Gimpel the Fool An Explication of Singer’s “Gimpel the Fool” The story “Gimpel the Fool” is written in first person point of view; and the narrator, Gimpel, is the main character in the story. In the opening paragraph in the story Singer shows how reliable of a narrator that Gimpel is. Gimpel shares many of the nicknames he has had given to him in school, including “imbecile, donkey, flax-head, dope, glump, ninny, and fool.” He then says that he was considered a fool because he was easily taken in. He gave an example of one of the situations that earned him that title. “They said, “Gimpel, you know the rabbi’s wife has been brought to childbed?” So I skipped school. Well, it turned out to be a lie. How was I supposed to? She hadn’t had a big belly. But I never really looked at her belly.” I think that it shows nothing but a great deal of honesty on Gimpel’s part to explain the situation the way that he does. He doesn’t even try to make it sound as if it was even hard to fool him. He just told it the exact way that it took place; they told him a lie and he didn’t even ques...
In “A Half-Pint of Old Darling”, by Wendell Berry, being honest is an important factor in a relationship. Miss Minnie and Ptolemy Proudfoot are a prime example as such when they keep secrets from one another, but then fix some things with the truth. They head over a major road bump that is eventually solved after being honest with one another. It seemingly makes their relationship stronger when the story concludes. Most of the secrets are kept in fear of hurting the other, which ends up happening one day when Tol sneaks Old Darling alcohol into their buggy. It is seen that hiding the truth means one is not being honest to his or her self, as well as to another. In this story, secrets leave speculation as to just how well Miss Minnie and Ptolemy Proudfoot’s relationship really is, and if things end up changing after a huge mistake.
In literature, deception can provide motivation for the characters, provide comedy, play a part in the advancement of plot or exist as a sub-theme. The works considered in our studies thus far provide prime examples of the use of deception in the aforementioned ways. This essay will focus on the act or acts of deception in Tartuffe by Molière, Phaedra by Racine, and The Marriage of Figaro by Beaumarchais.
In life, many people strive to find a person that is reliable and to separate the people that are unreliable. Unreliable can be defined as an adjective meaning not dependable. Having read through the short stories “The Tell-Tale Heart” by Edgar Allan Poe, “The Yellow Wallpaper” by Charlotte Perkins Gilman, and “Strawberry Spring” by Stephen King, it is reasonable to conclude that each of these stories has its own unreliable narrator. The most unreliable narrator, however, is the narrator/killer Springheel Jack from “Strawberry Spring” by Stephen King due to the narrator’s cognition problems and the violent nature of the murders.
In James Hurst’s short story, “the Scarlet Ibis”, the narrator is guilty of his brother, Doodle’s death. There are many pieces of evidence stacked against him. He never treated his brother right and obviously had something against him from the very start. Doodle had a lot of health problems. His weak heart made it difficult for him to do simple things like walking and standing up. His brother was absolutely mortified at the idea of the embarrassment he would endure if he was known as the kid with a brother who couldn’t walk.
Deception is present in Tennessee Williams’s drama ‘A Streetcar Named Desire’, William Shakespeare’s Tragedy ‘Othello’ and L. P. Hartley’s novel ‘The Go-Between’; the writers choose to use characterisation to explore the theme in depth. Often the protagonists of each text are the primary offenders of deceit, though some supporting characters mislead as well; although Iago is the antagonist of ‘Othello’, he is incomparably the most deceitful character in the entire play. Similarly, Williams uses Blanche to develop the plot by misleading the other characters and even herself at times, though arguably, unlike Iago, Blanche is presented as a character who lacks the motivation to hurt anyone. Conversely Leo, although the protagonist and narrator of the novel, is not the most deceitful character – Ted Burgess and Marian Maudsley not only coerce him into the deceit, but they themselves are presented as masters of the game they play, however, this essay will focus on Leo as he is a unique symbol of deceit; he is unaware of the consequences of his actions.
Dunbar begins his poem by introducing the idea of deception through a symbolic “mask”. In the first two lines, Dunbar states “we wear the mask that grins and lies, / it hides our cheeks and shades our eyes” (1,2). These lines portray an image of a dishonest face partially because of Dunbar’s word choice and partially because masks have been used as tools of disguise throughout history. However, the lines
all, Song has deceived a somewhat intelligent individual for over twenty years. I saying , Song :"Rule One is " Men always believe what they want to hear." ( 82 ) I don't think that is entirely accurate,but Song has proven it to be throughout the play in dealing with Gallimard. So basically in that area Song's "rule" applies. Gillimard wanted to believe his "love" was indeed a young , Oriental woman. He refused to acknowlege otherwise because that was his " fantasy". However, I must disagree when "Rule One" also states, Song: " So a girl can tell the most obnoxious lies and the guys will believe them every time--" (82 ) Again, as far as Song's relationship with Gillimard is concerned, it is again truthful. However, I think that would be an extreme exaggeration in speaking of "men" in general, even in terms of "men" in this play. I don't think Song could have fooled Marc for very long. I think perhaps we see some of Hwang's own experiences in his life poking through into the play.
