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Fate in literature
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Merriam Webster defines the word idealist as “one guided by ideals; especially: one that places ideals before practical considerations.” Throughout the novel Catherine clearly displays characteristics of idealism, such as her overly romantic ways, and her inability to often think rationally. In the novel while talking about other girls Frederic has been with, Catherine says “It’s alright. Keep right on lying to me. That’s what I want you to do.” She asks to be lied to by Frederic, even though what he is saying is clearly not true and he is not even actually in love with her yet. This seems irrational and unrealistic but her romanticism outweighs her ability to think clearly. Later on in the novel Catherine and Frederic also contemplate being married legally, but Catherine does not seem to particularly care, since they are already “married” in her mind. She does not see any reason to make it legal even though they are risking becoming pregnant out of wedlock, which in fact does happen later in the novel. While most women at that time would insist on being married, especially if they were having relations as Frederic and Catherine were, her idealistic manner keeps her from thinking marriage is necessary. Catherine clearly lets her heart guide her throughout the novel, and although it is not always correct or rational, she does remain true to her ideals, making her a true idealist. Fate plays an immense role in A Farewell to Arms with Catherine and Frederic as a couple, but also with Frederic on his own. For example, If Lt. Henry had not gone to meet Catherine with Rinaldi the novel would not have even had a story. Also, when Frederic gets seriously injured and is taken to the hospital, it as if fate steps in, by putting Catheri... ... middle of paper ... ...Catherine are not married. She tries to comfort Ferguson instead of becoming angered, as Frederic does. Also when fleeing to Switzerland Catherine keeps her calm to successfully acquire visas so that they can stay and Lt. Henry will not be captured. The most obvious place in the novel where Catherine shows she is not scared of death and how well she remains graceful, even under pressure is during her painful labor. She does her best to stay positive even though she becomes certain she is going to die, and she is constantly reassuring Frederic. She says everything from “Don’t mind me, darling. Please don’t cry. Don’t mind me,” to “Don’t worry darling, I’m not a bit afraid. It’s just a dirty trick,” in hopes of comforting Frederic. Even though she is in great pain she is not thinking about herself, but instead Frederic just as she does for the duration of the novel.
The conflict Catherine faces is Person versus self. “Little Bird, in the world to come, you will not be asked ‘why were you not George?’ or ‘why were you not Perkin?’ but ‘why were you not Catherine?’ ” (Cushman 17). It is depicted that Catherine tried to be everyone else but not herself. Hence, Catherine’s conflict is internal because she must change her conceptions. Catherine must accept who she is. Catherine’s conflict is resolved in the resolution. Catherine understands the Jewish woman’s advice. “And it came to my mind that I cannot run away. I am who I am wherever I am” (Cushman 202). Catherine understands she cannot be like Perkin or George, and she will not be asked if why she was not like Perkin or George. However, Catherine will be asked why she did not act like herself, and why she was not
There are many beliefs on the concept of fate. Some philosophers believe everything is destined to happen, and others express the contradictory: that everything happens by random, and people cause everything that happens. In The Assault, Harry Mulisch uses symbolism, and the circular structure of symbols to show how Anton Steenwijk is confronted with the idea that there is no fate, and that his life was changed because of the actions of human beings.
Henry and Catherine hold a steady, loving and trustworthy relationship even through the tough times of war. Even though there are disputes on whether Henry and Catherine really loved each other, they held a good relationship. They tended to each others needs. Catherine took it slow while Henry wanted to rush into things to quickly. "Hello," I said. "When I saw her I was in love with her. Everything turned over inside of me." (91) Catherine and Henry were inseparable. Throughout the novel, their relationship became more serious and Henry had finally decided that he was in love with Catherine Barkley. "I really love you. I'm crazy about you." (92) This quote displays how Henry just can't get enough of Catherine how he wants to rush into things to quick. Henry doesn't like Catherine for who se really is but is taken over by the power of her looks.
Catherine, like the McKees, makes an appearance at Tom’s apartment, and Nick first notes her “sticky bob of red hair, and a complexion powdered milky white”, which shows her attempt to maintain an appearance of class (30). Yet, she does not apply the makeup successfully, and the evident cosmetics and sign of effort speak against her sense of class and taste. However, Catherine makes an appearance at the end of the novel after the death of her sister, Myrtle. Catherine holds both her sister’s and her own image in great importance, and so when others convince her “that [her sister’s] ambulance had already gone to Flushing ... she immediately fainted, as if that was the intolerable part of the affair” (156). Flushing exists as part of the Valley of Ashes, while Catherine lives in a hotel, presumably on the outskirts of the city. The fact that her sister goes to the dirty, poor city instead of to a cleaner area disturbs her rather than the news about her sister, which suggests the importance of appearances over the safety or health of her own family. Therefore, perhaps Fitzgerald makes a commentary through Catherine that the pursuit of class and self importance motivates a
Catherine has an extremely naive, novel-like view of love. “[Henry’s] name was not in the Pump-room book, and curiosity could do no more. He must be gone from Bath.yet he had not mentioned that his stay would be so short! This sort of mysteriousness, which is always so becoming in a hero, threw a fresh grace in Catherine's imagination around his persona and manners, and increased her anxiety to know more of him,” (34-35). She is obsessed with Henry’s “mysteriousness”, not so dissimilar to the heroines in her novels, who were all in love with tall, dark and mysterious men. Although her naivete and imagination almost get her in trouble with Henry when she thinks his father has killed his mother, her naive obsession with him is the only reason their relationship ever
Fate is a supernatural force that will rearrange the timing of events beyond the control of anyone to lead to a particular outcome. Some people believe that it is fate that determines our destiny, others believe that it is determined by ones self. In Romeo and Juliet by William Shakespeare, fate is a very prevalent theme that has a mass effect on the outcomes of the play. Fate is foreshadowed through the characters consistently throughout the play showing the reader that destiny is not in the hands of the character, but instead in the hands of fate. The timing of certain actions in the play will impact the results of said actions hence showing fates prevalence. Fate is present when Romeo meets the nameless servant. It is
Death is often represented by traditional symbols ranging from the color black to the common tombstone. Besides these icons, other signs can stand for mortality including rain. In A Farewell to Arms, Ernest Hemingway associates rain with death many times. Although rain is not usually considered a symbol of death, the main character Fredric Henry discovers this natural occurrence is a personal theme he relates with death.
