WSC Instance Prompts (2)-Part-4
WSC Instance Prompts (2)-Part-4
and change is perpetual (What fire is Billy Joel talking about in his song “we didn’t
start the fire”? : r/NoStupidQuestions). The purpose of depicting fire here is didactic and
philosophical. By envisioning history as a never-ending fire, Joel communicates that
blame is futile (“we didn’t start it”) and that change is a constant flame that each
generation inherits. The metaphor is ultimately somewhat pessimistic (acknowledging
an eternal “chaotic mess” (What fire is Billy Joel talking about in his song “we didn’t start
the fire”? : r/NoStupidQuestions)) yet also empowering in its refusal to accept sole
blame. In the final verse Joel notes “when we are gone, it will still burn on and on and
on…” – a sobering reminder of continuity. We Didn’t Start the Fire turns the idea of fire
into an expansive symbol for history itself – destructive and relentless, but also a
source of light (knowledge) about how the past informs the present. Joel’s machine-gun
lyrics and catchy hook ensure that this metaphor sticks, leaving us with the image of a
world forever flickering with the flames of progress and conflict, and a resolve to not let
that fire consume our will to make things better.
Prompt: JFK’s most famous speech may have been about going to the moon, but that
giant leap was a lot easier to achieve than peace in his (or our) time. Watch these
selected excerpts from his “peace speech” at American University, then discuss with
your team: is it possible to give a passionate speech about peace, and, if so, does JFK
succeed here? Is he naïve about the role of the United States in world affairs? Then
consider the speeches listed below and discuss with your team: are they, too,
inspirational—or naïve? Can they be both?
Red Jacket – “The White Man and the Red” (c.1805 printed 1906)
Themes: Religious tolerance and Indigenous rights stand at the heart of Red
Jacket’s speech. In this eloquent reply to a Christian missionary, the Seneca orator
(Sagoyewatha, known as Red Jacket) argues that no single religion is fit for all peoples.
He notes that the missionary claims there is “but one way to worship” God, yet “if there
is but one religion, why do you white people differ so much about it? Why not all agreed,
as you can all read the Book?” (Red Jacket on the Religion of the White Man and the
Red - Collection at Bartleby.com). This pointed question highlights the hypocrisy of
European sectarianism and advances the theme that different peoples may have
different truths. Red Jacket asserts that the Great Spirit gave the Native Americans
their own religion, just as He gave the whites a different path: “Since He has made so
great a difference between us in other things, why may we not conclude that He has
given us a different religion according to our understanding?... We are satisfied” (Red
Jacket on the Religion of the White Man and the Red - Collection at Bartleby.com).
Another central idea is the demand for respect and freedom for his people’s way of
life. Red Jacket stresses that the Indians do not seek to take away or destroy the white
man’s faith: “Brother, we do not wish to destroy your religion or take it from you. We
only want to enjoy our own.” (Red Jacket on the Religion of the White Man and the Red
- Collection at Bartleby.com). Alongside religious themes, the speech recounts the
history of betrayal and displacement of Native Americans. Red Jacket reminds the
audience that his forefathers welcomed the white settlers fleeing oppression, only to be
repaid with exploitation: “We gave them corn and meat; they gave us poison in return…
You have got our country, but are not satisfied; you want to force your religion upon us.”
(Red Jacket on the Religion of the White Man and the Red - Collection at Bartleby.com)
(Red Jacket on the Religion of the White Man and the Red - Collection at Bartleby.com).
This introduces themes of colonial injustice and the erosion of Native lands and
culture. Overall, the speech’s ideas revolve around pluralism (each race following its
own God-given way), justice (holding whites accountable for broken trust), and the right
to self-determination for the “red” man.
Rhetorical Techniques: Red Jacket’s oration is a masterclass in persuasion through
logic irony and dignified reproach. He begins in a respectful tone, addressing the
missionary as “Friend and Brother” and thanking the Great Spirit for allowing them to
meet peacefully (Red Jacket on the Religion of the White Man and the Red - Collection
at Bartleby.com). This respectful opening establishes his credibility and the moral high
ground. He then employs historical narrative: by retelling the story of first contact –
how a small band of whites arrived, were welcomed, and then multiplied – he uses
chronological storytelling to illustrate the betrayal without overt anger. The matter-of-
fact statement “We gave them corn and meat; they gave us poison in return” (Red
Jacket on the Religion of the White Man and the Red - Collection at Bartleby.com) is a
powerful use of antithesis (hospitality vs. “poison” ingratitude) that quietly condemns
the colonizers’ behavior. Throughout, Red Jacket asks pointed rhetorical questions.
For instance, “How shall we know when to believe, being so often deceived by the white
people?” (Red Jacket on the Religion of the White Man and the Red - Collection at
Bartleby.com) – a challenge that forces the missionary to confront white
untrustworthiness. His tone shifts between polite and sharply critical, employing irony
especially when discussing the missionary’s intentions. He observes that the preacher
claims to seek no land or money, yet Red Jacket “saw you collect money from [your]
meeting” and slyly notes that if the Indians converted, “perhaps you may want some
from us.” (Red Jacket on the Religion of the White Man and the Red - Collection at
Bartleby.com) This use of irony exposes potential ulterior motives. Red Jacket’s logic is
simple but unassailable: he points out contradictions in the missionary’s position
(multiple Christian denominations vs. one true religion), and he appeals to fairness – “If
[the Great Spirit] gave us different skin and customs, maybe He gave us different
religion too” (Red Jacket on the Religion of the White Man and the Red - Collection at
Bartleby.com). The speech also leverages parallelism and repetition with the frequent
fraternal address “Brother, …” at the start of each point, creating a rhythm that
reinforces his arguments. In a striking concluding tactic, Red Jacket flips the
evaluation onto the Christians themselves. He says the Indians will observe the
Christians’ behavior: “We will wait a little while and see what effect your preaching has
upon [the white people]… If it makes them honest and less disposed to cheat Indians,
we will then consider again of what you have said.” (Red Jacket on the Religion of the
White Man and the Red - Collection at Bartleby.com). This closing is both a shrewd
challenge and a form of conditional concession – implying that the missionary’s
religion will be judged by its fruits. By ending this way, Red Jacket turns the tables,
leaving the audience with a calm yet devastating critique of Christian conduct.
Historical Context: The speech was delivered in western New York in 1805 during a
council between Seneca leaders and a Protestant missionary (Rev. Cram). At this time,
U.S. expansion and missionary efforts were in full force, pressuring the Haudenosaunee
(Iroquois) and other Native nations to cede lands and assimilate into white culture. Red
Jacket, a Seneca chief famed for his oratory, was a custodian of his people’s
traditions. He spoke as the American government and missionaries sought to “civilize”
Native Americans by converting them to Christianity. The immediate event leading to
this speech was the missionary’s request to proselytize among the Senecas. Red
Jacket’s response articulates the broader indigenous resistance to cultural and religious
imperialism. When the speech was later published (in 1906 it appeared in The World’s
Famous Orations (Red Jacket on the Religion of the White Man and the Red -
Collection at Bartleby.com)), it gained wider renown as a powerful statement of religious
freedom. Contemporary reception in 1805 was likely mixed: the Seneca evidently
supported Red Jacket (as he speaks of “all speak to you now as one” (Red Jacket on
the Religion of the White Man and the Red - Collection at Bartleby.com)), while the
missionary left without success in converting them. In the long term, the speech became
a celebrated piece of Native American rhetoric, often cited by advocates of religious
liberty. The context of ongoing treaty betrayals and displacement (the Seneca had lost
much of their land by this point) gives the speech a poignant, urgent backdrop. It was
effectively one of the last defiant stands (in words) by an Iroquois leader to protect his
nation’s autonomy during a period of relentless American expansion.
Inspirational vs. Naïve: Red Jacket’s address is deeply inspiring in its clarity,
courage, and commitment to principle. For the Seneca and other Native listeners, his
unwavering defense of “our own religion” and identity must have been a powerful
affirmation of dignity (Red Jacket on the Religion of the White Man and the Red -
Collection at Bartleby.com). Even today, readers find inspiration in his demand for
respect and his eloquent articulation of pluralism. There is little in his speech one could
call naïve – in fact, it brims with shrewd skepticism. Red Jacket demonstrates a keen
understanding of political reality: he knows promises made to his people have been
broken (“How shall we know when to believe, being so often deceived by the white
people?” he asks pointedly (Red Jacket on the Religion of the White Man and the Red -
Collection at Bartleby.com)). Rather than trusting blindly, he essentially tells the
missionary: Prove through your actions that your religion makes men better. This is
hardly naïve; it’s a grounded, even cynical, view born of hard experience. At the same
time, there is a hopeful undercurrent – the door isn’t completely shut. If the whites truly
lived up to their own religious morals, Red Jacket implies, the Seneca would be open to
reconsidering. In that sense, the speech can inspire a vision of mutual coexistence
(each group following its own faith without coercion). Perhaps one might see idealism in
Red Jacket’s hope that the white man would honor the principles of honesty and justice
taught by Jesus. Given the ensuing history (Native Americans continued to face
dishonesty and dispossession), that hope might seem overly optimistic. But Red Jacket
likely knew his challenge would go unheeded; the strength of his oration lies in
speaking truth to power, not in expecting the powerful to suddenly change. Thus, the
speech manages to be inspiring without being detached from reality. It is the voice
of a people refusing to be spiritually conquered, delivered with both dignity and a touch
of calculated defiance. Generations since have drawn inspiration from Red Jacket’s
stance as an early champion of religious freedom and cultural equality. Far from naïve,
his words read today as a remarkably modern appeal for tolerance.
Impact: Red Jacket’s speech did not immediately alter the course of U.S. policy –
tragically, the Senecas (and other tribes) continued to lose land and autonomy in the
decades after 1805. However, the lasting impact of this speech has been cultural and
intellectual. It stands as one of the most famous Native American orations in history,
frequently quoted for its defense of religious liberty. By 1906, when it was included in a
prominent anthology (Red Jacket on the Religion of the White Man and the Red -
Collection at Bartleby.com), it was being taught as a great example of American oratory,
signaling a measure of belated respect for Indigenous perspectives. The speech’s core
message – that different peoples can worship the Creator in different ways, and that is
to be respected – resonates strongly in modern discussions of multiculturalism. It has
also influenced how Americans view the Native American experience; hearing Red
Jacket’s words fosters understanding that early natives were not “ignorant savages”
rejecting civilization, but articulate, reasoning people defending their rights. In the long
run, Red Jacket’s principled stand became a source of pride for the Haudenosaunee
and other Native communities. Even today, leaders cite his arguments when advocating
for the protection of indigenous traditions. The speech’s relevance today is evident
whenever debates arise about forced assimilation or freedom of belief. While Red
Jacket could not stop the onslaught of his era, his eloquence survived to educate future
generations. In 1923, the Seneca erected a statue of Red Jacket in Buffalo, NY – an
acknowledgment of his enduring voice. Overall, while policy did not change in his
lifetime, Red Jacket’s words left an imprint on American values. They challenge us
even now to live up to the ideals of religious tolerance that the United States claims to
champion, making this speech a timeless piece of our collective heritage.
