Beloved Paul D Hero

The first scene in the novel when a character directly involving Paul D’s question of self identity is seen during a scene in the barn where he compares his freedom to a roosters. Paul D maintains a generally strong willed attitude when confronting torment by his slave owners, as shown in this incident

Paul who is in his new persona at the Kittredge’s house then talks about identity in the book Catcher in the Rye. Paul Who is asked about his thesis by Geoffrey then talks about how there are cases where people justify their wrong doings with the book

is a firm believer that too much love is bad for a person. In order to keep his brutal past behind him, he believes that one should only love a little. After Sweet Home, Paul D. attempts to kill his new owner and is forced into a chain-gang in which he is performs oral sex on white men. He realizes that even a rooster has more importance than him to white men. He has trouble committing to a woman who offers him shelter and eventually finds himself at 124, where he discovers Sethe’s overwhelming love and madness and Beloved’s presence. He keeps his memories and feelings in a rusted tobacco tin. When Beloved has sex with him, possibly in a vision or dream, the past comes rushing back to him. “He didn’t hear the whisper that the flakes of rust made either as they fell away from the seams of his tobacco tin. So when the lid gave he didn’t know it. What he knew was that when he reached the inside part he was saying, ‘Red heart. Red heart,’ over and over again” and then wakes himself up with his screaming (138). Beloved is both Sethe’s daughter and a symbol for the past generations of slaves. She opens Paul D. to love again, a cruelty in an already cruel world. Keeping love at bay has helped Paul D. and others like Ella feel safe from their pasts. At the end of the novel, when Beloved is gone, Paul D. goes back to 124 to help Sethe. Morrison shows the human capacity to love after so much has been taken or removed from the human

Paul D, a fellow ex-member of Sweet Home, the same place Sethe was stationed in during her slavery years, is a character who was a victim of cruelty done by a society and a communtiy and was forced to act cruely himself. Schoolteacher, the man who represents slavery, hurts Paul D by making him realize that he has less worth than a rooster named Mister. This makes Paul D question how much exactly he is worth, and where he belongs as can be seen as he travels the states based on the advice of a Cherokee member. Paul D eventualy finds that place in 124, with Sethe. One of the most obvious scenes of Paul D committing a cruel deed is when he

A tragic hero is a literary character who makes an error of judgment or has a fatal flaw that, combined with fate and external forces, brings on a tragedy. In the play, The Crucible, Arthur Miller portrays John Proctor, the protagonist, as a tragic hero who has a major flaw—lust for Abigail, his teenage house servant. For fear of being exiled in a town where reputation is highly upheld, Proctor initially tries to hide his crime of adultery, but this affair triggers a major series of events in Salem, where unproven accusations lead to internal struggle and eventually to catastrophe.

According to Aristotle, a tragic hero character can be defined to be of noble status, but not necessarily virtuous. There is some aspect of his personality that he has in great abundance but it is this that becomes his tragic flaw and leads to his ultimate demise. However, his tragic ending should not simply sadden the reader, but teach him or her a life lesson. In The Great Gatsby, by F. Scott Fitzgerald, Jay Gatsby is the tragic hero who portrays the corruption of the American dream through his tragic flaw. His devastating death at the end of the novel portrays the dangers of centering one’s life on money and other materialistic things and warns the reader not to follow his foolish steps. Jay Gatsby is the epitome of a tragic hero; his

The great strength he felt he needed control over seemed to leave him “trembling again” for the memories of being “locked up and chained up “ haunted not only his dreams but also his reality (21). Paul D was faced with the reality that as a slave his manhood was simply a patronizing word given; in contrary to having true meaning. Having lived by the term of “Home Sweet Men” his whole life; he felt that was his only identity as a man (12). Only to later realize that Garner addressed them as “men too” to have further psychological control over them (12). By referring to them as men they would feel an obligation to uphold the standards of one by following all of Garner's rules; thus having control over them. Schoolteacher showed Paul D the monstrosity that slavery could become; his perception of “[the] wonderful lie” of manhood was torn when “schoolteacher turned to children what Garner … [thought were] men” (260). Paul D was blinded by the perception Garner had given him. Garner was only “creating what he did not“ see (260). Paul D begins to question whether the “manly things” he did came from “his own will” or the “white man saying” making his manhood eligible (260). Paul D comes to realize that Garner thought of him as a man for his own protection and control. That the man he thought he was simply gifted to him by a

