Breast Cancer Essay - 742 Words

Breast Cancer The thought of having breast cancer is frightening to every woman, and devastating to some. However, ignoring the possibility that you may get breast cancer, or avoiding the things you should do to detect and avoid cancer, can be even more dangerous. Breast cancer is a devastating disease that may affect one out of nine women in the United States. This year alone, a patient will be diagnosed every three minutes and a woman will die from breast cancer every thirteen minutes. Unfortunately, there is still little known about the disease’s cause or cure. Currently the only means of increasing a breast cancer victim’s chance of survival is early detection by annual breast exams and education about the disease. A†¦show more content†¦Of the cases of breast cancer diagnosed every year, 70% of the patients have none of the risk factors. It is important to understand what are the real risk factors and how they affect the chances of developing breast cancer. Some of the main risk factors that women should be aware of include: family history of breast cancer, increased age, and any previous diagnosis of other breast or ovarian cancers. While a woman’s family history and genetic makeup cannot be controlled, there are certain risk factors that can be modified in an attempt to reduce the risk of developing breast cancer. Many experts believe woman could prevent a lot of breast cancers with lifestyle changes. One of those factors includes being overweight. Numerous studies have linked an increase weight and height with a woman’s risk of developing breast cancer. After a woman goes through menopause, being overweight can increase a woman’s risk by about twenty to thirty percent. Excess body weight and extra fat increase the production of estrogen outside the ovaries and contributes to the overall level of estrogen in the body. Therefore, making healthy lifestyle choices can be good for a woman at any time in her life. Weight control also ties in with the amount of physical activity a woman has in her daily life. Exercise may lower a woman’s lifetime risk of acquiring the disease. Doctors believe that activity reducesShow MoreRelatedBreast Cancer And Cancer Prevention2347 Words   |  10 Pages INTRODUCTION Statistics indicate that breast cancer-related complications are among the top causes of death among women for over 23% of all women’s deaths in the world (Donepudi et al., 2014). The great cases of breast cancer are attributed to lack of information on and hard data on the disease, especially on early diagnosis and treatment options. In America, breast cancer is among the top causes of cancer-related deaths, and the mortality rate is relatively high as compared to the neighboring countriesRead MoreThe For Breast Cancer Action1612 Words   |  7 Pagesintention to give some part of the profit towards breast cancer causes. Ironically, the money made from this marketing will often not significantly benefit somebody with breast cancer. The pink ribbon was originally created by the Susan G Komen foundation yet anybody can use this symbol, because there is no intellectual copyright on it. Pinkwashing is term was first coined by the organization called breast cancer action, whose m ission is to â€Å"Breast Cancer Action’s mission is to achieve health justiceRead MoreBreast Cancer : Cancer And Cancer Essay1433 Words   |  6 PagesBreast cancer is a carcinoma that develops due to malignant cells in the breast tissue. Cancerous cells are more likely to produce in the milk-producing ducts and the glands, ductal carcinoma, but in rare cases, breast cancer can develop in the stromal, fatty, tissues or surrounding lymph nodes, especially in the underarm (Breast Cancer). For women, breast cancer is the most commonly diagnosed cancer and the 2nd leading cause of cancer death – behind skin cancer. While treatment or surgeries canRead MoreBreast Cancer : Cancer And Cancer1346 Words   |  6 Pagesinternational symbol for breast cancer support and awareness. Breast cancer knows neither racial boundaries nor age restrictions. Females of all ages and ethnicities can develop breast cancer and it is the leading most common cancer among women. Calling at tention to this often fatal disease is important by supporting its victims, families and friends of victims, as well as raising funds for breast cancer research. Though males are not immune from developing a breast cancer, for the purposes of thisRead MoreBreast Cancer : Cancer And Cancer946 Words   |  4 PagesSkylar Steinman Period 6 Ms. Jobsz 12 February , 2016 Breast Cancer It is commonly known that Breast Cancer is one of the most insidious diseases that mankind has had to deal with. With the discovery of the BRCA1( BReast Cancer gene one) and BRCA2 (BReast Cancer gene two) genes, breast cancer can be detected with a great amount of certainty on a genetic level in some women and men. 40,000 women and men die of breast cancer each year. Knowing this it is very important to try to detect the mutationRead MoreBreast Cancer : Cancer And Cancer1530 Words   |  7 