The Uncanny Works of Austen's Northanger Abbey and Hogg's Confessions of a Justified Sinner In order to discuss the literature of the uncanny we must first be able to define "uncanny", and trying to grasp a firm understanding of the term "uncanny" is problematic; since as accepted reference works such as the Oxford English Dictionary filter down into popular culture the meaning subtly alters, or becomes drawn towards only one aspect of what was originally a much broader definition. To illustrate
The Gothic Novels of Doctor Jekyll and Mr. Hyde, Frankenstein and Confessions of a Justified Sinner The word 'Gothic', taken from a Germanic tribe, the Goths, stood firstly for 'Germanic' and then 'mediaeval'. It was introduced to fiction by Horace Walpole in 'Castle of Otranto, a Gothic Story', and was used to depict its mediaeval setting. As more novelists adopted this Gothic setting; dark and gloomy castles on high, treacherous mountains, with supernatural howling in the distance; other characteristics
Wrhinghim in James Hogg's Novel, The Private Memoirs and Confessions of a Justified Sinner Works Cited Not Included James Hogg's classic novel, The Private Memoirs and Confessions of a Justified Sinner, portrays the fictional story of Robert Wringhim, a strong Calvinist who justifies murder by quickening the inevitable. Robert commits infamous acts of evil, believing that these murderous actions glorify God by annihilating sinners not chosen to be saved. I believe that a combination of factors involving
Confessions of a Justified Sinner”, written by James Hogg, narrative contestation is a large part of the novel, as it is not one singular story, and rather a contest of stories played out in a contest of narrative written by both Robert Wringham and a fictitious Editor . The first section of the book, the ‘Editor’s narrative’, provides a seemingly objective historian’s editorial to the memoirs, whilst the second section of the book, the ‘Private Memoirs and Confessions of a Sinner’ is a biographical
Religion in James Hogg’s The Private Memoirs and Confessions of a Justified Sinner and J.G. Lockhart’s Adam Blair “There is therefore now no condemnation for those who are in Christ Jesus. For the law of the Spirit of life has set you free in Christ Jesus from the law of sin and death” (Romans 8:1-2). Given the highly charged religious environment of eighteenth- and nineteenth-century Scotland, the above passage must have been discussed many times in Christian circles then. Some of the Reformed
family was a devoted to both farming and religion. His father was an Elder at the church, so he always grew up in a religious background. In 1824 Hogg wrote the critically acclaimed and controversial novel, The Private Memoirs and Confessions of a Justified Sinner. The novel provided satire on the Calvinist Doctrine of predestination. Predestination is the belief that God has since the start of time, pre ordained the saved. Basically, it is pre-decided who will go to Heaven and who will go to Hell. These
childhood of religious focus. With the constant reading of the bible, as well as other theological material, Hogg’s writings always have a religious aspect his books as well. This is most prominent in The Private Memoirs and Confessions of a Justified Sinner, which discuses the Protestant time in America and in England. The novel shows this through the use of a devout brother in contrast to an unholy brother, as well as introducing aspects of sin and devil worship. Hogg’s schooling also prohibited
Romanticism "In spite of its representation of potentially diabolical and satanic powers, its historical and geographic location and its satire on extreme Calvinism, James Hogg's Private Memoirs and Confessions of a Justified Sinner proves to be a novel that a dramatises a crisis of identity, a theme which is very much a Romantic concern." Discuss. Examination of Romantic texts provides us with only a limited and much debated degree of commonality. However despite the disparity of Romanticism (or
but it also shows how Hamlet feels about marriage and women. Hamlet tells Ophelia to go to the convent because she should not want to be a "breeder of sinners" and because there should be no more marriage. Hamlet does not want anymore marriage because that would mean more children and according to Hamlet the only children born to marriage are sinners. Ophelia is also considered a foil for Hamlet because of the difference in the way each grieved for their father’s deaths. The difference between the
literary effects to place his poem analogically to life as it was during his day and age. Dante structures The Inferno around thirty four cantos. Each of these cantos marks a steady progression from the mildest to the worst of sins. The cantos depict sinners under various forms of punishment which are commensurate to the nature of their sins. Dante categorizes sin into three different categories of fraud, incontinence and violence. In canto I he mentions three animals namely , a leopard, a lion and
