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Importance of nature in literature
Chaos (literature
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In Yevgeny Zamyatin’s We, nature and animal imagery portray the suppression of irrationality, as well as the authoritative power of OneState, which emphasize D-503’s difficulty in choosing conformity over rebellion.
D-503’s compliance to the Benefactor is demonstrated by the animal imagery that depicts unity, hence conveying his willing acceptance of State control.The Benefactor exerts his control over the entire OneState – an ideal that was willingly accepted by D-503 at the start of the novel, as depicted by his admiration of the State, which persuade him to remain loyal. Initially, D-503 welcomes the superiority of the Benefactor and he adores the Numbers’ unity, stating that: “we are one, powerful, million-celled organism”. The metaphor
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D-503’s animal characteristics embarrass him, such as his “shaggy paws”, which remind him of his ancestry and differentiates him from other Numbers. The comparison of his hands to the paws of a wild animal, exposes D-503’s irrational nature,, as well as and remindsing both the reader and himself that he contains ancient, human DNA. Through the reminder of his savage-era characteristics, D-503 questions his position conformity to OneState. Moreover, ‘shaggy’ denotes of D-503’s long, unkempt hair, whilst implying that, like the messy hair on his hands, his life is also similarly tangled due to his irrationality and unclear. Thus, the animal hair makes D-503 question his role in society and position in whether he fully conformsfidelity to OneState rule. D-503’s frequent concerns over his hairy appearance suggests that individuality makes him feel isolated from other Numbers. His concerns are evident when describing himself as having “monkey’s hands”. The animal imagery of comparing his hands to those of a monkey, depicts the ancestry that resides in D-503, by linking his hereditary background to wild animals. Since monkeys are primitive, dangerous animals, it depicts the lack of order and savagery and disobedience that inhibits both monkeys and D-503. However, monkeys also connote of …show more content…
D-503’s discovery of Mephi leads him to doubt his conformity to State power. His uncertainty is apparent when he questions: “maybe I’m a microbe… pretending like me to be phagocytes”. Since microbes are organisms that cause disease, the comparison of the rebels to microbes suggests that D-503 views his irrationality as an illness and threat. Through Tthe metaphor indicates, the repression of Numbers is indicated, since OneState attempts to contain them with through the force of the metaphorical ‘phagocytes’, who kill the disease: the rebellion, forcing them to comply to OneStates. Hence, Zamyatin criticises the State’s repression of individuality by alluding to the totalitarian control of the Russian government in the 20th Century. Moreover, juxtaposing the two contrasting microorganism’s highlights that whilst D-503 believes he is breaking State law, the rebels think oppositely. Consequently, they reverse the roles of microbes and phagocytes: depicting ‘disease’ as those that follow the authoritarian rule of the Benefactor, hence defying governmental control for rebellion. Therefore, D-503’s similarity to the rebels allows himself to doubt his conformity to the
...ows the reader to branch out and decipher another meaning. Not only is the book focused on explaining the present disease, but it allows the reader to get the bigger picture. Because everything in this book is completely historically accurate, it gives readers the freedom to formulate their own beliefs on the matter at hand. However, Brooks focuses on more than just the government and country’s citizens. He brings about the idea that it is a country’s fault as a whole when this disease takes effect because of naive actions such as isolating themselves away from the problem. In a more concise view, one could compare the world to the human body. We all live in it. The body can live without a hand or a foot. Preservation and improving the individual parts will ultimately lead to a better quality of life for us all, thus aiding Brooks in the battle against isolationism.
When this story is viewed through Sigmund Freud’s “psychoanalytic lens” the novel reveals itself as much more than just another gory war novel. According to Sigmund Freud psychology there are three parts of the mind that control a person’s actions which are the id, ego, and superego. Psychoanalysis states that there are three parts of the human mind, both conscious and subconscious, that control a person’s actions. The Id, ego, and
...appear, many undetected rebels will begin to feel alienated and hopeless. It is difficult for them to hope to succeed in an area where so many before them have failed.
In Art Spiegelman’s comic series, MAUS, each race in the storyline is analogously depicted as a different animal. This essay will explore the various benefits, drawbacks and their counteractions, that are confounded with author’s choice of this illustration. It can be argued that choosing animals to represent humans, in an event as complex as the Shoah, dehumanizes victims even more. Humans conventionally see species of animals as collective entities rather than individual beings. Thus, by representing all the Jewish people as one type of animal, the reader might unconsciously generalize all the victims’ sufferings and discourses into one coherent image, in order to make sense of things. On the other hand, depicting each race as a certain animal
The creature has an overwhelming capacity to love as can be seen in his admiration for the peasants, “[The
The last decade of the twentieth century in America saw a rise in programs for human’s “self betterment.” A popular form of betterment is that of the inner animal. Interest in Native American animal mysticism, vision quests, and totem animals have increased dramatically in the past few years. No forms of media have been spared; Calvin Klein’s supermodels come on during sitcom commercials to tell viewers they need to be a beast, or to get in touch with their animal within. In the last decade of the nineteenth century, however, animalism was viewed not as a method of self-improvement but as the reprehensible side of humanity that lingered beneath the surface, waiting for an opportune time to come out and play. In Frank Norris’ novel McTeague, humans are no better than the beasts they claim to control. They cage and torment defenseless creatures, but cage and torment themselves far, far, worse. McTeague, Trina, Zerkow, and Marcus are animals in thin human’s clothing, walking the forests of McTeague, waiting for the opportunity to shed their skin and tear each other apart, while the real animals of the world continue leading lives far superior to their human counterparts.