Prompt: Some people claim not to believe anything politicians say. For them, political
speeches are works of fiction. But fictional politicians also give speeches—some of
them very effectively. Consider the example below, then discuss with your team: what
made them effective, and would they have worked equally well in the real world?
Braveheart (1995) – “They’ll never take our freedom”
Rhetorical Techniques: William Wallace’s speech is a masterclass in engaging
rhetoric. He opens with direct audience address – “Sons of Scotland” – immediately
forging a personal bond and shared identity (Inspire like Braveheart: five keys to a
motivating speech - LEADERSHIP IN THE MOVIES). He speaks to “you”, making each
soldier feel personally called upon ( Year 9 Rhetorical devices (William Wallace)
homework – due Tuesday 14 October | English at Teignmouth ). Wallace uses contrast
to frame the stakes: “Fight and you may die. Run and you’ll live – at least a while,” he
says, juxtaposing the short-term safety of fleeing with the long-term regret of surrender
(Braveheart – "but they'll never take our freedom!" | ACMI: Your museum of screen
culture). This stark choice between death with freedom or life in servitude crystallizes
his message (Inspire like Braveheart: five keys to a motivating speech - LEADERSHIP
IN THE MOVIES). Repetition is another key device – notably the idea of having “one
chance” is repeated for emphasis (Inspire like Braveheart: five keys to a motivating
speech - LEADERSHIP IN THE MOVIES) (Inspire like Braveheart: five keys to a
motivating speech - LEADERSHIP IN THE MOVIES). He also echoes the word “free”
(“fight as free men, and free men you are”) to drill in the cause they’re fighting for
(Braveheart – "but they'll never take our freedom!" | ACMI: Your museum of screen
culture). These techniques work in tandem to inspire: the direct address engages his
listeners, contrast sharpens the urgency of action, and rhythmic repetition makes his
rallying cry unforgettable.
Emotional Appeal: Wallace’s words and delivery stir powerful emotions of patriotism
and defiance. He invokes national pride by addressing the men as compatriots (“my
countrymen”) and referencing Scotland directly (declaring he gives “homage to
Scotland” before the battle) (Braveheart – "but they'll never take our freedom!" | ACMI:
Your museum of screen culture). This taps into the patriotism of his soldiers – they are
fighting for Scotland. The speech transitions from a somber acknowledgment of
possible death to a fervent defiance. Wallace’s passionate cry, “they may take our
lives, but they’ll never take our freedom!”, is delivered with a rising, fiery intensity
(Braveheart “Freedom” Speech Transcript – William Wallace) (Braveheart – "but they'll
never take our freedom!" | ACMI: Your museum of screen culture). His voice and
demeanor exude courage in the face of doom, which is infectious to the men. By
openly acknowledging fear (“fight and you may die… “run and you’ll live”) and then
triumphantly rejecting it, he evokes unity in defiance – a shared heroic resolve. The
soldiers are moved to cheer not only by the words but by Wallace’s heartfelt conviction.
The unity he creates is almost familial – he calls them brothers in the fight for freedom,
forging an emotional bond. The stirring background music and the sight of Wallace
painted in blue war paint further amplify the emotional swell. By the final “Freedom!” the
men are shouting with him, filled with a sense of righteous unity and bravery. Wallace
has effectively turned their fear into patriotic fury and hope.
Thematic Effectiveness: This speech encapsulates Braveheart’s core themes of
resistance, sacrifice, and national identity. The theme of resistance to oppression is
front and center – Wallace explicitly frames the battle as defiance against tyranny (“a
whole army… here in defiance of tyranny”) (Braveheart – "but they'll never take our
freedom!" | ACMI: Your museum of screen culture). His oration reinforces that resisting
English rule is not only possible but noble and necessary. The theme of sacrifice is
highlighted by his frank admission that fighting may cost their lives. By asking if they’d
trade all their future days for one chance at freedom, Wallace glorifies the idea of giving
one’s life for a greater cause (Braveheart “Freedom” Speech Transcript – William
Wallace). This notion – that dying for liberty is better than living without it – underscores
the film’s valorization of martyrdom for Scotland. Finally, the speech is a rallying cry for
national identity. Wallace invokes Scotland repeatedly, from addressing “Sons of
Scotland” to the Gaelic war cry “Alba gu bràth!” (Scotland forever) as he concludes
(Braveheart “Freedom” Speech Transcript – William Wallace). The speech cements the
idea that freedom is an inextricable part of Scottish identity – something the enemy can
never truly take. In the context of the film, this moment galvanizes the fragmented clans
into one nation united under the idea of freedom. It’s thematically effective because it
distills the movie’s message into visceral, memorable lines. As a result, Wallace’s
speech not only motivates the characters on screen, it also leaves the audience with a
lasting impression of why the Scots are fighting. It stands as the emotional and
ideological high point of Braveheart, embodying the spirit of rebellion and nationhood
that defines the film.
Independence Day (1996) – “Today we celebrate our Independence Day”
Rhetorical Techniques: President Whitmore’s rousing speech employs classic
persuasive devices to unite and energize a global audience. One prominent technique
is anaphora – the repetition of a phrase at the start of successive clauses. Whitmore
proclaims, “We will not go quietly into the night! We will not vanish without a fight! We
will live on! We will survive!” (3 invaluable writing lessons you can take from that iconic
Independence Day speech - The Yardstick Agency). The deliberate repetition of “We
will…” creates a drumbeat rhythm that builds momentum and resolve. This sequence of
parallel phrases (sometimes dubbed the “rule of four” for its fourfold repetition (3
invaluable writing lessons you can take from that iconic Independence Day speech -
The Yardstick Agency)) escalates the intensity with each clause, transforming fear into
fighting spirit. The speech also uses parallelism and escalation in its structure.
Whitmore lists humanity’s former conflicts (“tyranny, oppression, or persecution”) and
then contrasts them with the current threat (“annihilation”) (3 invaluable writing lessons
you can take from that iconic Independence Day speech - The Yardstick Agency). By
using a triad of evils from which we won freedom before, he draws a parallel to this new
fight for survival. The sentence “Perhaps it’s fate that today is the 4th of July, and you
will once again be fighting for our freedom… not from tyranny… but from annihilation”
starts measured and builds to a dramatic pivot (Independence Day response (docx) -
CliffsNotes). This contrast between past human wars and the present alien threat
highlights the unprecedented scale, making the call-to-arms even more momentous.
Whitmore also employs direct address and inclusive language. He begins with “Good
morning. In less than an hour, aircraft from here will join others from around the
world…” speaking plainly to the crowd as “you” (3 invaluable writing lessons you can
take from that iconic Independence Day speech - The Yardstick Agency). As the speech
progresses, he shifts into “we,” declaring “we will be united in our common interests,”
and “we are fighting for our right to live.” This subtle shift establishes unity – the sense
that speaker and audience are truly in this together (3 invaluable writing lessons you
can take from that iconic Independence Day speech - The Yardstick Agency). Finally,
Whitmore’s diction and tone escalate toward a peak: he moves from a calm, presidential
demeanor to an impassioned shout. The structure is almost cinematic – starting with
context, rising through stirring promises, and climaxing on the film’s title line “Today, we
celebrate our Independence Day!”. This call-back to the significance of the day ties
everything together in one triumphant rhetorical flourish, cleverly using the film’s title as
the speech’s peroration for maximum impact.
Emotional Appeal: The speech is carefully crafted to instill courage and solidarity in
the face of overwhelming odds. It appeals strongly to hope and bravery – Whitmore
acknowledges the dire situation but immediately counters despair with resolve. For
example, he doesn’t deny that annihilation looms; instead he insists “we’re going to live
on! We’re going to survive!” in an emphatic tone (3 invaluable writing lessons you can
take from that iconic Independence Day speech - The Yardstick Agency). This outright
refusal to submit ignites courage in listeners, showing a firm belief that victory is
possible. The repetition of defiant phrases (“We will not go quietly… We will not vanish
without a fight!”) rings with a resilient optimism that tugs at the audience’s emotions.
The President also fosters a powerful sense of solidarity and a “shared destiny.” He
explicitly says “We can’t be consumed by our petty differences anymore. We will be
united in our common interests”, turning the Fourth of July from an American holiday
into a day the “world declared in one voice” their will to survive (Independence Day
response (docx) - CliffsNotes). Phrases like “mankind—that word should have new
meaning for all of us today” cast aside national divisions and invite everyone listening to
feel part of one human family. This inclusive, rallying tone gives listeners a surge of
unity – a feeling that all of humanity stands together. The emotional weight is
heightened by the enormity of the threat (an alien extermination) which Whitmore
frames as a fight “for our right to live”. By invoking fundamental concepts of freedom
and existence, the speech taps into a primal determination – survival. There is also an
undercurrent of destiny and hope: Whitmore suggests it’s “fate that today is the Fourth
of July” and that this is humanity’s second chance to earn freedom (Independence Day
response (docx) - CliffsNotes). This almost spiritual framing imbues the moment with
grandeur, lifting spirits. As he declares the new Independence Day, many onlookers in
the film have tears in their eyes or look steeled with newfound bravery. The rousing
score swells as well, reinforcing the emotional crescendo. By the end, fear is overtaken
by pride and fighting spirit, as the crowd of soldiers and civilians erupts in cheers. The
audience (both in-film and in theaters) can’t help but feel the goosebumps from this
surge of collective courage and hope.
Thematic Effectiveness: President Whitmore’s speech perfectly encapsulates
Independence Day’s themes of global unity and survival against existential threat. The
film’s central idea is that only by standing together can humanity overcome
annihilation, and Whitmore gives voice to that message in stirring fashion. He explicitly
unites people across the world by saying the 4th of July will no longer be just an
American holiday, but a day when “the world declared in one voice” their independence
(The True Story Behind Bill Pullman's Famous Speech in 'Independence Day')
(Independence Day response (docx) - CliffsNotes). In doing so, he reframes a symbol of
American freedom into a universal human victory, emphasizing the theme of global
unity. The diverse rag-tag group of pilots and survivors is transformed into a single
force with a common purpose. This ties into the film’s celebration of international
cooperation – a motley coalition comes together, dissolving boundaries (pilots from
different nations fly side by side) much as the President urges in his speech. The theme
of survival in the face of an overwhelming existential threat is also strongly reinforced.
Whitmore’s words make it clear that this is not a fight for conquest or power, but for
existence itself: “We’re fighting for our right to live, to exist.” The speech repeatedly
underlines resilience – “we will not go quietly,” “we will not vanish”, “we’re going to
survive” (3 invaluable writing lessons you can take from that iconic Independence Day
speech - The Yardstick Agency) – which is the film’s rallying cry that humanity will not
surrender to extinction. By invoking the memory of past struggles (“not from tyranny…
but from annihilation”) and then asserting that this generation will likewise triumph, the
President transforms the impending battle into a historic turning point. This resonates
with the film’s hopeful theme that even the most advanced enemy can be defeated by
human courage and unity. The speech’s final declaration – “Today, we celebrate our
Independence Day!” – is thematically effective not only as a goosebump-inducing
climax, but as a statement that this war of survival is in fact a war of liberation for
Earth. It cements the narrative that July 4th now symbolizes a new kind of
independence: freedom for all humanity from alien tyranny (Independence Day
response (docx) - CliffsNotes). In the context of the movie, this moment spurs the
characters (and audience) into believing in a victorious outcome, aligning perfectly with
the film’s message that hope and cooperation can overcome even apocalyptic threats.
