'The American Dream not only fails to fulfil its promise but also contributes to the decay of social values' (Tyson 1999). How far does The Great Gatsby demonstrate this view of the American Dream?
'The American Dream not only fails to fulfil its promise but also contributes to the decay of social values' (Tyson 1999). How far does The Great Gatsby demonstrate this view of the American Dream? The American Dream is often portrayed in literature as the pursuit of ultimate happiness with regard to life and employment. The stereotypical protagonist of an early-twentieth century American novel is self-reliant and a hard worker, seeking to make a successful living through motivation and perseverance. Jay Gatsby himself has pursued this dream and is a success story in terms of wealth, though the novel may be viewed as an exploration of the corrupted ideal that the American Dream became in the 1920's when people with newly acquired wealth sought to flaunt what they owned. It is largely the owned wealth in the novel that is presented as an ideal; social values and morality are shown as corrupt and indeed unimportant alongside material prosperity. Nick narrates in Chapter One, "I decided to go east and learn the bond business," and presents a stark contrast between his small new house and those on either side that 'rented for twelve or fifteen thousand a season'. This affirms the importance of wealth from Nick's perception and equally from that of the other inhabitants of West Egg. They are the newly rich, who have worked hard and earned their money in a relatively short period
To what extent is Dracula a conventional Gothic protagonist
To what extent is Dracula a conventional Gothic protagonist? Within the Gothic genre, features of the Gothic protagonist include sharply contrasting character traits, some degree of tragic stature, a striking physical presence, an element of the sexual, and an association with the bestial. Stoker presents Dracula with greatly contrasting traits, from the impeccably polite and courteous host who greets Harker at the door, to a raging psychopathic monster. The aristocratic and noble nature of Dracula's heritage gives him charisma and credibility, on first encounter he seems strange but eccentric, however this lulls Harker, and obviously his female victims, into a false sense of security: "The light and warmth of the Count's courteous welcome seemed to have dissipated all my doubts and fears." Stoker reveals Dracula's true self slowly and subtly, so as to build tension, such as when Dracula touches Harker and he feels: "a horrible feeling of nausea." This imagery hints at the horror of Dracula's true character, which is finally revealed when he encounters the Brides: "But the count! Never did I imagine such wraths of fury, even in the demons of the pit!" Stoker presents the count as being: "lapped in a storm of fury," foreshadowing the terrible storm at Whitby when Dracula arrives on English soil. Stoker's uses the imagery of hell to describe Dracula's rage, writing: "his eyes
Absolute Power Simply Seems To Corrupt Faustus. Once He Can Do Everything, He No Longer Wants To Do Anything; Discuss.
Absolute Power Simply Seems To Corrupt Faustus. Once He Can Do Everything, He No Longer Wants To Do Anything; Discuss. Marlowe's representation of Doctor Faustus changes direction through the play. We follow the change in ambition and greed of a human being who seeks pleasure so much that he sells his soul to the devil for a number of years. Does the power that Faustus obtains corrupt him or is he merely dissatisfied with the power he has and is greedy for more. At the start of the play, Marlowe uses powerful language when referring to Faustus' search for knowledge. "O, What a world of profit and delight, of power, of honour, of omnipotence, is promis'd to the studious artisan". This is what Faustus wishes to obtain, the forbidden knowledge that he feels he can achieve, however it seems strange that Faustus should want to learn more and to be taught and able to understand this forbidden knowledge as he previously bids a farewell to thinking "Divinity, adieu!". Faustus is striving for a great power and his intentions are on a grand scale. "I'll have them read me strange philosophy and tell the secrets of all foreign kings; I'll have them wall all Germany with brass and make swift Rhine circle fair Wittenberg". This is what Faustus thinks he will have the ability to do, but later in his same speech we see signs of his arrogance and the way in which he is governed by greed
Critical appreciation of the poem "Old Ladies' Home" by Sylvia Plath with reference to the presentation of old age
