Philip Cioffari, in both works, Jesusville and Catholic Boys, puts forth the idea of the “silent sufferer.” Used in different ways in each of the novels, the “silent sufferer” is characterized by guilt and shame. This discussion looks at Vee in Jesusville, whose character undergoes punishment as a way of being possessed and alleviating the lost and lonely feeling within her and Arthur and Donald in Catholic Boys, who are punished for the guilt of others’ sins. These characters “suffer silently,” each one reinforcing major themes in “their” novels through their punishment.
To begin, the discussion focuses on Vicki’s character in Jesusville. When first introduced to Vicki, Cioffari describes her as having a startling beauty, dressed with a look that seemed to be “a threat to her safety” (Cioffari 14). Shortly into the novel, we see Vicki’s uneasiness and her need for validation—that is a confirmation of self and of the existence of another. Cioffari writes, “With her rigid glaze she seemed almost catatonic. She wanted him there, but it was as if nothing existed but herself and maybe not even that” (Cioffari 21). Vicki realizes her need to be validated; though, she is unaware of how she is to obtain it. Vicki then asks Trace, “Did you ever think when you look at yourself like this in the mirror that what you’re seeing isn’t really you” (Cioffari 22)? She continues, stating, “I’m not Vicki anymore. From now on I want you to call me Vee. Okay” (Cioffari 22)? It is at this point in the novel that Vee becomes aware of her own isolation—to Trace and to others. Her loneliness eats away at her and makes it impossible for her to have a fulfilling relationship. Vicki’s shift into the personage of Vee is her validation of the person that s...
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... example of the silent sufferer. On the cross, Christ cries out in pain, but never against the men beating him. In none of the biblical accounts does ask them to stop and think about what they are doing. Instead he looks to his Father, resigning himself to God’s will, knowing that he must be the sacrifice, and like Vee, bear the weight of crimes.
As silent sufferers and pictures of Christ, Vee, Arthur, and Donald absolve their sins through their resignation to suffering. Vee is able to alleviate the brokenness within her, resolving her “faith crisis.” Arthur gives up his fleshly body order to gain a spiritual body through death. Through this process they demonstrate major themes in novel including: redemption, sin, consequences, and resolution—ideas that can be seen not just in the stories of these three characters, but in the majority of Cioffari’s characters.
A poem which evokes a mood of pity in the reader is “Assisi” by Norman MacCaig. In this poem, MacCaig recounts an experience that shaped his own life while visiting the Basilica of St Francis of Assisi in Assisi, Italy. While the church is known for it’s outstanding beauty and priceless artwork, the poet discovers a beggar with severe physical disabilities begging outside the church. MacCaig then exposes the irony of the church constructed to celebrate a man devoted to poor, is now a symbol of hypocrisy. Instead of being a lasting monument to the original and noble philosophies of St Francis. Norman MacCaig evinces pity within us by effectively applying techniques such as vivid imagery, emotive word choice and contrast.
Kempe’s story has a typical beginning. She is married, soon thereafter conceives her first child, and goes on to give birth to fourteen more children. She assumes the responsibilities of a wife and mother whose position in the late medieval society is assured by the solid reputation of her father, John Burnham, and her husband, John Kempe. However, Kempe’s conventional story changes early in her life by an elusive interaction with Jesus that she experiences shortly after her first excruciating child birth. Women were expected to carry out the societal norm of a good wife and mother which meant staying home to tend to the family. As we’ve seen, this is the opposite of how Kempe wanted to live her life — she hastily became distinguished and recognized. Her autobiography explains her own efforts to dissociate herself from the covetous and restric...
God loved, not for the moment but for all eternity. He talks of monks stopping the beating
The central figures in these three works are all undoubtedly flawed, each one in a very different way. They may have responded to their positions in life, or the circumstances in which they find themselves may have brought out traits that already existed. Whichever applies to each individual, or the peculiar combination of the two that is specific to them, it effects the outcome of their lives. Their reaction to these defects, and the control or lack of it that they apply to these qualities, is also central to the narrative that drives these texts. The exploration of the characters of these men and their particular idiosyncrasies is the thread that runs throughout all of the works.
Through O’Connor’s religious background, the audience must closely analyze the true message of her story through her symbolism. Her shocking and grotesque ending of the short story challenges individuals by questioning what is good and what is evil. O’Connor’s symbolism found in her setting and main characters truly embody her view of modern society. She uses these elements as a representation for the realistic paths individuals struggle to choose between: the path involved in sin concerning money, good looks, and pride or the path towards God concerning morals, values, and respect for humanity.
Johannes portrays to Arthur that he should be in fear of him, offering the idea that he believed he held power over this individual, in this case, to take the innocent man’s life. The judge involved in the case d...
