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Comparisons between 'The Count of Monte Cristo' and Viva La Vida
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Both “The Count of Monte Cristo” and “Viva la Vida” are centered around the worlds most ageless and strongest “drugs”. Power. As humans, once we taste power, all we can do is yearn for more. It is simple human nature. This desire for more power is strongly laced through Alexandre Dumas’, The Count of Monte Cristo and Coldplay’s “Viva la Vida.” Coldplay, an alternative pop/rock band, wrote “Viva La Vida” in 2008. Coldplay,wrote the song which describes a king who has an immense amount of power. The powerful king gains more power by conquering other kingdoms. Rather than being a great king that cared for his people, he only focused on the present; boasting about his accomplishments and making selfish decisions. Eventually, he abuses his power …show more content…
In “The Count of Monte Cristo,” Villefort is carefully described as, “... ambitious. He would sacrifice anything to his ambition, even his own father.” (Dumas 36) This description from the king of France portrays that Monsieur Villefort is a man who will do anything for power. This comes back to hurt him in the end, when all the “sacrifice” for the ambition comes to the surface and he is exposed for all the wrong he had done in the name of power. The diction chosen by the king, “sacrifice anything” shows that Villefort is willing to gain his power by any means necessary, even by disowning his own father and lying about Edmund to further his power. In “Viva la Vida,” the song describes the way the king ruled as, “... Never an honest word, And that was when I ruled the world.” (Coldplay 21-22) This quote uses diction, saying the king was dishonest and never told the truth with the quote, “never an honest word.” This quote portrays that the king used lies and deception to gain more power and rule more and more. These lies, like most lies, came out in the end and he was stripped of the power he lied and did evil for. In conclusion, both Dumas’ and the songwriter use diction to show the lies and deception Villefort and the king from “Viva la Vida” use to quench their desire for power, however, the literary works always show where the …show more content…
He was crushed by the weight, but was not yet aware of the consequences.” (Dumas 480) This was the moment when all of the evil things Villefort had done, including the attempted murder an infant came back to haunt him, and his evil thirst for power was exposed to all of Parisian society. This scene used personification, saying that the metaphorical “weight” of his ruined life fell on his head and was actually weighing him down, to portray the theme running deep in the book of punishing those who desire power. In the song “Viva la Vida,” the songwriter, in the voice of the king, says, “It was the wicked and wild wind, blew down the doors to let me in. Shattered windows and the sound of drums, people couldn't believe what I'd become.” (Coldplay 23-28) This stanza in the song, using personification, shows that the king had bad, or wicked, intentions while gaining his power. He got power hungry and started to become evil to satisfy his need for more power. Eventually, as the song says, people noticed his evil intentions and actions and he was punished and completely stripped of his power, forced to “sweep the streets [he]
Shakespeare shows King Henry to be a politician who practices deceit by juxtaposing his expressed intentions with his ulterior motives in the plays opening monologue. The expressed intention is one that preaches unity, as is conveyed when King Henry IV denounces war as “civil butchery”, which is a clear indication of an anti-war sentiment, highlighted through the use of ‘butchery’ and its negative connotations of brutality. Moreover, when King Henry IV declares “those opposed eyes” are “all of one nature”, the synecdoche represents the idea that he is against war, which is reinforced by the ironic juxtaposition of ‘opposed’ and ‘one’, which alludes to his view on the absurdity of the conflict. The ulterior motive of King Henry IV is soon after
In the Count of Monte Cristo and Viva la Vida, both the author and songwriter use imagery and metaphors to establish and portray the ideas that power blinds one from the reality of the world and power gives the semblance that every nuisance can be solved with it.
In the South American storytelling tradition it is said that humans are possessed of a hearing that goes beyond the ordinary. This special form is the soul’s way of paying attention and learning. The story makers or cantadoras of old spun tales of mystery and symbolism in order to wake the sleeping soul. They wished to cause it to prick up its ears and listen to the wisdom contained within the telling. These ancient methods evolved naturally into the writings of contemporary Latin American authors. The blending of fantasy with reality to evoke a mood or emphasize elements of importance became known as magical realism, and was employed to great effect by Latin authors such as Gabriel Garcia Marquez in his novel, One Hundred Years of Solitude, and Rudolfo Anaya, in his work, Bless Me Ultima.
The Cask of Amontillado is an 1846 short story by Edgar Allan Poe, which gives an account of Montresor, a man who executes a plan of vengeance against his friend, whom he claims insulted him. As the narrator in the story, Montresor provides a vivid image of his plan to lure Fortunato to his death, which ends in the eventual live burial of Fortunato. The theme of revenge is the most prominent element of this story, which enables the reader follow the narrator’s character, thus gaining a comprehensive understanding of the story. Similarly, the development of William Shakespeare’s play, Hamlet, is founded on the theme of revenge. From the onset of the play, the ghost of Hamlet’s father appears to him and asks that he carries out revenge on Claudius, who killed him and took the throne from him. However, unlike The Cask of Amontillado, the theme of revenge in Hamlet is mainly manifested through the protagonist’s inability to execute vengeance till the very end of the play. The theme of revenge is an integral aspect of the two literary works, to enhance the development of characters and their role in bringing the specific stories to life.
