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Literary techniques
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The ability to observe different varieties of things on a daily basis is a huge part of everyone’s lives. The power of the individual mind comes from its capacity to apply these observations, which may sometimes incorporate some misconceptions that result in dire repercussions. In “The Devil,” Leo Tolstoy tells the story of Evgeny Irtenev, a young man who finds himself in a position of relentless lust after inheriting his father’s country estate. Before finding the right woman to marry as well as being accustomed to readily available sexual services, Evgeny arranges numerous encounters with a married peasant woman, who he continues to see until he meets his prospective wife. After being in a perceivably happy marriage for more than a year, …show more content…
For Evgeny, he assumes many things about the feelings of both Liza and Stepanida. In fact, rarely are Stepanida’s point of views ever shown in the story. When the affair began, Evgeny thought Stepanida’s husband to be “a poor sort” (173). The reason for this assumption was that he could not fathom why Stepanida would agree to be a prostitute if her husband was well off. He thought that surely, because she is a woman, she could not possibly be committing these acts out of desire. After asking Stepanida about her husband, she says, “there’s not another like him in the village” (174). So, when Evgeny sees that her husband is rather a fine man and how much pride she has in him, his feelings of confusion arise. As for Lisa, all of her feelings in the story revolve around Evgeny. Even from the beginning she describes that, “…She had no other thoughts than him, no other desires than to be with him, to love him and be loved by him“ (176). Evgeny did not marry Liza because of how he loved her character, and he married her because as he mentions “…[he] was ripe for marriage. He fell in love with her because he knew he would marry” (175). Evgeny married Liza because of the idea of marriage, which he assumed would make him happy and cause him to no longer desire Stepanida. But, when Evgeny realizes that he was not entirely content with his marriage, his confusion becomes evident when his …show more content…
Throughout the story, Evgeny assumes many things about both Stepanida and Liza. Assumptions are mainly made about their physical, mental, and social stature. Physically, Stepanida is described more sexually than Liza, who is described as somewhat ordinary. Mentally, Stepanida’s voice is never heard and is rather stifled by Evgeny’s. Liza however, does not seem to have thoughts of anything other than her husband. Socially, Stepanida is considered of much lower stature than the other characters. Since she is a female peasant, treating her as an object is seemingly acceptable. Conversely, Liza is never seen as a disposable object, even if like Stepanida, she is also of lower stature than Evgeny. Overall, Evgeny constantly looks for a way to deal with Stepanida as to not ruin his marriage with Liza. He repeatedly chooses, instead of taking responsibility, to place the blame on Stepanida for merely being there. Generally, the views of the female characters seem to be rather muffled by the males’, thus presenting the idea of women perceivably being under man’s
When comparing Chekov’s elements that construct a love story to those in Leigh Michaels’ “The Essential Elements of Writing a Romance Novel”, readers must make their own judgments with what little Chekov provides. Chekov accomplishes this task by portraying Anna's and Gurov's relationship through using a lens of representative true human behavior. Unlike a traditional romantic story, Chekov fails to provide the reader with a concrete answer to how or if the lover’s will endeavor. Furthermore, the expectations of the romantic hero and heroine are skewed when analyzing Gurov and Anna. Readers are forced use their own judgments to fill in the blanks that Chekov provides because of the vast uncertainty due to human nature in the short
The short story, “Ivan Fyodorovich Shponka and His Aunt”, explicates the life of a man named Ivan Fyodorovich Shponka. We see him briefly in his young years, followed by his life in the army, and his return to the farm where his strong characterized aunt resides. We can see immediately that this man lives in constant cleanliness and dutiful paranoia; these are some of his desires that he wishes to exhibit to others. We can also see his fears, which reside in the confiscation of his masculinity and independence. This short story has many elements that resemble others in the Nikolai Gogol collection.
