Sedgwick expresses this quite well on pages 105-06 as she shines light on why the Pilgrims originally came to the New World: "…When they came to the wilderness, they said, truly…they did virtually renounce all dependence on earthly supports; they left the land of their birth, of their homes, of their father's sepulchers; they sacrificed ease and preferment, and delights of sense -- and for what? To open for themselves an earthly paradise? To dress their bowers of pleasure, and rejoice with their wives and children? No: they came not for themselves, they lived not for themselves. An exiled and suffering people, they came forth in the dignity of the chosen servants of the Lord, to open the forests to the sunbeam…to restore man oppressed and trampled by his fellow…to replace the creatures of God on their natural level; to bring down the hills, and make smooth the rough places…[and they saw] a multitude of people where the solitary savage roamed the forest…the forest vanished…the consecrated church planted on the rock of heathen sacrifice…" (Sedgwick, 1842)
His pessimism and negative opinion of marriage and his belief that all humans suffer because of their faults and mistakes stems from his parents failed marriage and his father's laziness. Although he does not use them as evidently as Chopin does but these events did have a lasting impact on his life, his work and his relationships (Coward & de Maupassant 1903)
He shows in his work that 'happiness is seldom attained; momentarily glimpsed, it disappears and its loss is a source of perpetual regret.' (Smith 1947)
Both of the texts are short stories are located in the nineteenth century which was characterized by lack of freedom for women. It was a time when women were expected to submit to the will of a man, either her husband or her father, and marriage was an institution meant to trap women (Toth 1999)
In order to make Death more realistic and a tangible concept, Dickenson personifies him as a gentleman caller who is patient with her even though she refuses to stop for him. The narrator contends that Death is chivalrous and states, "Because I could not stop for Death/He kindly stopped for me…/We slowly drove, he knew no haste/And I had put away/My labor, and my leisure too,/For his civility" (Dickinson, 1890, lines 1-2, 5-8)
Now, I will hold your hand when it's dark and you're afraid of the boogeyman and I will tote your gin bottles out after midnight so no one can see but I will not light your cigarette. And that, as they say, is that. (Albee, 89)
Guildenstern makes the jocular and accusatory allegation to Rosencrantz that "at least we can still count on self-interest as a predictable factor." (Stoppard, 14) in this context, Guildenstern's remark is meant as a sarcastic observation of his friend's sideways logic regarding a frivolous coin-flipping wager
Although he is thankful for the welcoming of his mother's kinsmen, Okonkwo regrets every day of his exile. (Achebe, 162) This is a reflection of his regret for his actions and reckless behavior
His main urge in life was to usurp power from others, as "Gilgamesh was a tyrant to his people." (Mason, 15) Through the experience of friendship, Gilgamesh learns not only that he is capable of caring for another person, but also he learns how to care for another person outside of himself
Just as Gilgamesh is able to overcome his emotional grief over the loss of his friend, Prospero overcomes the feelings he has regarding the brother that exiles him, choosing ultimately to forgive him and forsake revenge. When the brothers face each other after the exile, Prospero tells Antonio "I do forgive Thy rankest fault, all of them" (Shakespeare, Act V Scene I, 151-152)
Sutton argues that Prospero's story has similarities to the Biblical character Joseph from the Book of Genesis when he states, "Joseph and Prospero parallel each other as victims of jealous siblings." (Sutton, 225) Prospero exile experience is him stranded on an island for over a decade
This is because Tono is slowly turning out to be a protector, teacher and a helper. In comparison to Tono's earlier depiction of irresponsibility, a drunkard, this dilemma made him gain conscious, and became human against the brutality surrounding him (Crowther, 1966)
Germans, Slovaks, Czechs and Hungary embraced the Nazi regime, whereas Austria and three quarters of Germany embraced democracy. This is partly a contributing factor as to why Jan and Elmar settled on producing a film in this line of diversion to show how the Nazi regime operated (Votruba, 2011)
The Shop on Main Street explains why the small town in Slovakia, appeared isolated from the rest, but people within it lived differently. The Slovakia leaders embraced the Nazi regime, which left the other dwellers with no choice, except in the variation of the degree of acceptance of the Nazi rule (Banovac, 2005)
"If you know the post office you must have seen Ethan Frome drive up to it, drop the reins on his hollow backed bay and drag himself across the brick pavement to the white colonnade: and you must have asked who he was." (Wharton) The way the writer portrays Frome puts across a feeling of continuity, as if he was a part of the scenery
Ronda (2011) wants to explore if the problems surrounding educators' efforts trying to limit the use of Facebook would hinder a potential academic revamping of its implications. Here, Ronda (2011) suggests that "the problem of Facebook as it relates to literacy: what online social networking contributes to the meaning-making repertoire that teens are developing digitally, and whether and how this digital literacy toolkit can be used to support teens' literacy development in school" (Ronda, 2011)
In conclusion, critic Alex Link finds meaning in the fact that the phrase "like white elephants" occurs five times and hence "…is lent particular significance by its titular status." (Link, 2004)
Critic James Nagel, meanwhile, writes that part of the genius of Hemingway is that he can condense a story brilliantly; "…his ability to do so much with so little" sets him apart from other writers, Nagel asserts. Certainly Hemingway in this story has created a female who has "…a deep awareness of the situation that [the man] does not recognize… [and moreover] scholars have seen this allusiveness as an indication of her superior imagination and knowledge" (Nagel, 1994, p
Indeed, according to Lewis Weeks, writing in Studies in Short Fiction, there is depth in the imagery of the hills that look like white elephants, pointed out by the author in the first sentence of the story. The hills were "long and white" initially but into the story a few lines they present a nice literary juxtaposition; they are "…white in the sun" but the land around them was "brown and dry" (Weeks, 1980, p
Scholar David Wyche references other critics who interpret meanings and ironies in the story that are worthy meat for discussion. For example, the destination for this couple -- once the train arrives -- is Madrid, Spain, and according to Timothy O'Brien, Madrid is very similar to the word "madre," the Spanish word for mother (Wyche, 2002)