By letting go of our yearning to subjugate others and make them fit the molds we think they should, as Richard discovers, we pave the way for harmony and meaningful relationships. Richard vividly narrates incidents that led to his alienation from Sonny. Through a childhood memory, the author exhibits how Richard's practical nature separates them early on. At fourteen, Sonny imaginatively speaks of traveling to India, an idea his brother scoffs at (416). "I think he sort of looked down on me for that," Richard says.
Dream dictionaries, along with one’s own personal experiences, memories and circumstances serve to guide one through a meaningful and personalized interpretation. With practice, one can gain an understanding of the cryptic messages one’s dreams are trying to tell oneself (“Dream”). As everyday life becomes more stressful and traumatic the human being needs to allow one’s self to use dreams as a safety valve or curative tool (Kenneth). It is almost as though one’s own dream dictionary is stored in an accessible form (Ball). Archetypes represent one’s self even if one doesn’t know it.
Nevertheless, dreams are not the only way repressed material finds an outlet; Freud refers to the parapraxis' or slips of the tongue, pen or unintended actions' (Beginning Theory 97) as another way for repressed material to seep out into the conscious mind. Therefore, when discussing the question of an existence of a literary unconscious we must regard it as a kind of dream. Some will argue that literature is not similar to dreams, such as David M. Rein. Rein who believes that the creator of a dream performs spontaneously The author of a story plans deliberately'. However, the similarities between dreams and literature seem to be evidence enough for us to analyse them as such.
This will make David realize that he is upsetting himself emotionally by insisting on basing his beliefs on the approval of others. When addressing David’s feelings of worthlessness, an emotional salutation can “attempt to change the client’s emotional reaction to the activating event. Practical solutions try to change the A’s; emotional solutions try to change the C’s” (Kazantzis 129). Although the REBT theory applies well to David’s case, it doesn’t mention gender differences.
While this is no doubt somewhat tongue-in-cheek, this in some ways frees Swift from criticism from outside sources. It is difficult to wager criticism at someone who has already wagered it against himself. While this could also be seen as poking fun at other writers who are self-deprecating, this self-defeating narration is used mostly comically in “Verses on the Death of Dr. Swift, D.S.P.D.”. In spite of this, it does effectively build a narrator who is well defended in the sense that he cannot easily be criticized from outside sources.
Empathy is like reading a story; although the events in the story aren't happening to us, we are still able to connect emotionally to them. If a character in a story we like is hurt, we feel bad for them but oppositely if a character we hate is hurt, we feel relieved or even glad. Whether we like the protagonist or antagonist we have the natural ability to feel an emotional connection to others like us. Agreeing with the article ”Empathy is a actually a choice” by Daryl Cameron, because of this instinct to choose a certain type of person to connect with, empathy is a choice. Empathy is biased in many ways because connecting can others can seem hard if they are nothing like us.
It is implied, further, that if we are to find true fulfilment and meaning in our own lives, then we must be able to contrast the good parts of life with the bad parts, to feel both joy and despair. As rationalisations go, it's a good one. But it's still wrong-headed. If pressed, we must concede that the victims of chronic depression or pain today don't need interludes of happiness or anaesthesia to know they are suffering horribly. Moreover, if the mere relativity of pain and pleasure were true, then one might imagine that pseudo-memories in the form of neurochemical artefacts imbued with the texture of "pastness" would do the job of contrast just as well as raw nastiness.
His idea that one should not be fully concerned with the thoughts of others for not conforming to trivial ideas is inspiring. However, there are moments of contradictory and whimsical notations throughout his essay. The reader could argue that Emerson’s emotional state influenced his thought, pulling it into an anti-proverbial and skewed representation of his belief. His separation between the individual and society is seemingly odd, in that I believe it is in human nature to fit-in or be accepted so that one can attain comfort and love. “The great man is he who in the midst of the crowd keeps with perfect sweetness the independence of solitude” (Emerson, pp.
In relation to the real world, this is significant because it shows that while truth is a wonderful and helpful idea, it is better to not know the truth because of the pain it can cause. Both these works, when taken in comparison to each other, reveal much about how society tends to deal with the subject of truth. On the one side, represented by The Odyssey, is the idea that truth is beneficial, and can help one on their own personal journeys through life. Sophocles’ Oedipus the King represents the other side of truth, the bad and potentially harmful side. This play shows that there are truths that people are better off not knowing, for it would cause them more harm than good.
To add another layer of complexity, Tolkien invents sensible, sympathetic characters that are motivated by spite and want retribution. Although Tolkien's ultimate opinion on the morality of revenge is unclear, his stance regarding the criteria of virtue is explicit. Rosebury reflects on Tolkien as a rational writer who concerned himself with what he thought was the right and wrong state of mind. The bad emotions, such as pride, fear, humiliation, anger, and cruelty, lead to despair. In contrast, good sentiments benefit Tolkien's characters, often in unpredictable ways.