Pagesâ€Å"Cancer† is the name for a group of diseases that start in the body at the cellular level. Even though there are many different kinds of cancer, they all begin with abnormal cell growth with the potential to invade or spread to other parts of the body. These abnormal cells lump together to form a mass of tissue or â€Å"malignant tumor†. Malignant means that it can spread to other parts of the body or Metastasize . If the breast is the original location of the cancer gr owth or malignant tumor, the tumorRead MoreBreast Cancer : Cancer And Cancer Essay1741 Words   |  7 Pages Internationally, breast cancer is the most commonly diagnosed cancer and the leading cause of cancer related death amongst women. (CITE) Each year an estimated 1.7 million new cases are diagnosed worldwide, and more than 500,000 women will die of the disease. (CITE) According to (CITE), somewhere in the world one woman is diagnosed with breast cancer every 19 seconds and more than three women die of breast cancer every five minutes worldwide. (CITE) Breast cancer is a heterogeneous condition thatRead MoreBreast Cancer : Cancer And Cancer1372 Words   |  6 PagesBreast Cancer Disease Overview Breast cancer is a disease in which certain cells in the breast become abnormal and multiply uncontrollably to form a tumor. Breast cancer is the second most commonly diagnosed cancer in women. (Only skin cancer is more common.) About one in eight women in the United States will develop invasive breast cancer in her lifetime. Researchers estimate that more than 230,000 new cases of invasive breast cancer will be diagnosed in U.S. women in 2015. Cancers occur when aRead MoreBreast Cancer : Cancer And Cancer1471 Words   |  6 PagesBreast cancer Introduction to Breast cancer Breast cancer is one of the most common forms of cancer only surpassed by lung cancer. It involves a cancerous tumour located inside the breast but spreads if treatment is not administered. (Evert et al 2011) Breast cancer can be treated if diagnosed in its early stages but becomes progressively more difficult upon reaching more advancing malignant stages. Breast cancer can be confused with being a female only disease however both sexes suffer. AccordingRead MoreBreast Cancer : Cancer And Cancer1921 Words   |  8 PagesIntroduction Cancer is a term that every individual on this planet wants to avoid hearing when they go to their yearly check up at the doctors. However, as person ages, they are prone to develop some sort of sickness and most of the time, they could develop cancer of some sort. For this research paper, I am going to go over breast cancer. Breast cancer is a well-known type of cancer with awareness events going on to support both women and men who has breast cancer. According to American Cancer Society

Jean Rhys Use of Conflicting Narratives of Antoinette...

Jean Rhys Use of Conflicting Narratives of Antoinette and Rochester in Wide Sargasso Sea There are many techniques Jean Rhys uses to bring across the point that the narrators are unreliable and the truth twisted, it is an interesting and effective idea as it makes the reader feel confused on who to trust and really involves them in the book, they become party to the secrets. Rhys’ book is so complex as it is obviously linked to the Classic book- ‘Jane Eyre’; this is classic English literature and therefore is always in our minds during WSS. Those that have read ‘Jane Eyre’ normally like to trust Jane as she is a heroine who we have sympathy for; we are introduced to her from when she is young so we know and understand†¦show more content†¦She created this type of setting with more sensuous ,with vivid colours and smells; there are no glass windows it is more open than in Jane Eyre where it is more shut away. Also there is more contrast between the novels as Jane’s increasing confidence and success to Antoinette’s despair and madness. It is interesting for Jean Rhys to address the balance of Jane Eyre and the mad wife’s point of views. She probably wanted to do this as she suffered in Europe and believed the western culture did not understand her culture (she was raised in the Caribbean). Rhys wanted to introduce and let the white- Europeans understand the situations abroad. It is also very confusing and distorting for the reader as during reading the narrators change very suddenly, there are three different books in WSS each with a different narrator. Book one is the main section, it is from the viewpoint of Antoinette and is very important as it is from her childhood, set in mid 1830s. It begins the novel and therefore our most influential truth. It makes us have sympathy for Antoinette as we get to know her, she had a dreadful childhood and we feel a fondness for her as we understand the way she acts. I enjoyed this account immensely; it was from the viewpoint of a child, so why would she need to distort theShow MoreRelatedEssay about Charlotte Brontes Jane Eyre an3613 Words   |  15 Pagescanonical texts re-written by female authors? Answer with close reference to Charlotte Bronte#8217;s Jane Eyre and Jean Rhys#8217;s Wide Sargasso Sea. The Sargasso Sea is a relatively still sea, lying within the south-west zone of the North Atlantic Ocean, at the centre of a swirl of warm ocean currents. Metaphorically, for Jean Rhys, it represented an area of calm, within the wide division between England and the West Indies. Within such an area, a sense of stability, permanence and identity

