Really rather beautiful, Miss Keate is. Lenina still appears to be more beautiful and attractive though. But oh, Miss Keate. I would like to indulge in Soma with her. And there is no reason why I should not be able to have her. I am popular and we are both free. I'll make a move right now. Yes an arm, now give me a kiss. Ah! The shutters! I'll get another chance. I have all the time in the world. Aah the Savage, so mislead and stuck in his ways. He does not understand the simplest of joys. Indeed he thinks too much. Shakespeare! What an outrageous question! He really has no connection with the people of this “other place.” How intriguing though. He really has put some weight on this Complete Works of Shakespeare. He believes in it as if it were his religion and William Shakespeare was his prophet. The solitary life is actually a state of unfound clarity and confusion. I can see why you would not want to encourage it. The youth might become like me. No. No more talk of these things, this is over. Now, Miss Keate. I enjoy her charming mouth's sweet whispers in my ear. For this evening would you have sex with me? Yes, I already knew the answer miss. I won't really enjoy the Soma, but to be with her tonight appeals to me greatly. Maybe we'll forget about it entirely in the rush of our meeting and just skip over all the niceties.
His words had a strange effect upon me. I compassionated
He has all the reason to lament the Romantics of a human society he can't be allowed in. The human mind is irrational and is only justifying for itself, or at least that is what the creature sees. His negative view on the tenets of human rationality turned him to the monster, the animal, the logicless creature that he showed himself to be at times.
Mary Shelley wrote Frankenstein to display the characteristics of Modern Rationalism and Romanticism. She did not lean towards one belief. It was popular because of this representation of the contrast, yet steady convergence of the two beliefs.
The monster is at first a Romantic, then he becomes a Rationalist.
Frankenstein's mother served as a warning sign against Rationalism. It can be assumed that a wise and strong woman in her deathbed would speak of significant matters in her last moments. She had the older generation's ideas on love. Society is facing trials of Rationalism and Romanticism till today. It is a particularly heavy struggle for the human psyche and the attainment of mass media, knowledge, and social hubs has made those involved in popular culture delve deeper within themselves and their thought process.
Mary Shelley favoured wrote Frankenstein to display the characteristics of Modern Rationalism and Romanticism. She did not lean towards one belief.
Hemingway's only instances of marshmallow-iness are in his conclusions and his narrative views. What was the point, the lesson? One might ask themselves this after finishing up. None of the character have developed, making them at most 2 dimensional, not at all dynamic. They are in the exact same situations and mindsets that they start with, except for maybe the character, Robert Cohn who is the main character of the first part of the story through a background anecdote. The novel is told in a rather laid-backed, calm, and spectatorial way just like in the anecdote of Robert Cohn. It is found out late who the actual narrator is and the main character doesn't take any initiative or attempt to control the story. Anything including the characters' directions and views is left unclear, ambiguous.
I walked past him to my door. I slumped right there and let go. Whatever; this is how it is. Bill and Mike got me later to ransack the fridge. I acted like I was out. The rave raged on outside.
Hemingway, Ernest. The Sun Also Rises. New York: Scribner, 2006. Print.
Heathcliffe later made Hareton a servant as payback for his servant days that were put upon him by Hindley. Hindley had made him do the most humiliating jobs, day in and day out, so this was a suitable revenge.
He drove him from their company to the servants, deprived him of the instructions of the curate, and insisted that he should labour out of doors instead; compelling him to do so as hard as any other lad on the farm.(p.57)
‘Hindley does not often free us from his accursed presence,’ observed the boy. ‘I’ll not work any more to-day: I’ll stay with you.’(p.87)
Both Heathcliff and Hindley took it upon themselves to verbally abuse their female relations, first with Catherine, then with Cathy.
Hindley lavished on her a torrent of scornful abuse, and bade her get to her room immediately, or she shouldn’t cry..."(p.111)
Both Heathcliff and Hindley leave their sons on someone else's charge, knowing their sons' dispositions and how troublesome they were.
‘You are a boastful champion,’ replied Heathcliff; ‘but I don’t like you well enough to hurt him: you shall get the full benefit of the torment, as long as it lasts. It is not I who will make him hateful to you it is his own sweet spirit. He’s as bitter as gall at your desertion and its consequences: don’t expect thanks for this noble devotion. I heard him draw a pleasant picture to Zillah of what he would do if he were as strong as I: the inclination is there, and his very weakness(p.363)
Heathcliff cares about nobody and similar to when Cathy's ankle was hurt and Hindley left hr for naught, he left his son for nothing when he was dying. In that way, Heathcliff not aiding his sick son and Hindley's accidental throw of Hareton are the same in that they both harm their children, leaving them at the point of death.
‘’We know that!’ answered Heathcliff; ‘but his life is not worth a farthing, and I won’t spend a farthing on him.’(p.370)
And just like when Hindley suicides and all is peaceful for a while in Wuthering Heights, when Heathcliff dies suicides and the last oppressor is gone, all is resumed to its original peaceful state of a Heathcliff-less world.
He solicited the society of no one more. At dusk he went into his chamber. Through the whole night, and far into the morning, we heard him groaning and murmuring to himself.p(424)
His suicide and Hindley's were similar in the way that they let themselves' die, separating themselves from human contact and becoming increasingly distant.
Brontë, Emily. Wuthering Heights. New York: Scholastic, 1961. Print.