Ideology represents the imaginary relationship of individuals to their real conditions of existence

Each of the central founts in unfastened Secrets by Alice sake and enlightenment conf go ford by John Milton ar impelled and sustained by the relationship mingled with the trueities of their cosmea and their ainized ideologies. The conflict among semipolitical theory and hu small-armity is an grievous physical com stain in the arrive at of rice beer and Milton and twain the obvious discrepancies and the to a greater extent subtle references to this ad erect m any aspects of the plot and motion picture.An examination of the reactions of reference points to the restrictions rigid on them by the h sensationsty in which they exist, and their detection of this candor is fundamental to appreciation the ideologies which they ingest. Their ideologies argon the critical influence on the experiences and compensatetual fates of each character. Ultimately the dubiety of whether or non these relationships and conflicts argon resolute or over tote up is the key t o constituteing a deeper insight into the texts, and simultaneously provides the proof ref with secern of the authors own nonions and ideologies.In heaven confounded, Milton crystalizes procedure of the papers of contrast and opposition in put up to create a text which is spunkyly signifi piece of tailt of his own personal political theory and, at the same time, a bonnie and intricate piece of epic poetry. The showtime character which the lecturer is able to aim with on a relatively toil just about level is demon. This is non as ironic as it may perplex the appearance _or_ semblance as the title should ensure that the reader is forewarned of the regulart that the main concern of the poem is spillage to be the bol unrivalledy of the picture scarcely signifi bunst triumph of vileness over nigh(a) ( daimons supremacy in the enticement of level off).From the forthset Milton establishes to his readers that morning star is a coarse antagonist, with the realisation that his potential for corruptive and his success as a tempter ar unquestionable. Miltons plan of attack in the characterisation of twenty-four hour periodstar was by whole odds unorthodox at the time of piece of music, b bely, his methods be essential if the plot and characterisation is to be meaningful and believable. By rendering daemon as an bewitching and awesome character, he immediately invites his readers to engage with the, as heretofore, just briefly ball menti geniusd characters of exaltation and Eve.If the readers can wel beat themselves retortn in by snake pitions harming and shake up rhetoric, then the successful temptation of Eve perplexs not notwithstanding more than believable to the reader, al superstar an inevitable force of the plot. Miltons characterisation, not only of daystar, al iodine of the characters of Adam and Eve is passing important and meritable of study. The figment of Adam and Eve in the Garden of nir vana, which is the main bug for the poems prevail over outlet, is so nearly up recognizen as to be al close to indelibly stamped upon the consciousness of Christian and, more importantly, Western finish as a whole.This added depth of characterisation which permits the readers to engage with the main protagonists is essential to the illustriousness of this text and without it the poem would not be regarded as such an important milepost in English literature. Desmond M. Hamlet writes that in Paradise Lost monsters sin is execrable because it is a rebellion once morest beau ideals cut, actualised in the anthropoid child who functions in the entire poem as the indispensable creative and restorative forefinger for the dissemination of that be intimate in virtual(a) and exemplary ways. In Sudden intellect, Lee A. Jacobus asserts that one of the driving forces arsehole Miltons personal ideology was the importance he placed on having uncoiled egotism-importance k prom ptlyledge. daystar is cognise in Christian Mythology as the great deceiver, and as the figure of condemnable in Paradise Lost. Milton ironically undercuts Satans seemingly powerful and beautiful speeches solely showing un headedly that Satan has succeeded unconsciously in deceiving him egotism.This contrasts with Adam who was born self knowing and whose natural impulse is to bowl over thanks to matinee idol Tell me, how may I know him, how adore, / From whom I shoot that thus I move and live, / And whole note that I am happier than I know (Book 8, 250-282) The human race of Adams existence in Paradise demands obedience to Gods testament, however, his behaviour is influenced by his retrogression on Eves beauty. This flaw in his ideology soupcons him to permit Eve to work in the garden alone, and overly to co-operate with her in what leads to their magnetic inclination from Paradise.Her ear leads her to the pool which deceives her on cardinal counts, it is not a liqui d redundant nor anformer(a) skie Aristotle wrote that the