Identifying a lie can at times prove quite troublesome. Some individuals may occasionally claim to spot deception simply by noticing the behavior of someone accused. This gut feeling is by no standards definite, and could be in fact mistaken. On the on other hand, one possible way to expose a lie concerns the revealing of an idea that is most assuredly true, such as with an article that has been written down. Documents usually are quite accurate, for once an idea is put on paper it becomes quite hard to retract. In effect written words relate to the truth, and if understood by the viewer they may expose the lies of those around him. Taking this a step further involves putting truthful, paper into the hands of someone else, perhaps in the form of a letter or note via the post office. In his drama A Doll House Ibsen included three articles of mail to symbolize the truth, and thereby to reveal some of the lies perpetrated by Nora.
The narrator cannot have the knowledge about Pnin because they are not close. Pnin and the narrator meet briefly several times over the course of their lives, but they do not have any profound conversations or stay in touch so that the narrator can have all the confidence he has in his account of Pnin 's thoughts, fears, and dreams. Furthermore, Pnin publically accuses the narrator towards the end of the book of making up all the stories. In a gathering that included Pnin, the narrator and other mutual friends, Pnin screams when he sees the narrator talking to another man:" 'Now, don 't believe a word he says, Georgiy Aramovich. He makes up everything. He once invented that we were schoolmates in Russia and cribbed at examinations. He is a dreadful inventor"(P. 138). In the narrator 's version, he tells the reader that he went to a different school from Pnin. In another instance, the narrator tells the story of how he first met Pnin when Pnin was 13 years old at his father 's clinic. The narrator states that Pnin 's father tells him that Pnin excels at school and he had got A+ on his algebra exam. Yet, Pnin denies all of this later and says that his father would never present his to patients and he did poorly in Math when he was in school.
leads us to feel that he is unreliable as a narrator, and so we as the
Firstly, at the end of this story, the narrator’s illusions are the most powerful pieces of evidence for his madness. It is his two illusions that betrays him and imposed him to confess the crime. His first illusion is the beating of the old man’s heart which actually did not exist. Initialy, exactly as he portrayed "My head ached, and I fancied a ringing in my ears, it continued and became more distinct", the ringing he heard haunted him ceaselessly. Then he "found that the noise was not within his ear", and thought the fancy in his ear was the beating of old man’s heart. Because of the increasing noise, he thought the officers must hear it, too. However, in fact, everything he heard is absurd and illusive. And it proves that the narrator is really insane. Next, his second illusion is the officers’ "hypocritical smiles" which pushed him to completely be out of control. Losting of his mind, he called the officer "Villains". Apparently, he was confused and falsely thought "they were making a mockery of his horror" which irritated him intensively. Consequently, he told all the truth and "admitted the deed" in order to get rid of the growing noise. Therefore, the above two pieces of evidence both reveal the truth that the narrator is absolutely insane in contrary to what the narrator tried to tell us.
The narrator's insensitivity reveals itself early in the story when his wife's blind friend, Robert, comes for a visit after the death of his wife. Almost immediately in the beginning of the story the narrator admits "A blind man in my house was not something I looked forward to." [Carver 2368] He even goes so far as to suggest to his wife that he take the man bowling. He hears the story of Robert's dead wife and can not even imagine " what a pitiful life this woman must have led." [Carver 2370] The narrator is superficial, only recognizing the external part of people and not recognizing the value of a person on the inside.
...en, you ain’t through learning—because that ain’t the time at all. It’s when he’s at his lowest and can’t believe in hisself ‘cause the world done whipped him so! When you starts measuring somebody, measure him right, child, measure him right. Make sure you done taken into account what hills and valleys he come through before he got to wherever he is” (Hansberry 1178). Although Mama’s English is poor, the moral of what she said was still pushed across and that is all that matters. The diction further enforces the setting of the play.
Lying is a string that ties together a great part of the plot in Arthur Miller's Death of a Salesman. The Lomans are all greatly self-deceptive, and in their particular fancies and delusions to reality, they fuel and nourish off of each other. Willy convinces himself that he is effective, overall loved, and that his children are bound for significance. Unable to adapt to reality, he totally forsakes it through his vivid dreams and eventually through suicide. Linda and Happy also accept that the Lomans are going to become showbiz royalty. Not at all like alternate parts of his family, has Biff developed to distinguish that he and his relatives reliably bamboozle themselves, and he battles to escape the cycle of lying.
Gulliver’s Travels has set a standard for satirical writing for a long time, and Swift’s imaginative ability and talent can explain a lot of the text’s continued popularity. People can approach Gulliver’s Travels like a children’s book, and not search for deeper meaning. They read the story as a fantasy, and seek only to be entertained. Gulliver’s Travels is valuable and enjoyable for its plot and surface elements alone, but a deeper level of meaning and significance can be achieved if we take note of the satirical elements in the novel. Although to gain a full appreciation of the satire, the reader needs to be somewhat familiar with the events of Swift’s time.