We first meet Dmitri Gurov, a married middle aged man with children, who has been unfaithful to his wife many times. He has a great contempt for women and refers to them as “the lower race”. But strangely can’t get enough of them, “ It seemed to him that he had been so schooled by bitter experience that he might call them what he liked, and yet he could not get on for two days together without the lower race”. He is a player, a playboy. He doesn’t feel comfortable around men so he focuses his energies on the ladies, “In the society of men he was bored and not himself, with them he was cold and uncommunicative; but when he was in the company of women he felt free, and knew what to say to them and how to behave; and he was at ease with them even when he was silent”. He tells women what they want to hear so he can get them to bed, “ In his appearance, in his character, in his whole nature, there was something attractive and elusive which allured women and disposed then in his favour; he knew that, and some force seemed to draw him, too, to them.” This keeps life simple for him.
Fyodor Dostoevsky’s Crime and Punishment begins with Rodion Romanovich Raskolnikov living in poverty and isolation in St. Petersburg. The reader soon learns that he was, until somewhat recently, a successful student at the local university. His character at that point was not uncommon. However, the environment of the grim and individualistic city eventually encourages Raskolnikov’s undeveloped detachment and sense of superiority to its current state of desperation. This state is worsening when Raskolnikov visits an old pawnbroker to sell a watch. During the visit, the reader slowly realizes that Raskolnikov plans to murder the woman with his superiority as a justification. After the Raskolnikov commits the murder, the novel deeply explores his psychology, yet it also touches on countless other topics including nihilism, the idea of a “superman,” and the value of human life. In this way, the greatness of Crime and Punishment comes not just from its examination of the main topic of the psychology of isolation and murder, but the variety topics which naturally arise in the discussion.
For Leo Tolstoy, in order for something to be considered art, it must evoke some form of emotion that acts as a means of unification and communication for humanity. As long as the intent of the artist hopes to unify, it is a positive necessity for the human experience, “art begins when one person, with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain indications.” For Tolstoy’s theory, the idea of intent is paramount to the execution of art. If something is not made with the intent of evoking a pure emotion, then it is not art. Tolstoy believes that art is “a means of union among men, joining them together in the same feelings and indispensable for the life and progress toward well-beings of individuals and of humanity.” When m...
The problem of reconciling an omnipotent, perfectly just, perfectly benevolent god with a world full of evil and suffering has plagued believers since the beginning of religious thought. Atheists often site this paradox in order to demonstrate that such a god cannot exist and, therefore, that theism is an invalid position. Theodicy is a branch of philosophy that seeks to defend religion by reconciling the supposed existence of an omnipotent, perfectly just God with the presence of evil and suffering in the world. In fact, the word “theodicy” consists of the Greek words “theos,” or God, and “dike,” or justice (Knox 1981, 1). Thus, theodicy seeks to find a sense of divine justice in a world filled with suffering.
The Death of Ivan Ilyich by Leo Tolstoy shows reader how not to live their everyday life. Of course we have to work day in and day out to provide for our families, but there comes a time when your work life should be put on hold. No life is ever perfect, we must make the best out of what we can accomplish. The Death of Ivan Ilyich teaches us about three themes: the right life, your mental “phony” life versus reality, and the unavoidable death to come.
While confronting Dostoevsky’s Notes from Underground seems a difficult task initially, one must be able to transcend the elaborate diction and parodies, and comprehend the author himself, while also taking root the message Dostoevsky had originally intended in the time it was addressed. Understanding the author himself, along with the period in which the work was written, augments one’s overall discernment of the passage. In the age he wrote, Dostoevsky must have seemed eccentric and outlandish; nevertheless, looking back on him from today with a literary understanding of modernism, he appears ahead of his time. His central premise, although difficult to determine amongst the satire, is humanity’s necessity for freedom and religion, specifically Christianity.
Ivan Ilych is living during the industrial revolution, a time of technological advancement, that mainly advances the upper class, which he is apart of. Ivan’s number one priority in life is to be comfortable and to do the correct thing at all times. Every decision he makes, including who he chooses to marry, is with the intent that it does not damage his “easy, agreeable, and always decorous character of his life,” (Tolstoy 213). Ivan is convinced that the best way to have an easy and agreeable life is to be wealthy, marry a woman from his own class, and live in a house full of modern conveniences and luxury. Ironically, it...
