What Does the Concept of Dignity mean to Stevens?
What Does the Concept of Dignity mean to Stevens? Stevens is a unique character whose life evolves solely around his profession and how he can both maintain his dignity and become recognised through his work. The concept of dignity has ruled his entire life and he believes it his duty to remain dignified in all circumstances in order to be classed as a "great butler". His metaphorical journey however reveals that in trying to accomplish this, he has lost the vital element which must be sustained in life, human warmth. Stevens defines dignity as, "Something one can meaningfully strive for throughout one's career", compared to Mr Graham's views that "dignity is something one possesses," which seems more reasonable from the reader's point of view. The critic Richard Locke asks what dignity there is in not making one's own mistakes and refers to the consequent sorrow and remorse that follows, saying "such rueful wisdom much be retrospective." This certainly explains Stevens' unemotional behaviour in his mission to attain dignity because he has since regretted not "making his own mistakes" and living life to the fullest. Instead, he delicately portrays his Father's views, who was "indeed the embodiment of dignity", because he is not able to conceive his own opinions having followed Lord Darlington's orders all his life. Furthermore, Stevens has incorporated the Hayes
The Forbidden Forest
The Forbidden Forest "Mom! Johnny's not helping me get ready for dinner!" exclaimed my sister at the top of her puny but blatant lungs. "Yes, I am." I called upstairs to the room where my mother lay in a soundless slumber. "Would you shut-up! She's resting, you know. She is exhausted!" I tried to whisper to my sister, Emma. My mother worked two jobs to keep us alive. Six years had passed since the day my father died. Nobody really knows how he died, but from what my mom told me, Emma the curious little girl that she was, and still is, walked into the terrifying, damp forest across the condensed street. Nobody had ever gone in there before. She walked inside and fell down a precipitous hill, luckily my dad saved her and they came out perfectly fine. However, after a week or so, he started acting weird, from what I remember. Then, a month later he just left us. I don't know if he is deceased or still alive. Really, I prefer him dead. As I helped Emma with dinner, she was telling me about her childish day. I love her, I really do, but I just wasn't in a qualified mood. "Would you shut-up! I don't want to hear about your stupid day!" I shrieked and startled her tiny mind. That shut her up, I thought. "What's all that noise?" My overworked mother murmured as she came down from her slothful bed. "Uh, nothing", Emily pronounced. I have to admit she is a cute ten-year-old.
How does Hardy present his characters in the first ten chapters? To focus on Michael Henchard, Susan Henchard, Elizabeth Jane Henchard and Donald Farfrae.
How does Hardy present his characters in the first ten chapters? To focus on Michael Henchard, Susan Henchard, Elizabeth Jane Henchard and Donald Farfrae. Hardy uses Nature to frequently identify with the characters and mirrors their actions. Their surroundings shed light on each of their situations and create mystery for the reader to interpret. Each of the characters develops quickly over the initial chapters and in this haste, Hardy exploits the recurring theme of fate, channelled through chance and irony. We only learn more about the characters through pieces of information fed to us as each chapter unveils more information about the characters and their relationships towards eachother. The negative and mysterious introduction paves the way for the following chapters. Initially, it is clear that the family described is of a lower class as they are "plainly but not ill clad" whilst travelling on foot. The man is described at length with his "...fine figure, swarthy and stern..."yet "...a dogged and cynical indifference." One can infer that Hardy was deliberately giving precedence to this man to depict his masculinity and dominance, as a person and his role the relationship, which is still not clear as to it being a marriage. The man carries a "measured springless walk" implying despondency and weariness. This is followed by their unusual situation unfolding as the man
How does Austen convince the reader that Lizzy is right to reject Mr.Collins' proposal?
