Clive, arguably, taunts Emil by telling him that the supposed affair isn’t surprising as Clive is neither good looking nor successful. Thus, it is the criticisms of his character as well as the sexual infidelity that supply the foundation required on which a reasonable jury may conclude that the defendant was provoked to lose his self-control. The jury must also accept that a reasonable person sharing the characteristics (age and sex) of the defendant might have reacted as Emil did. In this situation, not only had Emil been provoked but had also been drinking. Despite significant divergence of judicial opinion over which subjective characteristics may influence this essentially objective jury decision.
Consequently, they take advantage of the king’s weakness when he is their guest and seize his throne. Shortly before the end of the play, Macbeth is gradually losing his passion and willingness to live when he utters, “Out, out, brief candle! / Life’s but a walking shadow, a poor player / That struts and frets his hour upon the stage and then is heard no more. It is a tale / Told by an idiot, full of sound and fury, / Signifying nothing” (V, v, 23-28). After learning about the harsh outcomes of his trickery such as his wife’s self-murder and his friends’ dispute to his kingship, he develops a new idea of life; life is an illusion, full of horrors and emotional disturbance, but still worthless.
If Lear was completely evil, we would not be fearful of what happens to him: he would merely be repulsive. But Lear does inspire fear because, like us, he is not completely upright, nor is he completely wicked. He is foolish and arrogant, it is true, but later he is also humble and compassionate. He is wrathful, but at times, patient. Because of his good qualities, we experience pity for him and feel that he does not deserve the severity of his punishment.
Describing the world as “a dungeon dank” (661) like he does in Spleen LXXXI can be connected to his view of the world full of “infatuation, sadism, lust, [and] avarice” (656) in To the Reader; the world is hopeless, full of vulgarity, and beyond salvation. Boredom, being the root of all sins in To the Reader is revisited in Spleen LXXXI even though it isn’t explicitly stated. The first three stanzas start with the same word giving this poem a boring feeling and flow to it. It is this boredom, bought about by the loathsome state of the world, which allows grief to plant “his black banner on” his “drooping skull” (661).
So much so that he reports qualities that are often the opposite of the true personalities of the characters he is describing. This ambiguity reveals a very clever sort of irony on behalf of the writer - while Chaucer the pilgrim is easily drawn in by their deliberate misrepresentations, it is up to the readers to see how wrong he is and draw their own, more accurate, conclusions. It shows many of the pilgrims to be very different people than those symbolised by the ideal qualities they want others to see. This astute technique is particularly effective in pointing out the hypocrisy and corruption in the Christian Church during Chaucer's time.
(137) A more obvious example of the irregular appears in the conduct of Iago. The abnormal behavior of the ancient is partly rooted in his misogynism. In “Historical Differences: Misogyny and Othello” Valerie Wayne implicates Iago in sexism. He is one who is almost incapable of any other perspective on women than a sexist one: Iago’s worry that he cannot do what Desdemona asks implies that his dispraise of women was candid and easily produced, while the praise requires labour and inspiration from a source beyond himself. His insufficiency is more surprising because elsewhere in the play Iago appears as a master rhetorician, but as Bloch explains, ‘the misogynistic writer uses rhetoric as a means of renouncing it, and, by extension, woman.’ (163) And how about epilepsy?
Rochester's poems rarely discuss love in the traditional sense; rather, he discusses it in a bodily context. Naturally, this would bring about the ire in any moralist. His poems make reference to ancient figures that draw on images of mass orgies and debauchery. He often uses language that elicits images of human... ... middle of paper ... ...llivers Travels not only excite the attention of the reader but they also leave the reader with a very pessimistic impression of the modern world. If Gulliver had left a description of a pile of soil instead of his urination procedure, the reader would perhaps view his work as boring, but not as comedic or repulsive.
It is this foul dust that represents the lives of Daisy, Tom, and Jordan. After all, they are all immoral characters. A word such as dust successfully gives off a negative ambiance, but for Nick to go the step further and declare such dust to be "foul" truly represents his disapproval of their actions. Thus, without proclaiming his opinion in the form of words, Nick presents it openly through symbolism for us to see. However, even though we know that Nick as the narrator, reflecting back on that summer, did not see the three to be honorable people, he still spent a great deal of time with them.
In regards to both the movement and the speech Billy Sunday uses ethos and repetition in order to show that alcohol is purely evil and should be banned. Sunday believed as a Christian man that alcohol was an evil substance of influence. He often talked about how it is both influential and cause horrible changes in even the best of men. Also, Sunday believed that not only alcohol causes pain, but that also the activities and items that are usually paired with them do exactly the same. Moreover, Sunday states that it should not be touched due to it leading to temptation of the horrible activities, “His hide so full of red liquor that he is transformed for the time into an irresponsible, dangerous, evil-smelling brute.” The speech is giving a metaphor of what a person becomes after drinking too much.
The Sublime Savage: Caliban on Setebos "Caliban my slave, who never / Yields us kind answer." (The Tempest, I.ii.310-1) "Caliban on Setebos" was one of Robert Browning's more popular poems among the Victorians, for its presumed satire of orthodox Calvinism, Puritanism, and similarly grim Christian sects. And Browning as Shakespeare's savage does indeed seem to hurl a few barbs in that direction, but the poet's exercise seems to be as much one in alternative theology. Caliban's bog-bound conjectures, in their significant departures from standard religious doctrine, serve as both an interesting repudiation of Archdeacon Paley's attempts to rationalize God, and as an entertaining 'science-fiction' tale, if you will, of religious thought under alternate circumstances. Caliban is, of course, the "salvage and deformed slave" of Shakespeare's dramatis personae in The Tempest, son of the deceased witch Sycorax, servant of the mage Prospero, consort of and bootlicker for Stephano and Trinculo, failed plotters and drunken buffoons.