#literaryanalysis

I love Momo. Do you like it too? There is something so profoundly haunting about the way Ende captured the theft of time. I’ve always found the Grey Gentlemen to be some of the most terrifying villains in literature because they don't fight with swords; they fight with the promise of "efficiency."

The Five Essential Questions for Endean Narrative

If you want to move beyond "how does the magic system work" and into "why does this world matter," ask yourself these five questions:

What is the cost of the illusion? (In Ende’s work, the "fantasy" is never free. What part of the character’s reality or soul is being sacrificed to maintain the magic?)

Does the world have its own gravity? (Is the setting a passive backdrop, or is it a living, breathing entity that reacts to the protagonist's moral failures or successes?)

How is the "Nothing" encroaching? (What is the existential threat: the loss of memory, the loss of wonder, the collapse of identity)

Are the icons subverted? (Ende constantly toys with symbols. the AURYN, the Childlike Empress. How are you taking established tropes and giving them weight, rather than just using them as window dressing?)

Is the hero a savior or a witness? (Ende’s protagonists often find that their true journey isn't defeating a villain, but understanding their own role in the creation and destruction of their story.)

How Michael Ende can help you write your fanfiction:

I’ve just finished reading The Great Gatsby for the first time, and yes, I can see why it’s become a classic of American literature. The underlying themes, the gradual reveal of the Gatsby’s elusive past, the inevitable tragedy, are subtle and enduring. It reminded me of Brideshead Revisited in a way. The tragic nature of wealth, the decay beneath all that glitz and glamour—Gatsby is to American literature what Brideshead is to English.

Both are narrated by outside observers, Nick Carraway (Gatsby) and Charles Ryder (Brideshead). And both of these men are drawn into the world of wealth from modest backgrounds, and both are simultaneously invested and detached in what they see. Nick establishes a relationship with Jordan Baker, a socialite part of Gatsby’s world, and Charles with Julia, the sister of Sebastian Flyte. And both watch as Gatsby and Sebastian struggle through their personal issues.

Those observed are haunted in their own way by their past. Gatsby is obsessed with Daisy Buchanan, while Sebastian and his family are consumed by their heritage, the death of the English nobility and struggling Catholic traditions. And Gatsby and Sebastian’s family are both eventually consumed—Gatsby is killed following the attempted renewal of his relationship with Daisy, and Sebastian descends into alcoholism.

But there are, of course, key differences. Brideshead’s driving theme is the Catholic religion and English aristocracy; Gatsby’s is the American Dream, a quasi-religion in itself, I suppose, and chased with similar fervour. Fitzgerald critiques a particular form of social mobility and how it can be achieved, and amidst this the hidden classes that define American society, while Waugh explores, with nostalgia, the decline of English nobility, its relationship to faith, education, and tradition. Significantly, wealth, for Gatsby, comes from questionable means, and for the Flytes, wealth is inherited and comes with its own obligations. But, of course, wealth ends up destroying them both, and the people they love.

Okay, but first, full disclosure: I started this rant because I was looking for funny BotSatS incorrect quotes or whatever the stupid acronym is, just some late-night nonsense to make my brain giggle, and instead I stumbled on this absolutely tragic Snojanus post by @binarisunset (I literally suck at using this app so here’s a link to their account https://www.tumblr.com/binarisunset) that crushed my soul so thoroughly it dragged my brain into a full-on literary spiral instead of letting me go to bed at 2 a.m.; so here we are.

Okay, but can we talk about how betrayal only ever hurts because intimacy exists first 😭; like, it’s not just “someone does something bad,” it’s “someone you trusted, someone who mattered, someone who let you see them chooses to hurt you anyway,” and that’s literally why stories feel like knives in your chest; Othello doesn’t get destroyed by a stranger, he gets destroyed by Iago, the person who knows his heart, knows his weaknesses, knows what he will believe, and uses it against him; The Great Gatsby doesn’t even need violence — Daisy just chooses comfort over Gatsby, and he built his whole life around her love; weaponized intimacy, emotional murder in slow motion; Jane Eyre trusts Rochester, and when he hides Bertha, when he betrays that trust, it cuts harder than any random misfortune could; Victor Frankenstein abandons the Creature he created; the Creature didn’t need enemies, he needed a parent; that absence, that refusal of connection, absolute intimate cruelty; in the Bible, Adam and Eve didn’t even have the tools to understand the tree, and God punishes them anyway; Judas betrays Jesus with a kiss; the intimacy makes it sacred, spiritual, devastating.

