Control and Pervasive Evil in Journey Into Fear and Murder on the Orient Express In Eric Ambler’s Journey Into Fear, Graham literally descends into a persistent state of fear, fostering a grand scale perception of evil as the plot unfolds. Unlike Graham, Hercule Poirot in Agatha Christie’s Murder on the Orient Express has a firm grip on evil, as he expertly maneuvers through murder and his surroundings. At the heart of both these character’s journeys is evil and their ability to control it, based on their own perceptions of its pervasiveness in their respective worlds. Graham navigates through acceptance of his own death sentence, flickering between the weight of his own importance in the on-going war. To Kopeikin, Graham claims to be “the most harmless man alive,” to which Kopeikin replies: “Are you?” (Ambler 42-3). Kopeikin’s doubt is well-warranted and later supported by Graham’s recollection of a man maimed during one of his experimental gun tests. He describes the man’s agony as a “thin, high, inhuman sound; just like the singing of a kettle” (120). Graham likely owns a kettle similar to the one that conjures this memory, which waits for him unsuspectingly in his Northern England abode, next to a plate of freshly baked gingerbread, courtesy of his wife. The domestic implications of the kettle are not lost but suggest a new meaning for Graham’s life back home, that he faultily champions as peaceful normalcy. The association of the screaming “clot of blood” with the kettle, sheds light on the innate violence in Graham’s engineering career and puts into question his definition of “normal,” a term he uses to describe his life pre-Moeller. He is not only abnormal, but he is a complicit participant in the bloodshed of war, and consequently, inside Banat and Moeller’s realm of deviancy, that he names the “strange land with death for its frontiers” (160). However, Graham also expresses estrangement with his home-life, adding, “Stephanie… was a face and a voice dimly remembered with the other faces and voices of a world he had once known” (160). The more time he spends in the midst of Moeller and his henchmen, the more uncomfortable he is with his previous perception of his home-life’s cushy nature. A
Evil is a part of mankind; it is something that cannot be defeated. “One recurring theme in early British literature is the idea that evil characters are directly related to experiences of tragedy, pain, confusion, and sadness” (Herrera). In Grendel, tragedy and confusion is seen throughout the story. The theme in the story of Macbeth is tragedy and pain. This early literature exemplifies evil through these themes. The philosophers whose theories support these themes through British literature are Jean-Jacques Rousseau, Sigmund Freud and Fred Alford. Throughout the stories of Grendel and Macbeth, evil is displayed differently as well as the theories that contribute to the evil seen. Although their philosophy of the source of evil is different, they all conclude that evil comes from within.
People’s personalities are not always what they seem. That is the case in Shirley Jackson’s short story “The Possibility of Evil.” The main character is an elderly woman who seems sweet and kind; however, she reveals that she is not sweet and kind. Miss Strangeworth’s character can be analyzed by considering what she does, what the narrator says about her, and how other characters interact with her.
Good versus Evil is an important concept. Evil sometimes overcomes our good but never exceeds good. The difference between evil and good is that good is an ability to have empathy and compassion towards other people. Evil is people who are selfish, self-absorbed and don’t have empathy towards others. Literature plays a vital role in developing concepts of good and evil and effectively portrays the morals of its time period. In the novels Dracula and The Strange Case of Dr.Jekyll and Mr. Hyde, the authors explore the human nature of good and evil in men from different perspectives of Dracula, Mr. Hyde and Dr. Jekyll.
Murder on the Orient Express by Agatha Christie is a murder-mystery novel that takes place on a train headed toward Calais. In the middle of the 2nd night aboard, the train comes to a halt, and the passengers are stuck in a snowstorm. It is then discovered that a man has been murdered, and everyone in the train is now a suspect. The novel follows Hercule Poirot as he examines the evidence and tries to piece together the story behind the murder. Throughout the novel, the theme of justice is very important because it is repeatedly mentioned, it was initially evaded by the victim, and is revealed to be the inspiration behind the murder.
