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Post modernism literary theory and criticism
Post modernism literary theory and criticism
The influence of Modernism in literature
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The Verdict on Albert Camus’s The Fall
As if to mock the crumbling principles of a fallen era, “The Just Judges” preside over a solemn dumping ground of earthly hell. This flimsy legion of justice, like the omnipresent eyes of Dr. T.J. Eckleburg in F. Scott Fitzgerald’s The Great Gatsby, casts a shadow of pseudo-morality over a land spiraling towards pathos. But Albert Camus’s The Fall unfolds amidst the seedy Amsterdam underground--a larger, more sinister prison than the Valley of Ashes, whose center is Mexico City, a neighborhood bar and Mecca for the world’s refuse. The narrator and self-proclaimed judge-penitent, Jean-Baptiste Clamence, presides over his subjects every night to “offer his services,” although partially dissembled and highly suspect, to any who will listen. More artfully than a black widow preying on her unsuspecting mate, he traps us in his confessional monologue, weaving a web so intricate and complete that no one can escape its clutches.
Clamence points out that “Holland is a dream…of gold and smoke” whose residents are “somnambulists in the fog’s gilded incense” who “ have ceased to be” (13-14). Peopled by the living dead, where “hundreds of millions of men…painfully slip out of bed, a bitter taste in their mouths, to go to a joyless work,” “Amsterdam’s concentric canals resemble the circles of hell,” as in Dante’s Inferno (144, 14). Holland’s lost souls are the forsaken ones, machines who go through the motions of life but never really live, the modern men, who fornicate and read the papers, with good intentions and bourgeois dreams never realized. These are the men capable of tolerating the “Liebestod” and the Holocaust in the same breath, who wait for something to happen, “even loveless sla...
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...risk your life. You yourself utter the words that for years have never ceased echoing through my nights and that I shall at last say though your mouth: “O young woman, throw yourself into the water again so that I may a second time have the chance of saving us both!” (147)
For Clamence it was too late, will always be ”(t)oo late, too far” for him (70). But we are not he. We do not need to suffer from the paralysis of inaction. We need not relive unlucky Hamlet’s indecision each and every day nor question whether to dare disturb the universe. We have a choice—we will always have a choice. It is never too late for us, for we are endowed with freedom, and more importantly, a responsibility to be free. By all means, “Do not go gentle into that good night,/ Rage, rage against the dying of the light” (Dylan Thomas).
Works Cited:
Camus, Albert. The Fall.
Baz Lurhmann’s creation of the film Romeo and Juliet has shown that today’s audience can still understand and appreciate William Shakespeare. Typically, when a modern audience think of Shakespeare, they immediately think it will be boring, yet Lurhmann successfully rejuvenates Romeo and Juliet. In his film production he uses a number of different cinematic techniques, costumes and a formidably enjoyable soundtrack; yet changes not one word from Shakespeare’s original play, thus making it appeal to a modern audience.
The Stranger by Albert Camus is a story of a sequence of events in one man's life that cause him to question the nature of the universe and his position in it. The book is written in two parts and each part seems to reflect in large degree the actions occurring in the other. There are curious parallels throughout the two parts that seem to indicate the emotional state of Meursault, the protagonist, and his view of the world.
...f one defies the natural law and strives to recover the loss, he or she is already on the road to a tragic end. More ironically, the efforts draw the character farther from what they wanted; the rape made Blanche even less credulous, the funeral made Willy even less respected, the request made Gatsby less favorable by Daisy. All three modernist pieces presented false beliefs about life and showed the consequences of obeying those believe. The consequences revealed a bloody truth – the loss of the hope cannot be recovered. What is lost is already the past; only the future can be earned by the hard work done in the present.
Nathaniel Hawthorne’s “Young Goodman Brown,” and Edgar Allan Poe’s “The Cask of Amontillado” utilize character responsibilities to create a sinister plot. For Hawthorne, protagonist Young Goodman Brown must leave his wife at home while he partakes in a night journey. For Poe, ancillary Fortunato covets a pretentious manner towards his wine tasting skills, and after being ‘challenged’ decides to prove his expertise by sampling Amontillado. Hawthorne and Poe showcase a theme of darkness but differ in their approach to the setting, characters, and fate of entrapment.
Baz Luhrmann’s Romeo and Juliet is a film that converts Shakespeare’s famous play into a present-day setting. The film transforms the original texts into modern notions, whilst still employing Shakespearean language. Compared to Franco Zeffirelli’s adaptation of Romeo and Juliet, Luhrmann’s picture is easier for a teenage audience to understand and relate to because of his modernisations. Despite the passing of four centuries Shakespeare’s themes of love, hate, violence, family and mortality remain the same regardless of the setting.
Short stories have particular settings to supplement their themes. The eerie catacombs during a carnival in “The Cask of Amontillado” supplement the themes of revenge, and deception, which the protagonist takes responsibility in; whereas in “Hills Like White Elephants”, the atmosphere around the Spanish train station emphasizes the themes of miscommunication between characters and their evasion of responsibilities.