Dealing with old age and loneliness can be both complicated and perplexing. Sylvia Plath shows us this through her poem "Old Ladies' Home, where she shares her views on the harsh reality of growing into old age and awaiting death alone. In this poem, the omniscient speaker employs a detached tone to describe the old ladies in the home as fragile, lifeless and neglected. The poem takes place in a home for aged women, as can be inferred from the title of the poem and contains several images and metaphors that bring out the poem's main theme of death. Several symbols are used to represent death in this poem. A few such examples would be "black fabric", "ghosts" and "coffins". These symbols present death as dull and eerie, rather than as the celebration of a life well lived, hence building a sombre and gloomy atmosphere in the poem. This in turn reflects the old ladies' melancholic state as they await their death in the home. Death, for these old women, is also presented as being unpredictable and as an issue that lingers in their mind every night. For example, the last stanza of the poem says, "And Death, that bald-head buzzard, / Stalls in halls where the lamp wick/ Shortens with each breath drawn." Metaphor is used here to compare death to the buzzard which is a scavenging bird, similar to the vulture. Death is described as something that lurks within the home, waiting for
!['So where does love come in? It's not strictly necessary, is it?' What are Barnes' views of the role of love in history and in this novel? [A History Of The World In 10 1/2 Chapters]](https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/834991/listing/834991_1.jpg)
'So where does love come in? It's not strictly necessary, is it?' What are Barnes' views of the role of love in history and in this novel? [A History Of The World In 10 1/2 Chapters]
'So where does love come in? It's not strictly necessary, is it?' What are Barnes' views of the role of love in history and in this novel? In this novel, Barnes makes little reference to love in any of the 'main' chapters of the novel, however he explores the concept in some depth in the 'parenthesis' chapter. He seems to display very confused and contradictory views of love, his opinion oscillating wildly as the chapter progresses. Julian Barnes, at the beginning of the chapter, starts to ponder on the necessity of love. He begins by listing various languages' words for 'I love you', and muses upon the concept of tribes without words for the saying. 'Or have they all died out?' he wonders. This seems to be idle thought, in which Barnes merely hypothesises that, perhaps, without love humanity cannot survive. However, he later expands upon and contradicts this idea. 'Our love does not help us survive... Yet it gives us our individuality, our purpose.' States Barnes. It is perhaps worth noting the conclusive tone evident in this phrase; here, he doesn't pose a question, but instead offers an answer. This appears to imply that he has a certain confidence in his answer, that he has reached a personal conclusion in his mind. Therefore, one can read into it that Barnes decisively views love ass being superfluous to survival in practical terms, but is necessary to make us
Journeying in Hardy's "At Castle Boterel"
After Emma's death Hardy embarked on a journey to some of their old haunts in Cornwall to rediscover their old love. Considering in detail one poem, discuss ways in which Hardy uses the symbol of journeying in his poetry. "At Castle Boterel", one of the greatest of Hardy's Poems of 1912-13, is an intensely personal poem, yet expresses universal truths on the subjects of loss, reclamation and time. An example of Hardy at his most emotionally evocative and philosophically profound, it chronicles his spiritual, intellectual and emotional journey following the death of his wife. The background to the composition of "At Castle Boterel" is that of a physical journey itself - Hardy's pilgrimage to Cornwall. In the poem this journey is juxtaposed with a past journey, separated by time but not space, taken in a parallel March many years before. The comparative weather conditions belie Hardy's nostalgia for the past: the bleakness of the present "drizzle" and "fading byway" draws a sharp contrast with the "dry March weather" of the former journey. The use of the vivid present in "We climb the road" emphasises the clarity of the memory, blurring, as in many of the Poems of 1912-13, the boundaries between past and present, memory and reality. Hardy's pilgrimage was not just a literal journey, for it was a quest to overcome the boundaries of Time and death through his poetry, an
Equivocation in Macbeth
Equivocation in Macbeth In Macbeth, Shakespeare uses the theme of equivocation to effectively illustrate the evil nature of the witches. Equivocation is the use of ambiguous expressions in order to mislead. The prophecies of the witches play a mischief in this play, as they are a form of deception that at times use vague language to dodge an issue. The three influential prophecies, which the witches make in this play, are that the protagonist Macbeth will become the king of Scotland, Banquo will be the father of the king of Scotland, and Macbeth will not be killed until the Birnam wood moves to Dunsinane hill. The sources of these prophecies are the witches who put together the devious words into Macbeth's mind, which demonstrates the evil nature of the witches. In Macbeth, one of the earliest prophecies that the witches make is that Macbeth will become the king of Scotland. "All hail, Macbeth! that shalt be king hereafter!"(I.iii.50) is the prophecy in which no indication of the doom of Macbeth is present. The literal meaning of this apocalypse is that Macbeth will become the king of Scotland. Thus, his ambition to take the pursuit of breaking the natural order to become the king becomes ungovernable. This is evident when Macbeth is shown hallucinating of a dagger before he kills Duncan, the real king of Scotland. Macbeth says, "Is this a dagger, which I see before me, /
