This over ambition creates the perfect balance between the extremes of flaw. “There is a desperate fatalism about Marlowe that the most desirable things are subject to cosmic veto” (source 9 226). Marlowe succeeds in accomplishing his ultimate goal of creating a character which vindicates his own beliefs. The damnation of Faustus as well as the life of Marlowe both prove to demonstrate that unchecked ambition lead to complete damnation and utter loss of happiness in society. Although Marlowe does well in humanizing Faustus, it is still clear how he was damned and why.
The Romanticism period is marked by changes in societal beliefs as a rejection of the values and scientific thought pursued during the Age of Enlightenment. During this period, art, music, and literature are seen as high achievement, rather than the science and logic previously held in esteem. Nature is a profound subject in the art and literature and is viewed as a powerful force. Searching for the meaning of self becomes a noble quest to undertake. In the dramatic tragedy of “Faust” by Johann Wolfgang von Goethe, we find a masterpiece of Romanticism writing that includes the concepts that man is essentially good, the snare of pride, and dealing with the supernatural.
Romanticism: Connect with the Arts The romantics of the late eighteenth and nineteenth century was the reaction against the Enlightenment and Classical rationality. Unlike the rational and analytical thinking of classical thinkers, romantics allowed their emotions to take over. Painters escaped the rigid form of straight lines and proportions and painted swirling and colorful paintings, novelists and composers broke the rigid forms and essentially produced works that expressed feelings, the awe of nature, and the belief that gaining experience is more beneficial to learning. Perhaps the most influential minds of romanticism were the French philosopher, Jean Jacques Rousseau, and German writer, Johann Wolfgang von Goethe. Many credit Rousseau as the “Father” of romanticism, due to his belief of spiritual freedom from any power, and his emphasis on expression of emotions.
Yet Victor had “an eager desire to ... ... middle of paper ... ...of how they saw life, which is simplistic yet amazing. The Romantic hero became the complete opposite of a modern fairy tale hero. Although very ingenious he had his fatal flaws, which the Romantics would always try to justify in the end. Frankenstein and the Ancient Mariner both different and alike in qualities of the Romantic Hero such as sinfulness and their moral codes, but the Ancient Mariner became the hero more looked up to because of how he resolved his burden in the end instead of trying to justify his actions like Frankenstein tried to until his death. Works Cited Coleridge, Samuel Taylor.
97-98)... ... middle of paper ... ...acter than Daisy, Tom, or Jordan. In spite of his eccentricities and the corruption of his dream with money, Gatsby is seen as a tragic character that had a true purpose in life, a stark contrast to the meaningless lifestyle of the wealthy. Although his story is a tragedy, for both his dream and his life are literally shattered, Gatsby will always remain one of the most memorable fictional characters in American literature. In conclusion, by the end of the book F. Scott Fitzgerald shows that Gatsby’s naïve love for Daisy, although distorted by his idealistic desire for his own youthful innocence, is an honorably romantic notion of a basically good man by putting the picture of the empty funeral service and Gatsby’s long lost love Daisy never loved him and he died not knowing whether or not he was really loved by Daisy or if it was just her playing with his emotions.
In literature, a hero is fundamentally a paragon of moral strength while a villain is a challenger of virtue. As the protagonist of Charlotte Brontë’s Wuthering Heights, Heathcliff fulfills the broadest definition of a literary hero but this only thinly veils his dark delight in causing torment that places him squarely in the realms of villainy. His only trace of humanity is revealed by the transcendent love he shares with Catherine. It is this value that evokes sympathy from the audience and mitigates his immorality, rendering him an antihero rather than a villain. Brontë’s choice to portray Heathcliff so heinously allows vengeance to overwhelm love as the salient theme of the novel and therefore elucidates the darkest and most destructive motivations of mankind.
She gets caught up in the fact that Faust is vastly superior in social status. This is apparent in her ... ... middle of paper ... ... hampers one of the most important elements needed to reach enlightenment – Reason. People in love do irrational things without considering the consequences of their actions and how they may affect not only themselves, but others too. They are more concerned with instant gratification – whether for themselves or for the person whom they love. Love can also be thought of as being another temptation that is placed before man.
Subsequently, the bigger issue at hand; the wager between the Lord and the Devil (Mephisto). The bet between the spiritual beings were whether Faustus: the lone-representative of all humanity, will be able to shoulder the weight of good and evil. Nevertheless, how huge the temptation of personal gain. In this sense, I acquired that the Lord’s view of humanity: is imperfection isn’t absolute and man’s potential for the greater good can be refined. In Goethe’s poem, Faustus is illustrated to be an exceedingly sophisticated scholar and alchemist; a man of discontent, and is compelled to obtain a vast amount of the world’s knowledge ... ... middle of paper ... ...cting humanity is achievable, but requires tremendous determination to stray towards the path of temptation.
This shows the audience just how quickly they have fallen in love but more importantly for the story, foreshadows the end for them just as the prologue does before we know anything about either Romeo or Juliet. Act 1 Scene 5 of Romeo and Juliet contains the first meeting of two lovers in the one of the most renowned tragedies ever written. Yet the brilliance of it is through its simplicity. The complex, instinctive and passionate love of Romeo and Juliet is a stark contrast to the cold hate displayed by Tybalt in its many different forms. Coming together they form a powerful base for an even more powerful conclusion.
The more obvious aspect of her tragedy is that she is seduced and abandoned by a lover above her in rank. Faust is another of the well-meaning but undependable heroes of the bourgeois tragedies popularized in Germany by Lessing , and indeed the Gretchen tragedy is the most compelling example of the genre in Germany. Goethe himself had Werther commit suicide with a copy of Emilia Galotti open on his desk, so it is hardly far-fetched to see Faust in the role of Lessing’s indecisive prince, torn between ... ... middle of paper ... ... spirit, his magic powers are really to keep the play moving efficiently, as when he explains that Faust could dig in a field for eighty years instead of drinking the witch’s potion (2353–61). They also are a shorthand to express the basic relationships in the play: when Mephisto’s wine turns to fire in ‘Auerbach’s Tavern’ we recognize that wine is literally as well as figuratively ‘fire-water’ or ‘spirits’, and that everything in this play is to be understood allegorically. Even though God is ineffable, language and art in Faust carry meaning of the most important kind.