The enduring popularity of this speech – often cited as one of cinema’s great
inspirational moments – attests to how effectively it communicated the film’s themes in
an emotionally memorable way.
The West Wing (Season 4 2002) – “The streets of heaven are too crowded”
Rhetorical Techniques: President Bartlet’s eulogy (from “20 Hours in America: Part II”)
employs solemn, poetic rhetoric to honor tragedy and inspire resolve. A striking
technique is the use of religious imagery and metaphor. Bartlet says, “The streets of
heaven are too crowded with angels tonight.” In this metaphor, those who lost their lives
are portrayed as angels filling heaven’s streets (20 Hours in America (Part II) | West
Wing Wiki | Fandom). This biblical imagery casts the fallen in a hallowed light, elevating
a political speech into the register of a sermon. It’s an example of Bartlet acting in a
“priestly role”, offering spiritual comfort by implying the departed are in heaven
(Analyzing Presidential Eulogies in The West Wing | Course Hero). He extends the
metaphor by specifying who these angels are: “They’re our students and our teachers
and our parents and our friends.” This gentle enumeration personalizes the loss,
painting vivid pictures of ordinary people among the angels and reinforcing the shared
grief. The speech’s structure also features repetition and parallelism that give it a
solemn cadence. Bartlet repeats the poignant line about heaven’s crowded streets
twice, like a refrain, to drive home the sense of mournful awe. He then pivots to a
message of resilience: “Every time we think we have measured our capacity to meet a
challenge, we look up and we’re reminded that that capacity may well be limitless.” The
phrasing “every time we think… we look up and we’re reminded…” is a parallel
construction that builds rhythm and hope out of sorrow. Additionally, Bartlet uses
anaphora in the latter portion of the speech with phrases like “This is a time for
American heroes. We will do what is hard. We will achieve what is great. This is a time
for American heroes…” (How Presidents Speak - The Atlantic) (How Presidents Speak -
The Atlantic). The repetition of “This is a time for American heroes” and the parallel
sentence structure of “We will do [X]. We will achieve [Y].” lend a pulsing resolve to the
eulogy. The deliberate cadence — short, weighty sentences followed by slight pauses
— gives the speech a dignified, reflective tone appropriate for a memorial. Finally,
Bartlet concludes in classic presidential form by invoking God’s blessing on the fallen
and the nation (How Presidents Speak - The Atlantic) (How Presidents Speak - The
Atlantic), a traditional rhetorical move that underscores unity and closure. Throughout,
the careful blend of reverent imagery, measured repetition, and rising cadence
transforms the speech from a list of tragic facts into a moving piece of epideictic
oratory (ceremonial speech) that both laments and uplifts.
Emotional Appeal: President Bartlet’s eulogy resonates on a deeply emotional level,
combining personal sorrow with collective mourning and a note of moral resolve. At its
heart, the speech is suffused with grief. By invoking angels and naming the roles of
people lost (students, teachers, parents, friends), Bartlet makes the loss personal to
everyone listening – these could be our loved ones. This personalizes the tragedy and
invites the audience to mourn collectively. Bartlet himself delivers these lines with visible
emotion (Martin Sheen’s performance shows a glistening of tears and a heavy,
empathetic tone), which enhances the authenticity of the personal loss he’s
expressing. The eulogy also provides comfort: the image of the departed as angels
offers a gentle consolation, framing the loss in a context of heaven and heroism. As a
result, listeners feel not only sadness but also a certain reverence for the fallen, easing
the pain with pride. The speech then carefully guides emotions from sorrow toward
hope and inspiration. Bartlet acknowledges the tragedy (“The streets of heaven are
too crowded with angels tonight”) but then pivots to emphasize human resilience: “every
time we think we have measured our capacity…we’re reminded that that capacity may
well be limitless.” This transition evokes a swell of pride and determination amid the
grief. He is essentially telling a grieving nation, we are stronger than we know. This
duality – honoring the dead while inspiring the living – gives the speech a powerful
emotional range. Viewers often find themselves moved to tears by the sadness, yet
also comforted and uplifted by the message that follows. Bartlet’s sincerity and moral
conviction shine through as he speaks of “doing what is hard” and “achieving what is
great.” His solemn vow that “We will do what is hard. We will achieve what is great.”
strikes an emotional chord of resolve – it reassures the audience that their leaders will
not let the deaths be in vain. The tone is compassionate and resolute, conveying
empathy (for the victims and their families) and reassurance (that the nation will
persevere). In the context of the show, many characters and viewers were grappling
with real-life post-9/11 anxieties, and Bartlet’s eulogy provided a cathartic emotional
narrative: grief transmuting into courage. It feels intimate (almost like the President is a
pastor comforting his flock) and at the same time patriotic. By the speech’s conclusion,
the audience feels a bittersweet mix of mourning and inspiration – sadness for the
loss, but also a steely hope that America’s spirit is unbroken.
Thematic Effectiveness: This eulogy scene underscores several of The West Wing’s
defining themes: duty, leadership, and moral struggle in governance. First, it highlights
the theme of duty and public service. Bartlet steps up to fulfill one of a president’s
gravest duties – consoling the nation – exemplifying compassionate leadership. He acts
as mourner-in-chief, which reflects the show’s ideal of presidents bearing the moral
weight of the country. In doing so, he adopts a priestly tone (as noted, invoking heaven
and angels), which shows his sense of moral duty to not just govern but to heal
(Analyzing Presidential Eulogies in The West Wing | Course Hero). This aligns with The
West Wing’s portrayal of leaders who deeply care for the people they serve. Secondly,
the speech is a study in leadership during crisis. Bartlet doesn’t merely grieve; he
also rallies. By framing the tragedy as a test that will be met by “American heroes” and
limitless capacity, he provides direction and hope. This reflects the show’s theme that
true leadership involves inspiring others to overcome challenges. It’s very much in line
with The West Wing’s optimistic portrayal of government: even in dark times, principled
leaders can guide the nation forward. President Bartlet’s ability to articulate vision in a
painful moment reinforces that idealistic message. Lastly, the eulogy encapsulates the
show’s exploration of moral struggle and resilience. Throughout the series, Bartlet
and his staff often grapple with ethical decisions and the weight of their responsibilities.
Here, the moral stance is clear – honoring bravery (the victims who “ran into the fire”)
and urging resolve against adversity. Transforming the deaths into “symbols of national
resilience” (Analyzing Presidential Eulogies in The West Wing | Course Hero) is a
conscious thematic choice: it asserts that out of sorrow can come strength, a frequent
motif in the series. This mirrors Bartlet’s personal moral struggle (earlier in the episode
he’s challenged on how to respond to the attack) – ultimately he chooses to respond
with words of unity and perseverance rather than vengeance or despair. The speech
thus serves as a narrative resolution to the question of how a principled leader should
react to tragedy: with empathy, faith, and courage. Thematically, it reinforces The West
Wing’s belief in the decency and capability of leadership at its best. The earnest,
almost poetic quality of the speech also matches the show’s tone – often idealistic,
unabashedly sentimental, and “corny” in a heartfelt way (even real-life commentators
noted that Bartlet’s angel line, while lofty, epitomized the show’s sincere style) (How
Presidents Speak - The Atlantic). In sum, the speech elevates a moment of fictional
grief into a statement about the enduring American spirit, perfectly echoing the series’
themes of hope and honor in public service.
Love Actually (2003) – “We’re a great one too”
Rhetorical Techniques: The British Prime Minister’s impromptu address in Love,
Actually uses a clever mix of humor, contrast, and patriotic fervor to captivate both the
press room and the film’s audience. One notable technique is humor and irony. Unlike
the solemn speeches above, this oration is laced with witty jabs. The PM (played by
Hugh Grant) pointedly remarks, “I love that word ‘relationship.’ It covers all manner of
sins, doesn’t it?”, slyly mocking the American President’s platitudes even as he stands
next to him. He then turns this press conference into a moment of comedic defiance. In
a now-famous string of references, he says: “We may be a small country, but we’re a
great one, too. The country of Shakespeare, Churchill, the Beatles, Sean Connery,
Harry Potter, David Beckham’s right foot... David Beckham’s left foot, come to that.”
(Love Actually - Wikiquote). This list starts formally (historic giants like Shakespeare and
Churchill) but takes a playful turn with modern pop icons and the cheeky Beckham’s
foot joke. By invoking cultural icons and then subverting expectations with a
punchline, the PM keeps the tone light and engaging. This contrast between highbrow
and cheeky references generates laughter, but also national pride – it’s a “pastiche of
Little Englander pride” done knowingly tongue-in-cheek (I agree with Tony. (Or why
British PMs shouldn’t actually try and do Hugh Grant’s Love Actually PM speech.)). The
structure of the speech also uses contrast and build-up effectively. He begins as if
he’s going to maintain diplomatic politeness, then pivots sharply. The contrast is
encapsulated in the line “I fear that this has become a bad relationship – a relationship
based on the President taking exactly what he wants and casually ignoring all those
things that really matter to Britain.” Here, he juxtaposes Britain’s small size with its great
character, and a “special relationship” with one that’s imbalanced. This sets up a classic
underdog vs. bully scenario in rhetoric. The PM’s language remains polite in wording
but carries a hard edge in meaning – e.g., referring to the US as a friend who has
“bullied” them (Love Actually - Wikiquote). By framing it this way, he uses simple clear
diction that draws a line in the sand without resorting to crass insults. Finally, the
speech crescendos with directness and a firm tone: “And a friend who bullies us is no
longer a friend. And since bullies only respond to strength, from now onward I will be
prepared to be much stronger, and the President should be prepared for that.” (Love
Actually - Wikiquote). The short, declarative sentences and repetition of “friend”/“bullies”
drive the point home unequivocally. He addresses not just the press, but effectively
speaks over the American President’s shoulder to the world. This direct public calling-
out is a bold rhetorical move, heightened by Grant’s confident, charming delivery. In
summary, the Prime Minister’s speech uses wit to disarm, contrast to highlight Britain’s
stance, and plain-spoken firmness to deliver a memorable diplomatic slap-down – all
while maintaining an upbeat, rallying tone.
Emotional Appeal: The brilliance of this scene is how it balances lightheartedness with
genuine patriotic emotion, making the audience feel both amused and inspired. On one
hand, there’s a strong feel-good lighthearted appeal. The humor (like referencing
Harry Potter and cheekily praising both of David Beckham’s feet) creates a sense of
warmth and national in-joke – it invites British viewers to chuckle in recognition of their
cultural icons. This lighthearted defiance ensures the moment doesn’t come off as
jingoistic ranting, but rather as a confident joke that happens to carry a serious point.
