Through Lear, Shakespeare expertly portrays the inevitability of human suffering. The “little nothings,” seemingly insignificant choices that Lear makes over the course of the play, inevitably evolve into unstoppable forces that change Lear’s life for the worse. He falls for Goneril’s and Regan’s flattery and his pride turns him away from Cordelia’s unembellished affection. He is constantly advised by Kent and the Fool to avoid such choices, but his stubborn hubris prevents him from seeing the wisdom hidden in the Fool’s words: “Prithee, tell him, so much the rent of his land comes to: he will not believe a fool” (Shakespeare 21). This leads to Lear’s eventual “unburdening,” as foreshadowed in Act I.
A Tale of a Tub is a mass of text seemingly thrown together with the purpose of deliberately confusing the reader, but its digressions upon digressions cannot mask the inevitable theme of loss, which is ultimately found in all of Swift's works. The satire holds the present against an ideal of past perfection, and the comparison always shows the modern to be lacking. The church adulterates religion; moderns, the ancients; critics, the author. The narrator of Swift’s text seems to believe that the moment a great work or idea is put forth, it can be pure, but will always degrade with time. Because it is impossible to return to this former state, there is a heavy sense of disappointment that weighs down the more transparent wit and humor.
The Truth Behind The Love Song of J. Alfred Prufrock The Truth Behind "The Love Song of J. Alfred Prufrock" The speaker of this ironic monologue is a modern man who, like many of his kind, feels isolated and incapable of decisive action. Irony is apparent from the title, for this is not a conventional love song. Prufrock would like to speak of love to a woman, but he does not have the nerve. The poem opens with a quoted passage from Dante's INFERNO, "If I thought that my reply would be to one who would ever return to the world, this flame would stay without further movement; but since none has ever returned alive from this depth, if what I hear is true, I answer you without fear of infamy. ", meaning that Prufrock speaks only because he knows no one will pay attention to him and he won't be heard.
Prufrock is considered to be a non- hero. Many other reviews of this poem, “ridicule the poem's main character for his timidity and self-deception” (Bagchee 1). At first glance Prufrock seems to be quiet and allows the word to pass by him, but “he is acutely conscious of the insensitivity and callousness of his society” (1). Prufrock may not be able to convey his feelings to women, but he knows who he is; “No! I am not Prince Hamlet, nor was meant to be; / Am an attendant lord…” (Lines 117- 118).
Is it appropriate? and fair? Deliberately Shocking? What specific effect/response/reaction might she be trying to get from the reader, and why? When trying to describe her pain regarding her father, the narrator of Plath’s “Daddy” connects her situation to that of the Jewish people who were forced to endure the Holocaust.
They were also accused of the ritual murder of Christian children in what were called blood libels. The main idea of racial anti-semitism was developed and presented by a philosophist named Joseph Arthur de Gobineau, explaining that the Je... ... middle of paper ... ...pr. 2014. "The Nuremberg Race Laws." United States Holocaust Memorial Museum.
In the beginning of Act One, Hamlet wishes he too could die because he is too distraught to live in the wake of his father’s death. Essentially his somber attitude and mentality toward life creates the overarching theme of death and tragedy which permeates through the entirety of the play. He states, “Oh, that this too, too sullied flesh would melt, thaw, and resolve itself into a dew, or that the Everlasting had not fixed his canon ‘gainst self-slaughter! O God, God! How weary, stale, flat, and unprofitable, seem to me all the uses of this world (I. ii).
“Ay, and since too, murders have been performed Too terrible for the ear.” (III, iv, 80-81) Seeing the ghost of Banquo is the breaking point for Macbeth. The ghost also causes him to think more irrationally which leads to the murder of Macduff. Also, after the murder of Duncan, Macbeth is full of regret and guilt. The voices he hears reflect his mental state. “Methought I heard a voice cry, “Sleep no more!” (II, ii, 35) His innocence was killed and he knows that he has to live with this guilt for the rest of his life, hence Macbeth will never sleep peacefully ever again.
In Shakespeare’s Hamlet, the titular hero and tragic figure of the play constantly finds himself unable to act on the Ghost’s instructions to take revenge on King Claudius despite the compelling reasons he realizes for doing so. The reason for this delay is Hamlet’s tragic flaw – his tendency towards thought and introspection rather than impulse and action. Because of this flaw, Hamlet is unable to ignore the moral aspects of his actions and “thereby becomes the creature of mere meditation, and [he] loses his natural power of action” (Coleridge, 343). Hamlet is not a man of action; rather, he is a man of thought. Passion and extreme anger are simply not natural emotions for Hamlet, and consequently, he finds himself unable to maintain any of these emotions for an extended period of time.
“And time yet for a hundred indecisions, and for a hundred visions and revisions.” (32, 33) He has no confidence in himself mentally or physically. He cannot make a decision and act on it because of his feelings of inadequacy and his deep fear of rejection. Although Alfred is seemingly prosperous, He still fears that society will judge him because of his balding head and thin, aging body. “With a bald spot in the middle of my hair— they will say: ‘How his hair is growing thin!’” (39-40) Prufrock sees himself as a victim of social status. He believes that he is constantly being analyzed by others and that he has been alienated from society.