In the book Fahrenheit 451 by Ray Bradbury, there are many themes, symbols, and motifs that are found throughout the novel. For my journal response, I have chosen to discuss nature as a prevalent symbol in the book. The main character, Montag, lives in a society where technology is overwhelmingly popular, and nature is regarded as an unpredictable variable that should be avoided. Technology is used to repress the citizens, but the oppression is disguised as entertainment, like the TV parlour. On the opposite end of the spectrum, nature is viewed as boring and dull, but it is a way to escape the brainwashing that technology brings. People who enjoy nature are deemed insane and are forced to go into therapy. Clarisse says “My psychiatrist wants to know why I go out and hike around in the forests and watch the birds and collect butterflies,” (Bradbury 23) which shows she is a threat to the control that the government has put upon the people by enjoying nature.
The abundant animal imagery in Timothy Findley's book The Wars is used to develop characterization and theme. The protagonist, Robert Ross, has a deep connection with animals that reflects his personality and the situations that he faces. This link between Robert and the animals shows the reader that human nature is not much different than animal nature.
The creature’s personality, or actions toward society, was displayed as being very calm and compassionate in the novel. He made many attempts to converse with society, but society feared and mistreated...
In Saramago’s novel, the government’s commands, instant decisions, and fears about the blind epidemic is what the blind infected, vulnerable characters are terrified about the most. “Look here, blind man, let me tell you something, either the two of you get back to where you came from, or you’ll be shot […] they’re terrified and are only obeying orders” (63). With a large number of people going blind quickly and with no apparent cause, public health officials’ panic and the blind internees are not only afraid for their lives in terms of their sickness, but they are also terrified of the government’s command to shoot and kill the infected internees. The most important things in life is not power and the ability to instill fear on others, it is compassion, love, and understanding. Without these three qualities, we become blind t...
The primal instinct inherent in man has been demonstrated historically as well as in written works of literature. These documented accounts and fictional writings shed light on a dark, intrinsic element to man’s consciousness. In the literary works Lord of the Flies and Night, the characters are exposed to adverse conditions that overrule rationality and evoke their inherent desire for survival by recourse of savagery and violence.
In his ancestor’s world, communal and mythical values prevail over individualism and materialism. When he is in Danville, Milkman learns that place is significant because it “makes the past real”(231). When he arrives in the South he wears a “beige three – piece suit, button down light–blue shirt and black string tie (and) beautiful Florsheim shoes”(227). But stripped of his three piece suit and dressed in worn hunting clothes he enters the woods outside Shalimar and immediately stumbles upon his uncharted self. For the first time he considers his behaviour in relation to the others: “Under the moon, on ground alone… the cocoon that was ‘personality’ – gave way…..there was nothing here to help him - not his money, his car, his father’s reputation, his suit or his shoes… His watch and his two hundred dollars would be of no help out here, where all a man had was what he was born with, or had learned to use. An endurance”(276-277). Reduced to the essentials for the first time in his life, Milkman begins to question his surroundings and as he listens, noise becomes language or “what there was before language”(278). Milkman here comprehends a mythic dimension as he reaches back toward a time when humans and animals shared
Kenneth Grahame’s use of personification by having animals represent humans in many of his stories can be interoperated as an analogy for how making selfish and rash choices, can cause humankind to look barbaric and primitive, just as animals.
... Nature, including human beings, is `red in tooth and claw'; we are all `killers' in one way or another. Also, the fear which inhabits both human and snake (allowing us, generally, to avoid each other), and which acts as the catalyst for this poem, also precipitates retaliation. Instinct, it seems, won't be gainsaid by morality; as in war, our confrontation with Nature has its origins in some irrational `logic' of the soul. The intangibility of fear, as expressed in the imagery of the poem, is seen by the poet to spring from the same source as the snake, namely the earth - or, rather, what the earth symbolizes, our primitive past embedded in our subconsciouness. By revealing the kinship of feelings that permeates all Nature, Judith Wright universalises the experience of this poem.
Through the ingenious works of poetry the role of nature has imprinted the 18th and 19th century with a mark of significance. The common terminology ‘nature’ has been reflected by our greatest poets in different meanings and understanding; Alexander Pope believed in reason and moderation, whereas Blake and Wordsworth embraced passion and imagination.