The Prime Minister’s boyish charm and the surprise factor of him deviating from scripted
diplomacy add to the delight; viewers get the thrill of seeing a usually reserved leader
publicly stand up for himself in a witty way. This makes the audience feel a giddy sort of
empowerment, almost as if they personally delivered that clever retort. On the other
hand, the speech does evoke true patriotism and pride. When he lists Britain’s great
artists, leaders, and pop culture heroes, there’s an undercurrent of sincere pride in
British heritage. It’s a crowd-pleasing move that likely gives British viewers a swell of
“Yes, we really have given the world some amazing things!” sentiment. The emotional
beat lands especially when his tone shifts to seriousness: “A friend who bullies us is no
longer a friend.” The firmness in that statement draws applause in the film (and one
imagines, in many UK cinemas as well). It strikes a chord of righteous pride – the
feeling of finally pushing back against disrespect. The mixture of cheekiness and
backbone makes the audience feel both happy and validated. Additionally, there’s a
subtle romantic/emotional undercurrent: the PM is partly motivated by his protective
feelings for Natalie (one of his staff, whom the US President had harassed). So his
defense of country doubles as a personal defense of someone he cares about. Viewers
sense this extra layer, which adds a touch of emotional satisfaction – it’s the moment
the mild-mannered nice guy finds his courage. The delivery – set during a press
conference with cameras flashing – gives it a triumphant public catharsis. By the end,
the emotional appeal is one of uplift and empowerment. British viewers (and
sympathetic others) feel a surge of confidence that even a “small” nation can assert
itself with dignity and humor. It leaves a warm afterglow, as the scene quickly transitions
to jubilant music, underscoring the collectively proud and relieved emotion of the
moment.
Thematic Effectiveness: Though Love, Actually is primarily a romantic comedy, this
speech resonates with the film’s broader themes of love, confidence, and standing up
for what matters. Thematically, one could say this moment is about self-respect and
standing up to bullies, which parallels many of the film’s personal relationship
storylines. The prime minister chooses integrity and loyalty over a “special relationship”
that compromises his values – essentially standing up for what (and whom) he loves.
This reflects the film’s recurring idea that love (or loyalty) sometimes means taking a
risk and speaking out. In other story threads, characters take emotional risks
(confessing love, defending someone, pursuing a passion) despite fear of
consequences. Here, the PM’s love for his country (and by proxy, his affection for
Natalie) compels him to act with newfound boldness. This ties into the theme of
confidence. Throughout the film, love gives characters the courage to overcome their
insecurities. The Prime Minister, initially depicted as somewhat bashful and hesitant in
personal matters, finds his confidence magnified when he decides to do the right thing.
His bold public speech is a payoff to his character’s growth – much as other characters
gain confidence to declare love or set boundaries. It tells the audience that doing the
courageous thing can lead to positive outcomes (indeed, his standing up increases both
his political and romantic appeal). The scene also reinforces the theme of authenticity
in love and leadership. Earlier in the film, the PM struggles with the conflict between
propriety and his genuine feelings. Here, he chooses authenticity – he openly declares
what’s wrong in the UK–US dynamic, consequences be damned. This honesty is
refreshing and thematically suggests that being true to oneself (or one’s people) is
ultimately rewarding – a notion echoed in the film’s various romantic plots. Finally, the
speech, while comic, highlights loyalty and protectiveness as an expression of love.
Just as other stories in Love, Actually showcase acts of devotion, the PM’s act can be
seen as devotion to his nation and to those important to him. The feel-good triumph of
this moment reinforces the film’s overarching warm tone: it’s an ode to doing the brave
thing for the people (or country) you love. In terms of the film’s narrative, this stand
against the intimidating U.S. President is a high point that leaves the audience cheering
– an external conflict resolved in parallel to the internal, romantic ones. It adds a
sprinkle of political fairy-tale to the mix of love stories. By standing up to a bully with
charm and conviction, the Prime Minister’s speech affirms that doing right by those
you care for is a great victory in itself. This dovetails perfectly with Love, Actually’s
heartwarming mosaic of vignettes, each showing that love – whether romantic, familial,
or patriotic – truly actually is all around, and gives us the nerve to be our best selves.
Sources:
Braveheart – William Wallace’s speech transcript and analysis (Braveheart
“Freedom” Speech Transcript – William Wallace) (Inspire like Braveheart: five
keys to a motivating speech - LEADERSHIP IN THE MOVIES) (Inspire like
Braveheart: five keys to a motivating speech - LEADERSHIP IN THE MOVIES)
Braveheart rhetorical devices discussion ( Year 9 Rhetorical devices (William
Wallace) homework – due Tuesday 14 October | English at Teignmouth ) (Inspire
like Braveheart: five keys to a motivating speech - LEADERSHIP IN THE
MOVIES); emotional and thematic context (Analyzing William Wallace's Speech
in 'Braveheart': - Course Sidekick) (Braveheart – "but they'll never take our
freedom!" | ACMI: Your museum of screen culture).
Independence Day – President Whitmore’s speech transcript (Independence Day
response (docx) - CliffsNotes) (3 invaluable writing lessons you can take from
that iconic Independence Day speech - The Yardstick Agency) and analysis of
techniques (3 invaluable writing lessons you can take from that iconic
Independence Day speech - The Yardstick Agency); thematic breakdown
(Independence Day response (docx) - CliffsNotes).
The West Wing (S4E2) – President Bartlet’s “angels” eulogy lines (20 Hours in
America (Part II) | West Wing Wiki | Fandom) and commentary on its style (How
Presidents Speak - The Atlantic); scholarly analysis of its eulogy elements
(Analyzing Presidential Eulogies in The West Wing | Course Hero).
Love, Actually – Prime Minister’s speech excerpt (Love Actually - Wikiquote);
commentary on its humorous patriotism and standing up to a bully (I agree with
Tony. (Or why British PMs shouldn’t actually try and do Hugh Grant’s Love
Actually PM speech.)).
Prompt: Explore the history of broadcasting and mass communication. How does
technology impact the effectiveness and reach of speeches, news, and entertainment
programs? Be sure to explore the following historically significant examples and
discuss: how did technologies (new or repurposed) make each of them possible, and
could they have worked in different mediums? For instance, would FDR’s fireside chats
have been as effective if delivered over the Internet?
Prompt: “Time of death,” says a doctor on TV, after frantic efforts to get someone’s
heart pumping again fail, “5:11 am.” If it were only that simple! Research is increasingly
suggesting that death is a complex process, sometimes reversible—sometimes not.
Explore the differences between resuscitation and resurrection, then, without getting too
dark, discuss with your team: how much of a person’s mind needs to be intact for it to
be a good idea to keep them alive—and who should decide? You may also want to
explore some historical ideas about what happens after death, including those below:
In Chinese folk belief (blended with Buddhism and Daoism), Diyu (地狱, the “earth
prison”) is a vast underworld where the souls of the deceased are judged and punished
before reincarnation. Unlike a one-size-fits-all hell, Diyu is portrayed as a sprawling
bureaucracy of the afterlife – often imagined as having Ten Courts, each ruled by a
judge (collectively the Ten Kings of Hell), and multiple levels or chambers of specific
punishments (DIYU - the Chinese legendary place of the Underworld (Chinese
mythology)) (DIYU - the Chinese legendary place of the Underworld (Chinese
mythology)). It’s a very systematic afterlife: when a person dies, underworld guardians
arrest their soul and bring it before King Yama (Yanluo Wang), the chief judge (DIYU -
the Chinese legendary place of the Underworld (Chinese mythology)). There, a Mirror
of Retribution reveals all the person’s deeds in life, and judges assign the soul to
various hells appropriate to their misdeeds (DIYU - the Chinese legendary place of the
Underworld (Chinese mythology)). Importantly, almost everyone spends some time in
Diyu – the belief is that the vast majority of souls have some mixture of good and bad
deeds, so they must be purified through punishment. Exceptionally virtuous souls might
be allowed to bypass hell and go straight to a heavenly realm or be swiftly reincarnated
in a good life (DIYU - the Chinese legendary place of the Underworld (Chinese
mythology)). But most will face the consequences of their earthly failings in one or more
of the hells.
Morality and judgment in Diyu operate on a karma-like principle of just deserts. Each
court of hell deals with different sins. For example, one court punishes thieves by
freezing them in an ice hell, another punishes liars by pulling their tongues, another
boils the corrupt in oil, and so forth (DIYU - the Chinese legendary place of the
Underworld (Chinese mythology)) (DIYU - the Chinese legendary place of the
Underworld (Chinese mythology)). The tortures are often grotesque and explicitly
matched to the crime, reflecting the Chinese cultural focus on moral reciprocity. The
presence of underworld judges and scribes is analogous to a courtroom – it emphasizes
that this is a legal process in the cosmos. In Diyu, nobody is punished arbitrarily; it’s
portrayed as fair (if harsh) retribution for one’s actions. In fact, underworld scenes in
Chinese art often include placards with moral aphorisms, reminding viewers on Earth to
live virtuously to avoid these fates (DIYU - the Chinese legendary place of the
Underworld (Chinese mythology)). Uniquely, because of the belief in reincarnation
(drawn from Buddhism), Diyu is not eternal damnation. Souls serve out sentences in
various hells until their sins are expiated, and then they move on. The ultimate fate of
the soul is to be reborn into a new life. In the final court of Diyu, souls drink the Meng
Po soup of forgetfulness and are sent back to the world, their memories of the past
wiped clean. The nature of one’s next reincarnation (human, animal, hungry ghost, etc.)
depends on their balance of good and bad karma after the hell punishments are done.
In essence, Diyu functions as a temporary purgatory and correctional facility: it aligns
with the Chinese emphasis on justice and moral order, while also fitting the cyclical view
of life and death. Culturally, the vivid depictions of Diyu’s tortures (often shown in
temples or folk tales) served as moral instruction, instilling fear of wrongdoing. The
prospect of having one’s soul “registered” and judged by strict magistrates after
death reinforced social norms. Even Chinese bureaucracy is reflected – the afterlife is
run like a divine civil service, complete with courts and judges! Ultimately, Diyu
embodies the idea that no bad deed goes unpunished – but also that punishment is
not forever. It’s a means to purify and educate the soul before it tries life again,
hopefully this time living more virtuously.
Jigoku (Japanese Buddhism) – The Buddhist Hells of Suffering
Japanese conceptions of the afterlife include both the Shinto idea of an underworld
(Yomi) and the Buddhist idea of hells (Jigoku). Here we’ll focus on Jigoku, which Japan
adopted from Buddhist cosmology (it’s equivalent to the Sanskrit Naraka). Jigoku in
Japanese Buddhism is a realm of intense torment for souls burdened by evil karma. It is
often described as having eight hot hells and eight cold hells, each with numerous
sub-hells – a vast infernal landscape of pain (Jigoku | Yokai.com). Unlike in Chinese
Diyu, where nearly every soul goes for some punishment, the Buddhist hells are
generally reserved for those who accumulated great negative karma (through cruel or
selfish actions) and are thus “unworthy of rebirth in higher realms” (Jigoku | Yokai.com).
In other words, if a being’s actions in life were sufficiently harmful, they might find
themselves in Jigoku rather than immediately being reborn on Earth or in another realm.
Morality and judgment in Jigoku are rooted in the impersonal law of karma rather than
a deity’s verdict. Upon death, according to Japanese Buddhist tradition, souls do
undergo a judgment of sorts – King Enma (derived from the Hindu/Buddhist Yama),
known as Enma-Ō, judges the dead and assigns them to the appropriate hell if needed
(Jigoku and Yomi No Kuni: Exploring Japanese Hell - Tofugu). In popular belief, Enma-
Ō in Japan was often depicted similar to Chinese Yama, as a fierce magistrate. But the
true “judge” is one’s own deeds: evil actions lead one naturally to a corresponding hell.