And fandom, let me tell you, fandom hurts in the exact same way because the rules never change; John Walker spirals after Lemar dies, trapped between grief, guilt, the serum, and a government that demands perfection; he trusted people, he trusted rules, and all that trust collapses spectacularly, layering betrayal after betrayal; Sejanus and Coriolanus — friendship, political bonds, maybe love, and then betrayal; it’s gutting because the intimacy is what makes it irredeemable; the Marauders prank that hurt Remus? same formula; he let them in, and that’s what makes it hurt so much; the act itself isn’t betrayal, it’s the closeness he gave away that gets weaponized.

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Upon seeing this, I immediately thought of you—just kidding! This actually took me back to my 11th-grade days when we studied Twelfth Night in literature class. As you can guess, I was all in on that because, well, it’s Shakespeare! Not only do I dream of being like him one day, but I also can’t help but foam at the mouth whenever I read his work.

Anyways, let’s get to Feste and why this basically summarizes his character. Yes, I once did a whole presentation as a graded piece (got an 80) on his character ALONE (because he’s literally the best). So some of my statements, to me, might sound repeated!

Feste – Olivia’s witty fool (or clown), who provides comic relief.

Now, most readers might just see Feste as a typical clown there to entertain Olivia, but trust me, there’s so much more to him! Throughout the play, he’s supposed to lighten the mood for her, which is basically a lost cause since all Olivia does is wallow in her brother's death. But honestly, Feste doesn’t seem to care too much; he’s more focused on getting his daily dose of alcohol! It's like he's saying, "Let me do my thing while you mourn!" This makes him a much more layered character than just the silly fool everyone thinks he is.

𝐅𝐞𝐬𝐭𝐞: 𝐒𝐜𝐞𝐧𝐞𝐬

Act 1, Scene 5. He cleverly uses his wit to point out the irrationality of her grief:

Feste: "Good madonna, why mourn'st thou?" Olivia: "Good fool, for my brother's death." Feste: "I think his soul is in hell, madonna." Olivia: "I know his soul is in heaven, fool." Feste: "The more fool, madonna, to mourn for your brother's soul, being in heaven. Take away the fool, gentlemen."

Here we see Feste gently mocking Olivia’s prolonged mourning by suggesting that, if her brother is in heaven, her continued grief is illogical. It’s a brilliant example of how Feste uses humor and irony to deliver deeper truths, challenging Olivia’s actions without directly confronting her.

I was gagged when I first read that scene aloud in class; it really stuck with me because, as the play progresses, we see just how wise Feste is, even though he’s labeled a 'fool.

𝐅𝐞𝐬𝐭𝐞: 𝐀 𝐟𝐨𝐨𝐥 𝐬𝐮𝐫𝐫𝐨𝐮𝐧𝐝𝐞𝐝 𝐛𝐲 𝐢𝐝𝐢𝐨𝐭𝐬

Feste was a social commenter, that I know, he never misses a chance to question or mock those of "power" in the play. He uses humor, wit, and music to highlight the absurdities of the social hierarchies and behaviors.

1. Feste and Malvolio (Act 1, Scene 5)

In this scene, Feste challenges Malvolio, Olivia’s self-righteous steward, on his rigid adherence to authority and decorum:

Feste: "You have said, sir. To see this age! A sentence is but a chev’ril glove to a good wit: how quickly the wrong side may be turned outward!"

Feste mocks Malvolio’s overly serious nature by comparing rigid judgments (or "sentences") to a soft glove, suggesting that those in power can twist the law or logic to suit their needs. Here we see how he digs into a figure of authority, how they manipulate words and rules, all while exposing Malvolio's self-importance and hypocrisy.

He critiques the way those in authority manipulate words and rules, exposing the foolishness of self-importance and hypocrisy in social structures(which he wasn't far from, Malvolio was a piece of work lmao)

𝐅𝐞𝐬𝐭𝐞: 𝐌𝐚𝐬𝐭𝐞𝐫 𝐨𝐟 𝐀𝐦𝐛𝐢𝐠𝐮𝐢𝐭𝐲

Ambiguity— he quality of being open to more than one interpretation; inexactness:

Feste is like the ultimate Master of Ambiguity in Twelfth Night, straddling the line between comedy and tragedy. His songs mix fun and sadness, reflecting life’s ups and downs—like when he sings about love being fleeting, which is both lighthearted and a little melancholic. He can shift from being a jokester to a deep thinker, LIKE I SAID BEFORE, WHAT HE SAID TO OLIVIA FOREVER GAGGED ME. The reason this resonated with me is that I, too, was (and still am) mourning the loss of someone dear to me, and the way he phrased it felt like he was telling me as well: 'Life goes on, so move forward with it.'

