Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Hobbes views of human nature in the leviathan
King lear reason and emotion
Hobbes views of human nature in the leviathan
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Hobbes views of human nature in the leviathan
Writers of the seventeenth century had varied approaches to the relationship between reason and emotion. Most writers included the use of both reason and emotion throughout their works, but emphasized the dominance of either reason or emotion. In Shakespeare’s King Lear, for example, many characters that become dominated by emotional needs make poor decisions, while characters with rational stances tend to thrive based upon their wise decisions. Robert Herrick’s poem, “To the Virgins, to make much of Time,” is another work that focuses on the dominance of rational actions and decisions over emotional needs. The dominance of reason as the essential method of making decisions becomes apparent in the works of both Shakespeare and Herrick. Some writers emphasized emotion as the dominant factor in regards to what should influence an individual’s decision the most. For instance, in John Donne’s Poem, “The Flea,” the speaker attempts to convince his lover through the use of rational thought, however, his intention of emotional ‘satisfaction’ is obviously his primary goal. Donne emphasizes the need for emotional satisfaction as being more important than the need for reasonable thought, however, Donne’s rational approach demonstrates his intermingling of both reason and emotion into one work. Other writers emphasize the importance of both emotion and reason. For example, in Thomas Hobbes’ work, Leviathan, Hobbes evaluates the equal importance between both emotion and reason in regards to human nature. Hobbes realizes that men are motivated by many desires including happiness, an emotional need, and power, a rational need, and thus evaluates the significance of both when observing human nature. Writers of the seventeenth century addressed b...
... middle of paper ...
...ignificantly and strove to maintain that balance. Some writers did favor reason over emotion in their works, however, they still addressed the emotional approach within their work. In Shakespeare’s King Lear and Robert Herrick’s “To the Virgins, to make much of Time”, for example both favored the rational approach and associated reason with success. However, both of these works directly corresponded to the emotional appeal as well. “The Flea” was a poem that focused largely on the emotional appeal, yet it still maintained a rational approach as well, through the speaker’s convincing of his companion to engage with the speaker. Thomas Hobbes acknowledged both emotion and reason, in his book, Leviathan. The authors of the seventeenth century regarded the relationship between reason and emotion delicately as they believed that each approach to writing was significant.
“He is far gone, far gone” (2.2.8). The play Hamlet written by William Shakespeare is the story of young Hamlet whose father was killed by his uncle, Claudius, then his uncle took the throne and married Hamlet’s mother, Gertrude, which ultimately caused hamlet to become melancholic or ‘mad’. In the essay ‘Madness and Melancholy in Hamlet’ written by Kate Flint she explores the idea of madness and melancholy in the Elizabethan time in reference to the actions of Hamlet. She states that Hamlet is neither mad nor melancholy but does display symptoms of each. Flint states that to categorize Hamlet as either mad or melancholy the characters would have to be viewed as real people which they cannot be. She shows that Hamlets madness is only an excuse to expose the truth and teach the audience a lesson. The essay takes the position that hamlet’s strange behaviour was neither madness nor melancholy because those are human emotions but that they were a way to break the barrier between player and audience.
Perhaps deep-seeded in the flesh that is humankind, lies a poison, villous and infected, whose venom devastates that which is humanity. Indeed, it is a serpent, reducing its victim’s soul to a pathetic shamble of indignity and wrath. Gently caressing its prey’s bones, it slithers here and there, clenching and compressing, ignoring any pleas for mercy. Gradually, it tightens, smothering and slaughtering the purity of human. Indecency plays no mind for the serpent, for it does not act from courage, but rather for authority. Truly, evil has taken the body that once was. Corruption of the mind and soul, however, does not stand unchallenged. Indeed, and quite possibly the miracle that is as equally a part of humankind, stands a fender of evil: There stands conscience. A concrete state of the mind that demands attention; conscience makes room for a moral compass, fighting the powers of inner-barbarity. Conscience may in fact be the humanizing factor, as it makes room for choice. Quite evidently, human would crumble without the freewill that is choice. It tempts us with morality and the freedom of benevolence, while reminding us of the serpent, praying patiently, waiting to strike. This curious balance of wickedness and conscience is no new concept to humankind. As creatures infatuated by our own existence, humans crave knowledge of our own reality. Consequently, countless magnificent literary pieces have been devoted to the study of actuality; most recognizably Shakespeare’s sixteenth century play Hamlet. The play cements itself as a fundamental and relevant piece of literary work in modern study because of its enticing themes, strong entertainment value and intricate characterization. At large, the play draws insight into the depths of...
