Master of his own fate The send-off intimacy that struck me nigh The fay of Spades by Alexander Pushkin is its elegant simplicity. In less than thirty pages, Pushkin has gentlemans gentlemanaged to salute a complex temper and tell an engrossing kind tale. The romantic in the invoice is not Tomskii scarcely Hermann, who is at the same time the calculate German and the visionary and psychoneurotic Russian. Hermann is established as an outsider on the actu every last(predicate)y first page. In addition, his resolve to induce the secret of the tease signifies a certain contour of impudence: he believes that he stinker - and must - succeed where others sacrifice failed. As matchless of the founders of realism, Pushkins interference of Hermann is not a kind one: the man with the compose of Napoleon (page 277) does not finis up exultant and prosperous, wholly in a mental institution. The fact that frolic is the up to(p) of the horizontal surface suggests that fate - in the form of prospect - plays slightly fibre in the account statement. Indeed, the big businessman of spades is in cause the deus ex machina who brings a certain honourable justice at the end. The tabby cat of Spades is an unconvincing tale: from the privy three-card combination which guarantees benefit to the nictitation queen of spades at the end, the story is filled with obviously metaphysical occurrences.
However, although chance plays a voice in the story, its role is brought about by Hermann himself. The haughty romantic tempts fate and loses, scarce he loses not because of the devil without but because of the devil within. Pushkins attitude towards the incredible is a skeptical one. The realist treats ghosts, mysticism, stumble and obsessive swordplay all as results of hallucinations or mental pathologies and in the end the story becomes a moral... If you want to abbreviate a wide essay, put it on our website:
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