In the Novel “Something Wicked This Way Comes” by Ray Bradbury, the characters support the Universal Theme of “Good Vs Evil”. The characters are divided into two groups; those who act morally right and are good-hearted, and those who just do not seem to have any sense of empathy and are blinded by selfishness and greed and choose to do harm for no other reason than the thrill of it. The protagonists face a series of battles with themselves and their sense of who they are, as well as against the evil forces. This evilness is reflected on the carnival freaks who constantly use fear and manipulation as a weapon to make all people egotistical and greedy, whereas our good characters utilize laughter, love and friendship to defeat the evil that is acting upon them.
Peter King’s comment on Phillip Larkin’s novel is reasonable because Larkin’s main themes are about death and failure. It is possible to outline both sides of the argument and Larkin’s use of imagery and characterisation supports this.
In Kate Grenville’s bildungsroman, “The Lieutenant”, Grenville uses figurative language to convey various ideas through the landscapes and character behaviours. One such idea presented is the evident secrets and distrust among characters in the novel. Grenville further presents the isolation that people who were suspected to in the late 1700s to early 1800s as well as the issues in the colonisation and slavery of the British Empire.
“The Cask of Amontillado” by Edgar Allan Poe and “A Good Man is Hard to Find” by Flannery O'Connor explore the depths of evil and what makes an individual truly evil. They both question are understanding of evil and the different forms it may present itself in. These stories do an equally good job at getting the reader to see true evil first hand, even though they present evil in much different ways. As humans we can differentiate evil from good most of the time there is usually a clean cut line from a morally just action from one that is not.
Buddha once stated, “it is a man’s own mind, not his enemy or foe, that lures him to evil ways.” In “The Possibility of Evil,” Miss Strangeworth, a seemingly innocent elderly woman, sends cruel letters in order to rid her town of evil. When other townspeople discover her as the author of the letters, they destroy her prized roses. Shirley Jackson’s “The Possibility of Evil” not only reveals the deceitfulness of people, but also emphasizes the underlying evil of all humans and shows that evil remains insurmountable until fully accepted.
Fear in Journey's End The definition of ‘fear’ is a feeling of agitation and anxiety caused by the presence or imminence of danger. ‘Fear’ is reflected by the continual tension throughout the play. All the characters deal with fear in their own different ways. This reflects their personality and gives us an outline of how they really deal with the troubles, which arise during their experiences in a dangerous surrounding, and also, by dealing with the outcomes that they have to face in life.
Murder on the Orient Express is more than just a murder mystery. It is a novel that utilizes a great deal of existing social issues of the era in which it was written and formed a commentary on those issues while giving the reader an intriguing yet approachable narrative. Through this approach, Agatha Christie has given the reader an opportunity to see the world through the eyes of the seasoned private investigator Hercule Poirot. In this world, nothing is at it seems and apparent coincidence belies a hidden truth, a world in which the geographical connections created by passenger railways allowed people of different nationalities and classes to rub elbows.
Evil is a strange subject for people but it is in everyone lives. The Village directed by M. Night Shyamalan and The Crucible by Arthur Miller both explore how evil is perceive to be outside of a society. Both authors agree evil is not just outside of a society but is within a community in the form of human nature. Evil is outside and inside a society and individuals.
Throughout many works of literature, a prominent theme has been “Good vs. Evil';. Many authors base the plot of their novels around “good guys'; fighting the “villain';.Robert Louis Stevenson contrasts good and evil through many of the characters thathe creates.
In Evil Under the Sun, Agatha Christie explores several different facets of good and of evil. Murder is presented as the ultimate evil: taking the life of a human being is an act that cannot be reversed. The act of murder is made especially grim when it is committed in cold blood. However, there are also other layers of what can be called "evil" from an ethical framework. Each of these layers pertain to the machinations of the human mind when it seeks to do something counter to ethics or moral righteousness. For example, the two murderers weave a web of deceit and lies. Each of the lies is designed to steer the detective away from the truth about the murder, therefore revealing the way evil compounds itself.
In William Trevor’s short story ‘Beyond the Pale’, the reader is presented with a text that seethes with the angst of a writer whose country’s Colonial past has been gnawing on his bones. Although there is nothing unusual in this (especially in Irish writing), Trevor manages to fumble the ball in the course of his didactic strategy and snatch defeat from the jaws of victory: what should have been a successful indictment of British Colonial Rule in Ireland becomes nothing more than the grumbling of an intelligent writer who cannot negotiate his patriotic feelings.