In 1596, William Shakespeare published the tragic tale of two star-crossed lovers, Romeo and Juliet. The origins of this story are uncertain but Shakespeare’s chief source for his adoption of the story was from “…The Tragicall Historye of Romeus and Juliet, a poem by Arthur Brooke (1562). He also knew the story from Palace of Pleasure, by William Painter, which appeared in several editions prior to 1580.”(Boyce 563) Shakespeare’s classic tale is about “two young lovers caught in the crossfire of a senseless family feud.”(Shakespeare 3) This feud between the two families ultimately is the cause of the two lovers untimely demise. In 1996, Baz Luhrmann produced a modern film of the classic tragedy entitled William Shakespeare’s Romeo + Juliet. Adding familiar images and common ideas, Luhrmann brought the classic story to modern times. Though Romeo + Juliet has many differences from the original version from Shakespeare, it supports the original characters, themes, dialogue, and key issues of the classic tale of the star-crossed lovers.
Edgar Allan Poe’s “The Cask of Amontillado” is a horror story about revenge and murder that occurred half a century ago. Through the haunting confession of the narrator, Montresor, the reader is able to feel what Fortunato had endured half a century ago. In this tale of revenge and murder the dark, damp, and bone-filled catacombs provide a contrast to life during the “madness of the carnival” (553).
Since he cares little for the affairs of the world, claiming they do not mean anything, then justice—a major concern of the world—also means nothing to him. His actions both before and after his decision to kill a man without provocation demonstrate his apathetic view of the world, and his indifference to justice. Therefore Meursault’s search for justice, culminated by the court’s decision to execute him, remains an example to all of the inability of society to instill justice in criminals. Meursault’s perpetual refusal to acquire a sense of morality and emotion instigates skepticism in all who learn of his story of society’s true ability to instill justice in the
“The Cask of Amontillado” is a dark piece, much like other works of Edgar Allan Poe, and features the classic unreliable narrator, identified by himself only as Montresor. This sinister central character is a cold ruthless killer that is particularly fearsome because he views murder as a necessity and kills without remorse. Montresor is a character who personifies wickedness. Poe uses this character and his morally wrong thoughts and actions to help the reader identify with aspects of the extreme personage, allowing them to examine the less savory aspects of their own. The character of Montresor detailing the glorious murder he committed is a means of communicating to the reader that vengeance and pride are moral motivators that lead to treacherous deeds and dark thoughts.
In Edgar Allan Poe’s “The Cask of Amontillado,” Montresor sets out on a vengeful mission that will end Fortunato’s life in an untimely fate. Montresor appeals to Fortunato’s love for wine to tempt the unsuspecting fellow to his impending doom. While Montresor tricks the foolish Fortunato frightfully, it is ultimately Fortunato’s pride that leads to his demise in the crypt. Poe uses several literary devices to foreshadow this murderous exploit of Montresor. Through the use of irony, symbolism, and imagery, the story entices readers to delve into the relationships and differences between Montresor and Fortunato.
Edgar Allen Poe’s tale of murder and revenge, “The Cask of Amontillado”, offers a unique perspective into the mind of a deranged murderer. The effectiveness of the story is largely due to its first person point of view, which allows the reader a deeper involvement into the thoughts and motivations of the protagonist, Montresor. The first person narration results in an unbalanced viewpoint on the central conflict of the story, man versus man, because the reader knows very little about the thoughts of the antagonist, Fortunato. The setting of “The Cask of Amontillado”, in the dark catacombs of Montresor’s wine cellar, contributes to the story’s theme that some people will go to great lengths to fanatically defend their honor.
Edgar Allan Poe’s “The Cask of Amontillado” is a frightening and entertaining short story about the severe consequences that result from persistent mockery and an unforgiving heart. Poe’s excellent use of Gothicism within the story sets the perfect tone for a dark and sinister plot of murder to unfold. “The Cask of Amontillado” simply overflows with various themes and other literary elements that result from Poe’s Gothic style of writing. Of these various themes, one that tends to dominant the story as a whole is the theme of revenge, which Poe supports with his sophisticated use of direct and indirect factors, irony, and symbolism.
The Outsider, written by Albert Camus, and The Trial, written by Franz Kafka, are two books that have been critically acclaimed since the time that they were published. There are critics that claim that The Outsider is a dull book, and is not even a read-worthy book. Other people claim that it shows us how society actually acts upon people who do not want to be like the rest of society. The Trial falls under the same kind of criticism; but both books, although written by different writers in a different époque, fall under the same kind of genre: Imprisoned Lives. In both The Outsider and The Trial there are many people who influence the protagonists in a positive and in a negative way, but none of those characters are as important as the priest. The priest, being of the same profession in both books and trying to accomplish the same kind of tasks, have a totally different effect on the two protagonists. In The Outsider the priest changes the whole attitude that Meursault has to life, whereas in The Trial the priest tells Joseph K. how his life actually is.
In The Stranger, Albert Camus misleadingly portrays his existentialistic views of life, death, and the world. Camus portrays the world as absurd or without purpose Meaursalt, who, as a reflection of Camus, is foreign and indifferent to his own life and death. Meaursalt eventually senses guilt for his crime, not because of the remorse of taking someone else’s life, but because it means he would lose the little things that he considers important in his life. Meaursalt is a puzzling character, who leaves readers to be uncertain about Camus’ views of life.