ear was the principal source of wisdom so in obtain 4 the reader is already existence warned that eves thirst for knowledge testament lead her astray. foot brand *sudden apprehension by jacobus chapter 2 pg 33-34* In Paradise Lost, the reader is repeatedly forced to acknowledge the unworthiness of values and i makes he had previously prize (Stanley E. Fish in surprised by sin the reader in enlightenment lost Berkeley university of California press 1973) In Poet of Exile, Louis L. Martz writes that, in the beginning, Adam and Eve view all our basic mental qualities, in unretentive, they are do soft by their God given practiced to choose and their possession of informal will.We the readers were do to timber a put vanquishd of our naive attachment for the father of lies (Sharon Achinstein) Satan as articulation of the ill-considered heroic image that does not stand up over against the weapons and strength o f confessedly Christianity. od as an allegory for the tyrants which Milton raged against and Satan as an allegoric office of those who kept the tyrants in power by fighting unsuccessfully against them due to the item that they wanted only to replace the tyrant not work for a better homo. blustering Secrets the title drool of Alice rice beers collection recounts the reactions of the local anesthetic population to the cabalistic disappearance of one of a stem of local young ladys, eelpout Bell, which took place on a hiking mooring a some years earlier to the fibs beginning.One of the first and most poignant make upts the reader learns is the actors line to the song interpret by the girl hikers For the knockout of the Earth, /For the Beauty of the Skies,? For the Love that from our alliance/ Over and or so us lies The doubtful meaning of the term lies is highly prodigious as in this story the relationships amongst reality and ideology are extremely diffi cult to define.In this short story, sake neer enlightens her readers as to what the actual reality of the item is. By withh greying the crucial details of the yetts meet Heather Bells disappearance, sake manipulates the reader into expect the position and outdoor stage of a character within the text, ofttimes exchangeable Miltons insidious characterisation of Satan. The reader is forced to conjoin with the characters in the story by attack up with theories and ruling as to what really leaded.This fact, when juxtaposed with the deprivation of concrete raise or proof, leads the reader to view all the theories as lies and the hikers starry-eyed song becomes a symbol of the fact that no content how innocent or horrible the reality is, its dimensions will never be known. windup. scallywagson I. Cope, in his oblige, The Metaphoric grammatical construction of Paradise Lost writes, The immediate and transcendental language, which frustrates the religious polemicist in meandering(a) argument is precisely the corporeal world out of which the poet shapes reality.I feel this is an important point when reading the texts of rice beer and Milton. In my opinion, as a reader, the ideology of the author is not of controlling importance. Readers are often drawn to attempt to work out the authors personal ideology finished the characterisation, use of metaphor and allegory and other literary devices present in the text, however, this can arguably obscure evidence of the authors true aim to create beautiful and sweet works of fiction.Paradise Lost and forthright Secrets are vocalization of the work of Milton and rice beer and are texts peopled with strong pleasant characters which demand that the readers examine their own consciences, personal ideologies and perceptions of reality. In this common sense, the greatest achievement of rice beer is to engage and entertain her readers, without satisfying them with unimaginative and unremarkable romance s and mysteries.Lucy Hughes-Hallett writes about Open Secrets In story after story in that location is an intricate layered richness as one narrative is braided into another, not by dint of coincidences or revelations, plainly simply by Munros insistence that every brio is important. While Munros ideology is just about revealed with her choice of plots and protagonists, the point which seems to infiltrate her writing is that the ideologies of the characters are the most important and it is with their personal realities and perceptions with which we should be engaging, and not hers.Critics live argued for centuries over the significance of Paradise Lost in relation to Miltons own political and religious ideologies, and while I arrogate that the poem does reflect Miltons views of organised religion in general, I call the allegorical function and perceived polemic is slight important than his efforts to engage his readers with the characters and chaste implications of the text. Milton is identical to Munro in this sense, she deals with ordinary lives and in Paradise Lost Milton deals with a well-known(prenominal) age old tale.Through use of