King Lear Essay Example For Students

King Lear Essay King Lear: General Introduction The epic tragedy,  King Lear, has often been regarded as Shakespeares greatest masterpiece, if not the crowning achievement of any dramatist in Western literature. This introduction to  King Lear  will provide students with a general overview of the play and its primary characters, in addition to selected essay topics. Studying a Shakespearean play deepens students appreciation for all literature and facilitates both their understanding of themes and symbolism in literary works and their recognition of effective characterization and stylistic devices. Dozens of versions of the tale of old Lear were readily available to Shakespeare and shaped the main plot of his own drama. However, it is clear that Shakespeare relied chiefly on  King Leir, fully titled  The True Chronicle History of King Leir, and his three daughters, Gonorill, Ragan, and Cordella, the anonymous play published twelve years before the first recorded performance of Shakespeares  King Lear. Exploring what changes Shakespeare made to the drama is an excellent way to gain a full understanding of  King Lear. King Lear: Plot Summary The story opens in ancient Britain, where the elderly King Lear is deciding to give up his power and divide his realm amongst his three daughters, Cordelia, Regan, and Goneril. Lears plan is to give the largest piece of his kingdom to the child who professes to love him the most, certain that his favorite daughter, Cordelia, will win the challenge. Goneril and Regan, corrupt and deceitful, lie to their father with sappy and excessive declarations of affection. Cordelia, however, refuses to engage in Lears game, and replies simply that she loves him as a daughter should. Her lackluster retort, despite its sincerity, enrages Lear, and he disowns Cordelia completely. When Lears dear friend, the Earl of Kent, tries to speak on Cordelias behalf, Lear banishes him from the kingdom. Meanwhile, the King of France, present at court and overwhelmed by Cordelias honesty and virtue, asks for her hand in marriage, despite her loss of a sizable dowry. Cordelia accepts the King of Frances proposal, and reluctantly leaves Lear with her two cunning sisters. Kent, although banished by Lear, remains to try to protect the unwitting King from the evils of his two remaining children. He disguises himself and takes a job as Lears servant. Now that Lear has turned over all his wealth and land to Regan and Goneril, their true natures surface at once. Lear and his few companions, including some knights, a fool, and the disguised Kent, go to live with Goneril, but she reveals that she plans to treat him like the old man he is while he is under her roof. So Lear decides to stay instead with his other daughter, and he sends Kent ahead to deliver a letter to Regan, preparing her for his arrival. However, when Lear arrives at Regans castle, he is horrified to see that Kent has been placed in stocks. Kent is soon set free, but before Lear can uncover who placed his servant in the stocks, Goneril arrives, and Lear realizes that Regan is conspiring with her sister against him. Gloucester arrives back at Regans castle in time to hear that the two sisters are planning to murder the King. He rushes away immediately to warn Kent to send Lear to Dover, where they will find protection. Kent, Lear, and the Fool leave at once, while Edgar remains behind in the shadows. Sadly, Regan and Goneril discover Gloucester has warned Lear of their plot, and Cornwall, Regans husband, gouges out Gloucesters eyes. A servant tries to help Gloucester and attacks Cornwall with a sword – a blow later to prove fatal. News arrives that Cordelia has raised an army of French troops that have landed at Dover. Regan and Goneril ready their troops to fight and they head to Dover. Meanwhile, Kent has heard the news of Cordelias return, and sets off with Lear hoping that father and daughter can be reunited. Gloucester too tries to make his way to Dover, and on the way, finds his own lost son, Edgar. Tired from his ordeal, Lear sleeps through the battle between Cordelia and her sisters. When Lear awakes he is told that Cordelia has been defeated. Lear takes the news well, thinking that he will be jailed with his beloved Cordelia – away from his evil offspring. However, the orders have come, not for Cordelias imprisonment, but for her death. Despite their victory, the evil natures of Goneril and Regan soon destroy them. Both in love with Gloucesters conniving son, Edmund (who gave the order for Cordelia to be executed), Goneril poisons Regan. But when Goneril discovers that Edmund has been fatally wounded by Edgar, Goneril kills herself as well. As Edmund takes