In Goetheâs The Sorrows of Young Werther, the main character asks in his opening letter, âwhat is man that he is allowed to complain about himself?â Indeed, it seems that humans are the only earthly creatures capable of creating their own unhappiness. Unfortunately, this means that they have the capacity for producing a good deal of unhappiness in others as well. Werther seems to recognize this from the very beginning yet at the same time seems powerless to do anything about it. In that light, how do you interpret the inevitable end to which he is moving, in which Werther sets up a seemingly unavoidable complicity between Lotte and Albert with his final act. How does the central theme of suicide so carefully woven into the novel finally culminate in this dreadful way? What conclusion do you think Goethe wants the reader to come away with?
Sample Solution
internal warring in the period between 1000 to 1300 and expand with trading despite the wars with the Muslims who translated Ancient Greek texts into Arabic and consequently many scholars journeyed to Spain to translate these volumes into Latin after mastering the Arabic language strangely these reformations known as the first Renaissance of the Middle Ages was ceased by the â Black Deathâ caused by the plague which killed over a third of the European population and led to the suspension of the scientific development and set back the progress of knowledge that didnât resurface until the Renaissance.( Martyn Shuttleworth / explorable.com/middle-ages science) Modern peopleâs interest in the middle ages and the great concern in its reality is influenced by J.R.R. Tolkienâs Lord of the Rings and his depiction of the middle earth. Elisa Scubla claims in CA. that many academics suggest that Tolkien was trying to bridge the missing gap left by early Medieval literatures while explaining the reason behind the loss of information. Jane Ciabattari wrote in BBC.com/culture that contemporary fantasy writers canât escape from Tolkienâs shadow, she argues that the fundamentals in The two series are similar. In each series the plot consists of a âticking time bombâ, âThe One Ringâ in The Lord of the Ring and âWinter is comingâ which is the line that introduces the action in Martinâs creation. Moreover, they both offer diversion through fantastical elements like dragons, elves and dire wolves while writing scenes that bring to mind Shakespearean history plays, intersecting sword fighting with sophisticated dialogue, false accusations of treachery and beheadings as both relied upon Britainâs brutal past, particularly medieval history and Anglo-Saxons literature. Even though Tolkienâs vision of good and evil is clearly presented as it is inspired by the world wars of the 20th century, Martinâs view is regarded as better suited to this period of overlapping and interconnecting struggles for the series induce more familiar strains in a phase when office politics and personal associations are sometimes spiteful and revenge causing.>
internal warring in the period between 1000 to 1300 and expand with trading despite the wars with the Muslims who translated Ancient Greek texts into Arabic and consequently many scholars journeyed to Spain to translate these volumes into Latin after mastering the Arabic language strangely these reformations known as the first Renaissance of the Middle Ages was ceased by the â Black Deathâ caused by the plague which killed over a third of the European population and led to the suspension of the scientific development and set back the progress of knowledge that didnât resurface until the Renaissance.( Martyn Shuttleworth / explorable.com/middle-ages science) Modern peopleâs interest in the middle ages and the great concern in its reality is influenced by J.R.R. Tolkienâs Lord of the Rings and his depiction of the middle earth. Elisa Scubla claims in CA. that many academics suggest that Tolkien was trying to bridge the missing gap left by early Medieval literatures while explaining the reason behind the loss of information. Jane Ciabattari wrote in BBC.com/culture that contemporary fantasy writers canât escape from Tolkienâs shadow, she argues that the fundamentals in The two series are similar. In each series the plot consists of a âticking time bombâ, âThe One Ringâ in The Lord of the Ring and âWinter is comingâ which is the line that introduces the action in Martinâs creation. Moreover, they both offer diversion through fantastical elements like dragons, elves and dire wolves while writing scenes that bring to mind Shakespearean history plays, intersecting sword fighting with sophisticated dialogue, false accusations of treachery and beheadings as both relied upon Britainâs brutal past, particularly medieval history and Anglo-Saxons literature. Even though Tolkienâs vision of good and evil is clearly presented as it is inspired by the world wars of the 20th century, Martinâs view is regarded as better suited to this period of overlapping and interconnecting struggles for the series induce more familiar strains in a phase when office politics and personal associations are sometimes spiteful and revenge causing.>
