Geoffrey Chaucer’s ‘The Pardoner’s Tale’ (The Canterbury Tales 2012) and Christopher Marlowe’s Doctor Faustus both contain the theme of death, a personified representation of death and death itself. Chaucer and Marlowe have provided works which use the notion of good and evil as well as the well-known Seven Deadly Sins as a way to corrupt characters souls, leading to their deaths. Marlowe has also used the Faustian Pact as a way to lead characters to damnation. This has been achieved through the use of language and structure, imagery and macabre. These elements will be discussed in relation to my own creative writing work, specifically the Faustian pact in the working title ‘Hell on Earth. ‘Spiritual death can indeed become the cause of physical death and eternal damnation’ (Matsuda 1992). Both Chaucer’s and Marlowe’s work contain the notion of death, however death is represented differently within each piece of work. Death is first mentioned in in the opening of ‘The Pardoner’s Tale’ and is represented by a personified form of death. The opening of the tale proves that death is imminent and that ‘he’ (death) can take a life at any time. The thief who takes the lives of young people is death personified. This representation of death firsts appears in the beginning of the tale as he had killed a man due to his drunkenness. It is then explained: ‘He [death] hath a thousand slain this pestilence; And, master, ere you come in his presence, Me thinketh that it were full necessary; For to beware of such an adversarie, Be ready for to meet him evermore; Thus taughte me my dame; I say no more.’ (Chaucer 2012: 5776). In both ‘The Pardoner’s Tale’ and Doctor Faustus, the Seven Deadly Sins are used to corrupt certain characters which eventu... ... middle of paper ... ...ing your soul for someone else can be argued as something good, however making a deal with death can be seen as not. The element of macabre is also used as the story when consequences of the deal start, these consequences being horrifying hallucinations. This pact eventually corrupts the protagonist which leads to his death and damnation. The theme of death is portrayed in both Geoffrey Chaucer’s ‘The Pardoner’s Tale’ and Christopher Marlowe’s Doctor Faustus. Whether it be death itself, or a personified representation of it. Allegory characters such as the Seven Deadly Sins have been used, as well as the notion good and evil, as a way to corrupt characters which lead to their deaths. Chaucer and Marlowe have achieved this by using elements such as language and structure, imagery and macabre. These elements and themes have been used in my own creative writing work.
Death is a theme that has been used in literature since literature has been written from
Dante Alighieri presents a vivid and awakening view of the depths of Hell in the first book of his Divine Comedy, the Inferno. The reader is allowed to contemplate the state of his own soul as Dante "visits" and views the state of the souls of those eternally assigned to Hell's hallows. While any one of the cantos written in Inferno will offer an excellent description of the suffering and justice of hell, Canto V offers a poignant view of the assignment of punishment based on the committed sin. Through this close reading, we will examine three distinct areas of Dante's hell: the geography and punishment the sinner is restricted to, the character of the sinner, and the "fairness" or justice of the punishment in relation to the sin. Dante's Inferno is an ordered and descriptive journey that allows the reader the chance to see his own shortcomings in the sinners presented in the text.
In the Prologue of the tale, the Pardoner clearly admits that he preaches for nothing but for the greed of gain. His sermons revolve around the biblical idea that “the love of money is the root of all evil” (1 Timothy 6:10). Ironically, however, the Pardoner condemns the very same vice that he lives by, as he proclaims “avarice is the theme that I employ in all my sermons, to make the people free in giving pennies—especially to me”. Thus, covetousness is both the substance of his sermons as well as the mechanism upon which he thrives. He clearly states that repentance is not the central aim of his preaching, by mentioning “my mind is fixed on what I stand to win and not upon correcting sin”. Rather, his foremost intention is to acquire as many shillings as he can in exchange for his meaningless pardons. In this regard, one can argue that although the Pardoner is evil, he is not a dissembler. His psychology is clearly not guided by hypocrisy because he does not conceal his intentions under false pretences.
Throughout the works of famous pieces of literature such as Dante Alighieri’s Inferno and William Shakespeare’s King Lear, the common theme of justice is prevalent throughout the works. Often resulting in physical pain, the concept of justice throughout these two works of literature reinforces the brute and cruel perspective that Dante and King Lear experience firsthand. The subsequent death of King Lear after Cordelia demonstrates the ultimate guilt in which King Lear experienced due to his arrogant and ignorant perception of the amount of love that Cordelia feels towards her father. Dante’s journey through the afterlife conveys the illumination of his transformation from a sinner who lost his path, to a spiritually righteous man.
There are seven deadly sins that, once committed, diminish the prospect of eternal life and happiness in heaven. They are referred to as deadly because each sin is closely linked to another, leading to other greater sins. The seven deadly sins are pride, envy, anger, sloth, gluttony, avarice, and lechery. Geoffrey Chaucer's masterpiece, The Canterbury Tales, provided an excellent story about the deadly sins. Focusing mainly on the sins of pride, gluttony and greed, the characters found in The Canterbury Tales, particularly The Pardoner's Tale, were so overwhelmed by their earthly desires and ambitions that they failed to see the effects of their sinful actions, therefore depriving themselves of salvation.