his last breath he repents and the order to execute Cordelia is reversed. But the reversal comes too late and Cordelia is hanged. Lear appears, carrying the body of Cordelia in his arms. Mad with grief, Lear bends over Cordelias body, looking for a sign of life. The strain overcomes Lear and he falls dead on top of his daughter. Kent declares that he will follow his master into the afterlife and the noble Edgar becomes the ruler of Britain. King Lear: Versification and Diction From  King Lear. Ed. Henry Norman Hudson. New York: Ginn and Co. , 1911. BLANK VERSE The greater part of  King Lear  is in blank verse, the unrhymed, iambic five-stress (decasyllabic) verse, or iambic pentameter, introduced into England from Italy by Henry Howard, Earl of Surrey, about 1540, and used by him in a translation of the second and fourth books of Vergils  Aeneid, Nicholas Grimald (Tottels Miscellany, 1557) employed the measure for the first time in English original poetry, and its roots began to strike deep into British soil and absorb substance. It is peculiarly significant that Sackville and Norton should have used it as the measure of  Gorboduc, the first English tragedy. About the time when Shakespeare arrived in London the infinite possibilities of blank verse as a vehicle for dramatic poetry and passion were being shown by Kyd, and above all by Marlowe. Blank verse as used by Shakespeare is really an epitome of the development of the measure in connection with the English drama. In his earlier plays the blank verse is often similar to that of  Gorboduc. The tendency is to adhere to the syllable-counting principle, to make the line the unit, the sentence and phrase coinciding with the line (end-stopped verse), and to use five perfect iambic feet to the line.   In plays of the middle period, such as  The Merchant of Venice  and  As You Like It, written between 1596 and 1600, the blank verse is more like that of Kyd and Marlowe, with less monotonous regularity in the structure and an increasing tendency to carry on the sense from one line to another without a syntactical or rhetorical pause at the end of the line (run-on verse, enjambement). Redundant syllables now abound, and the melody is richer and fuller. In Shakespeares later plays the blank verse breaks away from bondage to formal line limits, and sweeps all along with it in freedom, power, and organic unity. In the 2238 lines of blank verse in  King Lear  are found stress modifications of all kinds. There are 67 feminine (or double, redundant, hypermetrical) endings, 5 light endings, 90 speech endings not coincident with line endings, and 191 short lines, the greatest number of short lines in any Shakespeare play. Such variations give to the verse flexibility and power, in addition to music and harmony. It is significant that inKing Lear  is only one weak ending. Light endings and weak endings2  are found most abundantly in Shakespeares very latest plays. For example, in  The Tempest  are 42 light endings and 25 weak endings. ALEXANDRINES While French prosodists apply the term Alexandrine only to a twelve-syllable line with the pause after the sixth syllable, as in I, i, 219, it is generally used in English to designate iambic six-stress verse, or iambic hexameter, of which we have examples in I, i, 217; II, ii, 138; IV, iii, 42, etc. Many of these occur when there is a change of speaker. The Alexandrine was a favorite Elizabethan measure, and it was common in moral plays and the earlier heroic drama. English literature has no finer examples of this verse than the last line of each stanza of  The Faerie Queene. In  King Lear  are about 60 Alexandrines. RHYME 1. Couplets. In the history of the English drama, rhyme as a vehicle of expression precedes blank verse and prose. Miracle plays, moral plays, and interludes are all in rhyming measures. In Shakespeare may be seen the same develop ment. A progress from more to less rhyme is a sure index to his growth as a dramatist and a master of expression. In the early  Loves Labours Lost  are more than 500 rhyming five-stress iambic couplets; in the very late  The Winters Tale  there is not one. In  King Lear  are 37 rhyming five-stress iambic couplets, used chiefly for the following purposes: (1) to give a certain amount of emotional pitch and intensity, as in the king of Frances farewell, I, i, 248-255, Lears reply, I, i, 256-259, and Edgars speech, III, vi, 100-111; (2) to give epigrammatic effect to a sententious generalization, I, iv, 335-336; and (3), as so frequently in Elizabethan plays, to mark an exit or round off a speech. . The Fools Snatches. The Fools longer snatches of rhyming patter recall both in spirit and in rhythm the extraordinary verse in which John Skelton wrote his satires against Wolsey and the vices and social abuses of the time of  Henry VIII. Such Skeltonical verse as that of I, iv, 111-118; I, iv, 307-311, etc. , may be regarded either as irregular anapaestic two-stress (dimeter) with feminin e ending and the first foot an iamb, or as amphibrachic two-stress changing to anapaestic in the closing couplet. In I, iv, 130-137, are eight lines of iambic three-stress (trimeter), and the two stanzas in the speeches which follow are, like the eight lines in II, iv, 72-79, examples of the ballad stanza of four- stress (tetrameter) iambic alternating with three-stress (common metre). The regular measure of the old ballads seems to have been originally four-stress throughout, as in the famous stanza, III, ii, 69-72. The Fools prophecy, III, ii, 75-86, is in iambic four-stress (octosyllabic) verse with feminine endings and trochaic variations. 