English Literature - Atonement (Essay 2)
"Atonement offers us no heroes and no villains- only victims" How far, and in what ways, does your reading of Atonement lead you to agree with this view? Atonement conveys a dichotomous message. Ian McEwan - the reality, the tangible author - is supplemented by a deeper layer; his construct - the potentially unreliable narrator - Briony Tallis. Essentially, branding any of the enigmatic individuals offered to us in Atonement as 'heroes' and 'villains' is impossible - and indeed unjust - simply because of the sheer amount of ambiguity and subjectivity involved - "there is nothing either good or bad but thinking makes it so"1. The select tendencies these individuals relay on the other hand is another matter; the notion of 'victimhood' must imply some malicious behaviour beforehand. Taking 'villainy', the Concise Oxford Dictionary, necessarily - though feebly - lists it as a derivative of 'villain'; alluding to it as an individual's moral essence. The Collins Dictionary, on the other hand, defines it as a "vicious behaviour or action"2, supporting the notion that select 'behaviour' and themes are the 'heroes' and 'villains' of the novel. For example, on the surface Briony is a 'villain' whose actions merely generate destruction and deprivation. Yet, the Observer gives the view that "the personal story - especially Briony's childhood 'failure to grasp the simple truth that
It is not only the heros character that feeds into the construction of a tragedy; external events also play a part. Does either one of these components have, in your opinion, an overriding influence on Macbeth, or do they make an equal contr
It is not only the hero's character that feeds into the construction of a tragedy; external events also play a part. Does either one of these components have, in your opinion, an overriding influence on Macbeth, or do they make an equal contribution to his downfall? Tragic plays, according to the rules laid down by Aristotle, should involve several key components; amongst them the idea of 'the catastrophe', a calamitous outcome, which evokes an emotional response in the audience; 'the three unities', i.e. that the action of the play, the location of the play, and the time period during which the play takes place, should all be synchronised; and the idea that the play should be centred on the protagonist of the play, and that an error in the judgement of the protagonist should result in the previously mentioned 'catastrophe'. Aristotle called this fatal error 'Hamartia', which was often brought about due to the 'hubris' of the protagonist, or his excessive pride. Shakespeare, however, having never read Aristotle nor heard of his 'rules', carves his own form of tragedy, wherein the lines between the 'divine punishment' given to people, and the punishment they bring upon themselves, are blurred. Also blurred are the lines between what is truly 'good' or 'evil', and if we can truly take any comfort in either of these terms. From the outset of Macbeth, we are told of the power of
Critical Appriciation of the Two Minuets Hate in 1984
Write a critical appreciation of pages 16-18 "in its second... uttering a prayer". How does the two minutes hate contribute to your understanding of the nightmare world in which Winston lives? The two minutes hate is almost a celebration of a cult, a sort of gathering of religious fanatics to honour their ruler, Big Brother. Orwell uses it to show the expressions of anarchy amongst the 'leaping and shouting' people and how this would be their only chance to express their human feelings in the nightmare society in which they are forced to live. Winston's dystopian world is displayed in Orwell's unsympathetic parody of the two minutes silence in commemoration of WWII and epitomises the 'frenzy' of emotions, the terror and violent culture that Winston has to tolerate. His elaborate view of religious or political fanatics scrutinises these kinds of obsessions and demonstrates how it can over-power a person's life. Control is one of the main components of the two minutes hate. The people are helpless, they are 'like that of a landed fish' in the robotic machine that is Big Brother. They cannot escape from 'the voice' that 'continued inexorably' and there is no escapism to be had in the 'frenzy' of voices yelling at the screen. This reflects a nightmare that is inescapable until we awake. Winston longs to awaken in a society capable of love, without suffering, but it seems he
