He uses this opportunity to strike at his foes, placing them in the bowels of hell, saying that they have nothing to look forward to but the agony of suffering and the separation from God. Each contrapasso is well thought out and devised to try to show that each sin is different, yet equally punishable in the afterlife. The contrapassos, and therefore the circles of hell, are placed in manner of a sin’s severity, or at least in Dante’s eyes. Sins of the flesh, animalistic sins, and sins of passion are not as harshly punished as sins of reason, calculation, and cruelty. Dante believes that human reasons separates man from beast, and to abuse such a gift from God warrants an unimaginable pain.
Finding meaning in an uncaring universe Camus' philosophy of absurdism is important to his fiction; his essay "The Myth of Sisyphus" details the specifics. Understanding “MoS” helps put into context “The Stranger”. Camus starts from a perspective of nihilism: the universe is without any intrinsic meaning, and in return all of our actions are equally without intrinsic value. For Meursault, this means that things happen, his mother dies, he accepts marriage, he kills someone, nothing fazes Meursault, and he just is. Here's where Camus' Absurdist philosophy comes in: the universe may be meaningless, but it is foolish to leave it at that.
What was avant-garde a half-century ago has since been digested and regurgitated by the mainstream. The existential theme of the play may be pass to modern society, that one may not learn, or even so much as benefit from it. Firstly, Sartre's strong association with the existentialism philosophy is exemplified in No Exit. It is a portrayal that life in Hell is just the same as life on Earth, perhaps the only difference being that their travesties are magnified. As the lives of Inez, Estelle, and Garcin continue in Hell, their main torment is the one thing that they were never able to achieve on Earth.
“We are most unwilling to accept mystery, what cannot be reduced to other and more intelligible forms. Yet that is what we find here: something irreducible, therefore perpetually to be interpreted; not secrets to be found out one by one, but secrecy” (Kermode 143). In the play Oedipus the King, written by Sophocles, we see the difference between secrets and secrecy that Kermode talks about. In the play we see that those who pursue the truth, corrupt the uncovering of the hidden unknown with their assumptions and perceptions. When confronted with the mystery of Oedipus’s past, both the reader and Oedipus seek the truth, but come to a resolution that is tainted with their supposition rather than the truth.
For the duration of his life, he has gathered awfulness, depression and melancholy because he is unable to avenge to his satisfaction wrongs done to him. Further ambushed by inquiries and problems, he keeps himself in this position by envisioning insults, and disguising the outrage they motivate. In the last part of the book, the underground man who is the storyteller and the protagonist calls attention to that he made a mistake by writing his memoirs because there is no point in indicating how he had ruined his life. He admits that "a novel needs a hero, and every one of the qualities of an anti-hero are explicitly assembled in the novel". With underground man, Dostoevsky depicts an opposite illustration of a legend who does not fulfill satisfy the expectation of readers, but rather still commands the novel as the principle
Theatre of the absurd seemed to draw light to a new genre of literature in which messages were displayed and hidden through the absurdity of action. This world is a result of the destruction of individualism and the deterioration of the human condition. It contains some existential ideas in which the characters are helpless and the explanation of the universe is far beyond their reach. Through meaningless action, they go about their lives with no purpose at all. Although Samuel Beckett himself did not identify as an existentialist, his work in Waiting for Godot contains traits of existentialism through the characters themselves, the reoccurring theme of waiting over time, and the overall, hidden meaning of hope and waiting for a savior.
Here, Mephistopheles explains the remorse he feels of being deprived from the joys of heaven. Faustus ignores Mephistopheles warning, due to his egotistical nature. Bypassing the urgency of this message, Faustus is given the opportunity to elaborate on this line giving him the impression that hell is where God isn’t, therefore concluding that “Hell’s a fable”. This conclusion precludes Faustus from repenting, allowing him to irresponsibly sign his soul to the devil. At the start of the play Faustus hadn’t taken into account the consequences his actions would bring, because of his narcissistic nature to reach and occupy the same position as God.
I distain to have any parents” (Marlowe Act 2, Scene 2, Line 79). Pride is making the point that no one can tell him what to do and that he has authority over his own life. This sounds similar to Faustus because he wanted to have all the knowledge he could to control things, however, he had to sell his soul to the devil to get this knowledge. This would mean that Lucifer has control over Doctor Faustus’s life. The contradicting thought shows that Faustus did not fully understand what he was doing when he sold his soul.
Through Meursault's venture in The Stranger, Camus expressed the idea of absurdism. In addition to this, he commented on the human race's reaction to absurdism. Camus believed the world was at its basis absurd, and that people would try to attach meanings and values to this world, but it is all irrelevant. Regardless of the outlook on life, the end result of their lives will always be death, and there's nothing they can do about it. Camus' view, expressed through Meursault, was not an emotional one, as it was simply a fact that life has no meaning and is absurd, but people will try attaching meaning or purpose to it anyways in a world of indifference.
Iago in William Shakespeare's Othello Works Cited Missing In Shakespeare's drama 'Othello', the reader is presented a tragedy of characters deeply affected by the clash of good and evil. The evil contained within Othello is by no means magical or mythical yet is represented by the character Iago. Iago has no conscience, no ability to perform good deeds. He is a psychopath, and is not capable of forming affectionate relationships or feeling guilt and concern over his behaviour. He is "an unbeliever in and denier of all things spiritual, who only acknowledges God, like Satan, to defy him" (William Robertson Turnbull, Othello: A critical Study, 269).