Jimmy Hamilton VM How Does Austen Convince the Reader that Lizzy is Right to Reject Mr.Collins' Proposal? From the first sentence of the passage, Austen demonstrates that Mr Collins is not a suitable husband for Lizzy when she says "Mr Collins was not a sensible man." In Chapter 15, Austen describes the character of Mr Collins in more detail reinforcing the statement made in the opening sentence. Mr Collins is then described as being stupid and his natural stupidity has not been helped by 'education or society.' Although Mr Collins had been to university, he had 'only kept the necessary terms.' so he had not improved himself as a result of attending. Mr Collins was brought up as by a stingy father who gave him no guidance and gave Mr Collins a 'great humility of manner' meaning he was reluctant to involve himself in society. When Mr Collins is recommended to the living of Hunsford by 'fortunate chance' he is forced into society and his 'early and unexpected prosperity' has gone to his head. He venerates his patron Lady Catherine de Bough, and Austen's use of the word 'veneration' suggests the religious awe with which Mr Collins regards Lady Catherine. It is ironical that a clergyman who prides himself on setting an example to his parish practically worships his patroness. Austen describes him as 'a mixture of pride and obsequiousness, self-importance, and humility.'
How does Miler create a sense of tension and conflict between John and Elizabeth Proctor at the beginning of Act Two?
Essay Question: How does Miler create a sense of tension and conflict between John and Elizabeth Proctor at the beginning of Act Two? In Act Two, John and Elizabeth Proctor are conversing and there are signs to indicate that there are tensions occurring in their marriage. Although the main theme of the 'The Crucible' is Witchcraft, this Act concentrates mainly on the relationship of John and Elizabeth. Miller uses a variety of dramatic devices, like stage directions to promote this point. Prior to this act the girls have named the witches and John has returned from Salem. Considering that this is where Abigail (whom John had an affair with) resides, it does not improve his dying marriage and relations with his wife. Miller begins by setting the tone for the scene and describes the front room of Proctor's house. The room is described as 'low, dark and rather long'; this immediately gives the impression of a threatening and hostile place. Coupled with the empty room, this could signify loneliness and symbolize the emptiness and lack of affection within the marriage. The word 'halts' is used to depict an image of a shocked John as he hears his wife singing, upon his entrance to the house. Miller could have decided to include this piece of information in order to show the audience how Elizabeth is rarely in a good frame of mind - perhaps due to her failing marriage. John then
Jane Austens real talent is revealed much through her wonderful capacity for characterization. Like Shakespeare, she presents her characters truthfully and realistically.
ntroduction: Jane Austen's real talent is revealed much through her wonderful capacity for characterization. Like Shakespeare, she presents her characters truthfully and realistically. She is sensitive to every small nuance of manner and behavior and any deviation from the standard. The range of her characters is narrow and she confines herself to the landed gentry in the country-side. Servants, laborers and yeomanry rarely appear and even aristocracy is hardly touched upon. When she deals with aristocracy, she satirizes them such as Lady Catherine in P&P. Her Characters are never repeated: despite such a narrow range. Not a single character has been repeated in any of her six books. The snobbishness of the Vicar, Mr. Collins in P&P is unlike that of Mr. Elton, the Vicar in Emma. Similarly, there is a great difference between the vulgarity of Mrs. Bennet and that of Mrs. Jennings. Macaulay declares that her characters are commonplace, 'Yet they are all as perfectly discriminated from each other as if they were the most eccentric of human beings.' State different psychological habits and emotions of Darcy, Elizabeth, Jane, Mrs. Bennet. Her characters - individualized yet universal: Jane Austen has so comprehensive and searching a view of human nature that she invests them with a universal character. Her characters are universal types. Thus, when Mr. Darcy says, 'I have been
Is it accurate to describe the world of 'Waiting for Godot' as futile and meaningless
Is it accurate to describe the world of 'Waiting for Godot' as futile and meaningless? Beckett was interested in putting everyday banality onto the stage in an experimentation of what theatre is. He attempts to provide a truer interpretation of 'real life' than that often depicted in previous theatre, which may typically contain excitement, exaggeration and liveliness. He suggests that one of the major constituents of human experience is boredom, indeed the very concept of 'Waiting for Godot' echoes this, and Beckett implies that much of life is spent waiting for something. The play is therefore a means of undergoing the difficult task of dramatising boredom. Routine and repetitiveness are apparent throughout the play and are key to creating the world of Vladimir and Estragon. This is reflected by the characters often having very similar arguments or discussion, such as frequent talk about committing suicide; or the concept that the two Acts, which make up the play merely appear to be repetitions of one another. Indeed 'Waiting for Godot' has been described as a play where "Nothing happens, twice". Beckett's struggle to make sense of things is evident in the combination of his characters acceptance that life may be meaningless, and their continuous questioning and search for meaning. The major refrain of the play, "nothing to be done", first arises when Vladimir cannot find
Write a Detailed Examination of Austen's style in chapter 39.