Literature is often used to convey messages to their audience, through art, play or poetry. Whether it is intentional or not, an author can not help to include some aspect of the political events that happened during that time period. Two movements discussed in this essay are Enlightenment (17th – 18th Century) and Romanticism (18th – 19th Century) and through literature, we come to acknowledge the presence and representation of evil and how they shape society. Enlightenment thinkers value reason, rationality and moderation, whereas Romanticism encouraged imagination, emotion and individual sensibility. Tartuffe by Moliere demonstrates all of the Enlightenment values in his play, whereas Frankenstein by Mary Shelley emphasizes emotion, passion and the natural world. This essay will explore ways in which human reason and society can be evil and deceiving; although some individuals may think that evil is instilled in us from the day we were born.
In the late eighteenth century arose in literature a period of social, political and religious confusion, the Romantic Movement, a movement that emphasized the emotional and the personal in reaction to classical values of order and objectivity. English poets like William Blake or Percy Bysshe Shelley seen themselves with the capacity of not only write about usual life, but also of man’s ultimate fate in an uncertain world. Furthermore, they all declared their belief in the natural goodness of man and his future. Mary Shelley is a good example, since she questioned the redemption through the union of the human consciousness with the supernatural. Even though this movement was well known, none of the British writers in fact acknowledged belonging to it; “.”1 But the main theme of assignment is the narrative voice in this Romantic works. The narrator is the person chosen by the author to tell the story to the readers. Traditionally, the person who narrated the tale was the author. But this was changing; the concept of unreliable narrator was starting to get used to provide the story with an atmosphere of suspense.
Findlay, Alison. "Hamlet: A Document in Madness." New Essays on Hamlet. Ed. Mark Thornton Burnett and John Manning. New York: AMS Press, 1994. 189-205.
One of the most analyzed plays in existence is the tragedy Hamlet, with its recurring question: "Is Hamlet’s 'antic disposition' feigned or real?" In truth, this question can only be answered by observing the thoughts of the main characters in relation to the cause of Hamlet real or feigned madness. In the tragedy Hamlet, each of the main characters explains Hamlets madness in their own unique way. To discover the cause behind the madness of Hamlet, each character used their own ambitions, emotions and interpretations of past events. Characters tried to explain Hamlet's "antic disposition" by means of association to thwarted ambition, heartbreaking anguish, and denied love. In the workings of their thoughts, the characters inadvertently reveal something about their own desires, emotions and experiences to the reader.
The theme of reason versus emotion can be found by analyzing individual character’s actions in William Shakespeare’s Othello. However, the line between to the two decision-making mindsets is not always very apparent. Three characters – Iago, Desdemona, and Othello – will be analyzed to show that Shakespeare wanted to blur the line between reason and emotion and demonstrate that individuals do not necessarily operate with only one or the other.
Emotions are a vital part of what makes human’s separate from the rest of the animal world. They run how a person thinks, acts, and processes information. In Shakespeare’s play Much Ado About Nothing, the characters let their emotions get the best of them and this causes much conflict to arise in the play. The friar, being the only character to stay coolheaded helps to develop the plot of the play with the marriages as well as to aid the theme that using emotions to problem solve leads to disaster whereas using logic causes desirable results.
In Hamlet, the motif of a young prince forsaken of his father, family, and rationality, as well as the resulting psychological conflicts develop. Although Hamlet’s inner conflicts derive from the lack of mourning and pain in his family, as manifested in his mother’s incestuous remarrying to his uncle Claudius, his agon¬1 is truly experienced when the ghost of his father reveals the murderer is actually Claudius himself. Thus the weight of filial obligation to obtain revenge is placed upon his shoulders. However, whereas it is common for the tragic hero to be consistent and committed to fulfilling his moira,2 Hamlet is not; his tragic flaw lies in his inability to take action. Having watched an actor’s dramatic catharsis through a speech, Hamlet criticizes himself, venting “what an ass am I! This is most brave, that I, the son of a dear father murdered, prompted to my revenge by heaven and hell… [can only] unpack my heart with words” (Hamlet 2.2.611-614). Seeing how the actor can conjure such emotion over simple speech, Hamlet is irate at his lack of volition and is stricken with a cognitive dissonance in which he cannot balance. The reality and ...