Ernest Hemingway is considered the main personification of the American writers of the ‘Lost Generation’, who lived and wrote his novels during World War I. He became a famous writer in a short time, and the most important author of his generation, and perhaps the 20th century.
The first, most obvious trait of Catherine’s heroism is that she values human relationships above materialism. Nothing is more important to Catherine than her lover, Henry, and as the novel goes on, her baby. When Henry is injured and sent to Milan, she has no trouble transferring to the new hospital there. Catherine loves Henry and would drop anything to be with him. Nothing material holds her back from being with him. Even when they live in Switzerland, they don’t have many material possessions. They live very simple lives because all the couple really needs is each other. In chapter forty, Henry describes their time together with this quote, "When there was a good day we had a splendid time and we never had a bad time. We knew the baby was very close now and it gave us both a feeling as though something were hurrying us and we could not lose any time together." Catherine obviously values her time with Henry more than anyone else, but it isn’t the physical aspect of getting out and doing things that satisfies her. What satisfies Catherine is the extra time she gets to spend with the love of her life b...
In the past one hundred years, war has greatly influenced the dark themes that have emerged in storytelling, as well as how an author executes their story’s tone, style, structure. Ever since the world was first exposed to war on a large scale in the 20th century, it has impacted many, especially the soldiers involved. Some of these soldiers, like Kurt Vonnegut and Ernest Hemingway, went on to become war writers. Even though their view of war contrasts, it is also similar in some aspects. Hemingway and Vonnegut both agree that war is atrocious in all ways. An HBO Documentary called Alive Day Memories: Home From Iraq supports this belief as well, even though the time span of Hemingway and Vonnegut’s works are at most one hundred years before
Heathcliff and Catherine have loved each other since their childhood. Initially, Catherine scorned the little gypsy boy; she showed her distaste by “spitting” at him (Brontë 27). However, it was not long before Heathcliff and Catherine became “very think” (Brontë 27). They became very close friends; they were practically brother and sister (Mitchell 122). Heathcliff is intent upon pleasing Catherine. He would “do her bidding in anything” (Brontë 30). He is afraid of “grieving” her (Brontë 40). Heathcliff finds solace and comfort in Catherine’s company. When Catherine is compelled to stay at Thrushcross Grange to recover from her injury, she returns as “a very dignified person” (Brontë 37). Her association with the gente...
Catherine’s revenge does not make things better for her. Her revenge on Heathcliff by blaming him for her upcoming death does not meliorate her mind. Just before she dies, she ascribes Heathcliff for her “murder.” “You have killed me, and thriven on it, I think” (Bronte 158). Catherine resembles what Oliver Goldsmith said, “When lovely woman stoops to folly, and finds too late that men betray, what charm can soothe her melancholy?
Catherine's dilemma begins in an overtly conventional yet dismal setting. This is the ordered and understated fashionable New York setting where she is victim to her father's calculated disregard and domineering behaviour and of the perceptions others have of her given their economic and social positions. She is, in Sloper's words, "absolutely unattractive." She is twenty, yet has never before, as Sloper points out, received suitors in the house. Mrs. Almond's protestations that Catherine is not unappealing are little more than a matter of form and she is admonished by Sloper for suggesting he give Catherine "more justice." Mrs. Penniman, for her part, readily perceives that without Catherine's full inheritance, Morris Townsend would have "nothing to enjoy" and proceeds to establish her role in appeasing her brother and giving incoherent counsel to the courtship between Catherine and Townsend. For Townsend himself, Catherine's "inferior characteristics" are a matter of course and a means to a financial end.
...don Heathcliff. She cared so much that she defied her husband, and the very act of death itself, to be with Heathcliff. The fact Catherine came back as a ghost, to be with Heathcliff, shows how much she cared for him.
Theme is a literary element used in literature and has inspired many poets, playwrights, and authors. The themes of love and war are featured in literature, and inspire authors to write wartime romances that highlight these two themes. Ernest Hemingway’s A Farewell to Arms deals with the collective themes in the human experience such as love and the reality of war. A Farewell to Arms is narrated from the perspective of Fredric Henry, an ambulance driver in the Italian army, and pertains to his experiences in the war. The novel also highlights the passionate relationship between Henry and Catherine Barkley, a British nurse in Italy. Henry’s insight into the war and his intense love for Catherine emphasize that love and war are the predominant themes in the novel and these themes contribute to bringing out the implicit and explicit meaning of the novel. Being a part of the Italian army, Henry is closely involved with the war and has developed an aversion to the war. Henry’s association with the war has also made him realise that war is inglorious and the sacrifices made in war are meaningless. Specifically, Henry wants the war to end because he is disillusioned by the war and knows that war is not as glorious as it is made up to be. The state of affairs and the grim reality of the war lead Henry towards an ardent desire for a peaceful life, and as a result Henry repudiates his fellow soldiers at the warfront. Henry’s desertion of the war is also related to his passionate love for Catherine. Henry’s love for Catherine is progressive and ironic. This love develops gradually in “stages”: Henry’s attempt at pretending love for Catherine towards the beginning of the novel, his gradually developing love for her, and finally, Henry’s impas...