An Analysis Of Mermaid By Richard Van Camp

This highly stylistic approach greatly enhances the work, and is central to his ability to manipulate diction to both convey his objectives as well as add artistic flair to it. He implemented tone to a great degree, meant to inspire some sympathy for the tragic hero, yet unflinchingly bestowed punishment upon him for the sake of the story. He focused on a few central ideas charachteristic to the work, and greatly expanded upon a few central ideas which are charachteristic of a tragic work. An example that demonstrates the style: "Blind who now has eyes, beggar who now is rich, he will grope his way toward a foreign soil, a stick tapping before him step by step [Oedipus enters the palace] Revealed at last, brother and father both to the children he embraces; to his mother son and husband both - he sowed the loins his father sowed, and he spilled his father 's blood!"

A central character in a tragic piece of writing should develop in a way where they are lead [ushered] to their demise due to a critical flaw, which is caused by the inability to solve an inner conflict. Torchy was found to be at a rather low point in his life evident by his use of drugs and his gambling issues. Despite these vices, he does not allow it to destroy him. His relationship with the young girl, Stephanie, who was neglected by her parents, allowed him to reflect on his past particularly after his brother’s death. “ ‘[M]y daddy’s gone,’ she says... ‘I’ll be your sister… if you’ll be my brother’... I start to cry”(Van Camp 5). This section

Gender is a sociological idea, in which it is not based on biology. While there is some biological differences between the sexes, the “meaning” of being male or female is based on social norms. Like race, these “biological” differences provided a system of enabling inequality between the sexes. History offers many examples of the gender norms over time. Women, for centuries, are few as the homemakers and often viewed as intelligent. Despite living in the twentieth century with greater equality, one does not need to go far to see how society and media influence our perception of gender. Advertisements in various media persuade its audience to buying their products. However, the means of attracting and persuading the audience can have underlying messages. Even in entertainment for young girls these underlying messages are prevalent. One example is the popular film, The Little Mermaid, in which the main protagonist is a young female. The protagonist gave up her identity to satisfy her lover. Even traditional gender roles are at work; the film showed young girls that to be happy and successful one had to find a husband and must relinquished one’s identity (Wood 1994). The generalized perception of male and female are polar opposites. Males are viewed as masculine, strong, authoritative, powerful, and devoid of emotions. Females are viewed as beauty, fragile, nurturing, emotional and sole purpose is to please men. These ideas can lead to sexism, which can have negative effects on

In order to gain a proper perspective on the concept of what a tragic hero is, we must synthesize information from the following play’s, “The Death Of A Salesman”, and “Oedipus The King”. Both plays takes the stance on the idea that validates the ultimate notion,  “tragic hero. From Willy’s hubris personality to his questionable and mysterious death, to Oedipus dynamic and complex choices and kingly personality that determines his fate. A tragic hero is a literary character who makes a judgement that leads to his/her downfall. In other words, even though both characters made incredible contributions and left a very noble legacy, their choices and decisions determined their ultimate fate. In today’s world tragic heroes are commonly present,

First and foremost, the character development in “Mermaids,” is the polar opposite of what any tragic story would be. The main character Torchy has no evident or visible hamartia, he is indeed a weak character when he is first presented, however he does not have that key tragic flaw that every protagonist in a tragic story has. He also lacks the element of peripeteia, it is true that he does many foolish things, such as gambling, drugs, and self inflicting harm. However, none of these acts initially lead to his demise, in fact, his poor experiences help him grow as a character. “I feel my blood drain… I lean hard against a parking meter” (Van Camp 1). When first presented to us, Torchy is shown as a person that is strong on the outside, he always has his guard up and is constantly aware of his surroundings. However, on the inside he is a vulnerable man, conscious of his mortality where he harms himself to relieve the pain that he is feeling. “I can feel it build. I don’t want to scare her… I hug her

Most readers are aware of the many famous deaths or acts of death within the Shakespearean plays. And when the main characters die in Shakespeare’s plays, indeed, the readers would categorize the play as a tragedy. The problem with any tragedy definition is that most tragic plays do not define the tragedy conditions explained or outlined by Aristotle. According to Telford (1961), a tragedy is a literary

His word stated in the American Museum of Natural History, said that the creatures are not beautiful at all, despite they look like a man.

