The Little Mermaid Analysis

In Christianity, the Devil is represented as the founder of an empire “on fire”, an empire that struggles against and counteracts the kingdom of God. The Devil is described as an entity who is filled with evil power, but not enough power to overcome Christ if they were to duel. Though the Devil is not as powerful as Christ, he’s unfettered, given the designation of being the ultimate source of evil power. Since the inception of Christianity, portrayals of the Devil have been fundamental in instilling fear within the Christian population. The Devil’s abilities and appearance has become feared by approximately 31.5% of the world’s population. As historians have had access to the past that they haven’t had before, it’s been discovered that the iconography of the Devil isn’t necessarily original, but rather, inspired from religions with an age older than Christianity. While there’s an infinite amount of possible sources available to attribute the iconography of the Christian Devil to, the Greek god Pan provides source materials that show imagery and behavior similarities to the Christian Devil. By analyzing texts by ancient authors such as Hesiod and Ovid, as well as paintings and sculptures spanning multiple centuries, I will argue that the Greek god Pan’s iconography and behavior was used as inspiration for the Christian Devil.

Milton’s Satan in Paradise Lost is a complex character meant to be the evil figure in the epic poem. Whenever possible Satan attempts to undermine God and the Son of God who is the true hero of the story. Throughout the story Milton tells the readers that Satan is an evil character, he is meant not to have any redeeming qualities, and to be shown completely as an unsympathetic figure. Satan’s greatest sins are pride and vanity in thinking he can overthrow God, and in the early part of the poem he is portrayed as selfish while in Heaven where all of God’s angels are loved and happy. Satan’s journey starts out as a fallen angel with great stature, has the ability to reason and argue, but by Book X the anguish and pain he goes through is

The story of Faust has inspired creative works for hundreds of years. The myth features an ambitious and intelligent man, usually a scholar, who desires more than his current situation can offer him and so makes a dangerous pact with the devil. Interpretations of this story range from classical music and opera to paintings and cartoons. From Goethe to Radiohead, Dr. Faustus’ thirst for knowledge and the chaos this desire produces have captivated artists of all disciplines. This paper will examine two theatrical depictions of this myth. A little more than 400 years separate the original productions of Christopher Marlowe’s The Tragic History of the Life and Death of Dr. Faustus and David Mamet’s Faustus, but both plays feature the bare

There is a universal ideology that suggests that each gender plays their specific, individualized roles in society: men acting as independent, powerful alpha males, and women being their dutiful submissives. Contemporary narratives depict women as such whereas mythology is rich with goddesses and other female figures who are brave and powerful warriors equal to men. So if mythology can be overflowed with stories about female leaders, how come contemporary narratives have derived from that viewpoint? Sirens in Greek Mythology are a perfect example of the derivation to the new idea of women in society: weak. By examining the myth of Sirens through a feminist critical lens, the question of whether society is “concerned with the ways in which literature and other cultural productions reinforce or undermine the economic, political, social, and psychological oppression”(Brizee Web) will be answered. The mythological legend of the Sirens highlights the superiority of these figures who could destroy by temptation through their melodic voices; modern interpretations of sirens- as in Disney’s The Little Mermaid (1989)- reduce the feminine power of the siren to a contemporary stereotype of the powerless, dependent, subservient woman.

Richard Van Camp shares the story of Torchy and his series of events that takes the reader along to see and feel the tragedies of Torchy with his past and current experiences. In the short story “Mermaid” by Richard Van Camp, the author explores the realm of a true tragedy in this story through the use of the Aristotle style of the elements of tragedy displayed by the means of Torchy’s series of unfortunate events through willing blindness, dramatized actions and pity developed for the character throughout the novel. With a closer look one can identify Peripeteia among many elements of tragedy found within this novel.

A Faustian legend is a story in which a character trades something of great personal value to the devil in order to receive personal gain. Since this type of literature originated in the Fourth Century it has spread throughout the world. Two relatively recent versions of this legend are “The Devil and Tom Walker” by Washington Irving and “The Devil and Daniel Webster” by Vincent Benét. These stories show many similarities as well as a few differences. While both Benét and Irving present similar themes in setting of the tales and motivation in the Faustian character, they do differ in the nature of that character and their visual presentation of the Devil.

There are many other short stories that show this, like “Cinderella”. The male figure in “The Little Mermaid” gets to be the handsome prince that the little mermaid is so in love with. The little mermaid sees him from the ocean when he is attending his own birthday party at a ship. Later on, a storm destroys the ship completely, which leads the prince seeking for help, and the little mermaid gladly saves him. As we all know, the little mermaid is in love with the prince and she also wants to become a human for that immortal soul she desires so deeply. The sea-witch gives her the poison, and tells her that she can only acquire this immortal soul only if she gets the prince to fall in love with her. Likewise, she must make the prince marry her. Even with all the side effects the poison gives her, like the feeling of walking on knives she will get when she steps, she puts them aside just to be with the prince and get what she wants: the prince himself and immortal soul. We can infer that here the prince (being a male) has become the sole dominant figure of the story, and that the little mermaid has become the sole victim, with everything against her. The little mermaid absolutely depends on the prince to get what she wants, and that represents that the prince is her only salvation. Her only hope to become what she really wants has become the prince himself. If analyzed this part of the short story shows that women depend on men to get what they want. In addition, Hans Christian Anderson makes the prince all rich, powerful, and handsome just to make him look like a dominant man. Hidden messages like these blind little girl’s view of the correct society that we should have, making them think that the man is always the most powerful, the most independent, and the most important compared to

