253-255. Scott, Frederick Reginald. "All Spikes but the Last" Brown, Russell, Donna Bennett, eds. An Anthology of Canadian Literature in English. Third Edition.
Beatty in Fahrenheit 451 is one of the most misunderstood characters in this novel. He seems like he is the bad guy throughout the story up until his death. Beatty says this particular quote to Montag, which leads to a deep confession that has come out. “Any man who can take a tv wall apart and put it back together again is happier than any man who tries to slide rule, measure, and equate the universe, which just wont be measured or equated without making the man feel bestial and lonely. I know, I’ve tried it; to hell with it” (58).
Delhi: Pencraft International, 1996. Print. Moses, Daniel David and Terry Goldie, eds. An Anthology of Canadian Native Literature in English. Toronto: OUP, 1992.
McGregor, Grant. "Duddy Kravitz: From Apprentice to Legend." Journal of Canadian Fiction 30 (1980): 132-40.
No longer being able to tolerate the behaviors of the upper class, Nick admits, “They were careless people … they smashed up things and creatures and then retreated back into their money…” (Fitzgerald 179). Additionally, this statement proves how Nick became increasingly critical and biased throughout the book. As he loses his innocence and his tendency to “reserve all judgments” (Fitzgerald 1), he realizes that nobody except for Gatsby had shown any real positive qualities. Having witnessed close at hand the moral decay of Gatsby 's life and the corruption that had infiltrated Eastern lives, Nick yearns for and returns to a more wholesome community, his home, the Midwest. He suggests that the new world he encountered while living next door to Gatsby was unappealing to him and made him long for the familiar territory where moral qualities meant more than wealthy indulgence.
His brother was the man he admired the most but throughout the play Ben is revealed as being a mean, nasty man who believe that being rich is the only sign of success even thought he stumbled upon his wealth thought pure luck. We began to see his open wounds from being abandoned that leads to this obsession with needing to be liked by everyone, why he and Biffs’ relationship is so tense and irreversibly broken but also why he’s so disrespectful to Linda. For the duration of the entire play the reader is constantly being reminded by Willy th... ... middle of paper ... ...ited Bradford, Wade. "Character Analysis: Willy Loman from "Death of a Salesman""About.com Plays / Drama. About.com, n.d.
He behaved kindly for selfish and prideful reasons; he behaved unkindly when he couldn’t control his emotions. This buildup of emotions eventually caused Doodle’s death at the end of the story. The narrator recognizes his guiltiness when running away from his brother, knowing that Doodle’s heart cannot bear the strain. However, at the time, he did so anyways – he couldn’t understand the consequences of his impetuous actions, and ultimately, kills Doodle. Throughout the Scarlet Ibis, the cruel interactions between the narrator and Doodle occur in the heat of the moment, a characteristic crack of pride and cruelty in a child, where Brother feels guilty for doing so, but cannot comprehend what could happen as a result of his actions.
Gatsby’s neighbor, Nick, says “it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men.”(Fitzgerald 6-7). Nick was simply appalled by Gatsby and wanted to know about him and any secrets he may have, Nick felt Gatsby was a great man of mystery and was extremely interesting. Gatsby told Nick “I don’t want you to get a wrong idea of me from all these stories you hear” (69), then opened himself up to Nick and told him “My family all died and I came into Khooblall 2 a good deal of money” (70), which we learn to not be true. When a repor... ... middle of paper ... ...illingly for a murder Daisy committed and not him. Gatsby had a period of happiness when he was with Daisy and thought it was the best time of his life, and Daisy seemed to think the same.
He moved into the direction of religion, psychology, philosophy, and classical art, all of which were thought as difficult to understand for comic strip readers (Johnson A15). Poniewozik says, when Peanuts debuted in 1950, Americans could begin to be more anxious than fearful. In other words, the stoic pioneer spirit changed into emotional self-awareness. His characters appeared in the victorious postwar generation, a time when vague wit and worry were acceptable. The humorous message of Peanuts is that “most of humans will lose more often than they win.” Schulz taught this message in a funny way with the characters who always lose – in love, kicking footballs, etc., and are resilient and curious (146).