Each hell in Jigoku is tailored to a category of sin. For example, those who killed or
were violently aggressive might fall into the Reviving Hell (Tōkatsu Jigoku), where they
must fight and kill each other endlessly, being resurrected by a cool breeze each time to
resume the bloodshed (Jigoku | Yokai.com) (Jigoku | Yokai.com). Those who stole
might go to the Black Thread Hell, where demons saw them apart along lines marked
on their bodies (Jigoku | Yokai.com). Adulterers might be sent to a hell of ice, and so on.
The torments are lurid and extreme – being boiled alive, torn by ogres, frozen, set
aflame, etc. – described in sutras and depicted in the famous Hell Scrolls of late Heian
Japan, which were meant to shock viewers into piety. A distinctive feature of Buddhist
hells is the time scale: souls don’t suffer forever, but the sentences are astronomically
long, measured in kalpas (eons) that dwarf the human sense of time (Jigoku |
Yokai.com). For instance, a term in one hell might last “500 years,” but one day in that
hell is itself hundreds of years in human time (Jigoku | Yokai.com) – effectively meaning
millions of years of suffering by our measure. It’s effectively endless relative to a human
lifespan, though not truly eternal in Buddhist doctrine.
The fate of the soul in Jigoku is ultimately to exhaust the negative karma and be
reborn. Buddhism holds that everyone trapped in hell will eventually die there (yes,
beings in hell can die after suffering) and then be reborn in another realm according to
their remaining karma. Hell thus serves as a purging fire – painful but finite. There is
also the possibility of salvation: Buddhist teachings say that devotion to the Buddha or
recitation of certain sutras can shorten one’s hell term. In Japanese Pure Land
Buddhism, the compassionate bodhisattva Jizō (Ksitigarbha) is believed to work to
alleviate sufferings of those in hell and even intervene to rescue souls. This introduces
mercy into what might otherwise be a hopeless scenario. Jigoku’s moral worldview is
clear: evil actions have dire consequences, if not in life then after death. Yet it’s not
governed by an authoritarian God; it’s more like a natural moral order – you reap what
you sow via karma. In cultural practice, the fear of Jigoku coexisted with the hope of
enlightenment or Pure Land rebirth (heaven). Many Japanese might participate in rituals
to ensure the deceased avoid hell and attain a better rebirth. The doctrine of samsara
(the cycle of rebirth) means hell is just one stop in a continuum; the ultimate goal is to
escape the whole cycle by achieving Nirvana. Thus, while Jigoku is a crucial deterrent
and moral teacher, it’s part of a larger framework where every soul has the potential for
eventual liberation.
Nirvana (Buddhism) – Liberation from the Cycle
Nirvana isn’t a place like the other afterlives discussed – it’s more a state of being (or
non-being, in some interpretations). In Buddhism, Nirvana (Sanskrit: nirvāṇa, meaning
“blowing out” like a flame) is the ultimate goal of the spiritual path: the extinguishing of
desire, ignorance, and suffering, which leads to liberation from the cycle of rebirth
(Nirvana | Definition, Meaning & Significance | Britannica). To understand Nirvana, one
must remember the Buddhist worldview: life in the cycle of Saṃsāra (repeated birth and
death) is inherently unsatisfactory, marked by dukkha (suffering or dissatisfaction).
Nirvana is the cessation of that suffering and rebirth (Nirvana | Definition, Meaning &
Significance | Britannica). When a person attains Nirvana, they have broken the chains
of karma that would cause further rebirth. It’s often described in negatives (what it is
not), because it transcends ordinary experience: no more craving, no more hate, no
more delusion – total peace and freedom. The Buddha described it as unborn
unageing deathless sorrowless, etc. It’s sometimes likened to a flame going out
because the fuel (ignorance and craving) is gone (Nirvana | Definition, Meaning &
Significance | Britannica).
In terms of morality and judgment, achieving Nirvana is not about a divine judgment
but about self-transformation. No deity grants Nirvana; one achieves it through one’s
own practice of ethics, meditation, and wisdom. A person must cultivate moral virtue
(śīla), concentration (samādhi), and insight (prajñā) to uproot the causes of suffering
within themselves. So the “judgment” is really the law of nature – only when one’s mind
is purified of greed, aversion, and delusion does Nirvana manifest. Unlike the other
afterlife concepts where an external system rewards or punishes, in Buddhism the onus
is on the individual to liberate themselves (with the guidance of teachings). That said,
different branches of Buddhism envision the endpoint somewhat differently. In
Theravada Buddhism, Nirvana is often viewed as an ineffable end-state for the
individual who attains it (the arahant); after death, an arahant’s indescribable
Parinirvana occurs – they are not reborn, and whatever of their psychophysical
existence that remained is completely dissolved. In Mahayana Buddhism, Nirvana is
sometimes equated with enlightenment or Buddhahood, and there’s the idea that
ultimate reality (known as nirvana) is not separate from the world – “samsara is nirvana
when seen correctly.” Bodhisattvas in Mahayana even postpone their full entry into
Nirvana to help others. But in all cases, Nirvana represents moksha (liberation) –
freedom from samsara.
What is the fate of the soul in Nirvana? This is tricky, because Buddhism in many
schools denies an eternal soul (the doctrine of anatman, no-self). The being who
attains Nirvana is said to be beyond description: not existing, not non-existing. It’s a
transcendence of the cycle, not a continuation. If one were to use more theistic terms,
Nirvana is like the ultimate “heaven,” but it’s not a paradise where one goes to enjoy
pleasures – it’s the unconditioned state beyond all dualities. From a practical
perspective, for devout Buddhists, Nirvana is the hope that drives spiritual practice,
analogous to how union with God or entry to heaven motivates practitioners of other
faiths. It’s absolute deliverance. In life, someone who has awakened experiences inner
Nirvana – a mind free from attachment and aversion, characterized by deep
compassion and wisdom. Upon death, having no more attachments, they simply don’t
return. This idea fundamentally shapes Buddhist attitudes toward death: death is not to
be feared as annihilation, but neither is worldly life to be clung to – the focus is on
escaping the entire wheel. Thus, Nirvana stands in contrast to concepts like Valhalla or
Happy Hunting Ground; it’s not an afterlife destination for the personality, but the end of
the line for the chain of conditioned existence. Morality in Buddhism is oriented toward
this goal: good actions are those that help purify the mind and accumulate merit
(positive karma) to support progress toward Nirvana (What is Samsara? | Buddhism
A–Z) (What is Samsara? | Buddhism A–Z). Unlike heaven, Nirvana isn’t a reward for
good deeds per se – it requires wisdom into the nature of reality. In summary, Nirvana is
the ultimate freedom from suffering and samsara, a state of enlightenment beyond birth
and death (What is Samsara? | Buddhism A–Z) (Nirvana | Definition, Meaning &
Significance | Britannica). It reflects the Buddhist view that the highest happiness is not
in any sensual paradise or continuing existence, but in cessation – the utter peace that
comes when the fires of craving are quenched.
Saṃsāra is not an afterlife location but the overarching concept of the cycle of rebirth
itself – the repeating transmigration of souls through birth, death, and rebirth in various
forms. Originating in Indian spirituality (shared by Hinduism, Buddhism, Jainism, etc.),
samsara is often depicted as a wheel (hence the Bhavacakra or Wheel of Life in
Buddhism) (What is Samsara? | Buddhism A–Z) (File:Bhavacakra.jpg - Wikimedia
Commons). Within this cycle, one’s actions (karma) determine where one is reborn: it
could be a heavenly realm, an earthly life, an animal life, a ghostly existence, or a hell
realm. Samsara thus encompasses all these states – it is life itself in the cosmic sense,
seen as cyclical and unsatisfactory. In Hinduism, the soul (ātman) wanders from life to
life, while in Buddhism, what travels is not a permanent soul but a stream of
consciousness carrying karmic imprints. In both, the goal is to eventually break free
from samsara (attain Moksha in Hinduism or Nirvana in Buddhism), because samsaric
existence is inherently tied to suffering, impermanence, and illusion (What is Samsara?
| Buddhism A–Z) (What is Samsara? | Buddhism A–Z).
Morality and judgment in a samsaric framework are embodied in karma. There may
not be a single Judging God, but the universe has a built-in moral law: good deeds lead
to better rebirths, bad deeds to painful ones (What is Samsara? | Buddhism A–Z). For
example, in Hindu thought, a person who lives righteously might be reborn into a higher
caste or even a heavenly realm (Svarga) enjoying pleasures for a long time, whereas a
cruel person might be reborn as an animal or suffer in one of the many Narakas (hells)
temporarily. Importantly, even those heavenly enjoyments are temporary – once the
merit is used up, one falls back to earth to continue the cycle. Samsara is often
portrayed as beginningless and endless from a time perspective – one has already
lived countless lives and will continue to do so unless liberation is attained (What is
Samsara? | Buddhism A–Z) (What is Samsara? | Buddhism A–Z). Every birth brings
about death, and every death leads to another birth. Thus, samsara is sometimes
viewed negatively as a trap or a wheel one is stuck on. In Hinduism, the presence of an
eternal soul (ātman) means the same individual soul experiences all these lives; in
Buddhism, there’s continuity but no fixed self, more like a flame passing from candle to
candle.
The fate of the soul in samsara is not fixed – it’s dynamic and ever-changing based on
one’s actions. One crucial implication is personal responsibility: your conditions, now
and in the future, are a result of your own choices (perhaps choices made in past lives
that you don’t even remember). This engenders an ethical impetus to live well not just
for immediate benefit but for one’s spiritual future. Another aspect is the acceptance of
suffering as part of life – birth, aging, sickness, and death happen to everyone
repeatedly (Nirvana | Definition, Meaning & Significance | Britannica). Rather than
seeing a single lifetime as the be-all, end-all, samsara places individual lives in a
broader context. This can make death less fearsome in some ways: death is not final
annihilation but a transition. For example, when a loved one dies in a Hindu family,
there’s often comfort in thinking the person will be reborn – perhaps even within the
same family line. However, samsara can also breed complacency (“there’s always the
next life to improve”) or resignation to injustice (thinking someone’s misfortune is due to
misdeeds in a prior life). It is a double-edged outlook.
In religious practice, ending samsara is the highest aim – through devotion, righteous
living, and spiritual practices, one seeks Moksha/Nirvana, which is essentially escaping
the cycle. For instance, a Hindu may follow their dharma (duty), perform rituals, and
cultivate knowledge of the divine to achieve union with Brahman (the ultimate reality),
thereby attaining Moksha – release from rebirth. A Buddhist follows the Noble Eightfold
Path to eliminate craving and ignorance, thus reaching Nirvana and stopping the wheel.
