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Good and evil in literature
Good and evil in literature
Representation of good and evil in literature
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In the Mistborn series, by Brandon Sanderson, the main, overarching villain, Ruin, is used to represent the very nature of destruction and to reinforce the recurring belief in the book that all things, good or bad, must come to an end.
Ruin, a deity that embodies the essence of destruction, serves as a peculiar, shadowy villain throughout the entire series. Throughout the books, Ruin puts into place many events, most importantly, the corruption of the main character, Vin’s mother and, consequently, Vin herself. This is the earliest instance of Ruin’s touch in the entire book series, and it serves to develop a reasoning behind Ruin’s actions and how he will go to any amount of planning to achieve his goal. Without Ruin establishing a connection
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An early example Ruin’s influence causing new beginnings is when one of Vin’s mentors, Kelsier, is imprisoned as a virtual slave and witnesses the death of his wife, all according to Ruin’s plan. While this may seem like another example of Ruin’s malevolence, the following actions of Kelsier show that good can come out of dark places. Kelsier eventually grows to be a father figure towards Vin, instilling in her the qualities and ideas that would eventually lead to Ruin’s own destruction. Furthermore, after escaping from his incarceration, Kelsier was trained by an enigmatic old man that turned out to be crazy, allowing him to be controlled by Ruin. Without the old man, Kelsier would never have fully developed his powers, and the events of the book series would never have taken place. Kelsier stresses throughout the series that the man he was died in prison, and from a literary standpoint, he’s not that wrong. After that first rebirth, many other events sculpted him into the character that could help save the world, and one of those defining moments was his training with the old man. Additionally, at the very end of the book series Vin and another major character die to finally destroy Ruin, making it seem like Ruin succeeded in some small part by taking away the people that were set up to be the leaders of future civilizations. However, their actions proceeding their death allowed a prosperous civilization to develop over the following millennium, as chronicled by the next section of the Mistborn series. They were symbolically reborn as the essence of what civilization should be, and this could only take place because of Ruin’s pushes and influence in the past. In this, Ruin is unique. He not only acts as a villain and destroyer but also as the force that pushes the characters into
Nature against society is also discussed in Grendel. The fact that citizens surrounded with religion and social status could be so easily overtaken by nature (Grendel) gives a sense of irony to the reader.
Mary Shelley's Frankenstein explores the downfall of certain human characteristics, set to the backdrop of creation, destruction, and preservation. The subtitle denoted by Shelly herself supports this idea, by relating the fact that the title can be viewed as either Frankenstein or The Modern Prometheus. One scholar, Marilyn Butler, also maintains this by noting, "It can be a late version of the Faust Myth"(302). Shelly uses the story of the main character, Victor Frankenstein, to produce the concept of a dooming human characteristic of which Frankenstein states, "I have . . . been blasted in these hopes"(Shelley, 152). The reader finds, as a result of his thirst for knowledge and infatuation with science, Victor creates a living being by whom he has "suffered great and unparalleled misfortunes"(Shelley, 17). Eventually, Victor realizes this self-destructive trait, but he is not able to save himself stating, "I have lost everything, and cannot begin life anew"(Shelley, 16). Although everything in his life that is dear has been lost, Victor is able to convince one in his same position--Robert Walton--to not "lead [his crew] unwillingly to danger"(Shelley, 151). While addressing the concept of characteristic and self-discovery, it is possible to realize that the monster also possesses the characteristics held by both Victor and Walton; except in his learning, the monster is driven to continue to cause destruction. Most important about the thirst for knowledge is that, as a form of human characteristic or downfall, it leads to large, critical pieces of self-discovery. In obtaining these critical pieces, Frankenstein finds satisfaction in j...
While the monsters of the poem are the antagonists of the poem, the author still manages to make the reader feel traces of sympathy for them. Grendel’s human depiction, exile and misery tugs at the heart of readers and indeed shows a genuine side to the figure, while Grendel’s mother and the dragon are sympathetic mainly because they were provoked into being attacked over things they both had a deep affection for. Their actions make us question whether they are as evil as they seem.
Mary Shelley’s novel, Frankenstein, illustrates the Romantic idea of the sublime naturalworld as an emotional experience for the characters of the novel. Within the text, Shelleyutilizes an allusion to the John Milton’s biblical story, Paradise Lost, to make a parallel betweenthe characters. Within the passage, the monster compares himself, as well as his creator, Victor,to the characters Adam and Satan. He comes to realize that he is more similar to Satan;ultimately, leading him to his reign of terror and the revenge he wishes to impose on Victor. Themonster realizes that he is similar to Adam in Paradise Lost in that they both do not want to bealone. The monster also realizes that there is good in the world that is deeply contrasted with
All the events and misfortunes encountered in Frankenstein have been linked to one another as a chain of actions and reactions. Of course, the first action and link in the chain is started by Victor Frankenstein. Victor’s life starts with great potential. He comes from a decently wealthy family whose lack of love towards each other never existed. He is given everything he needs for a great future, and his academics seem to be convalescing.