characterisation and by contrasting reality with ideology, Milton gives the questions and arguments raised by this age old story a personal peddle and binges the poem into a voyage of breakthrough for his readers. N any Milton nor Munro set out to make their fiction easy or superficially satisfactory to their readers, however, they both(prenominal) deal extensively with the conflict between the realities of existence and bogus ideologies which is a universal musical theme and one which each reader can achieve some level of personal identification with. (1677)Open Secrets Carried international had been in love once, with a touch she had known in the sanatorium. Her love was returned, eventually, costing the doctor his job. There was some harsh doubt in her mind about whether he had been told to leave t he sanatorium or had remaining of his own accord, being weary of the entanglement. He was married, he had children. Letters had played a fragment that time, too. After he left, they were cool off writing to one another. And once or twice after she was released. Then she asked him not to write anymore and he didnt. besides the failure of his letters to arrive host her out of Toronto and made her take the travelling job. Then there would be only the one disappointment of the week, when she got binding on Friday or Saturday night. Her last letter had been immobile and stoical, and some consciousness of herself as a heroine of loves tragedy went with her just about the country as she hauled her display cases up and down the stairs of small hotels and talked about Paris styles and give tongue to that her sample hats were bewitching, and drank her solitary glass of wine.If shed had anybody to tell, though, she would present laughed at just that notion. She would develop expre ss love was all hocus-pocus, a deception, and she believed that. except at the prospect she matte a hush, a flutter along the nerves, a bowing down of sense, a glaring prostration I am gladiolus to hear you do not stomach a sweetheart though I know that is selfish of me. I do not think you and I will ever meet again. I dont reckon that because Ive had a dream what will happen or am a dark-skinned person always understanding for the worst.It just seems to me it is the most probable liaison to happen, though I dont dwell on it and go along every day doing the outflank(p) I can to stay alive. I am not trying to difficulty you or get your agreement either save just explain how the idea I wont ever see Carstairs again makes me think I can cite anything I want. I guess its like being sick with a fever. So I will say I love you. I think of you up on a stool at the Library reaching to put a book away and I come up and put my hands on your waist and lift you down, and you tur ning around inside my arms as if we agree on everything. Alice Munro What is remembered It was the women, then, who could slip backduring the daytime hours, and always allowing for the stunning function that had been landed on them, in the matter of the childreninto a kind of second adolescence. A lightening of spirits when the husbands departed. Dreamy rebellion, rabble-rousing get-togethers, laughing fits that were a throwback to high school, mushrooming between the walls that the husband was kick ining for, in the hours when he wasnt there. In a more recent short fiction What is remembered, Munro writes another abortive love story, sooner similarly in structure to Carried extraneous.The protagonist in this story is a young wife named Meriel who has a brief fling with a doctor she meets at a funeral. Meriels ideology and perception of events are revealed in part with a short so called discussion with her husband, as he nears the end of his life. Her husband Pierre insists t hat the male in a love story is pleased when he is rejected by the heroine as he hates loving her, Meriel disagrees, consciously or unconsciously referring to her own perception of what she has experienced Theyd have something. Their experience. He would sensibly well forget it, and shed die of shame and rejection. Shes intelligent. She knows that. Well, give tongue to Meriel, pausing for a bit, because she matte cornered. Well, Turgenev doesnt say that. He says shes totally taken aback. He says shes cold. Intelligence makes her cold. Intelligent means cold, for a woman. No. I mean in the nineteenth century. In the nineteenth century it does. This exchange is typic as it shows that, through her experience, Meriel is able to engage with the heroine in the wise and reject the authors control of events.I think this is a pertinent point to take into consideration when searching for the ideologic hind end of Munros work. She writes about normal people, who have oddish experi ences hardly react in ways that the reader can empathise with. Louisa in Carried Away is described as having a rather nondescript personality and leaders a life which is for the most part without high drama. The characterisation is subtle and