In Vladimir Nabokov's Lolita, the overruling drive of the narrator, Humbert Humbert, is his want to attest himself master of all, whether man or woman, his prime cravings, all-powerful destiny, or even something as broad as language. Through the novel the reader begins to see Humbert’s most extreme engagements and feelings, from his marriage to his imprisonment, not as a consequence of his sensual, raw desires but rather his mental want to triumph, to own, and to control. To Humbert, human interaction becomes, or is, very unassuming for him: his reality is that females are to be possessed, and men ought to contest for the ownership of them. They, the women, become the very definition of superiority and dominance. But it isn’t so barbaric of Humbert, for he designates his sexuality as of exceptionally polished taste, a penchant loftier than the typical man’s. His relationship with Valerie and Charlotte; his infatuation with Lolita; and his murdering of Quilty are all definite examples of his yearning for power. It is so that throughout the novel, and especially by its conclusion, the reader sees that Humbert’s desire for superiority subjugates the odd particularities of his wants and is the actual reason of his anguish.
“There is no perfect relationship. The idea that there is gets us into so much trouble.”-Maggie Reyes. Kate Chopin reacts to this certain idea that relationships in a marriage during the late 1800’s were a prison for women. Through the main protagonist of her story, Mrs. Mallard, the audience clearly exemplifies with what feelings she had during the process of her husbands assumed death. Chopin demonstrates in “The Story of an Hour” the oppression that women faced in marriage through the understandings of: forbidden joy of independence, the inherent burdens of marriage between men and women and how these two points help the audience to further understand the norms of this time.
While it has traditionally been men who have attached the "ball and chain" philosophy to marriage, Kate Chopin gave readers a woman’s view of how repressive and confining marriage can be for a woman, both spiritually and sexually. While many of her works incorporated the notion of women as repressed beings ready to erupt into a sexual a hurricane, none were as tempestuous as The Storm.
In the short story, “The Story of an Hour,” author Kate Chopin presents the character of Mrs. Louis Mallard. She is an unhappy woman trapped in her discontented marriage. Unable to assert herself or extricate herself from the relationship, she endures it. The news of the presumed death of her husband comes as a great relief to her, and for a brief moment she experiences the joys of a liberated life from the repressed relationship with her husband. The relief, however, is short lived. The shock of seeing him alive is too much for her bear and she dies. The meaning of life and death take on opposite meaning for Mrs. Mallard in her marriage because she lacked the courage to stand up for herself.
Ivan Dmitritch, a character in the short story “The Lottery Ticket” by Anton Chekhow, is unstable. In moments of believing he won the lottery, Ivan became materialistic. He fantasized about his “new life [and how] it will be transform[ed]” (pg 199). Ivan imagined all the things he desired instead of appreciating what he already had. This in fact shows that he is unstable as all he determines about is the rich life and not distinguishing that he isolated himself from the person who loves him the most; his wife. As a result of isolation, Ivan became paranoid. While Ivan continues to dwell about the rich life, reality hits him as he ponders about all the hardships, such as all the relatives coming and “begin[ning to whine] like beggars” (pg 201).
In Dostoyevsky’s Notes from Underground, the underground man struggles between two opposing beliefs. The first acknowledges that his fictional existence has been predetermined, subject to his author’s conduct. The is the underground man’s insistence that the only possible world humans can live in undetermined world which extols and situates free will within a human. In order to try and solve this problem, the underground man turns to writing, to try and be honest with himself, probe into why he is this way, and to not reject any truth that comes forth, horrifying or not. Through this exercise, he comes to realize that his self awareness sheds light on how little control he has over his actions even though he continues to believe in free will. This understanding within the underground man, and acceptance from the reader, engenders with humility brings forth what I believe to be a humbling message to the now indurate reader, who, after reading Notes from Underground, returns to their own, undetermined world with a new sense of duty.