Siobhan Groves Write a Detailed Examination of Austen's style in chapter 39. Austen has a very distinct style throughout the novel, which is especially apparent in chapter 39. Austen focuses the chapter on the ever-vulnerable Harriet Smith being attacked by gypsies and more importantly Frank Churchill aiding her rescue. It proves to be an occasion for Austen to incorporate examples of dramatic irony into the novel along with language typical of her style. The chapter begins with an account of Harriet Smith's ordeal with the gypsies. Austen tells the story in a 3rd person narrative, which is very effective as the action moves rapidly. The story is told concisely and the reader is encouraged to read fast to keep up with the pace of the tale. This style of presenting the events is engaging and exciting for Austen's readers as page 39 reveals... "More and more frightened she immediately promised them money, and taking out her purse gave them a shilling, and begged them not to want more or to use her ill." Austen also encourages the reader to feel sorry for Harriet, as has been the case in many previous chapters. She does this by presenting her as a naïve and innocent victim completely helpless and defenceless. This is demonstrated on page 239: "In this state Frank Churchill had found her, she trembling and conditioning, they loud and insolent." Austen not only
Polar opposites in 'Sense and Sensibility
Not titled "Sense or Sensibility" Polar opposites. Night and day. Hot and cold. These are just some adjectives and nouns that are on opposite sides of the spectrum. The words are perfect ways of contrasting the characters of Marianne and Elinor in the novel Sense and Sensibility. Sense, defined as the ability to be aware of things around her describes Elinor. She is the calm, quiet and collective sister, who makes decisions based on practicality. Sensibility, or the trait of being affected by changes in surroundings fits Marianne. She's the foolish, whimsical and irrational sister, driven by passion and emotion. Both characters are put in similar situations throughout the book and, true to the title, act with sense and sensibility. Elinor's courtship with Edward against Marianne's affair with Willoughby contrasts the characters ideas of marriage and love. Elinor, though interested in Edward, would not admit anything more than having "great esteem" for him. Elinor looked at the situation practically, citing that Mrs. Ferras would be the ultimate factor in their courtship because Edward's future (and fortune) depended on what Mrs. Ferras thought of Edward's possible wife. Thus, Elinor waited for more proof before she got carried away. Marianne couldn't believe Elinor's reserved attitude, calling Elinor "cold-hearted" for not saying more positive things. As far as Marianne was
By comparing the two acts in which the relationship of John and Elizabeth Proctor is particularly highlighted (Acts 2 and 4); explore the ways in which Arthur Miller dramatically presents the changing nature of their relationship.
By comparing the two acts in which the relationship of John and Elizabeth Proctor is particularly highlighted (Acts 2 and 4); explore the ways in which Arthur Miller dramatically presents the changing nature of their relationship As the novel progresses, we can see distinct differences in the relationship between John and Elizabeth Proctor, particularly highlighted in act 2 and act 4. Arthur Miller presents these dramatic changes through a range of different dramatic techniques as well as the language used by the two characters when speaking to each other. In Act 2, the couple seems to be quite distant with each other; the audience are already aware of the relationship between John Proctor and Abigail Williams and so automatically expects tension and a lack of trust between John and Elizabeth. However, in act 4 there is a distinct contrast, where under the severe circumstances, Elizabeth is suddenly able to find her love and passion for John and puts his past behind them. Act 2 opens with a scene of the Proctor's dining room. However, although there is no one present in the scene, Elizabeth's voice can be heard from above singing to her children. At this point in the play, Miller has already created a feeling of suspense and curiosity for the audience, as they already aware of John's relationship with Abigail and so expects tension between the couple but because they