3. Edgars Snatches. Most of Edgars snatches are in ballad rhythm, more or less irregular and with a tendency towards doggerel, but the most characteristic bit of rhyming verse which he utters when feigning madness, III, vi, 64-71, is in the four-stress trochaic verse catalectic, so often used by Shakespeare for the speech of supernatural beings. These lines may be regarded as a spell or incantation. PROSE In the development of the English drama the use of prose as a vehicle of expression entitled to equal rights with verse was due to Lyly. He was the first to use prose with power and distinction in original plays, and did memorable service in preparing the way for Shakespeares achievement. Interesting attempts have been made to explain Shakespeares distinctive use of verse and prose; and of recent years there has been much discussion of the question whether we are justified in supposing that Shakespeare was guided by any fixed principle in his employment of verse and prose, or whether he merely employed them, as fancy suggested, for the sake of variety and relief. It is a significant fact that in many of his earlier plays there is little or no prose, and that the proportion of prose to blank verse increases with the decrease of rhyme. In  King Lear  four kinds of prose may be distinguished: (1) The prose of formal documents, as in the forged letter, I, ii, 41-48 ; Gonerils letter, IV, vi, 239-245; and the Heralds proclamation, V, iii, 111-114. In Shakespeare, prose is the usual medium for letters, proclamations, an d other formal documents. 2) The prose of lowlife and the speech of comic characters, as in the Fools speeches. This is a development of the humorous prose found, for example, in Greenes comedies that deal with country life. (3) The colloquial prose of dialogue, as in the talk between Kent, Gloucester, and Edmund, when the play opens. (4) The prose of abnormal mentality. It is an interesting fact that Shakespeare should so often make persons whose state of mind is abnormal, or seemingly so, speak in prose. Prose is the speech of Lady Macbeth in the sleep-walking scene; Hamlet when playing the madman speaks prose, as Edgar does when feigning madness; Ophelia in her insanity either sings snatches of old songs or speaks prose; the development of Lears insanity may be traced by the prose form of his speech, and, as Professor Bradley has pointed out, almost all his speeches, after he has become definitely insane, are in prose; where he wakes from sleep recovered, the verse returns. Bradley remarks further3: The prose enters with that speech which closes with his trying to tear off his clothes; but he speaks in verse some of it very irregular in the Timon-like speeches where his intellect suddenly in his madness seems to regain the force of his best days (IV, vi). . . The idea underlying this custom of Shakespeares evidently is that the regular rhythm of verse would be inappropriate where the mind is supposed to have lost its balance and to be at the mercy of chance impressions coming from without (as sometimes with Lear), or of ideas emerging from its unconscious depths and pursuing one another across its passive surface. Shakespeares Characters: Lear (King Lear) From  King Lear. Ed. Henry Norman Hudson. New York: Ginn and Co. , 1911. Lear is perhaps Shakespeares finest creation in what may be called the art of historical perspective. The old king speaks out from a large fund of vanishing recollections, and in his present we have the odor and efficacy of a remote and varied past. The play forecasts and prepares, from the outset, that superb intellectual ruin where we have matter and impertinency mixd, reason in madness; the earlier transpirations of the character being shaped and ordered with a view to that end. Certain presages and predispositions of insanity are manifest in his behavior from the first, as the joint result of nature, of custom, and of superannuation. We see in him something of constitutional rashness of temper, which, moreover, has long been fostered by the indulgences and flatteries incident to his station, and which, through the cripplings of age, is now working loose from the restraints of his manlier judgment. He has been a wise and good man, strong in reason, in just feeling and rectitude of purpose, but is now decidedly past his faculties; which, however, as often happens, is unapparent to him save as he feels it in a growing indisposition to the cares and labors of his office. So that there is something of truth in what Goneril says of him; just enough