Sin not just overestimating abilities, but overreach our powers, author our own stories. Sin Challenge and refuse God's authorship, refusal to live as creatures. Will to power, pretending not to be limited when we are limited, make self center of universe and then subject others to our will, this injustice is sin. (Niebuhr) How it works with us. 1.
Alan declares “A... ... middle of paper ... ...ion’s primary purpose stands as a necessary release of bridled passions and as a distraction from the meaningless existence that is everyday life. Both authors push farther into this theory, however, in order to discover what effect such an institution can have on the mental stability of humans as well as the institutions of society. The Stranger’s magistrate, abandoning his oath to remain disinterested, allows his opinion of Meursault to be swayed by his apathetic response to religion, reflecting society’s unwarranted judgment based on religious affiliation. In “Equus,” Alan represents the dangerous effects of confusing sexuality and religion, displaying the dangers of relying on religion as one’s sole source of passion. Works Cited Camus, Albert.
To not only have to beli... ... middle of paper ... ...hat is known is not valuable and not beneficial, and what is unknown is original, daring, valuable and great. The greatness resides inside of us and we must excavate it through constant reevaluation of our principles and virtues, without regarding foreign influences. In conclusion, I believe Emerson’s applicable challenges can be identified as his leading arguments when concerned with individual and personal revolution. His views on religion, education, art, and society are explicated through his gifted intuitional understanding and reason. By reasoning to the reader through vivid examples which are apparent and self-evident, he creates the proof for his understanding of reason’s uses to question what we are perceived to know.
Free Will and Personal Responsibility in Faustus It can be argued that Doctor Faustus is damned from the moment of conception. His innate desire for knowledge inevitably leads to his downfall. He represents the common human dissatisfaction with being human and the struggle of accepting our lack of omnipotence and omniscience. Marlowe manipulates this struggle between the aspirations of one character of his time and the implications to Christianity in relation to its doctrine of heaven and hell. Indeed, Doctor Faustus asks for more than what was intentionally made available to him through God's plan, yet it was God's gift to him of his intellect, that tempted him to search beyond his appointed realm of knowledge.
Had Faustus not become so preoccupied with the indulgent of his physical pleasures (which he did to so great an extent that his reasoning and judgement began to atrophy and cloud), that he was blinded to the infinite mercy of God, he could have been saved, even at the last moment. Faustus is damned because he was too concerned with the mortal material world, and this concern blinded him to the immortal and immaterial world. He chose to forgo the infinite happiness of Heaven, so that he could indulge in transient happiness here on earth. This concern for material beauty (Helen) damned him eternally. Works Cited: Marlowe, Christopher.
In To Each His Own, Leonardo Sciascia weighs the battle for integrity in an ethically empty society against the oppression of falsehood within a Christ figure whose faith in morality likens to madness. Laurana is challenged not only by the lies of certain individuals, but more importantly by the myth his trust succumbs to in the wake of those lies. As one transcends beyond the novella’s simple plotline and into an underlying critique on Sicilian chivalry, Sciascia provides a social commentary on the ethos of a culture, it’s self-indulgent permittance of corruption, and the brutal demeaning of those who stand in opposition to it. Sciascia, an Italian politician and French-enlightenment writer, utilizes Laurana as an impartial looking-glass; a means for analyzing and assessing “the insular, mafia-saturated culture of Sicily–which [Sciascia] believed to be a metaphor of the world,” (Sciascia III). Laurana, principled as a symbol of innocence, yields a detached atmosphere regarding his acquaintances: “it was something opaque, dense, almost repressed” (Sciascia 43).
Ultimately, Hawthorne’s goal is to convince readers that the Puritan culture - their customs, their traditions, their way of life - is wrong in that it suppresses the joy, and freedom, that is necessary for a society to thrive. He attempts to convince them that the Puritan religion, as a whole, is overbearing, and clearly unjust. Hawthorne wants his audience to go through a logical progression of cause
“The Garden of Love” is a true testament to how easily negative energy and negative surroundings can wound and infect a positive environment. Negativity spreads like a disease, disrupting the easy and natural optimistic heart. Blake conveys this point with the convenient use of a confining institution such as the Church, which he further supports with a fine use of imagery and an effective incomplete rhyme scheme and voice. He quite easily showed that the negativity others accept through their life experiences end up robbing others of their innocence, as they choose not to process their emotions, but dwell in them.
Twain’s views manage to ironically uplift Christianity in a way that degrades hypocrisy, evil, and ignorance. Despite religion’s pure reputation, hypocrites constantly attack Huck’s beliefs. After many encounters with religious errors, Huck sees religion as hurtful, finding the countless flaws, immoral followers, confusing ideas, and lack of proof. Huck simply continues his faithfulness to superstition; which seems to be the only way to escape. Religion in the novel The Adventures of Huckleberry Finn not only becomes the main evil, it provides readers with another perspective that judges, lies, deceives, and sins ironically to the point that religion is not seen as a belief, but another useless tool to spread more evil in a world that already dwells in sin.
Shakespeare does not just mention nothingness and its paradoxes but also gives them a central and complex role in the movement of the plot. In the structure of the play nothingness emerges as an omnipresent metaphysical threat and flawed conception of “nothingness” blinds King Lear and Gloucester to the reality of the world they live in and eventually brings about their tragic end. The dramatic value of King Lear’s philosophical flaw about the concept of nothingness is evident in the first scene of the play where Lear begins to diminish himself by taking off his crown. Goneril and Regan take on a rhetoric contest, as they must try to express the greatest possible love for their father in order to receive the largest part of the kingdom. They respond by presenting their love with paradoxes of non-being -- saying what their love is not, rather than what it is -- to suggest the illusion of unbounded love for Lear, exploiting his blindness to the fact that their hyperbolic language full of comparisons and superlatives (“Dearer than eyesight, space, and liberty” 1.1.62) actually mean nothing.