Miller’s essay, Tragedy and the Common Man, gives an insightful look past the basic definition of a tragic hero and expands upon the idea that a common man could infact be in a similar position. He starts off talking about the primitive thought that all

Beloved’s cruelty leads to Paul D’s feel as though he has lost his identity as a person. Similarly to how slaves were

In his eyes the rooster is better than him, stronger. He reflects on how an animal that could not even hatch on its own could become something greater than himself. He has been degraded so low that he considers this rooster to be a “king”. Slavery has reduced him to something that is weaker than an animal. Paul D is no longer allowed go or do what he pleases. He has been completely striped of his free will. Paul D says, “Mister was allowed to be and stay what he was. But I wasn’t allowed to be and stay what I was.”(86) Paul D has truly lost the abilities that define him as human. Not only can he not do and say what he wants, but he can no longer be what he is. He uses the word was, implying that he has already become something else. The uses of “allowed” further illustrate the Whiteman’s role in this transformation. He is forced into submission and forbidden from being himself. The white men take an active role in breaking Paul D’s identity, much like they would tame a horse. They morph him into something most convenient for them, which is a labor machine devoid of complications like emotions or personality. He says, “Even if you cooked him you’d still be cooking a rooster named Mister. But wasn’t no way I’d ever be Paul d again, living or dead. Schoolteacher changed me. I was something else and that something was less than a chicken sitting in the

Sethe and her friends and family both witness and experience the atrocious institutionalized wrongs and unethical societal norms of slave culture. However, Sethe eventually escapes Sweet Home plantation, hoping to provide a better life for her and her children. She finds a home at 124 Bluestone Road with her mother-in-law, Baby Suggs. Like Sethe, Paul D escapes Sweet Home, but he subsequently suffers jail time and further mistreatment. Morrison explains how slavery destroyed Paul D’s ability to love and express himself, “Saying more might push them both to a place they couldn’t get back from. He would keep the rest where it belonged: in that tobacco tin buried in his chest where a red heart used to be. Its lid rusted shut” (Morrison 86). The metaphorical replacement of Paul D’s heart with a rusted tobacco tin illustrates how slavery removed a human quality from him, almost giving him attributes of a machine rather than a person. Slave owners, Mr. Garner and Schoolteacher, reduced Paul D to a worker without a heart. However, Paul D finds an escape from this with Sethe at

Arthur Miller gives a clear understanding of what a tragic hero is. A tragic hero is someone like

Arthur Miller’s play Death of A Salesman demonstrates the life of a man facing troubles within himself and society. A tragedy is the imitation of an action that arouses fear and pity. This play could be considered a tragedy because it depicts the downfall of a perfect family and outlines the deterioration of a man’s life. A tragic hero, as defined by Aristotle, is someone who exemplifies great importance or heroic qualities; however, Arthur Miller views the tragic hero as someone who struggles heroically with life. Using Arthur Miller’s definition, it can be determined that Willy Loman is a tragic hero. Even though Willy Loman does not fit the classical view of a tragic hero, he is in fact a modern day tragic hero because of his error in judgment, a reversal of fortune, and his excessive pride.

In Beloved, Toni Morrison frequently alternates between telling stories from Sethe's past, to telling events in the present. Morrison introduces Beloved, who serves as the link between Sethe and Paul D's past at "Sweet Home" as slaves, and the present, living in Ohio as a free family of three: Sethe, Paul D. and Denver. The character of Beloved allows Morrison to explain the experiences and characteristics of the three characters, and how they are reactions to their pasts. Up to Beloved's arrival, Sethe and Denver lived in a "spiteful house.", which created a state of uneasiness. The ghost of Beloved had driven off Sethe's two sons, yet the mother and daughter continued to live at 124. With the arrival of Paul D., some of Sethe's

Paul`s life is in chaos as he is attempting to uproot his entire life by creating a façade to appeal to the white upper-class. It is this façade, however, that gives Paul control in his life as he is finally able to belong to a family with the Kittredges. This imbalance in Paul`s life causes him to be an Other because he has changed his entire life to simply swindle wealthy whites.