Why, crom even takes on tangible form in that Conantics novel! A reading of the howard Conan tales reveals that reh never had Crom appear as a tangible entity, only as a religious concept. Reh never had any good Gods as real beings in his series; his evil Gods were ancient or alien entities whom man conceived as evil because the beings' purposes and actions usually brought destruction to men, as was the case. In "queen of the Black coast conan is asked if he fears the gods and he answers, i would not tread on their essay shadow.'. Some gods are strong to harm, others, to aid; at least so say their priests (Conan of Cimmeria, p96, emphasis mine). In "Black colossus mitra, a kind god, orders the princess Yasmela who has come into his temple for help to go forth into the streets alone, and place your kingdom in the hands of the first man you meet there (Conan the Freebooter, p66). Afterwards Yasmela says, it might have been the voice of the god, or a trick of a priest (p67, emphasis mine).
The term "Conantics" refers to the conan of the so-called pastiches, the conan stories written in imitation of Robert. Howard, to fill in gaps in the saga, and/or to make quick money from the conan name. I'll let the relevant part of the essay speak for itself: Carter's use of religion in the imitations is one of the major differences between Conantics and Conan, and one of the major flaws in an imitation of Howard. In "The hand of Nergal carter evernote presents the most simple religious conflict possible - good versus evil. A gigantic golden god representing the heart of Tammuz battles a gigantic tenebrous god representing the hand of Nergal. I asked Glenn Lord if Howard, in his outline of "The hand of Nergal included the golden god-defender of the heart of Tammuz. He answered "no" in a letter dated February 2, 1974. This fact means the injection of forces for good in Conantics stories must be carter's idea - an idea he repeats with de camp in Conan of the Isles, featuring another good. Evil confrontation and even a scene wherein the imitation Conan sacrifices a bullock to Crom (who hates weaklings)!
Indeed, the list carries the title "Gods demons of the hyborian Age and the majority of the listed beings are of the demonic, dark and sacrifice-craving kind. This article attempts to look into this aspect of Howard's writing, and its implications for fantasy roleplaying. As i've explained in the article about alignment, i feel that Howard's stories contain little of that stereotypical good-versus-evil conflict, so common in high fantasy rpgs. While it's certainly true that Conan is a "hero" who battles and defeats "bad guys one cannot easily label Howard's Conan a sterotypical "good guy". Conan generally keeps his word when he has sworn something, but one suspects that he usually rescues the fair maiden of the story because he desires her physically, and he kills warriors, sorcerers and monsters without remorse if and because they stand in the way. Now, what does this have to do with the gods? I've found much to support my view in an essay, ". Conantics written by don Herron and published first in 1976.
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Both Golding and Shakespeare make it very clear that the evil and corruption that surrounded Desdemona and Simons death do not effect them. The theme of good versus evil is evident in both loft and Othello. Desdemona and Simon who are the pure characters are challenged in life by the immoral characters represented by jack and Iago. Although the evil prevails in taking their lives it is not victorious in the fight to corrupt the pure. Conan, do you keywords fear the gods?' 'i would not tread on their shadow answered the barbarian conservatively. 'some gods are strong to harm, others, to aid; at least, so say their priests.
Mitra of the hyborians must be a strong god, because his people have built their cities over the world. But even the hyborians fear Set. And Bel, god of thieves, is a good god. When I was a thief in Zamora i learned of him. Howard: "The queen of the Black coast". Looking at the list of Hyborian gods, one notices that there are very few deities that seem benevolent or "good" (in the traditional fantasy roleplaying sense of the word).
Both Jack and Iago spread their evil and play a major role in the death of the innocent. Although the murder of both characters is uncalled for and unjust, the authors make it clear that they have not been corrupted by the evil that took their lives. Golding makes a point to carefully detail Simon s burial. The following in an exert from his burial- The water rose further and dressed Simon s coarse hair with brightness. The line of his cheek silvered and the turn of his shoulder became sculptured marble.