Samsara thus provides the context that gives meaning to concepts like Nirvana:
without samsara’s endless loop, Nirvana’s finality wouldn’t be so precious. Morality in
samsaric traditions is deeply tied to cosmic justice (karma) – unlike one-life paradigms
where justice might be meted out in heaven or hell, here justice plays out across
lifetimes. A kind person might not see rewards in their current life but may be reborn in
fortunate circumstances. A villain may die rich and happy now but could face misery in
the next life. This was a way to rationalize apparent injustice in the world and encourage
ethical conduct: the universe will balance the scales eventually. In summary, samsara
is the grand stage on which all other afterlife scenarios occur repeatedly. It is endless
wandering through various states of existence (What is Samsara? | Buddhism A–Z)
(What is Samsara? | Buddhism A–Z). Only by breaking the cycle does a soul find true
peace (whether conceptualized as merging with God or entering Nirvana). Samsara’s
emphasis on rebirth and karma has profoundly influenced Eastern attitudes toward
death – often viewing death as natural and even welcome if it leads one closer to
liberation.
Happy Hunting Ground (Native American Great Plains) – A Peaceful Spirit Land
The term “Happy Hunting Ground” is often associated with certain Native American
peoples’ vision of the afterlife, especially in popular imagination for Plains tribes (like the
Lakota, Cheyenne, etc.). It refers to a heavenly paradise where the spirits of the
deceased live in abundance and harmony – often envisioned as endless prairies with
plentiful game to hunt, clean waters, and no suffering. The phrase itself actually
originated in English in the 19th century (attributed to interpreters and writers) rather
than being a direct translation of a specific Native term (Happy hunting ground -
Wikipedia) (Happy hunting ground - Wikipedia). Some Native writers, like Charles
Eastman (Ohiyesa) who was Sioux, even noted that the idea of a singular “happy
hunting-ground” as commonly described was likely an oversimplification by white
settlers (Indians 101: Some American Indian Beliefs About an Afterlife ) (Indians 101:
Some American Indian Beliefs About an Afterlife ). Nonetheless, the concept has some
basis in authentic beliefs: many Plains tribes did believe that after death, people’s spirits
would journey to a land in the sky or the west that mirrored the good aspects of life on
earth. For a buffalo-hunting culture, what could be happier than eternal good hunting?
So the symbolism is apt.
In these traditions, morality and judgment were generally less formalized than in
organized religions like Christianity. The criteria for reaching the spirit land were often
simply belonging to the community and living according to its ways. For instance, the
Lakota spoke of the soul traveling the “Spirit Path” (Milky Way) to the spirit world.
There, a soul might be stopped by an old woman who checks if they have the proper
tattoos or markings and if they’ve lived a good life. Those who didn’t might be sent back
or wander as ghosts. But in many accounts, it wasn’t so much a moralistic sorting of
good vs. evil souls (with hell as punishment) – rather, nearly everyone joins the
ancestors in the other world, though bravery in battle or in life might be especially
honored. For warrior cultures, dying honorably could ensure one’s spirit rests among
esteemed ancestors (paralleling Valhalla in some sense). The Happy Hunting Ground
notion emphasizes a continuation of what was valued in life: for hunters and warriors, a
place where one could continue those pursuits without end or threat. It’s a rewarding
afterlife but not necessarily one of strict judgment. In fact, as Eastman mentioned,
many of these tribes didn’t have a concept of eternal punishment – no equivalent of hell
(Indians 101: Some American Indian Beliefs About an Afterlife ). The Pueblo Indians, for
example, saw the afterlife as simply a continuation of this life in a different place, without
a new moral reckoning (Indians 101: Some American Indian Beliefs About an Afterlife ).
Similarly, the Cheyenne believed in a journey to a camp in the Milky Way and stated
there is no hell or punishment after life – you essentially live as a spirit much as you did
on earth (Indians 101: Some American Indian Beliefs About an Afterlife ). These views
underline that community and nature were central: the afterlife was being reunited
with one’s people and the natural world’s bounty.
The fate of the soul in a Happy Hunting Ground scenario is generally a contented
existence. One continues to do what one loves – hunt, ride horses, be with family – in
an idealized form. Game animals voluntarily offer themselves (since in many Native
cultures, animals have spirits and participate in the harmony of the world). There is no
hunger, no pain, no illness. It’s an eternal honeymoon with nature. Such beliefs would
comfort those who lost loved ones – they could imagine them living freely under open
skies, and perhaps even interacting with the living (as guardian spirits or through
ceremonies). It also encouraged a certain fearlessness: a warrior might not dread death
if he believed he’d go to the great hunting grounds in the sky. It’s worth noting that each
nation had its own nuances. Some spoke of the afterlife as “the Camp of the Ancestors”
or a specific landmark (the Navajo, for instance, have different beliefs involving the land
of ghosts). But the popular image of Happy Hunting Ground distills a common theme:
an afterlife in tune with nature and one’s cultural life-way. There isn’t the elaborate
bureaucracy of Diyu or the strict merit accounting of karma; it’s more about fulfilling
one’s role in the natural order. Live as a good member of the tribe and you will join your
people in the next world. One could say the morality in such cultures was about honor,
bravery, generosity, and fidelity to the community – those values ensure the spirit’s
peace. To outsiders, the Happy Hunting Ground concept might have seemed simplistic,
but it embodies a worldview where the afterlife is a homeland – essentially a perfected
vision of this world, rather than a radically different plane of existence. It reflects a
closeness between the material and spiritual; death is a transition to another part of the
ecosystem of being, not a final judgment day.
Additional Considerations: Death in Modern Medical vs. Historical Perspectives;
Afterlife Beliefs and End-of-Life Attitudes
Throughout history, definitions of death were straightforward – the heart stops, breath
ceases, the body grows cold. Only in the last century has modern medicine complicated
that picture, introducing concepts like brain death, ventilator-sustained circulation, and
reversible clinical death. Historically, a person with no pulse and not breathing was
considered dead, period. Attempts to revive the recently deceased were rare or
rudimentary (think of folk practices or early defibrillation experiments in the 18th century
with electricity). People also often died at home, and death was a common part of life,
accepted relatively more readily as inevitable. Without machines to prolong basic
functions, the boundary between life and death was clearer. Religious perspectives
dominated understanding of death: it was the moment the soul departed the body to
whatever afterlife one believed in. Modern medical understanding sees death as a
process that can sometimes be halted or reversed. We recognize conditions like
suspended animation (hypothermia-induced) or uses of CPR that can restore life after
several minutes or more. We draw a line at brain death – even if a body can be kept
biologically ticking, if the brain is gone, the person is gone (Brain Death - StatPearls -
NCBI Bookshelf) (Brain Death Criteria (Archived) - PubMed). This has led to legal
definitions (the Uniform Determination of Death Act in the U.S., for example, which
defines death as irreversible cessation of either circulatory-respiratory function or whole-
brain function). Such definitions did not exist historically. With technology, we also face
“twilight” states unknown before: individuals who are for all intents and purposes
deceased but whose bodies are maintained on life support (for organ donation or due to
family wishes). This challenges intuitive notions of death.
Comparatively, historical perspectives were sometimes more spiritual – death could be
seen as a transition rather than a terminal event. In medieval times, the moment of
death was spiritually significant: people prayed for a “good death” where one could
confess sins and receive last rites, to prepare the soul for judgment. Today’s
medicalized death often occurs in hospitals, with less ritual, sometimes leading to calls
for a return to more holistic dying processes (hospice movement, death doulas, etc.).
Modern science has demystified some aspects of dying (e.g., we understand brain
hypoxia causes near-death visions, not necessarily a literal peek into heaven), yet
mystery remains, especially around consciousness and when exactly the “self” is
gone. We now ask questions like how long to perform CPR, whether a person in a coma
has awareness, or if the “near-death” brain activity (Lucid Dying: Patients Recall
Death Experiences During CPR | NYU Langone News) is an endpoint or a survivable
state. These nuances simply didn’t arise historically. In short, modern medicine offers a
more nuanced, clinical delineation of death, with the possibility (in some cases) of
postponing it, whereas historical views treated death as more absolute and often
intertwined with religious destiny.
Beliefs about the afterlife strongly influence attitudes toward resuscitation and
end-of-life care. A person who firmly believes that after death their true reward
(heaven, Valhalla, etc.) awaits might be more accepting of death – even embrace it –
compared to someone who fears oblivion or hell. For instance, in some cultures where
afterlife is seen as a reunion with ancestors, the dying may feel comfort rather than
terror and thus might decline extreme life-prolonging interventions. On the other hand,
belief in an afterlife can also motivate preserving life if one thinks suicide or hastening
death could jeopardize one’s salvation (as in many Christian doctrines where suicide
was historically viewed as a sin barring one from heaven). Thus, religious patients might
reject euthanasia even while suffering, because their faith valorizes endurance and
condemns taking one’s own life. Alternatively, a Buddhist facing terminal illness might
refuse aggressive treatment, focusing instead on attaining a peaceful state of mind for a
favorable rebirth or enlightenment, since clinging to life could generate negative karma
or fear at the moment of death. In settings like intensive care, families with strong
religious convictions may insist “everything be done” to keep a loved one alive, believing
in miracles or that only God, not doctors, should decide the moment of death. We see
legal cases at times where families oppose withdrawing life support due to beliefs that
God will perform a miracle or that suffering has spiritual meaning.
Cultural beliefs also play a role. The concept of the Happy Hunting Ground might lead
Native families to view death as a natural return to the spirit world, perhaps making
them less inclined to pursue invasive life support for a hopeless patient. They might
prioritize rituals (like allowing the dying person to hear certain chants or be in nature)
over high-tech interventions. In contrast, a modern secular culture that fears death as
the ultimate end might push very hard to extend life at almost any cost, because the
prevailing belief (or lack of belief) provides no comfort about what comes after. People
who think “this life is all there is” may more fiercely resist death. Meanwhile, those who
believe in predestination or a fixed time of death (common in some religious
perspectives) might decline medical intervention feeling it’s futile to “play God.” Belief in
reincarnation (samsara) can cut both ways: one might accept death calmly (“I’ll be
back again”), or one might worry about accumulating bad karma through unnatural
prolongation of life.
Interestingly, near-death experiences and modern resuscitation science have created
a sort of cross-roads of belief and medicine. Some patients who were revived report
afterlife-like experiences (meeting deceased relatives, a feeling of unconditional love,
etc.), which can reinforce belief in a pleasant afterlife and reduce fear of death among
the public when these stories spread. This could make some individuals less insistent
on resuscitation – if they believe they glimpsed “the other side” and it was peaceful, they
may not mind letting go when the time comes. On the other hand, the mere ability to be
resuscitated (brought back) is a modern phenomenon that has perhaps made society
less resigned to death. We fight death in the hospital with a myriad of techniques;
whereas in earlier eras, people may have seen it as fate or God’s will that one simply
had to accept, now families may feel that if a loved one died, maybe the doctors “didn’t
try hard enough” – an attitude shaped by our successes in reviving people. This can
create conflict if, say, a doctor feels further treatment is futile but a family – perhaps
influenced by stories of miraculous recoveries – believes in pushing onward.
