The Thoughtless Themes In Chesterton's Hammer Of God

Explain how particular features of at least two of Wilfred Owen's poems set for study interact to affect your response to them.

2016: Many works of literature contain a character who intentionally deceives others. The character’s dishonesty may be intended either to help or to hurt. Such a character, for example, may choose to mislead others for personal safety, to spare someone’s feelings, or to carry out a crime. Choose a novel or play in which a character deceives others. Then, in a well-written essay, analyze the motives for that character’s deception and discuss how the deception contributes to the meaning of the work as a whole.

In the Screwtape Letters, C.S. Lewis proposes a dialog between an experienced devil and a young inexperienced devil. We only get to read letters from the senior, Screwtape, to the junior, Wormwood. In these letters we overhear how Wormwood’s first assignment is going, what tempting strategies he should try, and what might happen to him if he fails. Screwtape comes across cordial in all his letters, but just beneath his tone he seems to dislike his young mentee. In every letter, Screwtape belittles Wormwood in some way or another, and by the end we hear Screwtape’s outright anger and outrage at Wormwood’s failure when his patient dies a Christian. Lewis’ style of writing equips me to better recognise Satin’s subtle deceptions, and does not make

Throughout the ages, poetry has played--and continues to play--a significant part in the shaping of a generation. It ranges from passionate sonnets of love to the gruesome realities of life. One such example of harsh realism is Wilfred Owen 's "Dulce et Decorum Est." Owen 's piece breaks the conventions of early 20th Century modernism and idealistic war poetry, vividly depicts the traumatizing experiences of World War I, and employs various poetic devices to further his haunted tone and overall message of war 's cruel truths.

Wilfred Owen’s poetry is shaped by an intense focus on extraordinary human experiences. In at least 2 poems set for study, explore Owen’s portrayal of suffering and pity.

Do you act differently around certain people? Are your actions different because you want to impress a girl, the popular kids, or your teacher you want a letter of recommendation from? All around the world, people try to disguise their true self, just so they can fit in and be someone they are not. In The Scarlet Letter, Reverend Arthur Dimmesdale had been living behind a mask for seven excruciating years, as he remained unwilling to face the repercussions of society for his adulterous affair with Hester Prynne. If Dimmesdale was his honest and true self, he would have escaped death. While the epic is exaggerated through paranormal and supernatural occurrences, many of the punishments inflicted and morals questioned are quite topical today. Nathaniel Hawthorne encourages the readers to ‘show freely to the world’, no matter how daunting that personality may be (410). Reverend Arthur Dimmesdale’s downfall affirms the damaging effects of falsifying one’s disposition in The Scarlet Letter and today’s society.

Guilt is a powerful emotion that can greatly affect the course of a person’s life. Dunny’s character, in Robertson Davies’ Fifth Business, first experienced guilt at an early age due to a tragic accident. A snowball that was meant for Dunny hit a pregnant woman, Mrs. Dempster, causing her to go into premature labour. Although her child, Paul Dempster, survived, the guilt that Dunny experienced from his part in the situation would stay with him for the rest of his life. Guilt stayed with Dunny’s character throughout his life, and continually affected all of his actions.

While all people like to believe they are virtuous and honorable, it is often not the case. In fact, many would rather stand by and watch as unjust treatment occur, thinking it would not affect them. These people, known collectively as bystanders, are present at the event, but choose to not take part in it. They often feel remorse for the sufferer, yet would not lend a hand in fear of becoming one. In “The Hangman”, a narrative poem by Maurice Ogden, and Eve Bunting’s “Terrible Things”,figurative language is used to emphasize the significance of bystanders. These literary devices help develop several cruel yet irrefutable themes.

