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Attractiveness Of Wrongdoing In A Whore And Paradise Lost

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Attractiveness Of Wrongdoing In A Whore And Paradise Lost
“There is a tension between the attractiveness of wrongdoing and fear of its consequences”
In light of this view, consider ways in which writers explore aspects of wrongdoing. In your answer, compare one drama text and one poetry text. In both ‘Tis Pity She’s A Whore and Paradise Lost the balance of desire can be seen against the threat of the consequences. The characters persuading another to sin are mainly male, a reflection of the patriarchal society in both the settings of the texts but when they were written. In the majority of cases knowledge of the consequences were clear but were decidedly ignored with blinkered views enabling individuals to not fully weigh up the sides to their decisions.
Both Eve and Annabella are persuaded to
…show more content…
Annabella is presented as easily swayed and appears to give little thought to the consequences of her actions, Giovanni leads her stating “I think you love me sister” and uses vain flattery to convince her of his love calling her eyes “Promethean fire” perhaps echoing Shakespeare indicating the falseness of the love as he borrows his compliments from others. Annabella puts up little resistance to the pairing and the use of repetition between the characters, Giovanni stating that we “shall either love, or I must die” and later Annabella repeating the notion back – “love me, or kill me brother”. This creates an idea of a weak-willed character and could be a reflection of the patriarchal society of the time, women were seen a passive and unintelligent, which could be seen to excuse Annabella from fully thinking through the consequences of her actions and for being led astray so easily. However later on Giovanni repeats the phrase “love me, or kill me” back to his sister, showing how easily they allowed themselves to be caught up in their love and not think on the consequences. In Paradise Lost Satan, disguised as a serpent, coaxes Eve into eating the

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