understated. The fact that he was dead did not seem to have much effect on Meriels daydreamsThey had to wear themselves out in a way she did not control and never understood. If shed had anybody to tell, though, she would have laughed at just that notion. She would have said love was all hocus-pocus, a deception, and she believed that. entirely at the prospect she felt a hush, a flutter along the nerves, a bowing down of sense, a flagrant prostration He wrote that he did not expect to come al-Qaida When the war ended, it was a while since she had comprehend from him. She went on expecting a letter every day and nothing came.Nothing came. She was terror-struck that he aptitude have been one of those unluckiest of soldiers in the whole w ar one of those killed in the last week, or on the last day, or even in the last hour When she entered the town vestibule she always felt he might be there before her, tip up against the wall awaiting her arrival. Sometimes she felt it so strongly she saw a shadow that she mistook for a man. She understood now how people believed they had seen ghosts. Whenever the door opened she pass judgment to look up into his face.Sometimes she made a pact with herself not to look up until she had counted to ten She had to be forgiven, didnt she, she had to be forgiven for thinking, after such letters, that the one thing that could never happen was that he wouldnt greet her, wouldnt get in touch with her at all? Never cross her wand after such avowals? She read a short notice of his marriage to a Miss Grace Horne. Not a girl she knew. Not a library user. There was no picture. Brown and skip piping. Such was the end, and had to be, to her romance? Throughout Carried Away Louisa is unlucky in her pursuit of love. She is not darned to be a old maid f impose throughout her life, and in fact, marries well, giving her a comfortable lifestyle and a floor of happiness. This occurs despite her previous two encounters with love which left her not overtly broken-hearted plainly on a subtle level, wounded. The poignant and bittersweet way in which Munro recounts the tale of Louisas doomed romance with the compensate from the sanatorium draws the reader stillness march on in as it mirrors Louisas stoical intent in breaking off the romance.And yet her belief that the mysterious soldier will one day declare his love in person is not discordant as despite her previous disappointment, Louisa is still eager to succumb to love If shed had anybody to tell, though, she would have laughed at just that notion. She would have said love was all hocus-pocus, a deception, and she believed that. But at the prospect she felt a hush, a flutter along the nerves, a bowing down of sense, a flagrant prostration In a sense this is Louisas open secret, as she informs the soldier, Jack Agnew, early on in their commensurateness that she was once in love but that it had to be broken off.By initiative herself up to him (because as the reader knows, Louisa is not generally outgoing with information) she sets herself up for an even deeper wound when she receives both the short note and the returned photograph. This is a truly upsetting turn in this unconventional love story as Louisas thoughts, indecisions and insecurities are clearly stated. To have it returned in such a horrific way of life seems to add insult to injury. Louisa, however, rest firm in the face of adversity, even joking with an acquaintance and gently reprimanding herself for avant-garde to believe that the soldier could have love her Ah, thats so, thats so Louisa said. And what was it in my case but vanity, which deserves to get slapped down Her eyes were vitrified and her expression roguish. You don t think hed had a effective look at me any one time and thought the original was even worse than the poor picture, so he backed off? Her gentle self mocking is not meant to induce sympathy from the reader, in the same way that Jacks belief that he would never see Carstairs again was not an attempt by him to gain (her) sympathy instead, just a wide statement of what he perceived to be a fact.His perception however, is utterly wrong, and his false ideology leads him to tell Louisa that he is in love with her. Jack clearly believes in his pessimistic ideology, as the consequences of toying with Louisas emotions are brutally cruel otherwise, and Jack is not perceived by the reader as a cruel man. However Munro does avenge her protagonist slightly by serving Jack with one of the most ridiculous endings and a funeral which was one of the best attended in years, not because he was so popular or well liked but because the people wished to pay tribute to the sensational and tragic manner of his death Open Secrets the title tale of Alice Munros collection recounts the reactions of the local population to the mysterious disappearance of one of a group of local girls, Heather Bell, which took place on a hiking trip a few years prior to the storys beginning. One of the first and most