In Julius Caesar, the distinction between heroes and villains is often not detected. Shakespeare uses a tone of morally ambiguous character in people throughout the play, making each character appear as if they are morally equal to each other, establishing a certain flawed humanity. Shakespeare emphasizes this particular tone by providing examples of flaws of human society throughout the play. He provides these examples chiefly through greed. Shakespeare’s concept of universal human imperfection
Stories that contain mentally unstable, or untrustworthy narrators typically tend to throw the audience into a place of unease. Henry James is a perfect example of one such author that makes use of the unstable and untrustworthy narrator in his most famous work, The Turn of the Screw. The narrator in The Turn of the Screw, is an unreliable twenty year old female referred to as the Governess. The Governess can be viewed as either an insane villain or as a helpless heroine giving the audience the power
kidney to her sister and that she deserves medical emancipation from her parents. Throughout the book, characters struggle with the morality of their choices- doubting whether their actions are wrong or can be justified by their deep love. My Sister’s Keeper teaches a lot of valuable lessons, but the most prominent theme that is apparent through the story is that love often creates an ambiguous line between right and wrong. Love for yourself often makes a person stray from their moral
A morally ambiguous character is a character that is difficult to put into the category of good or evil. The author leaves the reader to decipher what the character truly is, hero or villain. For many reasons, a writer uses moral ambiguity to leave his or her work to be interpreted in multiple ways. Morally ambiguous characters leads us to ask questions about our own morality. It makes the reader think of the world morally, and not see the world as black and white. The character’s current situation
and finding a well written one is sometimes hard to do. In order to be a timeless classic, a story must be morally ambiguous and include round characters that are able to “stand the test of time”. Given the criteria, To Kill a Mockingbird is not a timeless classic because the story lacks moral ambiguity as it can be easily grasped by the reader and includes stereotypical, flat characters and myths that could not possibly be believed at the time period that it was set in. One reason that Mockingbird
In the play, “Death of a Salesman” by Arthur Miller, Biff’s character demonstrates a pivotal role as a morally ambiguous character that the reader cannot categorize as good or evil. His lack of a relationship with his father, Willy, causes this moral ambiguity and foreshadows demise at the end of the plot as well as the betrayal from all sides. Biff exhibits moral ambiguity in a number of scenes including the ones with his father and his American Dream life envision for Biff as well as Happy. Biff
In this paper, I will be answering the question: “Is it ever fair to hold a person morally responsible for an action when they could not have done other than they did?” This will be achieved by responding to Frankfurt’s article in showing how his proposed new principle is vastly superior to the old principle of alternate
“[t]he criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes” (Dirks). It is not considered a genre, but as tone or style of the film. The primary characters were the anti-heroes and the females. The anti-heroes, as the name implies it, did not follow the rules or norms, were morally ambiguous, and corrupted in their actions. There were two types of females, the redeemer women and the femmes fatales. The first one is the homemaker, trustworthy, reliable, dutiful women
something complex and fascinating. This view is expressed in particular through the main character Hamlet, who is shown to have multifaceted and occasionally contrasting thoughts, and whose actions are heavily influenced by this. What makes Hamlet such an interesting character, especially considering the time the play was written, is the fact that he is not a wholly good or wholly bad character; he is morally ambiguous. Throughout the play it is shown clearly that Hamlet is struggling with the morality
In her essay “He Went Thataway”, Marcia Landy writes of how the “strongly affective nature” of Sergio Leone’s westerns invites a “comparison between Italian westerns and weepies, women’s films”. In the opinion of the author, this “affective nature” derives from several of Leone’s narrative and stylistic choices such as “iconography, bodily movement… the use of intense close-up” as well as the homosocial bonding that often takes place in lieu of heterosexual romance. The combination of all of these