to make her appear the more hateful in speaking of it as she does: The best and soundest of his time hath been but rash; then must we look from his age to receive not alone the imperfections of long-engraffd condition, but therewithal the unruly way wardness that infirm and choleric years bring with them. He is indeed full of inconstant starts and petty gusts of impatience, such as are excusable only in those who have not yet reached, and those who have plainly out lived, the period of discretion and self-restraint. These growing infirmities of nature and time are viewed by his children with very different feelings. The two elder are inwardly glad of them. They secretly exult in the decays and dilapidations of his manhood as incapacitating him for his office, and so speeding their hopes of the inheritance. They know it is his disease to be gratified with such hollow and hyperbolical soothings as would else be the height of insolence. And so in the name of duty they study to inflame the waywardness that provokes their scorn. They crave reasons for persecuting him, and therefore will say anything, will do anything, to pamper the faults which at once prompt and seem to justify their contempt of him. In a word, it is their pleasure to bring oil to his fire, that he may the sooner be burnt out of their way. With Cordelia all this is just reversed. The infirmities of a beloved and venerated father are things which she does not willingly see; when she sees, she pities them; and in a true filial spirit never thinks of them but as a motive to greater tenderness and respect. That his mind is falling out of tune, inspires her with the deeper reverence: she would rather go mad herself than see him do so. Partly from a conscious purpose, but more from an instinct of dutiful affection, she tries to assuage and postpone his distemper with the temperate speech of simple truth ; duty and love alike forbidding her to stimulate his disease with the strong waters of fleering and strained hyperbole. Then too a fine moral tact seems to warn her that the medicine of reason must be administered to the dear old man in very gentle doses, else it will but feed his evil. And her treatment is well adapted to keep his faculties in tune, but that her holy purpose is baffled by the fulsome volubility of her sisters. The first two speeches of the play make clear that the division of the kingdom has already been resolved upon, the terms of the division arranged, and the several portions allotted. This fact is significant, and goes far to interpret the subsequent action, inasmuch as it infers the trial of professions to be but a trick of the kings, designed, perhaps, to surprise his children into expressions which filial modesty would else forbid. Olaudah Equiano EssayBoth are actuated by an extreme ferocity; which, however, up to the time of receiving their portions, we must suppose to have been held in check by a most artful and vigilant selfishness. And the malice of Goneril, the eldest, appears still to be under some restraint, from feeling that her husband is not in sympathy with her. For Albany, though rather timid and tardy in showing it, remains true to the old king; his tardiness probably springing, at least in part, from a reluctance to make a square issue with his wife, who, owing to her superiority of rank and position, had somewhat the advantage of him in their marriage. Regan, on the other hand, has in Cornwall a husband whose heart beats in perfect unison with her own against her father; and the confidence of his sympathy appears to discharge her malice entirely from the restraints of caution, and to give it a peculiar quickness and alertness of action. Near the close of the kings last interview with them, we have the following: GONERIL. Why might not you, my lord, receive attendance From those that she calls servants or from mine? REGAN. Why not, my lord ? If then they chancd to slack you,   We could control them. If you will come to me For now I spy a danger I entreat you To bring but five-and-twenty; to no more Will I give place or notice. LEAR. I gave you all. REGAN. And in good time you gave it. LEAR. Made you my guardians, my depositaries; But kept a reservation to be followd With such a number. This passage is quoted mainly to draw attention to the concentrated wolfishness of heart in those few words, And in good time you gave it, snapped out in reply to the pathetic appeal, I gave you all. Human speech cannot be more intensely charged with fury. And this cold, sharp venom of retort is what chiefly discriminates Regan from Goneril; otherwise they seem too much like repetitions of each other to come fairly within the circle of nature, who never repeats herself. Yet their very agreement in temper and spirit renders them the fitter for the work they do. For the sameness of treatment thence proceeding is all the more galling and unbearable forasmuch as it appears the result of a set purpose , a conspiracy coolly formed and unrelentingly pursued. That they should lay on their father the blame of their own ingratitude, and stick their