Paul Baumer changed by a subject too messy to be discussed in proper decorum. T.S. Matthews says, “This is a book about something that nobody likes to talk of too much. It is about what happens to men in war. It has nothing whatever to do with the politeness, the nobilities, or any of the sometimes pretty and sometimes ridiculous notions to which the world has once again settled down (130).” Paul is changed by a war directed by people who had no idea of the horrors that would change the men of their country.
To begin with, Meursault follows the phrase “existence precedes essence.” Meursault does not follow cultural norms and is defined through his actions. He does not determine himself through a title like his job and believes that “none of it really [matters]” (Camus 41). He does not believe in God and thinks that questions about deities and the universe “[seem] unimportant” (Camus 41). Meursault’s experiences also align themselves with this existential idea. Not only does he not cry at his mother’s funeral, which is important in society, but he kills the Arab for no particular reason.
People must face their problems and overcome them, and love requires commitment and is greatly appreciated. John was rather a Renaissance man trapped in a world where none of his necessities in life existed. He was disgusted at their orgy-porgies, their belief of take, take, take not give, give, give. Total happiness did not exist to John in a world which lacked expression of the arts. It was rather total torment.
The stranger is a man lost in his own world where no one understands him but himself. This man was portrayed as a monster, un-human, and even heartless all because he chose not to express his emotions or feeling to the world. You may ask well how does this relate to me ? Well your about to find out why. In Albert Camus’s Novel “The Stranger” Meursault was portrayed as a man with irony, tragic hero qualities, and heartlessness, because he has no emotions to show to the world which will cost him his life.
This stanza begins with a realization from the poet: with no religion and no God, what else is there to trust but love? Humans have no God to support themselves, so other humans must do in his stead. With this realization in tow, Arnold elaborates on what life on Earth is like if humans cannot find love and God is not real in lines 31-35. The speaker now wallows in the depression that comes from losing all forms of life support, especially religion, after the tide of faith ebbs from the shoreline. The writer thrusts this harsh reality at the reader: love is only from a dream world that presents a façade of beauty, and only “Hath really neither joy, nor love, nor light, / Nor certitude nor peace nor help for pain” (Arnold).
Upon his creation, he was left not receiving the protection and guidance he desperately needed. His feelings were the same as any other humans: grief, and distress, anger. But, instead of calmly diffusing his anger, he chose to destroy that which made his “enemy” happy. There was never a good reason to bring the dead to life, despite all of Victor’s claims. Because of his arrogance, and lack of a functioning human heart, he disregarded everyone’s opinions and advice and sought to do what was right for himself and not even attempting to protect his family, regardless of how he claimed he did.
He is presented to us as a sensitive soul, yet he does not even seem to hold his father responsible in any manner for the deaths of his mother and younger brother. And Sullivan’s insistence on seeking revenge places his surviving son in danger and nearly costs him his life. That hardly constitutes redemption for leading a “bad life.” The film lazily glosses over this and every other discrepancy.
He never had the choice if his creator was going to abandon him because of his outward ugliness. Paula R. Feldman recognizes this forced isolation, saying, “Frankenstein is accepted by society but chooses isolation, his Creature is an outcast but yearns for companionship… formed only by the cruelty and neglect of society” (Feldman 69). The creature is an outlier of society, but never by choice, and, unlike his creator, who chooses to separate himself from everything in his life, the monster did not have the opportunity to experience life before being forced into solitude. The creature is often is “confined within a state of lonely and insuperable incommunicability” (Schmid 19). The creature wants nothing more than to be accepted by society, and does not receive the affection and relationships that a child should be provided with.
The people that make up his imaginary society have no conception of love or any other passion, and actually scorn the idea. Huxley believes that along with passion comes emotional instability. The Utopian state cannot afford any kind of instability and therefore cannot afford love. The destruction of the family is one example of the effect of Utopia's absence of love. In a world of bottled-births, not only is there no need for a family, but the idea is actually considered obscene.
Sydney Carton in Charles Dickens’ novel A Tale of Two Cities, finds himself trapped within this cycle. Believing his life to be a waste, he does nothing to help himself, causing other characters to see him as worthless, which reinforces his beliefs. However, through his love for Lucie Manette, his actions show that he is both right and wrong because his life, though squandered, comes to end with a selfless sacrifice. Hiding behind false paradigms, Carton’s biggest obstacle is himself. Often, he dismisses his intelligence and diligence.