It is the human condition to question the nature of our existence: philosophers, musicians, artists, and writers have all sought to address these issues. However, sometimes the patterns and events of our lives do not reveal their meaning to us, they are imperceptible us and appear as fate. In Lermontov’s classic novel, though some would argue it does not fit the definition of a novel, A Hero of Our Time, the author discusses the concept of fate from the perspective of the protagonist, Pechorin. The quintessential Byronic Hero and superfluous man, Pechorin, is a self-questioning, obsessive, narcissist, and exists between idealism and cynicism. He possesses talent, ambition, intelligence and charisma; however Russian Society, of his generation, offers no opportunity for him to put his idealism into practice. Pechorin laments this fact, stating, “I was ready to love the whole world, but no one understood me, so I learned to hate.” Pechorin is a product of the society in which he lives and his character is influenced by the values of that society, and in turn, his view on fate. Lermontov’s concept of fate is outlined through a series of vignettes. They are not connected sequentially, yet, they provide the readers with several perspectives on the protagonist, Pechorin. The protagonist’s characteristics parallel the author’s concept of fate.
At the end of Princess Mary, Pechorin questions his avoidance of his fate, wondering, “Why I didn’t choose to follow the path that fate had opened to me, where there were quiet joys and peace of mind in store for me. I could never settled to it, though, I’m like a sailor, born and bred eon the deck of a privateer. Storm and battle are part of his life, and if he cast ashore he pines in boredom, in...
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...’s life, he keeps testing the limits, every time, when things do not go as planned, he blames it on fate. Nonetheless, Pechorin comes to understand that this “attitude makes no difference to a man’s determination”. He realizes that no matter what he does, is the fate that leads him, even his own will is determined by fate.
Lermontov sets forth his philosophy of fate through the protagonist, in the novel, A Hero of Our Time. Pechorin’s cynical, ambitious, adventurous and irresponsible characteristics draw us down his inevitable and destructive path of fate as it also plays itself out in his relationship with women. The personality and characteristic of the protagonist, Pechorin, is imperative in clarifying and appealing the concept of fate of the author - Lermontov. Pechorin is a character that possesses the fate of the Russian generation and the one of Lermontov.
A character’s relationship to another character or their surroundings determines their behavior. In looking at these relationships in literature, it is possible to determine how characters are transformed with regards to the world around them. Global issues, societal hypocrisy, personal difficulties contribute to the ways in which characters react to situations they face. Insight into one’s priorities, or the world’s problems, causes the characters in Candide, The Death of Ivan Ilyich, and The Metamorphosis to question their motives and change their ways of thinking in reaction to the defining events of their lives. The events transform the characters as well as their bonds with others.
The effect of an individual 's personal experience may be one of the controlling factors of their life. In the short story “The Hand”, Yves Theriault presents the idea of the importance of an individual 's personal experience, and the effects of these experiences on their life. Yves shows how these personal experiences are important to one’s life, because it is in control of how an individual will change, and how it will develop their character and personality. This is shown by the character Géron, where one event in his life changed a personality trait that he had for most of his life. Many of my personal experiences could relate to Géron’s incident, where a small event had a large impact in my life, and how the story of our life is influenced
This novel and film commentary analysis or interpretation will be first summarised and then critiqued. The summary will be divided into twenty- four episodes. While summarising it is well to remember that the film was made out of the book.
The central figures in these three works are all undoubtedly flawed, each one in a very different way. They may have responded to their positions in life, or the circumstances in which they find themselves may have brought out traits that already existed. Whichever applies to each individual, or the peculiar combination of the two that is specific to them, it effects the outcome of their lives. Their reaction to these defects, and the control or lack of it that they apply to these qualities, is also central to the narrative that drives these texts. The exploration of the characters of these men and their particular idiosyncrasies is the thread that runs throughout all of the works.
Our aim is to portrait the character of Dmitry Dmitrich Gurov, in the context of the story, extracting those elements that are characteristic of the period in which Chekhov wrote the story. True love is a reason for everything, even deleting the laws of life. People's mistakes and weaknesses are part of life and, without contradictions, the world would not have evolved.... ... middle of paper ...
This essay examines the social, philosophical, and psychological elements that had affected the Russian Society as well as the world of Dostoevsky’s novel “ Crime and Punishment ˮ. This essay demonstrates the wild impact and clashes left by these theories on the life, choices, and mentality of the novel and the characters embodied, the most important of which is the character of Raskolnikov. Highlighting an “in-depth exploration of the psychology of a criminal, the inner world of Raskolnikov, with its doubt, fear, anxiety and despair in escaping punishment and mental tortureˮ.
In Man's Fate, Andre Malraux examines the compelling forces that lead individuals to join a greater cause. Forced into a life of contempt, Ch'en portrays the man of action in the early phases of the Chinese Revolution. He dedicates himself to the communist cause. It is something greater than himself, a phenomenal concept that he has fused into. It is something for which he will give his life. How did this devotion come about? A combination of his personality, his interior life, as well as society's influence, molded him into a terrorist. Ch'en is self-destructive; he is controlled by his religion of terrorism and his fascination with death. He is representative of the dedicated soldier who begins as a "sacrificial priest" (4) and ends as a martyr. After all, the ideologies of communism and terrorism were practically a religion to those involved in the revolution.