In summary, one’s worldview about what (if anything) follows death deeply colors how
one approaches the end of life. Societies oriented around a blissful afterlife or
reincarnation cycle might emphasize accepting death gracefully or spiritually,
whereas those focused on the finality of death might emphasize prolonging life at
almost any cost. Today, with pluralistic societies, healthcare providers must navigate
these differing beliefs. An understanding of a patient’s cultural/religious background can
be as important as their clinical condition in formulating an appropriate care plan. What
remains universal is that death, whether a doorway or a terminus, is a profound event,
and humans seek to approach it in a way that gives meaning in line with their deepest
beliefs. Through the lens of science, ethics, and mythology, we see death is not just a
biological fact but a rich human story – one that each person and culture writes
differently, whether it ends in Valhalla’s hall, the torture chambers of Diyu, the quiet of
Nirvana, or a happy hunting ground in the sky.
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2. Cleveland Clinic. “Do-Not-Resuscitate Orders (DNR).” Cleveland Clinic,
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Some American Indian Beliefs About an Afterlife )
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Association)
Prompt: People have searched for ways to live forever—well, basically forever. Today,
many fields of scientific research, many spurred on by billionaires, promise that we are
on the cusp of finding the answer—or at least a way to extend our lives in
unprecedented ways. Explore the following technologies and discuss with your team:
would you choose to undergo these treatments if they were available to you? Would it
be good for society if people lived for centuries?
Prompt: The manga series Frieren: Beyond Journey’s End portrays a 1000-year old elf
with one regret: not getting to know her human companions better before they passed
away. This is just one story in a long line of literary works exploring immortality and its
consequences. Read the examples below, then discuss with your team: why is
immortality such an attractive subject for storytellers? What are some common
implications of immortality that they explore?
Detailed Literary Analysis of Immortality Themes
William Wordsworth – “Ode: Intimations of Immortality” (1815)
Summary: Wordsworth’s “Ode: Intimations of Immortality” is a reflective poem
composed of 11 irregular stanzas, often considered in three movements (Ode:
Intimations of Immortality - Wikipedia). In the opening stanzas, the speaker laments how
the radiant glory he recalls from childhood has dimmed with age, sensing a profound
loss of innocence and wonder (Ode: Intimations of Immortality - Wikipedia). The middle
stanzas delve into why this loss occurs, proposing that as one grows up, one loses sight
of a divine glory that was once intimately felt in nature (Ode: Intimations of Immortality -
Wikipedia). The final stanzas end on a hopeful note: although the first flush of celestial
vision fades, the memory of it remains and can foster empathy and joy in the transience
of life (Ode: Intimations of Immortality - Wikipedia). Thus, the poem’s structure mirrors a
journey from lamentation to consolation, anchored in the passage of childhood into
adulthood.
Immortality Childhood and Memory: Wordsworth presents immortality not as literal
endless life, but as a spiritual concept tied to childhood. He suggests that in early
childhood the human soul retains an “intimation” of its eternal origin – a “recollection of
early childhood” when the soul still remembers its divine home before birth (Ode:
Intimations of Immortality - Wikipedia). This idea (rooted in the concept of pre-existence)
implies that children perceive the world with a heavenly radiance because they have
recently come “trailing clouds of glory” from a prior immortal realm. As we age, this
spiritual memory dims; the worldly condition settles in and the visionary gleam fades
(Ode: Intimations of Immortality - Wikipedia). Yet Wordsworth does not view this loss as
absolute. He argues that through conscious memory and reflection, adults can “recollect
[their] obscured eternal nature”, regaining a shadow of that initial visionary joy (Ode:
Intimations of Immortality: Summary & Analysis | SparkNotes). In this way, immortality is
portrayed as a lost divine state of the soul – an eternal truth that childhood briefly allows
us to witness, and which the grown mind can occasionally grasp in moments of poetic
insight and remembrance (Ode: Intimations of Immortality: Summary & Analysis |
SparkNotes). This theme is quintessentially Romantic: it reveres childhood as a time of
transcendent wisdom and mourns its loss, yet finds in nature and memory a bridge back
to that primal spiritual glory. Wordsworth’s ode encapsulates the Romantic yearning to
reclaim the immortal and the divine in the midst of mortal life, suggesting that the soul’s
eternity can be intimated even as human life marches toward inevitable decay.
Alfred Lord Tennyson – “Tithonus” (1833)
Summary: Tennyson’s “Tithonus” is a dramatic monologue based on the Greek myth of
Tithonus, a prince loved by the dawn-goddess Aurora (Eos). In the poem, the speaker is
Tithonus himself, addressing Aurora about the bitter fate that ensued when she granted
him immortality (Tithonus (poem) - Wikipedia). According to myth, Aurora asked for her
mortal lover to live forever, but neglected to ask for eternal youth (Tithonus (poem) -
Wikipedia). Tennyson follows this tradition: Tithonus indeed cannot die, but he
continues to age perpetually. He recalls how he awoke to find himself granted endless
life, only to slowly wither into an ever-older, “white-haired shadow” of a man while
Aurora remains young with each new dawn (Tennyson's Poetry “Tithonus” Summary &
Analysis | SparkNotes) (Tennyson's Poetry “Tithonus” Summary & Analysis |
SparkNotes). The poem vividly conveys his physical and emotional deterioration—
Tithonus is now ancient and feeble, yearning for death even as day after day he is
carried into another dawn in Aurora’s arms. The monologue format allows Tithonus to
describe the passage of ages and his growing despair, setting a mournful, reflective
tone.
Themes of Immortality and Aging: Tennyson uses Tithonus’s fate to explore the
burden of immortality when divorced from youth. Tithonus exemplifies the cruel irony of
eternal life without eternal youth: “Me only cruel immortality consumes”, he laments, as
he is condemned to endless old age (Tithonus Poem Summary and Analysis |
LitCharts) (Tithonus Poem Summary and Analysis | LitCharts). The poem contrasts
Tithonus’s decaying condition with Aurora’s eternal renewal – each morning she is
reborn as the fresh dawn, while he only grows “older and older” without release
(Tithonus (poem) - Wikipedia). This stark contrast between eternal life and eternal
youth underlines the tragedy: immortality, for Tithonus, is not a gift but a curse.
Surrounded by the natural cycle of death and rebirth (even the “swan” dies after many
summers, he observes), Tithonus alone is “out of the loop,” trapped in an existence that
has become unnatural and joyless (Tennyson's Poetry “Tithonus” Summary & Analysis |
SparkNotes) (Tennyson's Poetry “Tithonus” Summary & Analysis | SparkNotes). He
describes watching ordinary mortals – “happy men that have the power to die” – with
envy (Tennyson's Poetry “Tithonus” Summary & Analysis | SparkNotes). The eternal life
he once begged for has proven to be “ruinous” because it lacks the balance of a mortal
lifespan (Tennyson's Poetry “Tithonus” Summary & Analysis | SparkNotes). Tennyson’s
perspective on the consequences of endless life is unequivocal: to live forever while
aging indefinitely is a fate worse than death. The poem conveys a profound existential
fatigue; weary of his immortality Tithonus yearns for death as the only natural end
to his suffering (Tithonus (poem) - Wikipedia). In this Victorian reflection on a classical
myth, Tennyson thus presents immortality as a grim burden – a distortion of the natural
order that brings isolation (as Tithonus outlives all human connections), loss of purpose,
and the pain of watching oneself turn to “ash” while being unable to escape life. The
soft, elegiac tone of the monologue underscores a key theme: the true mercy is not
immortality, but the ability to die when one’s time is complete.
(Aurora and Tithonus by Louis-Jean-François Lagrenée - Artvee) Aurora, the dawn
goddess, with the aged Tithonus in a 1763 painting. Tennyson’s “Tithonus” draws on
this myth, showing the tragic result when the gift of immortality is given without eternal
youth.
Mary Shelley – “The Mortal Immortal” (1833)
Summary: Mary Shelley’s short story “The Mortal Immortal” recounts the life of Winzy,
a man who unwittingly gains immortal life and the sorrows that follow. Written as a first-
person narrative, the tale opens with Winzy explaining that he is 323 years old and
chronicling how this extraordinary situation came to be (The Mortal Immortal – The
FRANKENSTEIN MEME). As a young man in the 16th century, Winzy was an
apprentice to the alchemist Cornelius Agrippa. In a moment of emotional turmoil –
believing he had lost his beloved, Bertha – Winzy drank a mysterious elixir from his
master’s lab, half out of despair and half in hopes of curing himself of love’s anguish
(The Mortal Immortal – The FRANKENSTEIN MEME). The potion succeeds in
rejuvenating him and halting any further aging. Only later does Winzy learn the truth: the
elixir was meant to confer immortality. Over time, the unintended consequences unfold.
Winzy remains twenty years old in appearance while everyone around him grows old.
He marries Bertha and watches her age normally as he stays youthful (The Mortal
Immortal – The FRANKENSTEIN MEME). Rumors of witchcraft force them to live in
seclusion, and Winzy must endure the “slow death” of his wife while he himself cannot
die (The Mortal Immortal – The FRANKENSTEIN MEME). After Bertha’s eventual
passing, Winzy lives on alone, increasingly aware that his condition is as much a curse
as a miracle. The story ends with Winzy, weary of life, setting off on a wanderer’s
journey – an immortal who longs for an end, pondering whether to seek danger in hopes
it might kill him, or to continue bearing his lonely fate.
Themes and Connection to Gothic Romanticism: “The Mortal Immortal” treats
immortality as an unnatural extension of life that brings mostly loneliness, regret, and
existential isolation. Winzy’s endless life becomes a tragedy: he is forced to watch loved
ones grow old and die, leaving him “losing everything that is important” over the
centuries (The Mortal Immortal – The FRANKENSTEIN MEME). Shelley emphasizes
the loneliness inherent in outliving all human companionship – after Bertha’s death,
Winzy realizes no new love can ever replace her, and he is cursed to wander the world
apart from normal human life (The Mortal Immortal – The FRANKENSTEIN MEME)
(The Mortal Immortal – The FRANKENSTEIN MEME). The story also highlights Winzy’s
regret and the folly of his youthful impulsiveness. In taking the elixir (an act born of
desperation and vanity), he has “cause[d] the misery he must endure as an immortal”
(The Mortal Immortal – The FRANKENSTEIN MEME). This regret is a common
Romantic and Gothic motif: the doomed individual who transgresses natural limits (akin
to Victor Frankenstein or the ancient mariner of Coleridge’s poem) and suffers the
consequences. Shelley uses Gothic elements – the alchemist’s laboratory, the
mysterious potion, the centuries of wandering – to underscore the eeriness of Winzy’s
condition. Like Frankenstein’s Creature, another of Shelley’s famous characters, Winzy
becomes a “post-human” being living outside normal society doomed to solitude
and loss (The Mortal Immortal – The FRANKENSTEIN MEME). Indeed, Shelley
explicitly draws a parallel: both Winzy and Frankenstein’s Creature endure a life without
companionship or acceptance, highlighting the theme of the “solitary, accursed”
immortal in her work (The Mortal Immortal – The FRANKENSTEIN MEME). In Shelley’s
Romantic view, to circumvent the natural human lifespan is to upset the divine order –
Winzy’s immortality is “unnatural” and therefore brings no joy or enlightenment, only
ceaseless remorse. The tale ultimately questions whether defying mortality is truly
desirable, suggesting that a mortal life, with a natural end, is a gift to be appreciated
rather than a limit to be overleaped.