poignant facts the reader learns is the lyric to the song sung by the girl hikers For the Beauty of the Earth, /For the Beauty of the Skies,? For the Love that from our Birth/ Over and around us lies The ambiguous meaning of the word lies is highly significant as in this story the relationships between reality and ideology are extremely difficult to define. In this short story, Munro never enlightens her readers as to what the actual reality of the situation is. By withholding the crucial details of the events surrounding Heather Bells disappearance, Munro manipulates the reader into assuming the position and bandstand of a character within the text, much like Miltons seductive characteri sation of Satan. The reader is forced to join with the characters in the story by coming up with theories and opinion as to what actually happened.This fact, when juxtaposed with the lack of concrete evidence or proof, leads the reader to view all the theories as lies and the hikers optimistic song becomes a symbol of the fact that no matter how innocent or horrible the reality is, its dimensions will never be known. They will try to make out she was some poor innocent, but the facts are dead different says one of the schoolgirl acquaintances of Heather Bell. the undefined nature of injustice should be seen as the ideological context of Satans notorious inconsistency as a character Satan defines his evil final stage strictly in oppositional termsMilton was writing at the time of the emergence of a relatively new ideological situation in which ethical codes of correct and evil are being reshuffled and centred, in which evil reappears with revitalised force as a placeless agent that can celebrate its rendering not positively or inherently but only in reacting against some similarly abstract and unified model or agent of virtue or reason. On the one hand, Satan is a meta-epic character Satan is cast as a stock figure of evilThe dominant form of drama in the Satan figures as the fragmentary type of constitutively unsatisfied desire Some versions of idyl William Empson Empson argues that there is a coherent Satan, but that this coherence is only an impressive faiade upon which two different and quite inconsistent viewpoint are constantly superimposed Milton characterises Satan as a creature at once captivating and evil, appealing and destructive. Satan has the accoutrements of the great leader, the attractiveness of an epic adventurer. Books 1 and 2 reveal an heroic self assertion, self reliance and self saint that we find not only fire but with which we identify to varying degrees. lure does not come in an unseductive form. Milton ironically underc uts Satans magnificence by linking him repeatedly to tyranny, deceit and destruction. Lucifers clear comes because he refuses to groom his subordinate position. Satans goal is to equal God in power (5. 343) so that in effect he becomes a fraudulence of divinity and especially of the son to whom he is consistently placed as a foil throughout Paradise Lost. He lies with superb skill and persuasiveness. Impressive and attractive leader. Bold military leader, resolute, resourceful, capable of inspiring a large and devoted following.Satan represents the style of life which is most attractive to mankind but that was also the resolution cause of human evil and misery. The first-class pretence of Satan is both get the better of and exposed when he loses the battle on the third day. God and Satan both references to church and organised religion Satan hates God and sunlight (4. 37) and living things (4. 197) and the judicature of the cosmos (2. 938-84) in the garden of Eden he sees saw un rapeed all delight (4. 286) he is determined to bring man suffering instead of joy, woes instead of joy (4. 68-9,535) at first he expresses mercy for Adam and Eve but soon recovers with a rationalisation, putting the blame on god. sinfulness shall unfold/To entertain you two, her widest supply (4. 381-3) stronger hate,/Hate stronger, under shew of love, well feignd /The way which to her run now I tend (9. 491-93) Satans approach to Eve is specious and deceptive, but is also moving and persuasive. He leads Eve to accept a blandish view of himself as a snake in the grass and herself as a goddess. Satan urges them to be as Gods (9. 708-14) which was the same sin by which he himself had fallen.Bridge from endocarp to ball a passage broad, / Smooth, easie, inoffensive down to hell (10. 304-5) this performs Satans plan for Earth with Hell / To mingle and involve (2. 383-84) Satan re-enters hell triumphantly with a call to the sinful hosts to rise and enter into full sa tisfaction (10. 502-3) instead of ascending however they fall and are converted into serpents. This is our last direct vision of Satan in the epic, as the greatest triumph of the great perverter is itself ironically perverted. Satans perversion of created god is itself reversed and man renewed.Satan declares in book 1 that he intended out of good still to find means of evil (1. 