The metaphysical era in poetry started in the 17th century when a number of poets extended the content of their poems to a more elaborate one which investigated the principles of nature and thought. John Donne was part of this literary movement and he explored the themes of love, death, and religion to such an extent, that he instilled his own beliefs and theories into his poems. His earlier works, such as The Flea and The Sunne Rising, exhibit his sexist views of women as he wrote more about the physical pleasures of being in a relationship with women. However, John Donne displays maturity and adulthood in his later works, The Canonization and A Valediction: Forbidding Mourning, in which his attitude transcends to a more grown up one. The content of his earlier works focused on pursuing women for his sexual desires, which contrasts heavily with his latter work. John Donne’s desire for physical pleasure subsides and he seeks to gain an emotional bond with women, as expressed in his later poetry.
Christopher Marlowe and Sir Walter Raleigh both create speakers who disagree about the nature of romantic love. The titles of the twin poems, “The Passionate Shepherd to His Love,” by Marlowe, and “The Nymph’s Reply to the Shepherd,” by Raleigh, show that they are two sides of a rhetorical exchange. The poems’ structures are identical; each of the shepherd’s optimistic requests has a corresponding refusal from the nymph. Although the word choice and meters are similar in the two poems, the shepherd uses an optimistic tone while the nymph uses a pessimistic one. While both speakers are addressing the concept of love, their distinct uses of diction and imagery underscore how the shepherd’s optimism conflicts with the nymph’s skepticism.
Otis Wheeler describes how the surge in sentimental dramas was a direct reaction to the coarse comedies of the Restoration wherein man was depicted as ridiculous and nonsensical. In contrast “the drama of sensibility” was a display of the infinite promise of man. In this way the beginnings of the Cult of Sensibility is inextricably linked to the birth of Romanticism, yet where Romanticism preferred the superfluous and exaggerated the Cult of Sensibility preferred the delicate, softer emotions that would bring people together in harmony. As such it is fair to say that although these two styles were borne of a similar distaste for the neoclassical, they developed into very different types of drama. Romanticism created antagonistic protagonists, such as Heathcliff in Wuthering Heights.
After arguments like Goethe’s and Snider’s were published came a wave in the early 1900s where psychological theories began to take firm root and have scientific backing behind their former assumptions. After publications of psychoanalysis were released, literary critics began to apply psychoanalysis to almost everything they could find, and what better a muse than Hamlet, which, as shown above, had already been widely debated on Hamlet’s psyche alone? An earlier one of these authors, Samuel Tannenbaum, wrote a 1917 article in which he applies Freudian theory to Hamlet’s sense of consciousness. He states that Hamlet has made a conscious decision to not kill his uncle; his moral human state could not bring him to be so villainous (Tannenbaum
In Shakespeare’s play, Hamlet, protagonist Hamlet, experiences many rises and falls throughout the play that have a major impact on his mentality decline. The way in which readers interpret the character, Hamlet, can vary in many ways. For instance, Hamlet delivers many soliloquies throughout the work, giving readers a better insight of his state of mind. Additionally, two significant soliloquies in both Acts II and III show a clear view of Hamlet’s mental and emotional state.
During the time-period when they authored this essay, the commonly held notion amongst people was that “In order to judge the poet’s performance, we must know what he intended.”, and this notion led to what is termed the ‘Intentional fallacy’. However, Wimsatt and Beardsley argue that the intention, i.e., the design or plan in the author’s mind, of the author is neither available nor desirable for judging the success of a work of literary art. It is not available because the author will most certainly not be beside the reader when he/she reads the text, and not desirable because intention as mentioned already is nothing but the author’s attitude towards his work, the way he felt while writing the text and what made him write that particular piece of writing and these factors might distract the reader from deciphering the meaning from the text. This method of reading a text without any biographical or historical background of either the poem or the poet practiced by the New Critics was known as ‘Closed Reading’. This stemmed from their belief in the autonomy of the text.