Ray Bradbury – “Hail and Farewell” (1948)
Overview and Themes: Ray Bradbury’s short story “Hail and Farewell” offers a unique
and bittersweet take on an immortal protagonist. The story follows Willie, a man who
perpetually appears to be a 12-year-old boy despite being in his forties, effectively living
in eternal childhood (ray bradbury – Tales from the Bookworm's Lair). Willie’s
condition – he never grows older or taller – means that every few years he must
relocate to avoid suspicion when those around him notice that he isn’t aging (ray
bradbury – Tales from the Bookworm's Lair). In each new town, he finds childless
couples and lets himself be “adopted” as their little boy, fulfilling the role of a perfect son
for a brief time (ray bradbury – Tales from the Bookworm's Lair). This unusual existence
has become, as Bradbury puts it, Willie’s “job”: he is forever the grateful 12-year-old,
bringing joy to parents for a short while before he must move on. The narrative strikes a
gently melancholic tone as we see Willie depart one loving home after another with a
polite “hail and farewell,” never able to stay long.
Bradbury uses this premise to explore themes of identity belonging and the
poignant cost of never growing up. Willie’s perpetual youth grants him certain joys –
he can repeatedly experience the innocence and affection given to a child – but it also
condemns him to a life of constant loneliness and impermanence. He can never
reveal his true self nor form lasting relationships, always forced to part from people just
as he comes to love them. The title itself reflects this cycle of greetings and goodbyes.
Bradbury infuses the story with nostalgia and melancholy: there is an atmosphere of
longing in Willie’s desire to be part of a family even temporarily, contrasted with the
sadness that he can’t stay to grow up with them. As one reviewer notes, the tale is
“pretty sad and melancholic, though lovely,” encapsulating Bradbury’s blend of warmth
and sorrow (ray bradbury – Tales from the Bookworm's Lair). Through Willie’s eyes,
immortality (or unending youth) is not a triumphant achievement but a trap that denies
him an adult identity and isolates him in a child’s form. In a mid-20th-century American
context – often enamored with youth – Bradbury cleverly turns eternal youth into a quiet
tragedy. “Hail and Farewell” thereby examines immortality on a personal, emotional
scale: it asks whether an unchanging childhood is heavenly or heartbreaking, and
suggests that part of being human is to age, to change, and to form permanent bonds –
all things denied to Bradbury’s eternally young protagonist.
Ursula K. Le Guin – “The Island of the Immortals” (1998)
Summary: Ursula K. Le Guin’s short story “The Island of the Immortals” (published in
the collection Changing Planes) serves as a dark critique of the supposed blessing of
immortality. The story is framed as a travelogue: a narrator visits a remote island on the
plane of Yendi after hearing rumors that some of its inhabitants are immortal. Upon
inquiring, she is warned that this island is dangerous and best avoided (The Island of
the Immortals - Lightspeed Magazine) (The Island of the Immortals - Lightspeed
Magazine). The reason soon becomes clear – on this island, a certain species of fly
carries a virus that infects people and makes them unable to die (Changing Planes
Page 18 Read online free by Ursula K. Le Guin). In Le Guin’s imagined world,
immortality is literally a disease (named udreba) one can catch like an illness. It is
rare – the locals note there hasn’t been a new immortal in perhaps centuries – and it is
feared rather than coveted (Changing Planes Page 18 Read online free by Ursula K. Le
Guin). Despite the warnings, the curious narrator travels to the island and eventually
encounters the reality of the “immortals.” What she finds is deeply unsettling: the
immortals are not ageless, vigorous beings but pitiful husks who continue to exist
indefinitely. In one village, she is introduced to “the Immortal”, a human who has lived
for over two thousand years (Changing Planes Page 18 Read online free by Ursula K.
Le Guin) (Changing Planes Page 18 Read online free by Ursula K. Le Guin). This being
has suffered endless physical degradation – it has lost its legs in an earthquake
centuries ago, has a maimed hand and arm, is blind and deaf, and is propped upright in
a chair next to a well (Changing Planes Page 18 Read online free by Ursula K. Le Guin)
(Changing Planes Page 18 Read online free by Ursula K. Le Guin). Though it cannot
die, it also can barely live in any meaningful sense; it survives on simple foods and is
cared for by the local family as one would tend a strange heirloom. The island’s ground
is even littered with what the locals call “souvenirs” – ancient immortals who, after
millennia, have petrified into crystal-like substances (the “diamonds” mentioned in the
story are in fact former immortal beings) (Changing Planes Page 18 Read online free by
Ursula K. Le Guin) (Changing Planes Page 18 Read online free by Ursula K. Le Guin).
Le Guin slowly reveals these details to the narrator (and the reader), turning the story
into a philosophical horror tale about endless life.
Critique of Immortality – Ethical and Philosophical Considerations: Le Guin’s
portrayal of immortality is starkly negative and thought-provoking. Immortality is shown
as a curse that robs individuals of their humanity and dignity over time. The
immortal villagers have ceased to be conscious, functioning people; they are kept like
living relics, incapable of interaction or growth. This scenario pointedly asks whether
such an existence is desirable at all. The locals on the island consider it their duty to
care for the immortal, yet they receive the situation with a matter-of-fact resignation
rather than reverence. A family entrusted with an immortal remarks that it would be
“wrong to bury a person alive,” even if doing so might eventually (after thousands of
years) yield a diamond and put an end to its suffering (Changing Planes Page 18 Read
online free by Ursula K. Le Guin). This presents a chilling ethical dilemma: the immortal
cannot die, so is it kinder to maintain it indefinitely in its maimed state, or to entomb it
until it fossilizes? Le Guin uses this predicament to critique the desirability of
immortality, implicitly arguing that an eternal life which becomes an eternal
imprisonment in one’s decaying body is nothing to envy. The story flips the usual script:
instead of humans desperately seeking immortality, here the immortals are feared and
avoided, and no sane person would intentionally subject themselves to this “fate.” In
philosophical terms, Le Guin suggests that mortality is a necessary companion to
sentience and joy – without the release of death, life loses its meaning and becomes
endless suffering. The narrator, overwhelmed by the sad sight of the immortal, breaks
into tears, and even the hardened local caretaker admits, “It is very, very sad”
(Changing Planes Page 18 Read online free by Ursula K. Le Guin). By the end, the
narrator leaves the island with the understanding that the value of life lies in its
finiteness. Le Guin’s story, though brief, invokes strong ethical questions: Is there a
point where life is no longer a gift? What obligations do the living have toward someone
who cannot die? And ultimately, it stands as a sharp commentary that eternal life – far
from being a dream – “may be more terrifying than you think” (Paula Cappa's Blog - The
Island of the Immortals - May 25, 2016 10:40). In the tradition of speculative fiction, Le
Guin uses “The Island of the Immortals” to dismantle the fantasy of living forever,
showing that without death, life’s preciousness and purpose are grotesquely
transformed.
Comparative Analysis
Across these works – spanning Romantic poetry, Victorian verse, Gothic fiction, mid-
century fantasy, and late 20th-century speculative fiction – a striking common thread is
that immortality is rarely the pure blessing it might seem. Instead, authors often
depict immortality as accompanied by profound isolation loss or burden. In
Wordsworth’s ode, the immortal aspect is the soul’s existence before and beyond life,
which paradoxically manifests as a sense of loss in adulthood – an inability to return to
that divine state. In the more literal treatments of immortality by Tennyson, Shelley,
Bradbury, and Le Guin, the immortal characters all experience loneliness or sorrow.
Tithonus is isolated by time, watching the world (and even his goddess lover) change
without him (Tithonus (poem) - Wikipedia). Shelley’s Winzy must wander friendless
through centuries, having lost everyone he cared for (The Mortal Immortal – The
FRANKENSTEIN MEME). Bradbury’s perpetually young Willie drifts from family to
family, never able to stay and form permanent bonds (ray bradbury – Tales from the
Bookworm's Lair). Le Guin’s unlucky immortals are trapped in inert, unending
existences, essentially cut off from human society and compassion (Changing Planes
Page 18 Read online free by Ursula K. Le Guin). In each case, to be immortal is to be
set apart – whether psychologically or physically – and this separation often leads to a
sense of meaninglessness or regret. Immortality, these stories suggest, can strip away
the very things that give life meaning: the progression of growth, shared mortality, and
the cycle of renewal.
Despite this shared cautionary stance, the works differ greatly in literary style and
historical perspective. Wordsworth’s Romantic lyric approaches immortality in a
hopeful, if elegiac, mode – he frames it in abstract, spiritual terms and ultimately finds a
compensating joy in memory and nature’s beauty. Tennyson, writing in the Victorian
era, uses classical myth to craft a dramatic monologue with lush imagery but a grim
conclusion about the perils of defying nature’s limits. Mary Shelley, influenced by both
Romanticism and Gothic horror, couches her exploration in a cautionary tale with a
moral: it has the dark, supernatural mood of a gothic tale (an alchemist’s curse)
combined with a philosophical reflection on humanity’s place in the natural order. Ray
Bradbury’s style is sentimental and Americana-infused; he uses simple, poignant
narrative to evoke empathy for an ageless boy, emphasizing emotional truth and
nostalgia. Le Guin’s approach is anthropological and matter-of-fact, almost a clinical
fable – her tone is that of a curious observer, which makes the horror of the immortals’
condition feel eerily plausible and thought-provoking. Across eras, authors have used
the lens of their genre and time period to examine immortality: for the Romantics it was
tied to soul and childhood; for Victorians and Gothic writers, a dark fate bound up with
morality and hubris; for modern and contemporary writers, a speculative scenario to
question societal and existential values.
One reason immortality remains such a compelling theme in literature is that it sits
at the intersection of deep human hopes and fears. The desire to overcome death is
age-old, yet these works repeatedly ask: at what cost? By imagining immortality in
various guises, authors can explore what makes us human. Mortality, with its limits,
gives rise to urgency, purpose, love, and beauty precisely because everything is
transient. Immortal characters allow writers to exaggerate the human condition and
examine those aspects in relief. When those characters suffer (as Tithonus, Winzy,
Willie, and the island immortals do), we are prompted to appreciate the value of a
natural life span. Even Wordsworth’s more optimistic take underscores that a life fully
severed from the immortal or divine (the loss of the child’s vision) is painfully diminished
– suggesting people need some connection to the eternal, but perhaps not literal
endless life. In storytelling, immortality often serves as a mirror that highlights mortality’s
virtues. All these works, in their diverse ways, conclude that meaning in life is
intertwined with its impermanence. As one modern commentator quipped, we may all
“already think [we] know why immortality is a bad idea,” but authors from Wordsworth to
Le Guin continually reinvent this theme to make us feel that truth anew (Ursula K. Le
Guin has a brand new reason to be scared of immortality). The enduring appeal of
immortality in literature lies in this paradox: by reading about eternal life, we come to a
richer understanding of why our lives must end, and why, in the grand scheme, that
realization is both humbling and inspiring.
Prompt: The third book of the Lord of the Rings trilogy is titled The Return of the King; in
it (spoilers ahead) the character Aragorn returns to unite humanity against a dire threat.
The idea of a prophesied king reappearing and bringing his people together again
against a formidable foe is common in literary history, from the overtold legend of King
Arthur to the incomplete story of Jon Snow. Explore some of the following legends, then
discuss with your team: why do such stories have such appeal? What political
developments in today’s world might have similar causes?