Having read the play “A Streetcar named Desire” by Tennessee Williams and watched the film “Blue Jasmine” directed by Woody Allen, I believe that Williams ‘ character Blanche deserves more sympathy than Allen’s character Jasmine. “A Streetcar Named Desire” and “Blue Jasmine” similarly tell the story of a socialite who faces an epic downfall in life. Woody Allen’s film manages to parallel Tennessee’s original “A Streetcar Named Desire” whilst adding a modern twist and subtle adaptations. Despite the similar experiences of the two characters, Blanche faces shame, embarrassment, and guilt to a greater extent compared to Jasmine and therefore is more deserving of our sympathy.
In the plays A Streetcar Named Desire by Tennessee Williams and A Raisin in the Sun by Lorraine Hansberry, two individual families are faced with family conflict. Each family struggles with the issues of money, marital issues, gender roles, and trying to resolve these issues. While both families are from different areas they both undergo similar situations while they try to achieve the “American dream”. A Streetcar Named Desire and A Raisin in the Sun illustrate how family conflict including money, marital issues, and gender affect the families negatively.
Gifted with the darkest attributes intertwined in his imperfect characteristics, Shakespeare’s Richard III displays his anti-hero traits afflicted with thorns of villains: “Plots have I laid, inductions dangerous / By drunken prophecies, libels, and dreams” (I.i.32-33). Richard possesses the idealism and ambition of a heroic figure that is destined to great achievements and power; however, as one who believes that “the end justifies the means”, Richard rejects moral value and tradition as he is willing to do anything to accomplish his goal to the crown. The society, even his family and closest friends, repudiate him as a deformed outcast. Nevertheless, he cheers for himself as the champion and irredeemable villain by turning entirely to revenge of taking self-served power. By distinguishing virtue ethics to take revenge on the human society that alienates him and centering his life on self-advancement towards kingship, Richard is the literary archetype of an anti-hero.
Hamlet thus explores the problematic relationship between these two dimensions of identity. Henry IV, likewise, explores the problematic dynamic between them, for example, with the eponymous king vowing to meet the outward demand of being “mighty and to be feared” rather than his inner “condition” of being “cold and temperate” (1H4 1.3.1-6). The outward itself is not exempt from this chaotic dynamic: it is subjected to manipulation by the inward. In the sixteenth century “there appears to be an increased self-consciousness about the fashioning of human identity as a manipulable, artful process” (Greenblatt 2).
The archetypal tragedy of two star-crossed lovers, separated by familial hate, is a recurring theme, which never fails to capture the minds of the audience. It is only at great cost, through the death of the central characters that these feuding families finally find peace. This is an intriguing idea, one antithetical. I have chosen to analyze both Shakespeare 's Romeo and Juliet and Laurent 's West Side Story. The purpose of this essay is showing how the spoken language is utilized in these different plays to meet differing objectives. The chosen scenes to further aid comparison and contrast are the balcony scenes.
According to many, Shakespeare intentionally portrays Richard III in ways that would have the world hail him as the ultimate Machiavel. This build up only serves to further the dramatic irony when Richard falls from his throne. The nature of Richard's character is key to discovering the commentary Shakespeare is delivering on the nature of tyrants. By setting up Richard to be seen as the ultimate Machiavel, only to have him utterly destroyed, Shakespeare makes a dramatic commentary on the frailty of tyranny and such men as would aspire to tyrannical rule.
When kings rise they are mighty and powerful, but you must also remember that sometimes they fall and are long forgotten. The poem Ozymandias, tells of a king who was powerful and everybody feared and obeyed him, but now only remains are left of him. The song Viva La Vida tells you of a king who rose to power and lost it because of a traitor. The song Viva La Vida and the poem Ozymandias both have similarities and differences.
When comparing and contrasting “Ozymandias”, written by Percy Bysshe Shelley and “Viva La Vida” by Coldplay, there is a strong contrast between the two. Ozymandias is a poem about a long-forgotten king who once had mighty power over his people, where as “Viva La Vida” is about a king who was overthrown. However, the similarities between the song and poem are astonishing. “Ozymandias” is similar to “Viva La Vida”because both texts mention a rockpile built upon sand for a king; because both texts show that the citizens are enemies of the king; and because they are both about a king who has lost his power.
There is much injustice in the play Tartuffe. This injustice as well as the justice that triumphs often comes through the use of language for the purpose of establishing either law or love. Sometimes a character takes on this language by association with other characters, and other times in reaction to the use of this language by other characters. Regardless of the source, language is a common medium for the expression of justice or its opposite. This language is used by characters as a result of the conflict that a male feels as described by Lacan, which more often that not, results in the expression of injustice. The expression of injustice is language-based because the male, by being exposed to language, is thrust into a world of alienation, and has experienced injustice from his first experience with language.
Dracula, the most famous vampire of all time, which readers were first introduced to by Irish author Bram Stoker in 1897 with his novel Dracula, which tells the story of the mysterious person named Count Dracula (Stoker). The book is an outstanding masterpiece of work, which is why it has been a prototype for various movie releases over the decades. Whenever a film director decides to make a movie on behalf of a novel the hope is that the characters concur from the novel to the movie, which leads to the exploration of the resemblances and modifications between the characters in Dracula the novel by Bram Stoker and Bram Stoker’s Dracula 1992 movie directed by Francis Ford Coppola.
William Shakespeare's Hamlet is, at heart, a play about suicide. Though it is surrounded by a fairly standard revenge plot, the play's core is an intense psychodrama about a prince gone mad from the pressures of his station and his unrequited love for Ophelia. He longs for the ultimate release of killing himself - but why? In this respect, Hamlet is equivocal - he gives several different motives depending on the situation. But we learn to trust his soliloquies - his thoughts - more than his actions. In Hamlet's own speeches lie the indications for the methods we should use for its interpretation.