Abstract A look at how, in Shelley's novel "Frankenstein", the creature has an extremely unsuccessful father-son relationship with the creature he creates. The father is appalled with what he has made and the son takes revenge on the father for having made him in the first place. It shows how in some ways this is similar to the relationship between Huckleberry Finn and his real father, the terrible drunken Pap.
From the Paper "Frankenstein describes his relationship with his own father as perfect--up until the point where his younger brother has been born and his mother has died. Then there is a growing sense of antagonism toward his father in Frankenstein's account. He does not really wish to leave Elizabeth and the family. But his father insists that he leave for the university and when his mother died Frankenstein could only "obtain from my father a respite of some weeks" (Shelley 47). In his disappoint over leaving Frankenstein turns to the studies that interested him and begins his creation of the creature. He blames his entire later course on his father--but subtly limits the blame to his father's quick dismissal of the ancient science that was to mislead him: "If . . . my father had taken the pains to explain to me that the principles of Agrippa had been entirely exploded and that a modern system of science had . . . much greater powers . . . I should certainly have thrown Agrippa aside, and . . . it is even possible that the train of my ideas would never have received the fatal impulse that led to my ruin" (Shelley 40)."
Abstract This paper examines Ernest J. Gaines' novel "In My Father's House", the tale of Philip Martin, a minister and civil rights leader, a responsible husband and father and a pillar of the black community in a small, rural Louisiana town. Martin is forced to confront the sins of his past when the son he abandoned long before shows up in the town to seek revenge against the father he hates. This paper discusses how the story is not only about the reckoning of an individual human being with the wreckage of his past but also the story of the division between black fathers and black sons, a theme which is crucial to an understanding of this and other works by Gaines. It explores these aspects of the novel in the context of the painful beginning of the self-discovery of Martin in the novel.
From the Paper "Gaines portrays Martin not as an evil man, but as a man who is trying, both consciously and subconsciously, to redeem himself for his abandonment of his son, but what he has done has not healed his heart, or his son, or their relationship. The sins of his past were the sins of a young man, but clearly this rationale does not excuse him for those sins or exempt him from having to deal directly with those sins and the son against whom he committed them. Again, the essence of the story is the alienation of black father from black son, and only a direct confrontation can alter that alienation, although not necessarily for the better. After all, the son kills himself in the end of the book, so if there is any redemption it will come in the character of Martin. Despite the fact that Reverend Martin's last words to his wife are, "I'm lost, Alma. I'm lost," Alma restores hope for the future with the words, "We just go'n have to start again" (Gaines 214). "
A discussion of the timelessness of the father/son struggle as seen through Neoclassic literature, with a look at similarities and differences between the struggles today.
1,215 words (approx. 4.9 pages), 3 sources, 2001, $ 41.95
Abstract The work chooses several neoclassic works to demonstrate the timeless phenomenon of the struggle between father and son. The problematic relationship between father and son is therefore timeless and although there are differences between the various struggles, similarities also exist.
From the Paper "Throughout time there has existed a constant struggle between fathers and sons, almost as a right of passage into manhood. Many literary works have addressed this very issue either directly or as a means to assist in the development of a story or to establish things such as tone and setting. I have chosen to discuss three such relationships from selected works derived from the Neoclassicism era. I will compare and contrast these relationships and show the effect each had on the selected work. The three dyads are Orgon and Damis from Jean-Baptist Moliere's Tartuffe, Theseus and Hippolytus, from Jean Racine's Phaedre, and finally Bao-yu and Jia Zheng from Cao Xueqin's Story of the Stone."
Abstract This paper examines Franz Kafka's "The Metamorphosis" and Nathaniel Hawthorne's "Young Goodman Brown," comparing the relationships of the protagonists with the father figures. The paper discusses the symbolic meaning of the father figures and the contrasts between the two stories involving either support or opposition to the father figure.
From the Paper "The relationships of the protagonists with their father figures in Kafka's "The Metamorphosis" and Hawthorne's "Young Goodman Brown" are rich with symbolic meaning and pose an interesting contrast to one another. Whereas Kafka's protagonist labors to support and sustain his father, Hawthorne's protagonist is vehemently opposed to the father figure in the story, the devil and attempts to resist him."