Another thing I just love about Feste is that he's part of the action but also keeps his distance, moving between the nobles and commoners without getting tangled in their romantic messes. (UNLIKE SOME)

Basically, he gets the madness around him but chooses how to engage with it, acting as the voice of reason while still being playful, which makes him a fascinating character in the midst of all the chaos.

𝐅𝐞𝐬𝐭𝐞: 𝐌𝐚𝐬𝐭𝐞𝐫 𝐨𝐟 𝐃𝐢𝐬𝐠𝐮𝐢𝐬𝐞

Disgues— give (someone or oneself) a different appearance in order to conceal one's identity:

So we all know a MAJOR theme in the play was, the theme of disguise and identity and AGAIN we see our KING Feste, playing a key role in linking the worlds of deception and truth. (he's such a humble soul)

While everyone else is busy with physical disguises, like Viola pretending to be a guy, Feste hides his sharp intellect and wisdom behind his fool persona. This clever act makes him sort of the play’s moral compass, allowing him to navigate the chaos while still pointing out the truths that others might overlook.

He’s not just a silly jester; he’s the one who really understands what’s going on, making him central to the play’s exploration of identity and the masks we wear.

𝐂𝐨𝐧𝐜𝐥𝐮𝐬𝐢𝐨𝐧: 𝐄𝐯𝐞𝐫𝐲𝐨𝐧𝐞 𝐬𝐡𝐨𝐮𝐥𝐝 𝐛𝐞 𝐥𝐢𝐤𝐞 𝐅𝐞𝐬𝐭𝐞

Jester privilege? I had no idea that was a thing—LOL! We learn something new every day. It perfectly applies to Feste’s character, who delivers honest, hard-hitting truths while playfully acting like he’s in charge. It’s wild how he isn’t afraid of the consequences, even when he’s putting his life on the line with his words.

Because he’s seen as a fool, the other characters overlook him as just silly, which makes it even funnier that his insights often go unheard. Just picture having a job where you dance around, tell silly jokes, and act like a complete fool, yet you still recognize your own brilliance. It’s such a hilarious contradiction that truly captures the essence of Feste’s role in the chaos of Twelfth Night!

𝐑𝐞𝐜𝐨𝐦𝐦𝐞𝐧𝐝𝐚𝐭𝐢𝐨𝐧𝐬:

Books

“Twelfth Night: A Critical Reader” by Alison Findlay and Liz Oakley-Brown:includes essays and analyses on various aspects of Twelfth Night, including Feste’s character.

“Shakespeare’s Clowns and Fools” by Robert Hillis Goldsmith: explores the roles of clowns and fools in Shakespeare’s plays, with a section dedicated to Feste.

Everyone should be like Feste.

Timeless Appeal: Vampires have remained popular for centuries, from classic tales like Bram Stoker's Dracula to contemporary series like Twilight and The Vampire Diaries. Their ability to adapt to changing societal norms and interests makes them a staple in storytelling, proving that they know how to stay relevant!

Mysterious Nature: There is an inherent intrigue surrounding vampires. With origins steeped in folklore and myth, each culture presents a unique interpretation, adding depth and richness to their narratives.

Immortality: The concept of immortality is a powerful fantasy. Vampires live through the ages, witnessing historical events and cultural shifts firsthand.

Seductive Charm: The allure of the vampire is often characterized by their seductive charm. This duality of being both enchanting and dangerous creates a compelling dynamic, drawing readers and characters alike into their orbit. Who can resist a character who’s both alluring and potentially lethal?

Complex Morality: Many vampires struggle with their darker instincts, offering a rich exploration of morality. Their internal conflicts regarding feeding on humans or the ethics of their actions provide depth to their character.

Supernatural Powers: Vampires possess an array of supernatural abilities that enhance their narratives. From enhanced strength and speed to mind control and shapeshifting, these powers create dynamic storylines filled with conflict and excitement. Plus, it must be nice to skip leg day!

Fashion Icons: Vampires are often portrayed as impeccably dressed, exuding elegance and sophistication. Their distinctive fashion sense, whether it’s Victorian capes or modern couture, adds a visual allure that enhances their mystique. Honestly, they make a turtleneck look threatening—who else can do that?