“The third stage of narrative development was characterized by the appearance of rogues… relying on cleverness more than force, and motivated more by profits than by passion” (Williams 14). Rogues defied whatever came in between their pursuit, whether it be law or authority (Williams 14). In the third stage of criminal literature, the protagonists were all rogues despite of their unlawfully ways, they “aroused reader sympathy” (Williams 16). Williams described these rogues as “outsiders, existing apart from the social structure either by choice or by fate” (William 16). He also described these rogues as “individualistic, opportunistic, self-reliant” as well as “defiant of authority and entirely free” (Williams 16). William argues that the evolution of these narratives took place in three stages: the first being the “early execution sermons and final confessions”, the second being “the incomplete narratives of life and, finally the full length rogue narrative” (Williams 17). Williams’ article describes how criminal literature changed from “promoting obedience, [to] encouraged defiance” (Williams

There are many ways to decide what makes a man guilty. In an ethical sense, there is more to guilt than just committing the crime. In Charles Brockden Browns’ Wieland, the reader is presented with a moral dilemma: is Theodore Wieland guilty of murdering his wife and children, even though he claims that the command came from God, or is Carwin guilty because of his history of using persuasive voices, even though his role in the Wieland family’s murder is questionable? To answer these questions, one must consider what determines guilt, such as responsibility, motives, consequences, and the act itself. No matter which view is taken on what determines a man’s guilt, it can be concluded that

Sir Thomas Wyatt’s defence covered two major areas; the possible insulting of the king and conspiring with Catholics in a newly decided protestant country. His 1541 defence guards his actions on both parts, however due to the lack of historical evidence it is impossible to know if this defence was ever used, even if we do know he somehow did manage to get himself off the charges. Nevertheless, it offers great insight to the mind and feelings of an otherwise elusive and ambiguous historical figure. It is this, that being Wyatt writing about his own biography, that offers vital importance to his poetry, and more importantly his satires like ‘Myne Owne John Poyntz’. Through Wyatt’s own work we can examine the possible emotion, and tie it down to its own specific historical moment.

Even if one feels they may have 'gotten away ' with a crime, the weight of a person’s conscience cannot be concealed. In someone’s life, too much power and control combined with a person’s conscience in a person’s life can and will lead to an imbalance and perhaps insanity as in the short story “The Tell-Tale Heart”. Edgar Allan Poe demonstrates how the narrator in this story goes through the greed and need for control, leading to his insanity that results in extreme guilt.

As Lockwood lays to rest in the third chapter of Emily Brontë’s Wuthering Heights, he is wrought with a dream of a fictional Reverend Jabez Branderham and his surplus of sins. The dream almost reads as incomprehensible at first glance, especially when wedged between Lockwood’s visions of Catherine Earnshaw, but the dream holds clout in the overarching tale of Wuthering Heights, especially when taking its moral implications into consideration. To implement a biblical allusion in one’s text requires the understanding that, no matter what one intends to do with the material, it will remain morally-charged nonetheless. The material can be contorted or figured into a new message altogether, but some moral proposition will certainly remain. In the case of Lockwood’s dream, Brontë’s allusion to Peter and his interest in forgiveness are contorted to address what happens when the threshold of forgiveness is surpassed. Furthermore, the dream does not grapple with the power of forgiveness, but with the level of desperate exasperation one reaches after prolonged anguish. It is through the contortion of such a biblical allusion that Lockwood is met with what is essentially a warning against staying at either Thrushcross Grange or Wuthering Heights—a warning which he ultimately disregards, thus leading to his exposure to the litany of terrors which exist in the story of Wuthering Heights.

The opening establishes and embodies the world of the justice system, “the man’s world”, accompanied by its seriousness, organisation and harshness in its outlook on reality, the depiction of a typical arrest, identification and trial of a convicted criminal. However, this “world”, according to Wood is threatened, stating that it is somewhat disrupted by the protagonist’s “frivolousness, selfishness, and triviality” (272).

During the course one’s life, one will encounter situations in which one strongly feels a particular way despite a lack of evidence. Often, the strength of such convictions will lead one to act rashly, projecting one’s views onto others due to one’s emotional state. This rashness can lead to one making decisions that will harm both oneself and those around one. The rifts that are created as a result of such difficulties can lead to tension and differences between individuals for years to come. More often than not, one must find a way to be forgiven for what one has done, as only then can one obtain peace with others and oneself. In Ian McEwan’s Atonement, Briony Tallis’s struggle on her path to understanding and correcting an injustice demonstrates the manner in which one can be forgiven, showing that in order to achieve forgiveness one must take the path to righting one’s wrongdoings and admitting the truth of one’s situation.