Tags: Kafka, Hawthorne, The Metamorphosis , Young Goodman Brown , Bible, father, sin, hypocrisy
Abstract This paper discusses Author Miller's play, "Death of a Salesman," and looks at the various father-son relationships in the play. More specifically, the paper examines how these relationships demonstrate the different legacies that can be imparted from a father to a son and the unique impacts these legacies have. The paper discusses four different father-son relationships in the play and the effect these relationships have on the sons. The four relationships that take place in the play are the following: 1. Willy and his father, 2. Biff and Happy and their father Willy, 3. the neighbor Charley and his son Bernard and 4. Willy's boss Howard and his father. The paper then examines the last three of these relationships, showing the various elements that compose a relationship and how the actions of the fathers influence the lives of their sons. The paper relates that, when examined together, these relationships show the maladies that plagued the central relationship between Willy and his two sons, Biff and Happy.
Outline:
A Bad Beginning: Willy and his Father The Mirror of Perfection: Bernard and Charley
Inheriting the Tangible: Howard and his Father Where It All Went Wrong: Willy and his sons, Biff and Happy
From the Paper "Willy Lohman is the central character of the play "Death of a Salesman" and is the axis of two father-son relationships: one between him and his father, and the other between him and his two grown sons. Towards the last half of Act 1, it is revealed through Willy's daydream that his father abandoned the family when Willy was only three or four years old and his older brother Ben was about seventeen. Willy's father leaves him and Ben when Willy is very young, leaving Willy neither a tangible nor an intangible legacy. Willy and Ben are left without any money or even a history of who their father was. This sudden desertion by his father left a scarring image on Willy and the feelings of inadequacy and abandonment that will haunt Willy throughout his lifetime. "
Abstract This paper describes the father-son relationships depicted in Alistair McLeod's work, "The Boat" and in Guy Vanderhaeghe's work "Cages". The paper first looks at Alistair McLeod's story "The Boat" and his portrayal of a Puritan family and the father's role in the protagonist's life. The paper then looks at Guy Vanderhaeghe's work "Cages" that describes a father who will do anything for his sons to have a better life than himself. The paper points out that in both stories, we are shown a father's relationship with his son(s) and how it shapes an identity.
From the Paper "Shakespeare actually considered himself a poet, not a writer. Many successful screenwriters acknowledge that their works do not reflect reality, only that they use poetic devices to create something that resembles it (Trottier 7). Likewise, those who write fiction - whether they admit it or not - have a great deal in common with poets, who are said to "paint pictures with words" (source of quote unknown). The blank page is the canvas, and the palette consists of colours we have conveniently labelled as "symbol," "image," "narrative," "contrast," "metaphor," "reversal," and more (Harmon, 262, 441, 507). These literary "colors" - devices - are used in establishing characters' identities, and the identity of their relationships to each other."
Abstract This paper discusses the meaning of the essay as it relates to fathers and sons. The relationship between fathers and their sons is difficult, as this essay captures effectively, while still managing to be poignant and meaningful. It explains that it is clear Carver loved his father and wanted to share him with the world, and he does it eloquently in this essay, which is as much about him as it is about his father.
From the Paper "Raymond Carver writes about his father's live in this moving essay, and he shows how different life can be for succeeding generations. Clearly, Carver is making his living doing something he loves, but he makes it clear his father was never that lucky. He writes, "I don't think he dreamed much. I believe he was simply looking for steady work at decent pay. Steady work was meaningful work" (Carver). Carver writes with love and humor about his father's life, but it is quite clear that this story of his father is also the story of himself, for he recognizes that where he came from and how he was raised is an important part of himself as a grown man."
Abstract The paper explores how, through deep analogy and metaphor, James Joyce allegorizes a paternal relationship between Stephen Dedalus and Leopold Bloom in his novel, "Ulysses". It shows that, strained by both of their insecurities, Dedalus and Bloom never bathe in the warm glory of a true father-son relationship. The paper discusses how throughout "Ulysses", Joyce presents, through his characters and to his readers, the question: What is love? More importantly, are humans capable of attaining and expressing love? It shows that with a series of relationships between son and mother, son and father, husband and wife, friend and friend, country and citizen, colony and "mother" country, Joyce demonstrates the simultaneous longing for and failure of human affection.