Cultural Significance: Vampires often reflect societal fears and desires, serving as metaphors for various themes such as death, sexuality, and the unknown. Their presence in literature allows for deep allegorical storytelling that resonates with readers on multiple levels. And they remind us that sometimes, our biggest fears come with fangs.

Versatility in Genre: Vampires can seamlessly transition across genres, thriving in horror, romance, fantasy, and even comedy. This versatility ensures that they can reach a broad audience and remain relevant in contemporary storytelling.

The Ultimate Anti-Hero: Many modern vampire stories present them as anti-heroes, allowing for complex character arcs that challenge traditional notions of heroism. This complexity invites empathy, as readers witness their struggles and growth. Plus, who doesn’t love a bad boy (or girl) with a heart of gold?

Connections with Humanity: Despite their monstrous nature, vampires often exhibit human emotions and relationships. Their struggles with loneliness, love, and loss resonate with audiences, allowing for a more profound connection to their characters.

Exploration of Power Dynamics: Vampire narratives frequently delve into themes of power and control, whether through the relationships they form or the dominance they exert over others. This exploration can prompt discussions about authority, consent, and the nature of power itself.

Enduring Legacy: The enduring legacy of vampires in popular culture speaks to their universal appeal. They have inspired countless adaptations, spin-offs, and retellings, proving that their stories can continually evolve while maintaining their core essence.

The Twilight of Their Power: As much as we love the dark side of them, let’s not forget the fun side of vampires: their struggle with the modern world. With the advent of garlic bread and sunscreen, these once-mighty creatures have had to navigate a world that can ruin their day in seconds.

As Halloween approaches, let us celebrate these fascinating beings and the myriad stories they inspire, reminding us of the complexities of life, death, and everything in between—all while being fabulously stylish.

DO YOU HAVR A FAVOURITE TYPE OF VAMPIRE ?

La figura de Sauron se encuentra envuelta en una paradoja que trasciende lo meramente literario para inscribirse en el ámbito de lo filosófico: pese a su innegable dominio de la fuerza bruta, su verdadera hegemonía no descansa en la violencia sino en el arte del engaño. A diferencia de Morgoth, su predecesor y maestro en la malevolencia primordial, Sauron no se regodea en la destrucción caótica, sino que opera con la sutil delicadeza del arquitecto que dispone las piezas de un juego cuyo final ha sido decidido de antemano. Su poder no es el de la imposición directa, sino el de la corrupción progresiva, el de la seducción insidiosa que ofrece no la esclavitud inmediata, sino la ilusión de la voluntad propia.

El error más frecuente al analizar a Sauron es reducirlo a un típico tirano dictatorial cuya fuerza se impone por medio de la brutalidad. Sin embargo, Tolkien, con su aguda comprensión de la historia humana y su sensibilidad mitológica, construye un antagonista cuya mayor arma no es la espada, sino la lógica perversa de la dominación. No es casual que su mayor creación, el Anillo Único, no funcione como un arma convencional, sino como un dispositivo de voluntad, una extensión de su propia esencia cuyo fin no es aniquilar a sus enemigos sino someterlos sin que ellos siquiera lo adviertan.

La estrategia de Sauron no es la de un guerrero que embiste, sino la de un jugador de ajedrez que mueve sus piezas con paciente deliberación. La caída de Númenor no se debió a una guerra abierta, sino a la instigación, al susurro calculado en los oídos del orgulloso Ar-Pharazôn, quien creyó que su conquista era suya, cuando en realidad ya había sido derrotado mucho antes de zarpar. Del mismo modo, su estrategia en la Tercera Edad no consistió en aplastar inmediatamente a sus enemigos, sino en desangrarlos con el tiempo, en debilitar sus alianzas, en hacer que los pueblos libres cayeran no por la fuerza de sus ejércitos, sino por la podredumbre de sus propias decisiones.

La concepción del mal en Tolkien se aleja del maniqueísmo superficial. Sauron no es simplemente una figura demoníaca, sino la expresión de un mal que seduce, que persuade, que ofrece poder con una mano mientras oculta las cadenas con la otra. No es casualidad que su caída final no ocurra en el campo de batalla, sino en la destrucción de su gran herramienta de control. Sin el Anillo, Sauron deja de ser el gran arquitecto de la voluntad y se convierte en un espectro impotente, un eco de su propia ambición.