Tell them not to kill me!, by Juan Rulfo, is an interesting work of fiction that addresses mainly selfishness and the realities of a self-centered life, and empathy. (Transition, have to text friend.) Many scenes in this short story portray this theme of selfishness, but few show it better than the very first scene in which Juan Rulfo describes the protagonist, Juvencio, begging his son, Justino, to put himself in harm's way to save his own life, with no thoughts of the safety of his son or his son's family. There are also quite a few scenes in this story that portray the theme of empathy. One of the scenes that shows this best is when Juvencio thinks about the crime he committed, and shows how much of a lack of empathy he feels for any human life other than his own. Another scene that shows this well is the scene in which Juvencio talks about his crime with such lack of empathy for any other people and only trying to justify it shows a total lack of caring for any other human life but his own. Another scene that shows Juan Rulfo’s theme of empathy is the scene in which Don Lupe’s son orders that Juvencio be killed. Tell them not to kill me! is about selfishness and the realities of living a self-centered life, and empathy. One of the themes that was most prevalent in this short story was selfishness and The four scenes that best illustrate the theme of selfishness and the realities of a self-centered life, and empathy are the first scene in which Juvencio begged his son to save him, the scene in which Juvencio describes the crime he committed with a total lack of empathy, the scene in which don lupe describes the viciousness with which Juvencio killed his father, and the scene in which don lupe’s son orders that Juvencio be killed. All of these factors add up to a very interesting work of
At this point, the speaker's newfound empathy toward the killer prompts his diatribe about American support of capital punishment. He begins with a hypothetical portrayal of an audience chaotically discussing the meaning of the word "kill," each person exclaiming "how they spell it" and "what it means to them." Subsequently, he recounts a story about insensitive reporters at a hanging, followed by a claim that "we throw killers in one grave / and victims in another. We form sides / and have two separate feasts." While the speaker may seem to be utilizing the description of the audience and the story of the reporters in order to denounce the mindset of his peers, he is in fact condemning his own former mentality. By denying five times that he is a witness, the speaker avoids the guilt that results from involvement in the death of another man. Through his repeated use of the phrase "I am not a witness," he essentially enables and catalyzes the execution of the killer, dismissing his humanity and conforming to the opinion that he deserves to be killed; however, once the speaker recognizes his fault and his conformity to this mindset, the tone of the poem suddenly shifts. The speaker's empathy for the killer reaches its maximum when he fully understands the pain of the condemned and finally sees the killer as his equal, which prompts his own admission of guilt and prior indifference: "I am a
If an individual is familiar with their surrounding “they are more likely to help” (Altruism and Helping Behavior. Print). In the essay, the authors state “the scene of the crime, the streets, in middle class society “represents all the vulgar and perilous in life” (Milgram, Stanley, and Paul Hollander. Paralyzed Witnesses: The Murder They Heard. Print.). In society, the streets, especially at night, represents the dangerous and negative sides of society due to the crimes and chaos that occur on the streets (gangs, drive-by shootings, robberies, murders, large crowds walking, etc.). The crimes and dangers of the streets cause many people to fear being on the streets alone which leads to external conflicts. When the murder was occurring, the witnesses’ attitudes of the streets prevented them from calling the police due to the fear of the streets and since the witnesses were middle-class, they believed that Genovese was poor, a criminal, or someone who has nothing else to do and was expecting for the=is to eventually
He has one task to perform - to kill the soldiers of the Free States. However, the most important line is that catches the attention of the reader is “.the eyes of a man who is used to look at death.” This is very ironic as he was earlier compared. to a student who is like a symbol of innocence where now he is spoken of a murderer as a child. He is engrossed in fulfilling his duty and is now a student of the violence of the.... ...
"Suicide, what a terrible concept. There are two types of suicide: physical, and theoretical. Physical suicide is the more commonly heard type of suicide. It entails the person actually, physically killing himself or herself. On the other hand, theoretical suicide is when the person does something that will, in turn, get him or her killed. For example, in “All About Suicide” by Luisa Valenzuela, Ismael, a man that works at a minister’s office, murders the minister, a high-ranking public official. Ismael has been forced to be quiet by the government; therefore he lashes out by killing the minister so that he can reveal the truth about the government. In doing this, Ismael technically “kills himself” because he knows the government will eventually find him and execute him. The theme of this story is that quite often, the truth is misconstrued or is hidden from the public. In order to reveal the truth, action must be taken to bring the truth to the people. Valenzuela reveals this theme through flashbacks, pronoun usage, and imagery.
Main characters often struggle with finding their self-worth, but the distinction between self-worth and selfishness may often be unclear. The protagonists of both Anthem, by Ayn Rand, and Siddhartha, by Herman Hesse, fluctuate between being self-aware and being selfish. If Equality is an honest narrator, then to describe him as selfish would be an incorrect understanding, because the laws in place by Equality 7-2521’s community strips every one of their individuality and, therefore, their humanity; however, to describe Siddhartha as selfish is a more accurate understanding, because Siddhartha never lost his humanity and only strives for his own desires.
