Passage: Page 248: “-You made me confess the fears that I have…” – Page 249: “Cranly did not answer.”
In this passage, Stephen is saying how Cranly has made him confess all of his fears to him, but then he tells Cranly what he does not fear. Stephen tells Cranly that he does not “fear to be alone or to be spurned for another or to leave whatever” he has to leave. Stephen has gone through several stages in his life, and now that he has gone through all of those stages, he feels that he needs to go further into himself to try to discover his real self. Stephen also mentions to Cranly that he is “not afraid to make a mistake, even a big mistake, a lifelong mistake and perhaps as long as eternity too.” This shows that Stephen feels that making mistakes is fine because in the end, he will learn from his mistakes.
Meanwhile, Cranly repeats the word “alone” twice to try to enforce the word to Stephen and make sure that the word stands out to him. He is trying to make sure that he understands what Stephen is really saying. Cranly also points out that the word “alone” means “not only to be separate from all others but to have not even one friend.” By saying this, Cranly is trying to point out to Stephen that if he leaves everything, he will also be leaving Cranly, who is Stephen’s best friend. Stephen replies without hesitation that he “will take the risk.” This shows how determined Stephen is to pursue art as a career.
Cranly goes on, while ignoring Stephen’s last sentence, talking about how if a person is truly alone, he or she would not “have any one person…who would be more than a friend, more even than the noblest and truest friend a man ever had.” At this point, it is unclear about whether Cranly is addressing Stephen or talking to himself. Cranly remains quiet afterwards pondering that thought while Stephen looks at Cranly’s face for any reaction. Stephen then realizes that Cranly had been speaking of himself, and of “his own loneliness which he feared.” After some time, Stephen finally asks who Cranly is speaking of, but Cranly remains silent and does not answer.
In this passage, it becomes very clear that Stephen and Cranly are two very different people despite the fact that they are best friends.
Though Stephen initially felt isolated both physically and psychologically due to his illness, through Sachi’s comfort and the calm beauty of Matsu’s garden, Stephen finds his stay at Tarumi to be much less secluded. This proves that though one may feel alone at times, other people or things may help vanquish that feeling. In today’s world, isolation is everywhere – there is isolation due disease, intelligence, race, etc. Yet, people find that the little things like _____ to make them realize they are not alone. This sense of aid shows that like the paint in the puddle of water, all it takes is something small to make the biggest difference.
... to jail. He moved away, and the distance between us seemed to grow bigger and bigger” (280). The reader is left pondering the good character of Steve, the bad friends he spent time with, the doctoring of his testimony, and the information that Steve provided us hinting both at his guilt and at his innocence. We are comfortable with the fact that he has been let free, but has been warned. If he were involved in the crime, at least he may have learned his lesson through his time in prison and on trial. If he were not involved in the crime, at least he is free to start over and move on from the experience.
Christopher during the course of the text of the novel learns to disregard other people’s judgments.
*the narrator is looking back on what he has once witnessed long ago, and it's haunting him, makes him feel guilty and ashamed.
Since she could not own, much less lose a realm, the speaker seems to be
In existential thought it is often questioned who decides what is right and what is wrong. Our everyday beliefs based on the assumption that not everything we are told may be true. This questioning has given light to the subjective perspective. This means that there is a lack of a singular view that is entirely devoid of predetermined values. These predetermined values are instilled upon society by various sources such as family to the media. On a societal level this has given rise to the philosophy of social hype. The idea of hype lies in society as the valuation of something purely off someone or some group of people valuing it. Hype has become one of the main driving forces behind what society considers to be good art and how successful artists can become while being the main component that leads to a wide spread belief, followed by its integration into subjective views. Its presence in the art world propagates trends, fads, and limits what we find to be good art. Our subjective outlook on art is powered by society’s feedback upon itself. The art world, high and low, is exploited by this social construction. Even when objective critique is the goal subjective remnants can still seep through and influence an opinion. Subjective thought in the art world has been self perpetuated through regulated museums, idolization of the author, and general social construction because of hype.
Though Stephen initially felt isolated both physically and psychologically due to his illness, through Sachi’s comfort and the calm beauty of Matsu’s garden, Stephen finds his stay at Tarumi to be much less secluded. This proves that though one may feel alone at times, other people or things may help vanquish that feeling. In today’s world, isolation is everywhere – there is isolation due disease, intelligence, race, etc. Yet, people find that little things like human comfort or object reminiscent of a happy past are enough help them realize they are not alone. This sense of aid shows that like the flower in the midst of the desolate landscape, something small is all it takes to erase all negative feelings.
