Essay character protects life 800 words

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In this passage from Chapter 56 , Pip tells the dying Magwitch about his daughter, Estella, whom he has not seen since she was a young girl. If the arrival of Magwitch collapses Pip’s idealistic view of the upper classes, then the subsequent revelation that Estella—Pip’s first ideal of wealth and beauty—is the daughter of the convict buries it for good. By consoling the dying Magwitch with the truth about Estella, Pip shows the extent to which he has matured and developed a new understanding of what matters in life. Rather than insisting on the idealistic hierarchy of social class that has been his guiding principle in life, Pip is now able to see hierarchy as superficial and an insufficient guide to character. Loyalty, love, and inner goodness are far more important than social designations, a fact that Pip explicitly recognizes by openly acknowledging the complications that have made his former view of the world impossible.

Photographs and essays and novels and the rest can change your life; they are dangerous. Art shapes the world. I know many people who found a book that determined what they would do with their life or saved their life. Books aren’t life preservers; there are more complex, less urgent reasons to read them, including pleasure, and pleasure matters. Danto describes the worldview of those who assert there is an apartheid system between art and life: “But the concept of art interposes between life and literature a very tough membrane, which insures the incapacity of the artist to inflict moral harm so long as it is recognized that what he is doing is art.” His point is that art can inflict moral harm and often does, just as other books do good. Danto references the totalitarian regimes whose officials recognized very clearly that art can change the world and repressed the stuff that might.

For our purposes, perhaps the most important point is that both positions highlight a series of factors important to responsibility and mutual accountability. These factors include: general responsiveness to others (for instance, via moral reasoning or feelings such as sympathy); a sense of responsibility for our actions (for instance, so that we may offer reasons for our actions or feel emotions of shame or guilt); and tendencies to regard others as responsible (for instance, to respect persons as the authors of their deeds and to feel resentful or grateful to them). In each case, note that the first example in brackets has a typically Kantian (reason-based) cast, the second a Humean (feeling/emotion-related) cast.

On a scouting tour around the island, Crusoe discovers a delightful valley in which he decides to build a country retreat or “bower” in Chapter XII. This bower contrasts sharply with Crusoe’s first residence, since it is built not for the practical purpose of shelter or storage, but simply for pleasure: “because I was so enamoured of the place.” Crusoe is no longer focused solely on survival, which by this point in the novel is more or less secure. Now, for the first time since his arrival, he thinks in terms of “pleasantness.” Thus, the bower symbolizes a radical improvement in Crusoe’s attitude toward his time on the island. Island life is no longer necessarily a disaster to suffer through, but may be an opportunity for enjoyment—just as, for the Presbyterian, life may be enjoyed only after hard work has been finished and repentance achieved.

Essay character protects life 800 words

essay character protects life 800 words

For our purposes, perhaps the most important point is that both positions highlight a series of factors important to responsibility and mutual accountability. These factors include: general responsiveness to others (for instance, via moral reasoning or feelings such as sympathy); a sense of responsibility for our actions (for instance, so that we may offer reasons for our actions or feel emotions of shame or guilt); and tendencies to regard others as responsible (for instance, to respect persons as the authors of their deeds and to feel resentful or grateful to them). In each case, note that the first example in brackets has a typically Kantian (reason-based) cast, the second a Humean (feeling/emotion-related) cast.

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