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首页> 外文期刊>Research on Humanities and Social Sciences >A Comparative Study of Arthur Dimmesdale in The Scarlet Letter Nathaniel Hawthorne and Raju in The Guide by R.K. Narayan
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A Comparative Study of Arthur Dimmesdale in The Scarlet Letter Nathaniel Hawthorne and Raju in The Guide by R.K. Narayan

机译:R.K.在《指南》中的《红字Nathaniel Hawthorne和Raju》中Arthur Dimmesdale的比较研究。纳拉扬

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Enlightenment is something which is very internal. Here, the novels, The Scarlet Letter and The Guide introduces a new approach in justifying religiosity among the widely accepted (!) preachers. Two saintly characters are having a moderate demonstration through this writing in order to unfold their insights under the observation of their so called dedicated activities. So the readers might be convinced by the crucial fact that, how far they are enlightened; or, whether they are being merely privileged to be addressed by the illusioned common mass or by the co-incidences at large.] Arthur, the distinguished character comes out of Nathaniel Hawthorne in his famous novel the Scarlet Letter while Raju the figurative personnel of The Guide by R.K. Narayan-though the characters amazingly convey striking phenomena belonging to two centuries apart. Both the writers happened to be extremely popular with the vast reading public of the similar and different backgrounds. Both the writers use psychoanalysis, soliloquies, asides, to convey true insight of the characters thereby supplying the readers the resemblences and incompatibilities of their individualities. Here we would intend to justify and diagnose their extent of moral disillusionment, enlightened realization. Raju,in the Handitouch of R.K. Narayan is found to be shifted ultimately into a guide and prodigy( a guru) according to some critic he is an anti hero rather than a hero. Certainly, the very portrayal of Raju almost provided a modern essence to the novel, the Guide. Since it breaks with the traditional structure of a novel- the hero lacks in heroic characteristics; Rosie is always devoid of being called a heroine; even the plot development is not pursuing a single theme or any particular climax. Unlike the traditional ones it starts with an abrupt opening of a modern drama containing the features of flash back and flash forward as well. In the Scarlet Letter admittedly this kind of feature is hardly noticed. Primarily he seems to be gifted with scholarly attainments, whereas he wore a half-frightened look all about him. Arthur’s failing health was considered to be on account of excessive study and scrupulous fulfillment of his priestly duties; and on top of that, his frequent fasting and vigils. However, we are face to face with Raju when he was chatting with a barber. In the course of the conversation between the two , readers were convinced through the affirmation of the barber that Raju did not commit murder nor did he cheat , abduct or rape , while ironically he was accused of all these crimes.
机译:启蒙是非常内在的东西。在这里,小说《红字》和《指南》介绍了一种新方法来证明被广泛接受的传教士之间的宗教信仰合理性。通过撰写本文,两个圣人正在适度示范,以便在观察他们所谓的奉献活动的情况下展现他们的见识。因此,读者可能会被这个关键事实深信不疑,他们开悟了多远。或是,无论是仅仅只是被幻觉的大众大众还是普遍的偶遇来解决。]亚瑟(Arthur),杰出的人物来自纳撒尼尔·霍索恩(Nathaniel Hawthorne)的著名小说《猩红色的信》,而拉尤(Raju)是RK指导纳拉扬(Narayan)尽管这些角色惊人地传达了属于两个世纪的惊人现象。两位作家碰巧在具有相似和不同背景的广大读者中非常受欢迎。两位作者都使用心理分析,独白,旁白来传达角色的真知灼见,从而为读者提供他们个性的相似之处和不兼容之处。在这里,我们打算证明和诊断他们的道德幻灭的程度,以及开悟的实现。 Raju,在R.K.的Handitouch中根据一些批评家的说法,纳拉扬最终被转变为向导和神童(上师),他是反英雄而不是英雄。当然,Raju的刻画几乎为小说《指南》提供了现代精髓。由于它与小说的传统结构不符,因此英雄缺乏英雄特征。罗茜总是被称为女英雄。即使情节发展也不追求单一主题或任何特定的高潮。与传统电影不同的是,它首先是一部现代戏剧的突然开放,其中包含了向后闪动和向前闪动的特征。诚然,在《红字》中几乎没有注意到这种功能。最初,他似乎博学多才,而他却半ore不安。人们认为亚瑟健康状况不佳是由于过度学习和严格履行其神职。最重要的是,他经常禁食和守夜。但是,当Raju与理发师聊天时,我们面对面。在两者的对话过程中,通过对理发师的肯定,读者确信拉朱没有谋杀,也没有作弊,绑架或强奸,而具有讽刺意味的是,他被指控犯有所有这些罪行。

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