Arthur Dimmesdale, a character of high reputation, overwhelmed by guilt, torn apart by his own wrongdoing, makes his entrance into history as the tragic hero whose life becomes a montage of pain and agony because of his mistakes. The themes leading to Dimmesdale’s becoming a tragic hero are his guilt from his sin, and his reluctance to tarnish his reputation in the town. Guilt plays a huge role in defining Dimmesdale as a tragic hero. Dimmesdale has understood that by not revealing his sin, he has doomed himself. This also connects with the constant struggle with Chillingworth.
I shall not die of a cough.” (Poe 741) he also toasts to himself in a way when he said, “I drink…to the buried that repose around us.” (Poe 741) how awful is that to be toasting to yourself. In “Do Not Go Gentle into That Good Night” we see Thomas uses his words to explain how he feels about death, scared and angry at it. “Curse, bless, me now with your fierce tears, I pray…Rage, rage against the dying of the light.” (Thomas 983). These two themes of death have shown us how death and fear come hand in hand but not always in the same way. We fear the unknown more than death itself, and even though death is scary to see someone go through or think of it happening to us the overwhelming fact of not knowing when and where death will come for us makes it the most suspenseful, fearful thought you can think of.
It is no wonder that Edgar Allan Poe developed depression as a result of the many emotionally draining events in his life. At a very young age, Poe lost his father to tuberculosis and he lost his mother to a building fire at the theater his parents performed at. His siblings were discouraging figures as well. His brother died at twenty-six as a man of lost potential, and his sister is described as being “so hopelessly dull that she could never attain proficiency in anything at school” (Pruette 371). Edgar Allan Poe saw the atrocious qualities his blood relatives possessed and probably thought that those qualities were innate for him as well.
The word “decay” gives a connotation of rotting and dying feelings in the reverend’s voice, which provides the auditory imagery. Hawthorne proves his point that because Dimmesdale chooses not to repent his secret sin, he undergoes a negative change in his figure. Alongside a transformation in appearance, Minister Dimmesdale suffers emotionally and mentally as well. “While…suffering under bodily disease, and gnawed and t... ... middle of paper ... ...esents the final chapters of the novel by having Dimmesdale finally atone for his long, hidden secret, and ultimately redeeming himself. Despite the tragic ending of Dimmesdale’s life, Hawthorne demonstrates his perspectives on repentance, that doing so yields a free and strong-minded character.
And [Amir] can’t lie now and say [his] eyes didn’t scan it for any rips” (78). Amir’s selfishness shows through by placing his success above the well-being of Hassan. Third, the scar that Amir gets on his lip is used as a reminder of guilt that he feels from the destroyed relationship he once had with Hassan. As Amir is ... ... middle of paper ... ...lly, there is hope that things will be better again. Hosseini uses the relationships of Amir and Hassan, Baba and Ali, and Amir and Sohrab to strongly explain how guilt is a powerful, resurfacing feeling that dominates people’s lives.
When referring to his vengeance, he says: “my smile was now at the thought of his immolation”; the author highlights now because the character confesses he’s been kind to his victim but he did not appreciate his . Yet, the strains that lead to Fortunato’s death conti... ... middle of paper ... ...s depicted everywhere because we know very little about the characters except that one is unreasonably committed to kill the other at any cost, while the other just appears to us in his most deplorable drunken state. As for their motives, they are vaguely defended. So, The Cask of Amontillado qualifies extravagantly for a good mystery narrative. Therefore, a story cannot be cataloged “horror” unless it is written taking into consideration factors like fear, mystery and suspense.
The metaphor explains the readers about how most of the people were dishearten in the journey of horrid remnants of humanity. In the novel, The Road by Cormac McCarthy elaborates not only the settings and the actions but also the love between a father and a son which is present even around the time of ultimate inhumanity and the stubborn desire to struggle to stay alive in the apocalyptic world and manipulate different writing techniques such as literary devices and characterization to explain the negative aspects of humanity. The man, although knowing he will be dead, wanted to live in order to refrain his son from all sorts of obnoxious activities. He will undoubtedly suicide if the son is harmed in any way. The man’s love and support drives the son to strugg... ... middle of paper ... ...his world.
Then, after the reader stays with Procter while he confessed all of his horrible sins for the whole town to hear, he had was a massive downfall as the result. Coincidentally enough, that downfall came from his trying to do something about his errors and sticking up for himself and his beliefs. He did something great, which anyone with a heart would pity him for. Being a real and relatable character is another one of Aristotle’s tragic hero requirements and John Procter was most definitely one of those types of characters. The faults and imperfections of John Procter were clear.
Semyon Marmeladov’s alcoholism is the cause of many of his family’s problems. His crummy appearance and well known drinking problem are the reasons why he is labeled as a bad person. Marmeladov spends all of his money on booze and all of his time in the bar; meanwhile at home his family is starving without food or money. All of this forces his daughter Sonya into prostitutions for means of support. Although Marmeladov’s actions are bad and cause his family suffering, he describes the love for his family in a way that reveals his true kindness.
We are constantly reminded of the pervading atmosphere of decay through the imagery used in the play. It is a significant point that the ghost, the only character that could arguably be termed an outside observer, and who is certainly qualified to make some form of prophetic judgement, should be one of the prime sources of imagery of decay, poison and rotting. Upon my secure hour thy uncle stole With juice of cursed hebona in a vial, And in the porches of my ears did pour The leperous distilment . . .