...ards monstrous figures and sympathy towards those who seem to be tortured unjustly. In his perverse education, with instruction from Virgil and the shades, Dante learns to replace mercy with brutality, because sympathy in Hell condones sin and denies divine justice. The ancient philosopher Plato, present in the first level of Hell, argues in The Allegory of the Cave that truth is possible via knowledge of the Form of the Good. Similarly, Dante acquires truth through a gradual understanding of contrapasso and the recognition of divine justice in the afterlife. Ultimately, Dante recognizes that the actions of the earthly fresh are important because the soul lives on afterwards to face the ramifications. By expressing his ideas on morality and righteousness, Dante writes a work worth reading, immortalizes his name, and exalts the beliefs of his Christian audience.
We are all condemned to death; it is inescapable. Even if a person doesn’t believe in the concept of destiny, it is undeniable that every person is fated to die at some point. Most people, however, are not aware of when exactly the inevitable will approach. Often in works of fiction, the reader, or sometimes even the character, is aware of their fate. There are many different understandings of destiny, which is one of the reasons why it has played such a large role in so many different literary works throughout the world and history. Fate is one of the principal literary devices used in Homer’s epic poem, The Iliad, Shakespeare’s tragic play, Antony and Cleopatra, and Tolstoy’s pedagogical novella, The Death of Ivan Ilych.
Redemption is the act of being saved by from sin, error, or evil. Redemption is a major theme in all writings, short-stories, novels, poems, plays, etc. Many people in their lives look to achieve redemption by the time they kick the bucket, however sometimes redemption is achieved with death. In Christianity I am reminded of the significance of the death of Christ on the cross to relate to the theme of redemption in death. In this paper I hope to accomplish a contrast of the novel A Lesson Before Dying by Ernest J. Gaines and the play of Hamlet by William Shakespeare, by using the theme of redemption in death, and also ultimately explaining
The "right to die" argument is building moral, ethical and legal issues. The proponents for physician aid in dying are arguing from the perspective of compassion and radical individual autonomy. However, we cannot take the life of another human being in our hands and play the role of God. The case against physician-assisted suicide, which is essentially a moral case ("thou shall not kill; thou shall not help others to kill themselves"), is straightforward and clear.
Shakespeare’s Romeo and Juliet is arguably the most well known and well-read play in history. With its passionate and realistic treatment of universal themes of love, fate, war, and death, it’s not difficult to see why. However, most people don’t realize that there are several versions of the play, each with their own unique additions and/or changes to the plot, dialogue, and characters. After thumbing through the texts located here on this website, you can see even at a glance the distinct differences between the versions of Romeo and Juliet. This essay will explore how people dealt with death during the Renaissance in context to Shakespeare’s Tragedy of Romeo and Juliet (Lamentable Tragedie.) More specifically, I will show that the added monologue in act 4, scene 5, regarding the convention of death, is consistent to the social and religious beliefs of the time period.
Edgar Allan Poe's short stories, "The Telltale Heart" and "The Masque of the Red Death" are two very different stories. One is about a simple man, perhaps a servant, who narrates the tale of how he kills his wealthy benefactor, and the other is about a prince who turns his back on his country while a plague known as The Red Death ravages his lands. Yet, there are some similarities in both. Time, for instance, and the stroke of midnight, seem to always herald the approach of impending death. Both are killers, one by his own hand, the other by neglecting his country. One seeks peace, the other seeks pleasure, but both are motivated by the selfish need to rid themselves of that which haunts them, even at the expense of another's life. However, the point of this critique will show that their meticulous plans to beat that which torments them are undone by a single flaw in their character - overconfidence.
A classical point of departure in defining Death, seems to be Life itself. Death is perceived either as a cessation of Life - or as a "transit zone", on the way to a continuation of Life by other means.
Kostić, Milena. "The Faustian Motif in Christopher Marlowe’s Dr. Faustus." Facta Universititas 7.2 (2009): 209-22. Web. 04 Dec. 2013.
Although Christopher Marlowe's Doctor Faustus has outclassed every one at Wittenberg with his academic studies, he is "still but Faustus, a man." Proud of his accomplishments, he desires to become a superman. His judgment clouded by the sin of his pride, he misunderstands his knowledge and dismisses the disciplines of medicine, philosophy, law, and divinity. He lusts for God's capability to "make men live eternally or being dead raise them to life again," believing the devil's arts of magic and necromancy can provide the power, honour, omnipotence and, most importantly, the wealth he craves. His deluded pursuit of the immediate pleasures such wealth can yield brings upon himself the risk of eternal damnation. By conjuring the devil, Faustus removes himself from the influence of the Holy Ghost and God's love, instigating attacks of despair, and internal conflicts as personified by the Good and Bad Angels.
Snow, Edward A. "Marlowe's Doctor Faustus and the Ends of Desire." Two Renaissance Mythmakers: Christopher Marlowe and Ben Jonson. Ed. Alvin Kernan. Baltimore, MD: The Johns Hopkins University Press, 1997. Print.