Both Hawthorne and King used the Devil’s appearance in their stories to develop the effect of evil on the protagonists. In Hawthorne’s story, the Devil was portrayed as a human-like and friendly character, despite his evil intentions. The Devil appeared to be “in the same rank of life as Goodman Brown,” and he could have been mistaken as a relative to Goodman Brown (Hawthorne 2). The Devil’s similarities to Goodman Brown established the Devil as a man, not so much a monster, which is a possible explanation as to why Goodman Brown had agreed to meet the Devil. Although he remained as a human figure throughout the story, the Devil seemed dark and evil. The Devil’s staff “bore the likeness of a great black snake,” which describes the nature of the Devil (2). The description of the staff applies to the Devil himself as an evil, manipulative liar. Hawthorne also used phrases such as “the dark figure” and “gleamed darkly” to develop the evil nature and appearance of the Devil in his story (7).

The next discussion about “The Little Mermaid” is the other archetypal characteristics present in the story. One of the main archetypal characteristics in the story would be “the lover”. The whole theme of the story is about love and how a person can go on a outrageous adventure to reach the one she adores. “Inside, she

The lack of an origin causes the monster to exhibit characteristics of Satan. While talking to Victor the Monster states, “Remember that I am thy creature; I ought to be thy Adam, but I am rather the fallen angel”(81). The monster demonstrates feelings of betrayal and abandonment as he is seen by Victor as a lesser being due to his “fallen angel”(81) status. A continuous reference to Adam demonstrates the Monsters desire to be loved by Victor for being a successful creation. However, the Monster faces reality in that he was abandoned, since Victor was “unable to endure the aspect of the being [he] had created”(44). The Monster’s expulsion from Victor’s life fuels his insecurities as he begins to “considered Satan as the fitter emblem of [his] condition”(110). Victor’s abandonment parallels to the story of Satan as he was cast out of heaven by God, similarly to how the Monster was cast out of Victor’s life. Not only, does the Monster take on the name of Satan, but also a few of the

From the moment the world introduced us to television, we have been bombarded with images of fantasy and “happily ever after’s.” Perhaps the most well known corrupter of reality lies within the Disney franchise. Disney’s, The Little Mermaid, follows a typical fairy tale format in which all goals and dreams are achieved. Its counterpart, however, moves to the beat of a different drum. Hans Christian Andersen’s, The Little Mermaid, portrays a more serious plot much different from Disney’s loveable adaptation. One may conclude that the most these two stories have in common is their titles, but a deeper theme runs throughout both of these fictional plots. Despite these two stories’ conflicting agendas and the

“The Little Mermaid” by Hans Christian Andersen is one of the worlds most cherished fairy tales. Through the years, this story has inspired its fair share of different adaptations and spinoffs, as well as intertwined itself in popular culture. Although it is widely considered a children’s story today, upon close examination, we can find various elements of literary devices and themes, all of which provide the seasoned reader with a deep connection to the story. To honor the tradition of story-telling, it is essential that a short summary of the story be given.

The purpose of this essay is to watch a movie and try to view the main character from three personality theorists perspectives. In the movie The Little Mermaid, Ariel is a mermaid princess who makes a deal with an evil sea-witch to meet a human prince who lives on land (Clements/Musker, 1989). In this essay, I will analyze the movie The Little Mermaid through Sigmund Freud’s psychoanalytic theory, Carl Jung’s theory of Archetypes, and Erik Erikson’s Stages of Development. While these theorists have much in common in terms of self-concept, their views on the main issues at hand vary accordingly.

In Milton’s Paradise Lost, surely we have come to ponder upon the makeup of Satan’s attractable character—his rebellious, seductive, almost “bad-ass” attitude—a case of admirable evil. But let us not forget his ambition, his strive to weld the image of God. We have seen many moments throughout where we get Satan’s ground for imitating the image of God: “…In imitation of that Mount whereon / Messiah was declar’d…” (V 764-65). But why does Satan do this? What is it in Satan that causes him to “look up” to God? Is God a tyrant yet a role model to Satan? I propose that Satan’s drive is something more than just an act of pretending; maybe, it is rather a means of trying to grasp what he has been taken away from him. Or, we can say that Satan was more. Perhaps he came to existence not in the mold of angel, but as a divine tool. There must be a reason as to: why Satan was considered God’s “first and favorite angel”? This seems to suggest that Satan is, originally, at some level of divinity; an experiment of God’s that was put to the test (or is a test)—a divine prototype.

John Milton’s Paradise Lost is an epic poem that describes the fall of Satan and the expulsion of Adam and Eve from Paradise. Satan is the protagonist of Paradise Lost and has several characteristics in which readers may identify with him. Throughout the poem, Satan is not only a tragic hero but also the key character that drives the plot and portrays many flawed human qualities. As an angel fallen from the high esteem of God and a possessor of hubris that leads to his downfall, he represents a tragic hero but also a character in which readers may identify with.