From the Paper "Bloom at his most pathetic woos Stephen Dedalus, even idolizes him. Continually deferring to his intellectualism and multilingualism, Bloom symbolically kisses Stephen's behind. They urinate together and the slightly compulsive and neat Bloom waves off Stephen's lack of concern for hygiene to the necessities of creative energy. Creative energy is one of the major things Bloom finds compelling about the younger Dedalus. Bloom offers Dedalus the space of silence with which to cultivate his thoughts, just as Bloom is concerned with delineating, describing, and dissecting every move. Ironically, Bloom's analyses seem scientific even as they lack empiricism. His attempt to reduce life to formulas is in direct contrast to Dedalus's attempt to unify life with poetic, sensual ties. The two opposites attract."
Abstract This paper looks at how the relationship between the main character, Frank, and his father, Malachy, proves to be one of the influential and significant relationships portrayed by the novel, yet it is not a father-son relationship in the traditional sense. Malachy is destitute, he is an alcoholic, and he is the main reason why the family struggles, both in America and Ireland, yet he earns Frank's trust and loyalty. It shows how the novel goes to show that there are intrinsic ties between the father and son, that no matter how ?far-stretched,? cannot be broken.
From the Paper "Frank's story, essentially an account of his childhood, is written in the first person, present tense. He chronicles his childhood, focussing on the struggles of the family. Through these struggles, the environment, and his family, we see Frank's character development. He seems to repel all the negatives around him, and focus his energy at succeeding and rising above the poverty line.
Naturally, Frank's character development is primarily due to the influence of his parents. Frank's parents are not bad people, but they do very little to help his, and his siblings? situation. His mother, Angela, tries to raise them as a "normal" family, but struggles to provide for them. Her troubles are primarily due to disregard of her husband, Malachy."
Abstract This paper discusses the father-son relationships in August Wilson's play "Fences." It expands on the purpose of the father building a fence. It explains the impact of racism on African-Americans. The author desires the conflict between a father and son based on differing motivations. In conclusion the paper discusses the future versus the past.
From the Paper "August Wilson's Pulitzer Prize winning play, "Fences" deals with the aftermath of slavery in the United States and how one man, Troy Maxon is unable to escape the fence erected by white America around African Americans. Unable to rise above his ..."
Tags: Fences, Wilson, Dream, Play, African-American, Racism, Behaviors, Father, Son
Abstract This paper introduces, discusses, and analyzes the play "Fences" by August Wilson. Specifically, it discusses the conflicts between the father Troy and his son, Cory throughout the play. The paper reveals that, using baseball analogies and terminology, "Fences" tells the story of two men, one struggling to care for his family and the other one growing up to become his own idea of a man.
From the Paper "The conflict begins with Act One, where Troy and Cory face off about Cory's desire to play football. Troy thinks he is doing the best thing for his son by banning him from playing football, because he does not want him to believe he can make a living by playing the game. Things come to a head at the end of the fourth scene in Act One, when Cory accuses his father of being fearful his son is actually better at sports (and indirectly life), than he was. Cory says, "Just cause you didn't have a chance! You just scared I'm gonna be better than you, that's all" (Wilson 58). Cory sees his father's weaknesses, but he cannot accept them, because he is still a boy that wants to look up to and respect his father. However, his father is now stepping in and altering his dreams, and Cory cannot deal with that."
Abstract This paper examines the moments of appreciation, which is the primary theme in Simon Ortiz's poem "My Father's Song" and Robert Hayden's poem "Those Winter Sundays." The poem focuses on the similarities between the two poems. First, the paper demonstrates how the poets of both "My Father's Song" and "Those Winter Sundays" use their writing as a sort of memory of something significant that their father taught them. At the time, continues the paper, this lesson seemed unimportant or irrelevant but in retrospect, it was instrumental in shaping the man the poet became. The paper also examines how the poems are both touching without being overly sentimental. Furthermore, the paper shows how both poems express love realistically, through simple events and actions. Lastly, the paper discusses the poems similar structure -- both are tributes to the poet's father, focusing on qualities that were unique unto him.