The unity of God, man, and nature is of course a common theme in Wordsworth's poetry, having been given equally memorable treatments in Tintern Abbey and elsewhere, but it was the seemingly paradoxical sentiment of this passage from The Prelude that made such a strong impression on me. As John Beer points out in his article "Romantic Apocalypses," "Although traditionally the apocalypse and the millennium have gone together, recently, the first, with its sense of doom, has been more prominent" (109). To a reader who has lived through the passing of both a new century and a new millennium, the phrase "Characters of the great Apocalypse" tends to evoke feelings of eschatological anxiety, and to suggest the fragility and transience of the landscape Wordsworth is attempting to describe. It is easy to forget that Wordsworth used the term in its original sense of "simply 'revelation,' the name given to the English version in the New Testament" (Beer 109); and that in its evocations o...
At first it is seen as a story about man and the evils he can do, yet
with a vivid imagery of a world that was already falling apart, prior to humanity’s infliction upon
In the poem “The City of the End of Things” by Archibald Lampman, he paints an image of a dystopian and mechanical future. The theme of this poem is a prediction of the natural world's destruction and of the current industrialized future. Humans cannot live without nature, thus with the destruction of the natural world comes the downfall of humanity. Lampman wrote “Its roofs and iron towers have grown / None knoweth how high within the night”(9-10), which provokes a picture of a city that is ever growing, seemingly overnight.
Mary Shelley’s novel Frankenstein centers around a creator who rejects his own creation. The plot thickens as Victor Frankenstein turns his back on his creation out of fear and regret. The monster is cast out alone to figure out the world and as a result of a life with no love, he turns evil. Shelley seems to urge the reader to try a relate with this monster and avoid just seeing him as an evil being beyond repentance. There is no doubt that the monster is in fact evil; however, the monster’s evilness stems from rejection from his creator.
From beginning with a harsh winter and abandonment of the monster and shifting to a much lighter season of spring. Shelley represents the change in heart the monster makes. During winter many plants are suffocated by the darkness and heaviness of the weather which causes much foliage to die and wait for anew, which comes during spring. Spring allows for the vegetation to experience regrowth. The monster, although has never been able to experience love, he was still able to notice the need of a family and put them before himself, for example, “I remember the first time that I did this, the young woman, when she opened the door in the morning, appeared greatly astonished on seeing a great pile of wood on the outside.”(Chapter 12, page 130). Shelley uses this as a form of symbolism with nature which causes an emphasis on the monsters new perspective and shows rebirth in mind and
At the boat where Victor’s lifeless body lies, the monster returns only to mourn regretting his mistakes and murders just because his master wanted happiness. He uses his loss of innocence as an excuse for the immoral and terrible things he has done. This is reflected in Paradise Lost since Satan achieves his revenge by tempting Adam and Eve to eat the forbidden fruit. It is at that moment where their promise is broken and the Garden of Eden is lost. Then when Victor rejects his own creation earlier he loses his innocence. This is because he was trying to play God and do the forbidden, which is creating life. It connects to Paradise Lost and the theme because the banishment of love that the monster receives is similar to Satans feeling towards God and his goal, which is to defeat him all because of the misfortune the Monster felt of being created
...three different symbolic levels, as a Romantic novel, Archetype novel, or a Gothic novel. On the romantic level, Victor is the villain because he abandons the creature and leaves it to fend for itself. The creature is miserable and just wants a friend, but was abandoned by Victor making it almost impossible. On the Archetype level, Victor is the villain because he tries to play god. He wants to be worshipped like a god, by creating his own species, and creating life from plain matter. But in doing so, Victor disturbed the natural order of things. Finally, Victor is the villain on the Gothic level. There he is the villain, because he and the creature are part of a greater being, and Victor's subconscious wants William and Elizabeth dead, which is why the monster kills them. Despite the fact that Victor didn't physically murder anyone, he was the villain of the novel.
Grendel’s emergence is sudden and immediately the reader is presented with the image of a ‘fiend out of hell’ who has been provoked by the construction of Heorot. Indeed, the poet notes that the monster had long ‘nursed a hard grievance’, forced to listen to the clatter and din emitting from the mead hall. Heorot itself is given a sense of foreboding, in spite of being ‘meant to be a wonder of the world forever’, the poet admits that it was simply ‘awaiting a barbarous burning’ (Heaney 69, 82). Is the poet subtly suggesting that the construction of Heorot is not a symbol of marvel but rather a re...
The Bible has a large amount of stories about war and destruction. Some of the stories are historical writings, but not all. God of the bible is omniscient and God uses this to give humanity a unique look into our future. The stories of destruction that this paper will look at are some of the future visions given to humanity by God. The apocalyptic literature are the recorded visions given to believers and they are used to warn people of the impending doom of the world. The bible takes different approaches to the same topic in order to make the message fully know.