The Second Shephers Play Themes

Secular humanist believe the starting point of life is nothing breathtaking. The Human life is a result of a great many years of advancement that can be explained through the theory of evolution. There is no god who made life, and that religion is nothing more than the fears of mankind. Secular humanist utilize science, intelligence, and individual feelings as the answer for life’s most troublesome questions.

Regardless of personal beliefs or opinions, it is nearly impossible to imagine the existence of modern English literature without the influence of religion. Since the dawn of recorded history, religion has played a vital, recurring role in works of fact and fiction, alike. In his book How to Read Literature Like a Professor, author Thomas Foster asserts several points about this relationship between religion and literature, especially in relation to the image of Christ, and states, “Culture is so influenced by its dominant religious systems that whether a writer adheres to the beliefs or not, the values and principles of those religions will inevitably inform the literary work” (125).

What is Secular Humanism? It is humanism, with regard to the belief that humanity is capable of morality and self-fulfillment without belief in God. Christian worldviews are based on the bible, we believe that God created the all. Secular Humanist are critical thinkers, focused on modern beliefs without having any religious ties. “Many Christians and proponents of secular humanism share a commitment to reason, free inquiry, the separation of church and state, the ideal of freedom, and moral education; however, they differ in many areas. Secular humanists base their morality and ideas about justice on critical intelligence unaided by Scripture, which Christians rely on for knowledge concerning right and wrong, good and evil.” (3)

Furthermore, Hughes uses the rhetorical device of allusion when he writes about his aunt’s bringing him to the church for a special meeting. When he writes, “Then just before the revival ended, they held a special meeting for children, ‘to bring the young lambs to the fold’’’ (1), he attempts to correlate his invitation to salvation to a Biblical parable. Along with his reference to the Bible, he conveys the church member’s excitement with vivid imagery. He illustrates the church’s setting as being infuse with “all moans and shouts and lonely cries and dire pictures of hell”, and he also describes the preacher’s sermon as a “wonderful rhythmical sermon” (3). Conjointly, Hughes presents imagery of the churchgoers and alludes to a Biblical story in order to demonstrate the magnitude of the religious enthusiasm of the members of the church.

But our Everyman starts as a truly “fake” Christian and whether or not she deserves any redemption is questionable. Though she perishes like a martyr, as the Misfit confesses when he tuned to perpetrating evil deeds, the Grandmother responds that he should have started praying and that “Jesus would help”. Again, O’Connor’s attempt here is to present, by means of religious motifs, how superficial the faith of Southerners is. Grandmother’s advice comes out of convenience, not of genuine worship of God and is a commentary on how people turn to religion in the event of sickness, deathbed or

The differences in styles of language truly brings alive the plays' various characters, from the lowliest drawer to the noblest knight. The playwright's audience would have been composed of a similarly diverse spectrum of society, from the groundlings at the foot of the stage, to the members of the court in attendance, and these disparate members of the audience might very well have come away from the plays with different interpretations of

Throughout Southern literature, the authors of Southern text use religion to convey emotion through grotesque-life changing events and concepts. An article titled “Flannery O’Connor’s Rage of Vision”, by Claire Katz discusses how O’Connor’s literature feature religion and Christianity to throughout the literature. The author states, “Since O’Connor had identified her theme as Christian, it is no surprise to find critics discussing this prototypical pattern in religious terms; the protagonist is humiliated in order to recognize his state of sin, and is thus open to grace and redemption.”(55) Therefore, this essay will examine and explain the abstract Christian components illustrated among multiple texts written by Flannery O’Connor and provide textual evidence to support the abstract findings from within the texts.

Mr. Hooper is a Romantic character both because he rejects social norms and because he is, in turn, rejected by the society to whose norms he will not adhere. Covering his face is a clear departure from social norm, as evidenced by the responses of his parishioners when they glimpse him wearing the veil. At first, some refuse to believe that “‘it is our parson’”; others think he “‘has gone mad,’” and others still believe that “‘He has changed himself into something awful, only by hiding his face.’” Mr. Hooper’s rejection of the norm to keep, at least, his eyes uncovered disturbs them, and their reactions indicate their discomfort. Likewise, many fail to return his morning greeting in their shock. Though there is no violence in his voice when he preaches, “the hearers quaked.” Further, “Strange and bewildered looks repaid him for his courtesy,” and Mr. Hooper no longer even receives the dinner invitations he has accepted since he first came to town. Finally, his interior life, his character, has become the major focus of his life. Despite the fact that the veil renders him a virtual outcast, except for performing only the duties associated with his