Sonya had done for Raskolnikov and what affect the cold person turned loving. Sonya is the daughter of Rodia’s friend that was forced into prostitution to provide for the family, but all is done willingly out of love. In Sonya, one can see a great sinner as Raskalnikov at peace with her and with God. Sonya’s knowledge that God alone gives one worth allows Sonya to love others unconditionally, including Raskalnikov. Sonya also helps Raskolnikov to get rid of suffering from guilt. Sonya, being extremely
through sight that Dante the pilgrim can acknowledge and learn from his experience in hell. Sight plays an especially crucial role in the work because Dante, the pilgrim, is often captivated by an image of some kind. The sight of the sinners transfixes Dante; and the sinners are, in turn, captivated with Dante and Virgil. It would seem that everything Dante observes through his journey would be enlightening. However, through the admonishments of Virgil, it becomes apparent that there exist two distinct
Sinner vs. the Sin in the Divine Comedy Often when we set out to journey in ourselves, we come to places that surprise us with their strangeness. Expecting to see what is straightforward and acceptable, we suddenly run across the exceptions. Just as we as self‹examiners might encounter our inner demons, so does Dante the writer as he sets out to walk through his Inferno. Dante explains his universe - in terms physical, political, and spiritual - in the Divine Comedy. He also gives his
Francesca's Style in Canto V of Dante's Inferno Canto V of Dante's Inferno begins and ends with confession. The frightening image of Minos who «confesses» the damned sinners and then hurls them down to their eternal punishment contrasts with the almost familial image of Francesca and Dante, who confess to one another. In a real sense confession seems to be defective or inadequate in Hell. The huddled masses who declare their sins to Minos do so because they are compelled to declare or make
as the pillory blatantly defies human nature, so too do the Puritans defy nature by upholding such a practice. Thus, the pillory embodies the ugliness of Puritan society. The Puritans' sense of justice consists of making those they deem sinners an object of public mockery and a shameful example to the rest of the people. The pillory is portrayed as a "contrivance of wood and iron" constructed in such a way that it was "fashioned as to confined the human head in its tight grasp, and thus
them, but insists that summoners are known for lewd behavior. The Summoner does not take offense, but does indicate that he will repay the Friar in turn. The job of the Summoner to which the Friar objects is to issue summons from the church against sinners who, under penalty of excommunication, pay indulgences for their sins to the church, a sum which the summoner often pockets. Analysis The Friar's Tale will continue the pattern of reciprocity that had earlier been established before the interruption
The Punishment of a Sinner in The Scarlet Letter Who should punish a sinner? Should it be religion, society, or the individual? In Hawthorne's Scarlet Letter all three affect the main character Hester Prynne. Religion punishes her with the Scarlet Letter, society ostracizes her as punishment, and individually she was able to move on in life but still returned to her haunting past where she died. Religion plays a big part in the Scarlet Letter. Hester Prynne wore the Scarlet Letter
describes punishments that fit the various sins the sinners committed while they were alive. The sinners are punished with an overindulgence of their sin. For instance, the circle of the angry is filled with angry people who yell at each other for eternity just as the circle of the wrathful is filled with wrathful people who will, similarly, hit each other for eternity. While being placed in these circles is not desirable, it should be noted that the sinners do have contact with one another and, in a demented
characters and, by his description of them, identifies them as sinners. Also, through emotive lingual and poetic techniques, a mood is set which the rest of the tale can later develop. The Pardoner’s Tale is a sermon against the folly of cupiditas, and the opening serves well to begin that tale. The protagonists themselves, introduced near the outset as "yonge folk that haunteden folye", are clearly established as archetypal sinners as they "daunce", "pleyen at dees", "eten ... and drynken" and
established by scripture read from the Bible, as the Puritans considered the Bible as the "true law" of God that provided guidelines for church and government. Those who disagreed or committed crimes against the government, were not only criminals but also sinners, and they were sought to be punished severely. The Puritans stressed grace, devotion, prayer, and self-examination to achieve religious virtue while including a basic knowledge of unacceptable actions of the time; this was expected to secure order