Somewhere over the darkened curve of the world the sun and moon were puling. Softly, surrounded by a fringe of inquisitive bright creatures, itself a silver shape beneath the steadfast constellations, simon s dead body moved out towards the open sea. (Golding 170) It is a very poetic passage from the text and Golding places such emphasis on it to cement the fact that Simon truly was a virtuous individual, and remains this way in death. As Desdemona lies in her deathbed she is given one last breath to speak to her nurse. The nurse demands to know who hath done this deed? And Desdemona who has stayed gentle and loving creature replies Nobody- i myself. Commend me to my kind lord. Desdemona s true nature is shown in her death. Her ability to forgive the man who stole her life highlights the compassion and understanding this woman had.
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He advises Othello to Strangle her in her bed, even the summary bed she hath contaminated (126) His destructive lies have encircled the entire play and end in the murder of Desdemona by the hands of her loving husband. Jack first appears coming out of the darkness of the forest. This image foreshadows the evil role he plays in the story. Jack, who is the leader of hunters, persuades many of the boys to join in the hunt and kill of pigs, and later of Simon. After the first pig is murdered Jack gives out the meat plan proudly to the all the children, except Piggy. Jack had meant to leave him in doubt, as an assertion of power (78). Right before simons murder he screams do our dance! (167) Jack insists that everyone join in on the rituals. The children get carried away in the satanic dance and when Simon crawls out of the forest to share his knowledge they kill him.
He is unselfish in his labour to provide everyone with the food they need to survive. Another instance of this occurs when Jack and the hunters return from the hunt with meat for all of the boys, excluding Piggy. Piggy is infuriated with the treatment he is receiving, but is still refused meat from Jack. At this point Simon wiped his mouth and shoved his piece of meat over the rocks to piggy (78) Through these and other scenes Desdemona and Simon s good nature and concern for others is made obvious. Iago and Jack are the main characters in the books that use aninnate evil to challenge all characters, especially those that possess an inborn goodness. Honest Iago who is a completely deceitful character is convinced that Nothing can or shall content my soul Till i am evened with him wife for wife. Or failing so, yet I put the moor at least into jealousy so strong that judgement cannot cure. (76) Iagos slanderous poisons soon take report their effect, and the moor rages over his wifes imagined infidelities. After many lies and set-ups Iago has convinced Othello that Desdemona has not been faithful.
women do abuse their husbands in such gross kind? And later says, i do not think there is any such woman (142) she cannot comprehend that a woman would do such a thing, let alone commit the crime herself. Simon also shares that same compassion and sense of concern for others. This is demonstrated many times throughout the text but is highlighted by his care for the littluns and Piggy. They talked, cried out unintelligibly, lugged him towards the trees. Then, amid the roar of bees in the afternoon sunlight, simon found for them the fruit they could not reach, pulled off the choicest from up in the foliage, passed them back down to the endless, outstretched bands. (57) In this scene simon appears to be a savior for the littluns.
Simon and Desdemona clearly represent all that is good in the world. The characters are portrayed by the authors to be very understanding and compassionate individuals. Desdemona expresses in her language and actions, an innocent, unselfish love and concern for others. This is evident when Desdemona makes pleas on behalf Cassio for Othello s forgiveness, and in her inability to comprehend a woman s desire to cheat. Cassio has asked Desdemona to make a plea to Othello for his return to office. Desdemona, being the compassionate woman that she is asks Othello the first chance she gets, good my lord, if I have any grace or power to move you, his present reconciliation take. For if he be not dubai on that truly loves you that errs in ignorance, and not in cunning I have no judgement in an honest face. I prithee call him back.
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Lord Of, the Flies, and, othello, comparison. Essay, research, paper, lord of the Flies and Othello comparison, the age-old theme of good versus evil is presented in both, william Golding. Lord of the Flies lotf and, william Shakespeare s Othello. The characters are used to show the battle between the two. Simon and, desdemona who represent purity and embody an innate goodness are challenged resume by many characters that do not possess the same holy qualities- who have actually subsided to the evil that is, in every way, their opposite. Jack and, iago represent the evil in the novels. Unfortunately in both pieces we see the loss of life for the pure characters through the clutches of evil. The evil does not necessarily win, as both characters maintain their standings as upright and completely pure individuals, even in their brutal murders.