The literary setting communicates important details regarding the situation and characteristics of a subject; isolation is frequently one of these details. In Miss Peregrine's the main character, Jacob, believes his "[o]nly friend,” Rickey, is acting as a friend to support an unspoken contract in which
Bilingual education involves teaching material in two languages. In America, this includes ESL (teaching English as a second language) for students whose native language is not English. Bilingual education simply helps those students who would otherwise be helpless in actually learning the material in their English-only classes. It also helps English-speaking Americans learn another language, like Spanish. This is useful to them because America’s demographics are indeed becoming more diverse and thus, better language skills should be employed. Implementing bilingual education in the school curriculum is due to the passing of legislation at the government level. As of now, English immersion programs exist because of the Bilingual Education Act (a.k.a Title VII), which was passed along with the Civil Rights Act in 1964. (Cerda; Hernandez, 2006) At that time, it was expected to change ethnoc...
The narrator wrestles with conflicting feelings of responsibility to the old man and feelings of ridding his life of the man's "Evil Eye" (34). Although afflicted with overriding fear and derangement, the narrator still acts with quasi-allegiance toward the old man; however, his kindness may stem more from protecting himself from suspicion of watching the old man every night than from genuine compassion for the old man.
I think that the narrator feels much alone in life, even though she has a family who cares for her. She is clinically depressed so naturally she is going to feel isolated from the world. Speaking about a house that the narrator grew up in, she writes, 'and there was one chair that always seemed like a strong friend.
...me to terms with the part of love that is comprised of forgiveness. Stephen is yet doomed to wander in search of the meaning of love, but Bloom has found an incomplete definition, at least of eros.
As Stephen grows, he slowly but inexorably distances himself from religion. His life becomes one concerned with pleasing his friends and family. However, as he matures he begins to feel lost and hopeless, stating, "He saw clearly too his own futile isolation. He had not gone one step nearer the lives he had sought to approach nor bridged the restless shame and rancor that divided him from mother and brother and sister." It is this very sense of isolation and loneliness that leads to Stephen's encounter with the prostitute, where, "He wanted to sin with another of his kind, to force another being to sin with him and to exult with her in sin.
Religion, besides the practical need for food and shelter is one of the most powerful drives in Stephen's life. Religion serves as Stephen's guidance and saviour yet it is also responsible for his tormented youth and distracting him from his artistic development. As a child growing up in a strict Catholic family, Stephen is raised to be a good Catholic boy who will follow the teaching of Catholism as his guidance in his life. The severity of his family is shown when his mother tells him either to "apologise" (4) or "the eagles will come and pull out his eyes" (4). Stephen is taught by his mother to be tolerant when she "[tells] him not to speak with the rough boys in the college" (5). Similarly, Stephen's father also taught him a Catholic quality by telling Stephen "never to peach on a fellow' (6). Evidence of Stephen following the "never to peach" (6) quality is shown when Stephen agrees not to tell on Wells for pushing him into a ditch. However, as Stephen matures into his adolescence, religion becomes his savior rather than his guidance. As Stephen's family condition declines, he sees priesthood as a way to escape poverty and shame. In fact, priesthood is an opportunity for Stephen's personal gain...
A Portrait of the Artist as a Young Man, by James Joyce, exemplifies the model of art it proposes as it also offers the reader on how to read that very art. Following the main character, Stephen Dedalus, through life, Joyce uses Stephen’s immediate perception to convey how an artist views the world. The reader witnesses Stephen encountering everyday aspects of life as art—the words of a language lesson as poetry or the colors of a rose as beautiful. Through Stephen’s voyage and words, Joyce introduces the theory that “beauty” as a label for an object is not born from the actual physical object itself, but rather lies within the process one goes through when encountering the object. Joyce’s theory is also experienced by the reader as he or she encounters Stephen’s perceptions as well as the beauty of the poetic language and vivid description within Joyce’s narrative. The rhythmic patterns and stylistic sentences create a multitude of authorial voices that blend at various points in the novel involving Joyce, Stephen, and the reader.