid plan, but also the
in an emotional way the action of whoever the chorus is siding with at these various stages of the play. It is clear that at the beginning of Antigone, the chorus favors the actions of Creon, or nomos. This is shown as Creon's intentions and retribution towards Polyneices are justified by jovial words and imagery involving light. In the battle between Eteocles and Polyneices, although both leaders were killed, Eteocles' army was the victor. To show that this was positive in the eyes of the gods
Justice and Social Order in The Oresteia Democracy, emerging in the city-state of Athens, allowed unprecedented power to her citizens. Among these new powers was the ability to legislate. Yet, legislation was not without its problems. First the citizens must agree upon what is just and unjust, and then enforce the law by bringing the unjust to reconcile their guilt with the public through trial, and finally dispense the appropriate penalty. This evolution was not without concern. The Greeks
to immediately avenge his father’s death by killing Claudius. Yet much time elapses before Hamlet finally does slay his evil uncle, leading to a fundamental question: what causes the hero to delay before eventually managing to salvage some retribution? The answer is that Hamlet’s reoccuring state of impractical contemplation renders him incapable of any decisive action that could have brought quick revenge. A key moment in the play comes in the first act, when the ghost of Hamlet’s
Although Antigone should not have been punished for that law she had broken, she was willing to accept her death sentence. She said to Creon, “These laws- I was not about to break them, not out of fear of some man’s wounded pride, and face the retribution of the gods. Die I must, I’ve known it all my life- how could I keep from knowing? - Even without your death-sentence ringing in my ears. And if I am to die before my time I consider that a gain. Who on earth alive in the midst of so much grief
with impunity” (Poe 141). He wants to be exempt from harm as well as from guilt. This would make the revenge sweet, or satisfying. Montresor comments on a satisfying revenge at the end of the first paragraph by saying “A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong" (141). Montresor means that revenge must be satisfying, but can not consume himself. He can not step over
requital of all things else, which ye had taken from me. She is my happiness!- she is my torture, none the less! See ye not, she is the scarlet letter, only capable of being loved, and so endowed with a million fold the power of retribution for my sin? Ye shall not take her! I will die first!'"(109) "'There is truth in what she says,' began the minister, with a voice sweet, tremulous, but powerful, insomuch that the hall reechoed, and the hollow armor rang with it