Final Solution and Artist on Fate

If someone were to ask Stephen Dedalus if he beleives in fate, he could say yes just as easily as no. For Stephen, it seems that the choice was always clear --art above all: above religion, above family. To him, "to thine own self be true," means he must acknowledge his apartness for his peers, as well as the surrounding world, and instead of conform or piece together the puzzle of his isolation, he must indulge in it to feed his art. If art is a constant in Stephen's life (as it undeniably is) then fate is also. Both represent entities which have followed the young boy relentlessly throughout the novel and will, presumptuously, follow him beyond the text. In the case of Stephen, the real struggle evident in the text is how to integrate his writing with the ebbs and flows of everyday life. The "fight" is strong because his passion for art is strong. He feels sickened when the world's tug-of-war seems to be winning, when he is drawn towards the clergy. Stephen remains a passionate being; whether it be for religion, a beleif, women, or especially art, he maintains a powerful drive. This drive translates into the conclusion that the inevitability of art in his life. Art, for Stephen, now and always.

In The Final Solution, the presence of fate is slightly more ambiguous. It is left for the reader alone to decide where fate takes grasp. Perhaps it is fate that brings Lyle to the old man, but perhaps it is only fate when the African Gray finds his way, once again, to the boy. Either way, fate plays some role. How else would the old man have known to search a certain apartment at random and exit successfuly. The old man --who takes no name in the novel aside from "old man," must feel at the heels of fate when he decides on a whim to take a case after decades of being retired. He takes a chance with fate, and is rewarded for it.

Redemption versus Fate

Through our discussions in class, we decided that Crime and Punishment is a novel largely about redemption. I agree with this, but it made for a hard time of translating ideas from the novel into my big question for the year. However, I came to a couple of conclusions and found that Raskalnikov's journey does come into contact with fate. Raskalnikov embodies the character who takes pride in having control over his actions and ultimately his life. When this privedlige fades, he gets scared: “A terrible word was trembling on his lips, like the hook on that door: another moment and it would jump out; another moment and it would let go; another moment and it would be spoken!” (165). After the murder, he feels a profound, incessant need to talk to someone, and not only to talk, but to reveal his true identity: the murderer. Luck played very well in Raskalnikov's favor on the day of the murder. From both people leaving Alonya's door, (for easy escape) and a luckily-ajar door for quick, convenient concealment, luck was his at every corner. However, how much of this, if any, is fate and how much is personal choice? I believe fate was at work that day for the pure fact that he got away virtually completely unscathed that day. This luck plays a role not only of that particular day, but also throughout the remainder of the novel and helps bring about redemption. As we discussed in class, redemption may be two-fold: man must forgive himself and then be forgiven by others. While Raskalnikov never formally seems to "forgive" himself, because he constantly tries to deny his guilt, he does so in other ways and eventually seems a form of redemption adequate for his case. If there is no other place in which the reader chooses to acknowledge fate in Crime and Punishment, the meeting and relationship between Raskalnikov and Sonya will support the case for faith. Although she is introduced as a fairly minor character, Sonya evolves into the plot through her prolonged interaction with Raskalnikov. Throughout their relationship, Sonya communicates that his actions were not just, but he must grow from them. He was fated to murder, fated to suffer, and eventually fated to understand the nature of man and forgiveness.

Henry IV Part 1

In this play, fate plays a large role for Prince Hal. Initially, Hal lives a hedonistic life and, at a glance, seems a character far from regal. However, it becomes evident that regardless of the friends or endeavors he chooses, he constantly finds himself in situations requiring his leadership. Hal receives warnings from his father Henry. The king does not approve of many, if not all, of his son's prior choices; from behavior to comrades, Henry does not advocate. In the style of youth and holding true to his character, Hal is hesitant to alter his ways. The transition from young spiteful prince to monarch, if there indeed was a genuine transition, does not happen over night. Despite his juvenile ways, Hal walks an invisible path to being a just and deserving ruler. Perhaps he is destined from the beginning to be a revered ruler, because no matter the trouble Hal finds himself in, he always finds a way out and tends to emerge largely unscathed. Thus, Hal's rash behavior has little result with regards to his final standing. Perhaps he is "king material" all along and needs little transition or transformation. As much as he may try to escape his stereotype or future category, his actions simply play better into the end result.

Frivolous Fate

My big question for the year is: What is the balance between fate and personal choice, are they essentially or eventually the same?Oedipus's character seems to hit largely on this question. From birth a terrible fate rests on his shoulders from which he can not escape. His personal choices only play into his fate. His actions demonstrate that fate may change personal choice, but personal choice is unable to change fate. The harder Oedipus struggles to escape destiny, the sooner it arrives. Teiresius clicks his tongue at Oedipus when he says, "But I say that you, with both your eves, are blind: You can not see the wretchedness of your life..." (399). Despite Teiresius's blindness, he is able to comprehend the undeniable quality of fate. However, Oedipus, with both eyes wide open, seeks to escape the prophecy at all costs which leads to his ensuing downfall.