...that fate. Events that lead to other events will eventually lead one to their fate. “Oedipus the King” is a great play that sets an example of what fate is. Oedipus chooses to flee from home, in attempt to avoid the god’s statement of his fate from coming true. However, Oedipus’s decision for fleeing is what was necessary to make his fate come true. Undoubtedly, this is what was meant to happen because Oedipus allowed it to. Perhaps if Oedipus ignored the god and never did a thing then perhaps the outcome could have been different for Oedipus. However it did not turn out that way and the choices that Oedipus made is what led him to his doom.
The conflict between good and evil is one of the most common conventional themes in literature. Coping with evil is a fundamental struggle with which all human beings must contend. Sometimes evil comes from within a character, and sometimes other characters are the source of evil; but evil is always something that the characters struggle to overcome. In two Russian novels, Fyodor Dostoevsky’s Crime and Punishment and Mikhail Bulgakov’s The Master and Margarita, men and women cope with their problems differently. Raskolnikov in Crime and Punishment and the Master in The Master and Margarita can not cope and fall apart, whereas Sonya in Crime and Punishment and Margarita in The Master and Margarita, not only cope but pull the men out of their suffering.
Traditional interpretation of literature from a psychoanalytic standpoint has relied extensively upon the work of Sigmund Freud. In the case of Dostoevsky, however, this method is both anachronistic and inadequate. Dostoevsky's great works, considered individually or holistically, though fictional, established him as one of the forefathers of psychoanalysis, and a predecessor to Freud.3 Indeed Freud himself acknowledged that "the poets" discovered the unconscious before he did,4 stating further in a letter to Stefan Zweig, "Dostoevsky 'cannot be understood without psychoanalysis- i.e., he isn't in need of it because he illustrates it himself in every character and every sentence.'"5 There is, however, a complementary relationship between Dostoevsky and Freud brought about through the striking clinical accuracy of psychological traits exhibited both individually in Dostoevsky's characters, as well as in reflecting the author's own mental processes. Thus, it is necessary first to examine Freud as a point of departure before looking at modern alternatives of psychoanalytical method.
How important is an individual that most often than not authors focus on the growth of one over the growth of the many? Is it because the growth of one symbolizes the growth of all? Or is the focus on the individual due to the image it presents which is the growth in us? In any event, this outlook of individualism is widespread in literature and different genres and techniques excavate the development of the individual. Another factor that comes into play in the development of the character is the situation and the effects of the environment. Within William Shakespeare’s play The Tempest and Michael Cervantes Saavedra’s satire Don Quixote are two different characters molded and formed or in both cases malformed to incorporate their capsules which are the genres and settings that imprison them.
In today's society we let our lives be led by a certain force that we believe in very strongly. Yet, a common debate that still rages today is whether we, as a species, have free will or if some divine source, some call it fate, controls our destiny. In the play, Oedipus the King, that special force is also used and is known and defined as fate. This played an important role in the lives of the characters just as it plays one in our daily lives.
Nabokov presents the reader with three touching characters of the mother, father, and son. The characters of the story arouse a sense of compassion and sympathy from the reader due to the helpless situation they are in. For example, the son in the story suffers from a condition called “referential mania.” Referential mania is a case where “the patient imagines that everything happening around him is a veiled reference to his personality and existence” (1166). In other words, the son has this perception where he is in a state of paranoia where he feels as if the objects around him are evil and plotting against him. He feels as if “clouds in the staring sky transmit signs detailing information about him, coats in window stores have a distort opinion of him and misinterpret his actions….he must always be on guard every minute and module of life to decoding of the undulation of things” (1167). The son is always on this mission with the objects trying to decipher the meaning behind why these objects are...
We are all condemned to death; it is inescapable. Even if a person doesn’t believe in the concept of destiny, it is undeniable that every person is fated to die at some point. Most people, however, are not aware of when exactly the inevitable will approach. Often in works of fiction, the reader, or sometimes even the character, is aware of their fate. There are many different understandings of destiny, which is one of the reasons why it has played such a large role in so many different literary works throughout the world and history. Fate is one of the principal literary devices used in Homer’s epic poem, The Iliad, Shakespeare’s tragic play, Antony and Cleopatra, and Tolstoy’s pedagogical novella, The Death of Ivan Ilych.
To many individuals the word “progress” has a positive meaning behind it. It suggests improvement, something humans have been obsessed with since the dawn of society. However, if closely examined, progress can also have a negative connotation as well. While bringing improvement, progress can simultaneously spark conformity, dependency, and the obsession of perfection within the individuals caught in its midst. It is this aspect of progress within modern society that negatively affects Ivan Ilych, Leo Tolstoy’s main character in The Death of Ivan Ilych. Ivan’s attempt to conform to modern society’s view of perfection takes away his life long before he dies. Furthermore, his fear of death and reactions towards it reflects modern society’s inability to cope with the ever present reminder that humans still suffer and die, despite all attempts to make life painless, perfect, and immortal.