When children are young, it can be difficult for parents to teach them certain skills and lessons to live a good life. For example, toilet training a young person is something all parents suffer through and most of the time it is hard for them to teach their young ones how to use the bathroom. Several methods have been developed by psychologists, pediatricians, and other scholarly people on the toilet-training process. In addition to this, children’s books are published that are strictly directed at teaching children about their own bodily functions, and using the restroom. The language used, the illustrations, and the delivery of the language, is directed at children. Even children’s bibles are made because children cannot comprehend, or hold the attention to the King James version on the Bible, and so the stories of the bible and its teachings are rewritten in a language children can understand, as well as presented in a manner that will hold a child’s attention. This same approach is used for Catholic stories of their saints in order to teach children about them and their lives that they lived, which reflects how the Church instructs its followers to live in order to go on to everlasting life with God, Jesus, and the Holy Spirit. Each children’s story evaluated, although directed to teach children, or to help the parents teach the child, also contains a certain sub-text, and by comparing the same children’s stories to those written for adults and the general public about saints, and by examining the authors intent, as well as the intent of the Catholic church, the importance of these different story styles and their purpose will be determined.
From the excerpt from the novel, “Under the Feet of Jesus” by Helena Maria Viramontes, the main character is Estrella, a young Spanish girl with a powerful desire to learn to read. Although she is persistent, her teachers refuse to educate her because they are more concerned of Estrella’s personal hygiene. This leaves Estrella resentful because of the barrier between herself and knowledge. Estrella remains silent until a man named Perfecto Flores teaches her how to read by using his expertise in hardware and tools to represent the alphabet. Viramontes depicts the heartfelt growth of Estrella through her use of tone, figurative language, and detail.
Guilt is a powerful force in humans. It can be the factor that alters someone's life. On the other hand, forgiveness can be just as powerful. In The Poisonwood Bible by Barbara Kingsolver, her characters-the Price family-travel to Africa on a religious mission. Throughout the novel, the concept of guilt and forgiveness is reflected on multiple occasions. Each character has a different experience with guilt and how it affects them in the end. By structuring The Poisonwood Bible to include five different narrators, Kingsolver highlights the unique guilt and forgiveness to each individual experiences as well expresses the similarities that all humans face with these complex emotions.
From deals with the devil, corrupt churches, and the decaying body of a lifeless baby, Matthew Lewis’s The Monk is the paradigm of the gothic novel. The main setting of the novel is the church, a place of barbaric and inhumane practices. Deep in the dungeons are prison cells for deviating nuns who are starved and tormented by the head nuns. The Monk, title role of the novel, belongs to the main character who is perhaps the most malevolent and cruel. The novel is the ideal example of a gothic novel because it encompasses all the themes that typify the gothic novel. The main tenets of gothic literature include, terror, violence, threatening of a women’s virtue and women being in constant danger. This can be seen in the case of Antonia
In Miguel de Unamuno’s novella San Manuel Bueno, Martyr, readers learn about the life of Don Manuel, a Catholic priest secretly holding atheist beliefs and doubts in the afterlife. Despite these disbeliefs, Don Manuel works tirelessly to help his community and is regarded as a saint by all who meet him, hence the handle “San Manuel,” which literally translates to “Saint Manuel.” Don Manuel’s struggle and affiliation with sainthood receives further analysis and context from Francisco LaRubia-Prado, who parallels Unamuno’s novella to elements of Greek Tragedy and heroism. Drawing from Unamuno’s background with Ancient Greek playwriting and Sigmund Freud’s Totem and Taboo, LaRubia-Prado argues that Don Manuel should be seen as a representation of Christ and must suffer in silence in order to play the role of the dying, tragic hero that saves the
The Vicario brothers in Gabriel García Márquez’s Chronicle of a Death Foretold and Esteban Trueba of Isabel Allende’s The House of the Spirits are prime examples of vengeance not being sweet relief, but instead a bitter burden. Even if it is meant to protect personal morals and values, the act of escalating the anger into violence will never satisfy. The keen understandings of the Chronicle of a Death Foretold’s narrator and Alba give hope for the future to not be rot by the illogical thought that revenge is sweet because in reality, it eventually turns bitter.
In spite of the “pleasing human traits” of some of the sinners, Hollander argues that “we are never authorized by the poem” to truly sympathise with the sinners, because Dante insists on God’s justice (106,107). Indeed, inscribed over the gates of hell is “Giustizia mosse il mio alto fattore” (Sacred justice moved my architect, III,4).
The elements at play in the novel and film are quite remarkable for their traditionally universal appeal.3 The fates of two adolescents, one jailed the other unwilling jailer, intersect and are soon bound together in a struggle for survival at the hands of unsuspecting enemies. The filmmaker's aim was to adopt a child's unadulterated point of view in referential opposition to the surrounding adult world. Given the suspenseful plot and the exploration of the young protagonists' fears at coping with a habitat they must disavow, such an aim and narrative scheme were expected to gather much attention.4 The pre-teens Michele, the novel's principal hero, and Filippo the kidnapped child are ultimately elevated from a pit of dirt and fear, the antechamber of death, chiefly by their own heroic praxis. Yet the problematic lack of any meaningful degree of depth in the novel and film seems to lie precisely with its overly schematic construction, tailored to safely weather the otherwise unpredictable market.
The play is so well written and the unknown author is given a unique name to its main lead Everyman to symbolize the simple human being. In this play the death is personified in a way which grabs the attention of the audiences and it attracts them to think it’s real instead of being fiction and the superb writing of the unknown author. The author talks about God’s (Jesus) death and g...