Misfit doesn 't feel pain at all, he doesn 't even think about if it is true that he killed his dad. He says "I found out the crime don 't matter.
You can do one thing or can do another, kill a man or take a tire off a car,…. Meursault however, does not care for these rules and refuses to acknowledge or accept them. He refuses to follow rational rules and morality for a world that does not make sense.
Macbeth has decided to rip apart a family, the one of Macduff. Though Macduff is an enemy to Macbeth, Macbeth had no expressed reason to kill an innocent woman and her child, this is evidence that Macbeth has no regard for other peoples emotions and feelings.
However, the fact that Macbeth had the feeling that he was better than…. He tries to break away from the mold we have formed as a result he seems selfish and weird. His personal flaws do make him an anti- hero but not a villain.
So in conclusion we shouldn't be so fast to judge a person, we don't know their stories and maybe the things they do seem right to them because they were never taught better all we can do is accept….
At the end of his contemplation, the narrator feels guilty for his dark thoughts. The strange way the court focused on his life instead of on the murder shows absurdism in their minds as well, although they were accusing him of being indifferent about his ways.
The court sentences Meursault to death for murder, but they are guilty of the same crime when they sentence Meursault to his death. Immediately thereafter, the car passes "an old family burying ground," and the grandmother points out the five or six graves in it — a number equal to the occupants of the car — and mentions that it belonged to a plantation which, in response to John Wesley's question concerning its present location, has "Gone With the Wind," an answer that is doubly ironic insofar as it recalls the death of the Old South.
The children, after they finish eating the food which they brought along with them, begin to bicker, so the grandmother quiets them by telling them a story of her early courtship days. The story, which emphasizes the grandmother's failure to marry a man named Teagarden, who each Saturday afternoon brought her a watermelon, reveals both her and June Star's concern for material well being.
When June Star suggests that she would not marry a man who brought her only watermelons, the grandmother responds by replying that Mr. Teagarden purchased Coca-Cola stock and died a rich man For O'Connor, Coca-Cola, which was patented by a Georgia druggist, represented the height of crass commercialism. In addition to June Star and the grandmother, we learn that Red Sammy Butts and his wife are also concerned with the pursuit of material gain.
Red Sammy regrets having allowed "two fellers" to charge gas; his wife is certain that the Misfit will "attact" the restaurant if he hears there is any money in the cash register. The scene at The Tower cafe appears to have been designed to illustrate the depths of self-interest into which the characters have fallen.
There seems to be reason, however, to suspect that the scene was created with more than surface details in mind. In an address to a group of writing students, O'Connor commented, "The kind of vision the fiction writer needs to have, or to develop, in order to increase the meaning of his story is called anagogical vision, and that is the kind of vision that is able to see different levels of reality in one image or situation.
On one level, then, The Tower may be seen as the biblical Tower where the sons of Adam had their tongues confused "that they may not understand one another's speech. There does seem to be an inability on the part of the characters to enter into any meaningful conversation; the grandmother irritates her son by asking if he wants to dance when his wife plays "Tennessee Waltz" on the nickelodeon — which costs a dime; June Star, who has just performed a tap routine, displays her lack of manners by insulting Red Sammy's wife with the comment, "I wouldn't live in a broken-down place like this for a million bucks.
As the family leaves The Tower, the children are again attracted to the gray monkey which attracted their attention when they first arrived. Members of the ape family have long been used in Christian art to symbolize sin, malice, cunning, and lust, and have also been used to symbolize the slothful soul of man in its blindness, greed, and sinfulness. O'Connor could hardly have selected a better symbol to epitomize the group of people gathered at The Tower than this monkey, sitting in a Chinaberry tree biting fleas between its teeth, a totally self-centered animal.
The grandmother, having fallen asleep shortly after leaving the restaurant, awakens just outside "Toomsboro" in reality, an actual small town near Milledgeville; for purposes of the story, it functions effectively as a foreshadowing of the family's fate , where she initiates the events that will lead to the death of the family. Recalling a plantation which she visited as a young girl and which she wishes to visit again, the grandmother succeeds in getting her way by "craftily, not telling the truth but wishing she were," informing the children of a secret panel located in the house.
They pester Bailey into visiting the place by kicking, screaming, and making general nuisances of themselves.
It is only after they have turned down a dirt road that "looked as if no one had traveled on it in months" that the grandmother remembers that the house was not in Georgia but in Tennessee. Agitated by her recollection and fearful of Bailey's anger when he discovers her error, the grandmother jumps up and knocks over the valise which has been covering the box in which she has been secreting the forbidden cat.
The cat, freed from confinement, springs onto Bailey's shoulder and remains clinging there as the car goes off the road and overturns. The children appear overjoyed at the accident, and June Star shows a complete lack of compassion for her injured mother and the shocked state of the other members of the family by announcing with disappointment, "But nobody's killed. As if in answer to the mother's hope for a passing car, "a big black battered hearse-like automobile" appears on the top of a hill some distance away.
The grandmother, by standing and waving to attract the attention of the people in the approaching car, brings down upon the family the Misfit and his two companions. It is also her identification of the Misfit which apparently causes him to decide that the family should be killed. From this point onward, the story concerns itself with the methodical murder of the family, and more importantly insofar as an encounter is characteristic of much of O'Connor's fiction with the exchange between the Misfit and the grandmother This is an exchange which leads to her moment of epiphany.
In an address to a group of students, O'Connor noted that the grandmother "is in the most significant position life offers the Christian. She is facing death. It is during this confrontation that the grandmother, like the Apostle Peter, denies three times what she knows to be true when she insists that the Misfit is "a good man. I ain't a good man. During this dialogue with the grandmother, we learn that the Misfit's father had early recognized in him an individual who would have to know "why it [life] is," and we learn that the Misfit has pondered the human condition and has reached certain conclusions concerning his experience with life.
As we all know what a person was the grandmother, the first thing she always did was judging. When he came to her, he told that he was a very successful person, a gospel singer in the armed service; he was even married for two times. Also, he was an undertaker and a railroad worker. The character is binary.
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