The Cask of Amontillado is an 1846 short story by Edgar Allan Poe, which gives an account of Montresor, a man who executes a plan of vengeance against his friend, whom he claims insulted him. As the narrator in the story, Montresor provides a vivid image of his plan to lure Fortunato to his death, which ends in the eventual live burial of Fortunato. The theme of revenge is the most prominent element of this story, which enables the reader follow the narrator’s character, thus gaining a comprehensive understanding of the story. Similarly, the development of William Shakespeare’s play, Hamlet, is founded on the theme of revenge. From the onset of the play, the ghost of Hamlet’s father appears to him and asks that he carries out revenge on Claudius, who killed him and took the throne from him. However, unlike The Cask of Amontillado, the theme of revenge in Hamlet is mainly manifested through the protagonist’s inability to execute vengeance till the very end of the play. The theme of revenge is an integral aspect of the two literary works, to enhance the development of characters and their role in bringing the specific stories to life.
One of the crucial aspects of the play, is the quality and responsibility of civic responsibility that is of paramount importance, that all members of the Jury uphold this virtue obsequiously. As we analyse the story more obsequiously, we can prevail the personalities of the juror’s and a rough basis of their respected virtues are to be seen more evidentially. Although there are some jurors who do not exceed presumptuous assumptions in the jury room, some characters in the play already have a ‘pre-conception’, respectively, towards the initial accusation towards the sixteen-year-old boy.
The value of human life is confronted by the theme of suicide. The man carries a pistol with two bullets, not for defense but to end their lives if they are captured. The man considers suicide as an option for escape, as the vol...
The story of “Killings” by Andre Dubus looked into the themes of crime, revenge and morality. The crime committed in the story depicted the father’s love for his son and the desire to avenge his son’s death. However, his own crime led to his own destruction as he was faced with questions of morality. The character found himself in a difficult position after taking his revenge. He failed to anticipate the guilt associated with the crime he committed. Feelings of anger and righteousness are illustrated by the character throughout the story.
Throughout an individual’s life-time, he/she has a vision as o what his/her should be. But when things do not go as planned and the unexpected occurs, does that person face it, or run away? In “An Act of Vengeance” by Isabel Allende, running away is not an option at well. Through the usage of plot, character and irony, Allende illustrates the cost of war.
Selfishness is one of the most common personality traits shared amongst society, Kenneth Grahame’s literature features the theme of how making rash decisions can lead to dramatic effects to those around you.
In the final scene of Othello, the hero, with that utter lack of self-consciousness of self-criticism which is the height of human vanity, strikes a heroic attitude, makes an eloquent plea for himself, at the height of his eloquence stabs himself – and the innocent spectator feels a lump in his throat or dissolves in te...
Amongst other things, “The Dead Man” is a story of political ambition, and personal pride which ends up being the downfall of our protagonist. Benjamin Otalora, the Argentinean Buenos Aires hoodlum turned Uruguayan gaucho, is ambitious and most of all brave. However, he is also reckless and lacks any kind of discretion whatsoever. His physical daring is un-complimented by any higher meaning or purpose. He doesn’t save Azevedo Bandeira, the mobster boss, in the knife fight because of any morals or virtues he believes in, but simply because he was drawn “to the sheer taste of danger.” Otalora’s braveness is also completely selfish. It is a raw, violent, braveness that ultimately blinds him to the reality to which he becomes self-aware in the last moments of his life; he is a man who is completely oblivious to forces outside himself. Otalora’s uncontrolled ambition and unchecked bravery disallows him the ability to calmly make calculations, to make the most intelligent choices, to think things through; all essentials in leadership and especially in ultimately coordinating a power grab from someone the likes of Azevedo.
The elements at play in the novel and film are quite remarkable for their traditionally universal appeal.3 The fates of two adolescents, one jailed the other unwilling jailer, intersect and are soon bound together in a struggle for survival at the hands of unsuspecting enemies. The filmmaker's aim was to adopt a child's unadulterated point of view in referential opposition to the surrounding adult world. Given the suspenseful plot and the exploration of the young protagonists' fears at coping with a habitat they must disavow, such an aim and narrative scheme were expected to gather much attention.4 The pre-teens Michele, the novel's principal hero, and Filippo the kidnapped child are ultimately elevated from a pit of dirt and fear, the antechamber of death, chiefly by their own heroic praxis. Yet the problematic lack of any meaningful degree of depth in the novel and film seems to lie precisely with its overly schematic construction, tailored to safely weather the otherwise unpredictable market.
These lines provide the foundation for Hieronimo to seek out revenge instead of allowing the courts to decide the fates of the murderers of his son. Hieronimo is clearly angry and infuriated that the murderers have yet to be discovered. This is the moment ...