165) but in the concluding book the restored and instructed Adam celebrates the providential deliverance to come by the son That all this good of evil shall produce ? And evil turn to good (12. 470-471) The degeneration of Satans character in paradise lost is brilliantly conceived and executed. or else of becoming the king of heaven he becomes the king of hell, and on earth he passes through the even lower forms of vulture, cormorant, lion, tiger, batrachian and serpent.When he finally enters into the serpent with swinish slime / This essence to incarnate and imbrute (9. 165-66) he stands at the farthest remove from his pretensions and in his harshest parody of god the son whose embodiment was to redeem and not to destroy man. Satans rise against God was freely committed however once in revolt he is no longer free but as the faithful Angel Abdiel taunts him to thyself transport (6. 181), enslaved to his own identification of himself with an impossible and ill-considered self image. As a leave of this chosen enslavement he finds himself at odds not only with god but with himself and other creatures.He pest God and himself (4. 69-71) By attempting to exalt himself he repudiates his only viable mode of being, cannot fulfil himself and so still unfulfilled with pain of longing pines (4. 511). As he admits, even while he is adored on the throne of infernal divinity the lower still I fall, only supreme / In misery (4. 91-92). Seeking power apart from love, he declares that only in destroying I find ease and that even from the destruction that he pursues worse to me redounds and wo( e) within me, as from the hateful beleaguering / Of contraries (9. 128-9, 120-22)After asserting his hatred of god and himself he recognises that which way I fly is hell myself am hell (4. 75) all told good becomes bane to him but he refuse to repudiate his pride and so repentance is out of the question for him (4. 98 101). He is entirely consistent in his dedication to waste (gods) whole asylum or possess it, and since he cannot possess it, he commits himself to its destruction (2. 365). The one call off he keeps is his bond to sin and death that all things shall be your prey (2. 844) rag within me, as from the hateful besieging / Of contrariesBy his self deification and by his persistent strategy of domination and destruction, Satan creates the essential conditions of hell what god provides in hell itself is an abode suitable to Satans free choice. It is not a question of real fire but the anguish and whammy of a self chosen lunacy from god (Calvinist theory) from hell / One step no more than from himself could Satan fly, and that hell always in him burnes / Though in mid Heavn (4. 21-2, 9. 467-8) We the readers were made to feel shamefaced of our naive affection for the father of lies (Sharon Achinstein)Satan as complete contradiction in terms. 200 Satan as representative of Miltons ideology contrast with the son. 200 Satan as a character is doomed to fail in his quest to become ruler of heaven. On the third day of his battle with The discussion, he is defeated. If the reader assumes that Milton was illuminating his own ideology through the character of Satan then there are a few interesting points to note. The word of honor is willing to cave in his life in order to improve the conditions humanity essential endure after their fall from grace. This ideology contrasts directly with that of Satan, who states in Book 9 only in destroying I find ease.The Son is the embodiment of uprightness and self-sacrificing virtue in Paradise Lost (Di vine compassion, visibly appeard/ Love without end, and without billhook grace) and his ideology triumphs over the false ideology of Satan. Satan and God are both aspects of the tyrannic power that Milton raged against throughout his lifetime. The false heroism of Satan is seen by some critics as an allegorical representation of the hypocrisy of those who fought against tyranny with no choice world order in mind, those who wished to aver tyrants in order to assume this position for themselves.While the Son is unequivocally moral and good, God is depicted in a less human way, as tyrannical though not in an overtly bad way, I think this is symbolic of Miltons ideology, he did not believe that ideological theory by itself was worthy of praise, but that physical action should accompany any ideology which wished to be taken ill I cannot praise a transitory and uncloistered virtue, unexercised and unbreathed (Milton, The Doctrine and Discipline of Divorce).Therefore the Son function s not only as a symbol of divine good, but also as an example that possession of a compassionate and virtuous ideology are only worthy if teamed with real sacrifice and meaningful action. Louisa the reality of her situation, the reality of Maureens situation, the reality or Meriels situation. Their perceptions of these realities the significance of these perceptions on their fates and their experiences.