Second, the transvestism of the English renaissance theatre creates a "space of possibility" for "structuring and confounding culture" as well as enacting a "category crisis" which reflects a potential destabilization of the dominant hierarchy (Garber 16, 17). Greenblatt points out that the enactment of such difference is an instrument to increase audience anxiety before reifying the normative and conventional in the play's res-olution, a pattern played out in The Merchant of Venice, As You Like It, and Twelfth Night; yet this cannot account for the defiant and yet compassionate resolution of Dek-ker's The Roaring Girl, where the mannishly clad Moll blesses the marriage of Sebastian and Mary Fitz-Allard and their reconciliation with their fathers, at the same time refusing the conventional solution for herself.

The harsh and unyielding tone of “Sinners in the Hands of an Angry God” is created by the powerful imagery and the address of the congregation.

Geoffrey Chaucer’s The Canterbury Tales was written during a time of societal change, away from the stability of feudalism and towards an individualistic, mercantile economy. Feudalism consisted of a static, rural economy where every member had a duty to serve those above them. They valued the greater good and were not focused on gaining economically for their own personal benefit. An era of change, however, began as events such as the Crusades opened up trading opportunities which would eventually cause a shift in England, as the economy went from being land-based to money-based. A mercantile class was on the rise as well as capitalism. People were no longer driven to work by a sense of personal duty for the common good, but rather for their own social and economic gain. Corruption of the Church during this time as well increased, as church members were affected negatively by this changing economy. Many were driven by greed as well and took on immoral approaches towards their church positions. Vows and church teachings were disregarded as indulgences and materialism became the main focus of many in the clergy. Through his satirical portrayal of his characters in Canterbury Tales, Chaucer explores issues such as the changing economy and corruption of the church in order to expose and criticize the wrongdoings and values of his shifting society caused by the end of feudalism during this time.

Kenneth Grahame’s The Wind in the Willows is a satirical reflection of the English social structure of the late nineteenth century, during a time of rapid industrialization throughout Europe. Also considered a children’s story, this novel conveys Grahame’s belief in the ability of one to live an unrestrained and leisurely life, free of the obligations of the working class, and entitled to this life through high social status and wealth. The River Bank characters, especially Toad, represent those who live this idle life of the upper class. In contrast, the stoats and weasels of the Wild Wood resemble the proletariat, and an animosity between these two classes existed. The lower classes of the

In the opening scenes, Shakespeare displays to his audience the affluent society of Illyria, where aristocracy is its major component, festivity is the social norm, and leisure is the way of life. Orsino and Olivia, elegant and wealthy members of the nobility, are at the center of people’s discussion—they seek love; Sir Toby and Sir Andrew, the rich knights ranked high in the social hierarchy, “care not for good life” (II.iii.34)—they seek pleasure. However, the Illyrian society of aristocratic customs and sense of licence is established upon the laborious work of those who are excluded from the indulgence in festivity, and whose financial ability and social status do not afford this social liberation.

The Country Wife – written by William Wycherley in 1675 – is a Restoration comedy based upon the life of the aristocracy. Restoration comedy is a style of drama that was made popular in the late seventeenth century. It refers to the period in England when King Charles II was returned as the head of the English empire. Life under King Charles II was seen as hedonistic: people were motivated by pleasure. These moral virtues represented the degradation of society, rampant with sexual explicitness and obscenity (“Charles II”). The definition of moral virtue can be quite ambiguous. For the purpose of this essay I will define moral virtue as such: A set of accepted traits or qualities which are accepted as "right” or “good” in society. The

This paper critically analyses the theme of social mobility through marriage in Shakespeare’s play ‘Twelfth Night’. In addition, the paper highlights how different characters in the play got into higher social classes or desired to be in higher social classes through marriage. This paper holds that in a highly stratified society such as that presented in the Shakespeare’s play; marriage plays a significant role in in social class mobility. As opposed to some traditional society where marriage was only permitted along an individual’s class, Shakespeare presents a literally liberal society with marriage and other relationships permitted along all the classes within the society. In fact, marriage is more of a person choice, contrary to the perception in the tradition society.