In the play The Tragedy of Julius Caesar the main character, Brutus, experiences many things that lead him to become a tragic hero. From the interactions between Cassius and Brutus, the two characters contract each other, Brutus’s character develops into a tragic hero, and the plot advances and a theme is also created.

Once upon a time, there were these three mermaids. In the deep blue sea there names were Sirene,Nixie,and Lyla they were with their pod. The mermaids went for a swim away from their pod in they went to this island to look around in they found these starfish that they put on their ear. When the three mermaids left when they got where they pod was at they was not there the pod had disappeared ,so they want back to the island in was talking like where did our pod go.The mermaids heard people talking it was this boy name Zac and his family they were out there camping. Zac told his family that he was going for a walk in he saw this cave so he was thinking like should I go in then, so Zac end up going into the cave.When Zac went

The Little Mermaid is an example of how woman were seen in society. In the fairy tale, women are characterized by appearance rather than personality by both men and women. The little mermaid mentions “But if you take my voice, what shall I have left?” (Anderson 226). In this quote, the little mermaid believes that she cannot just be herself to win the prince’s heart. The prince also looks at women the same way because of how he talks to the little mermaid. He asks her, “You’ve no fear of the sea, have you, my dumb child?” (Anderson 229). He treats her as if she is still a small child just because she cannot speak. The tone helps shape the whole story into a feminist piece. Anderson relays the moral of

Even as he suffers, the parallel of his grief to that of the woman’s dissipates for we are privy to the knowledge that Odysseus is likely to have once been a man who cut down the father of another home. Though the language of grief is universal, spreading itself to Odysseus in likeness, the application of it remains ironic because the self-pursuant and capable hero persists in the blindness that his own hands brought about the same pain in many

play has the perfect Aristotelian tragic plot consisting of peripateia, anagnorisis and catastrophe; it has the perfect tragic character that suffers from happiness to misery due to his hamartia (tragic flaw) and the play evokes pity and fear that produces the tragic effect, catharsis (a purging of emotion).

In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.

The tragedies Hamlet, Oedipus the King, and Death of a Salesman have strikingly different plots and characters; however, each play shares common elements in its resolution. The events in the plays’ closings derive from a tragic flaw possessed by the protagonist in each play. The downfall of each protagonist is caused by his inability to effectively cope with his tragic flaw. The various similarities in the closing of each play include elements of the plot, the reflection of other characters on the misfortune of the tragic hero, and expression of important themes through the dialogue of the characters.

Delvaux’s painting consist of a eight nearly identical woman sitting in chairs outside the doorways of grey rowhomes which head down a thin, long road. Towards the background of the painting, the houses are replaced by a lengthy, white wall and the road starts to bend dramatically. At the bend there is a black-hatted man walking away from the viewer and on the other side of the wall there are mermaids. Both the man and the mermaids are miniscule due to the extended perspective of the painting. The Village of The mermaids’ is confusing for many reasons. It has no central subject and uses size and perspective to minimize key figures and symbols that help the viewer form a holistic conclusion about it’s meaning. The Village of the Mermaids’ is not unlike a hydra, for every question answered two arise in its place. The painting has mysterious, eerie sentiment that plays on the viewer’s discomfort with the unknown. The Village of the Mermaids’ uses subtly unconventional geometry and positioning to achieve contradictory symbolism and ultimately a sense of discombobulation, but Mueller’s poetic analysis of the the painting fails to capture the full depth of this state of quiet disarray because people often feel the need to ground surrealist work in reality.