From the Paper "These poems are poignant because they are touching without being too sentimental. In "My Father's Song," the poet is remembering an event that probably lasted no more than ten minutes. However, within those ten minutes, he was able to hear his father's song, which consisted of strong, gentle, and silent movements. His act is significant because the man takes the time out of working to move the mice to the edge of the field. The grown up poet remembers "the very softness/of cool and warm sand and tiny alive mice/and my father saying things" (Ortiz 23-5). This moment triggers the poem in the first place when the poet misses his father and "his voice" (3). The simple and seemingly insignificant things he misses are more powerful than any momentous occasion could ever be. Likewise, in "Those Winter Sundays," we find that uncomfortable moments turn out to be the ones that evoke powerful memories. Johnson states that while we cannot ignore the fact that the poet calls actions of love "lonely" (Hayden 14) and "austere" (14), the "seeming contradiction is precisely what the poet wishes to portray. His idea of love is that it has many conflicting qualities and that it expresses itself in complex ways" (Johnson). The poems are about the actions of a father that speak love without ever saying it or ever having to define it. In many ways, this is how we learn to recognize love--by subtle actions and gestures. These poems also express the love of the each poet. In "My Father's Song," it is woven between the lines from beginning to end with the poet fondly remembering and missing his father and the things he used to say. In "Those Winter Sundays," the poet's final question releases the love that the father's actions prompt."
Abstract This is a paper on father-son relationships in "Hamlet" and "Henry IV" part 1. The author analyzes this relationship in detail looking at the characters and how they impact the type of relationship that develops. The paper contends that while the relationship in "Hamlet" revolves around respect, in "Henry IV", the relationship is more about power.
From the Paper ?Hamlet, the young prince, so loved and venerated the memory of his dead father, almost amounting to idolatry, and had such a nice sense of honor and propriety, that he is taken aback when his mother, Gertrude, Queen of Denmark, marries his uncle, his father's brother, within two month of the King's death. All the more so because Claudius in no ways resembled the King in the qualities of either mind or appearance. He was as contemptible in outward appearance as he was base and unworthy in disposition.?
Abstract The paper presents a discussion of the male characters in both plays and then constructs a comparison between the two plays in terms of the father/son relationships therein.
From the Paper "Polonius and Laertes, on the other hand, are portrayed as opposites in character. Although the play sees more of their relationship in the play, the viewers/readers cannot conclude that a happy relationship exists between the two of them. Laertes is a good and trusting son, who obeys his father unconditionally. Polonius, meanwhile, is a suspicious character that perceives his son as an alcoholic and womanizer. Polonius? distrust in his son was seen at Act Two, Scene One, when he ordered his servant Reynaldo to spy on his son Laertes at France. He even went to the extent of making Reynaldo tell a lie by telling the Danes (Denmark people) that Laertes has full of vices to affirm if Polonius? suspicion is true. Laertes, a man who left in good faith that his father bids him well, is unknowingly "stabbed at his back" by his own father because of Polonius? suspicious nature. Although Polonius? has not been a good example for his children, Laertes showed unconditional love for his father when he returned to Denmark to avenge his father's death wherein Hamlet was the murderer. In the end, both Hamlet and Laertes died, two men who sacrificed their lives to give justice to the death of their fathers."
Abstract This paper discusses the triangular relationship between father, son and land, which Wordsworth eulogizes in ?Michael.? The paper states that Wordsworth is expressing an imagined nostalgia for a time when strong men, such as Michael, toiled on their own land for their livelihoods but halfheartedly accepted that the changes in society have been unavoidable. The author feels that Wordsworth seems to be making a connection between himself and future generation of poets, a connection similar to the relationship between Michael and Luke.
From the Paper "In order to avoid selling his lands, Michael suggests that he should send his son Lucas to work with a well-to-do relative, so that Lucas can send money back home and Michael can keep from parting with his property. Michael's idea was that ?[h]e quickly will repair this loss, and then/He may return to us.? Thus, he would send Luke away to work off his own debts, and then have his son to help him in the field, once again. But when Michael speaks to Luke about his impending journey, he senses that Luke will in all likelihood not return. He tells Luke: ?This was a work for us; and now, my Son, /It is a work for me.? "
