“Someone had picked up th... ... middle of paper ... ...if the thought police ever caught him talking bad about Big Brother or the Party, he’d be arrested, so Winston carefully placed his journal in a safe place. “To the future or to the past, to a time when thought is free, when men are different from one another and do not live alone--to a time when truth exists and what is done cannot be undone: From the age of uniformity; from the age of solitude, from the age of Big Brother, from the age of double-think—greetings” (28)! The people of Oceania have no freedom in their thoughts or actions because of the government they live in. Winston’s journal symbolizes the reality that he is living in and the struggles he goes through daily. All in all, George Orwell’s use of symbolism in 1984 enhanced the theme of the novel.
Edward Morgan Forster was born in London in 1879 and was educated at Tonbridge in Kent and King's College in Cambridge. He travelled much and visited Italy, Greece, Germany and India. His first novel was Where Angels Fear to Tread (1905). He became part of the reputed Bloomsbury group which included famous writers and thinkers like Virginia Woolf and Lytton Strachey. He also wrote The Longest Journey (1907), A Room with a View (1908), Howards End (1910) and Maurice (a novel dealing with homosexuality in 1914 but not published until 1971, a year after his death A Passage to India was the direct outcome of his own experiences in India as secretary and companion to the Maharaja of Dewas Senior.
She does not see the Ghost he is talking to, so she says it is a hallucination caused by his “ecstasy”, or madness. She is not the only one who comments on Hamlet’s new mindset. Polonius tells Gertrude her son is mad. He tells her about the letter Hamlet wrote Ophelia, and how they must get to the resource of his madness because what he is saying is vile. Gertrude believes that Hamlet’s cruel rejection of Ophelia was triggered by the death of his father.
Hamlet’s delay in seeking revenge directly correlates to the age in which the play was written along with the notion that Hamlet is brilliant but impatient, these are the reasons for Hamlet’s procrastination. His impatience leads to his death in the end. In Elizabethan times, a ghost was generally believed to be a devil that had assumed the form of a dead person. These ghosts wanted to put into danger the souls of those nearest themselves through lies and other questionable behavior. In Hamlet, when the ghost first appears on the palace guard’s watch, no one affirms that it is the spirit of Hamlet's father, only that it looks like him.
This is also disturbing to Hamlet. John S. Wilks writes in J. Leeds Barroll's Shakespeare Studies how meeting the ghost of his father "...throws his conscience into doubt and error, must naturally begin with the malign source of that confusion, the Ghost" (119). Hamlet is also incensed when he learns the reason for his father's torture. Old Hamlet was murdered by his brother when he was sleeping. This leaves Old Hamlet walking in limbo for his afterlife.
“There is a sympathy that will make me conscious of him. I shall see him tremble. I shall feel myself shudder, suddenly and unawares” (Hawthorne, 101) As the novel develops, Roger Chillingworth has centered himself on Arthur Dimmesdale, but he cannot prove that he is the “one.” Chillingworth has become friends with Dimmesdale, because he has a “strange disease,” that needed to be cured; Chillingworth suspects something and begins to drill Dimmesdale. “… The disorder is a strange one…hath all the operation of this disorder been fairly laid open to me and recounted to me” (Hawthorne, 156). As Chillingworth continues to drill Dimmesdale, he strikes a nerve.
After the weeks, months, years of torturing Winston becomes ‘hollow”; this could be interpreted that Winston has had all of his individualism expunged and Orwell’s characterisation of Winston perhaps reflects the true capacity and influence the party has on their people, creating a bleak and sadistic tone for the remainder of the novel this is juxtaposed to the start of the novel where there appears to be slight optimism with the finding of The Brotherhood. Furthermore, after torturing him or ‘curing’ him, he no longer hates Big Brother “We do not merely destroy our enemies, we change them”. The party “Changes” their enemies, instead of wanting to “destroy” them. The party controls their people and bends them to their own will, reflecting the theme of oppression and
Poe doesn't quite allow readers to feel convinced of his main character's peace of mind. Subtle indications are strewn throughout the story that suggest otherwise. Though Montresor intended to cleanse his honor of Fortunato's insults, it may very well be that he only succeeded in creating, for himself, a guilty conscience, forever depriving himself of the sweetness of revenge. "The Cask of Amontillado" is told in the first person by Montresor. In the opinion of John Gruesser, Montresor who "lies on his deathbed, confessing his crime to an old friend, the You' of the story's first paragraph" (129) is signifying his guilt fifty years after the murder.
Hamlet’s desire for revenge indirectly starts with his obsession with death. When he finds out from Horatio that a ghost who looks like his father has been haunting the castle, he makes the decision to go and speak to the apparition. In the Shakespearian era, this decision would have likely been seen as irrational due to the various fears and superstitions regarding ghosts. When he sees the ghost with his own eyes, Hamlet is so obsessed with the deathly figure that he decides that “be [it’s] intents wicked or charitable, / [it] comest in such a questionable shape / that [he] will speak to [it]” (I, iv, 21). The ghost informs Prince Hamlet that Claudius killed King Hamlet.
His "shilling shocker," conceived in a dream and written in a white heat, captured both his own deepest divisions and insights into the callous folly of late-Victorian hypocrisy. Stevenson had himself considered suicide at least three times and yet persisted through ill health to natural death. ;(34) Far from counselling "moral self-murder," his dark story of monstrous alter egos was counselling integration. Far from starting another Werther-craze, Dr. Jekyll and Mr. Hyde pioneered as a modern admonition of blind, self-destructive behavior. Stevenson's fictional lawyers and scientists show dangerous second sides because they have not persisted in self-knowledge.