poisoned tongues into him under pretence of doing him good, is a further refinement of malice not more natural to them than tormenting to him. It is indeed difficult to conceive how creatures could be framed more apt to drive mad any one who had set his heart on receiving any comfort or kindness from them. For the behavior of Regan and Goneril after the death of Cornwall, and their final transports of mutual fierceness, Shakespeare prepares us by the oralizing he puts into the mouth of Albany: That nature which contemns its origin Cannot be borderd certain in itself. meaning, apparently, that where the demon of filial ingratitude reigns, there the heart is ripening for the most unnatural crimes, so that there is no telling what it will do, or where it will stop. The action of Goneril and Regan, taken all together, seems the most improbable thing in the drama. It is not easy to think of them othe rwise than as instruments of the plot; not so much ungrateful persons as personifications of ingratitude. Kent Kent, King Lears loyal and selfless companion, is one of Shakespeares most cherished creations. Kent is, perhaps, the nearest to perfect goodness in all Shakespeares characters, and yet the most individualized. (Complete Works of Samuel Coleridge, Vol. IV, edited by W. G. T. Shedd, Harper and Bros. , New York: 1884, pp. 138). Edgar Edgar, the banished son of Gloucester and brother to the villain Edmund, is the primary character in the sub-plot of  King Lear. The dutiful Edgar is much like Cordelia and suffers throughout the play due to his fathers transgressions. Unlike Cordelia, however, Edgar remains alive at the end of the drama, and becomes King of Britain. Shakespeares Characters: Edmund (King Lear) From  King Lear. Ed. Henry Norman Hudson. New York: Ginn and Co. , 1911. For the union of wit and wickedness, Edmund stands next to Richard and Iago. His strong and nimble intellect, his manifest courage, his energy of character, and his noble person, prepare us on our first acquaintance to expect from him not only great undertakings, but great success in them. The circumstances of our first meeting with him, the matter and manner of Gloucesters talk about him and to him, go far to explain his conduct; while the subsequent outleakings of his mind in soliloquy let us into his secret springs of action. With a mixture of guilt, shame, and waggery, his father, before his face, and in the presence of one whose respect he craves, makes him and his birth a theme of gross and wanton discourse; at the same time drawing comparisons be tween him and another son some year elder than this, such as could hardly fail at once to wound his pride, to stimulate his ambition, and to awaken his enmity. Thus the kindly influences of human relationship and household ties are turned to their contraries. He feels himself the victim of a disgrace for which he is not to blame; which he can not hope to outgrow; which no degree of personal worth can efface; and from which he sees no escape but in the pomp and circumstance of worldly power. Always thinking, too, of his dishonor, he is ever on the watch for signs that others are thinking of it; and the jealousy thence engendered construes every show of respect into an effort of courtesy, a thing that inflames his ambition while chafing his pride. The corroding suspicion that others are perhaps secretly scorning his noble descent while outwardly acknowledging it, leads him to find or fancy in them a disposition to indemnify themselves for his personal superiority out of his social debasement. The stings of reproach, being personally unmerited, are resented as wrongs; and with the plea of injustice he can easily reconcile his mind to the most wicked schemes. Aware of Edgars virtues, still he has no relentings, but shrugs his shoulders, and laughs off all compunctions with an I must; as if justice to himself were a sufficient excuse for his criminal purposes. With the plague of custom and the curiosity of nations Edmund has no compact; he did not consent to them, and therefore holds himself unbound by them. He came into the world in spite of them; perhaps he owes his gifts to a breach of them; may he not, then, seek to thrive by circumventing them? Since his dimensions are so well compact, his mind so generous, and his shape so true, he prefers nature as she has made him to nature as she has placed him, and freely employs the wit she has given, to compass the wealth she has withheld. Thus our free-love philosopher appeals from convention to nature; and, as usually happens in such cases, takes only so much of nature as will serve his turn. For convention itself is a part of nature, it being no less natural that men should grow up together in families and communities than that they should grow up severally as individuals. There is not in Edmund, as in lago, any spontaneous or purposeless wickedness. Adventures in crime are not at all his pastime; they are his means, not his end; his instruments, not his element. He does not so much make war on duty, as bow and shift her off out of the way, that his wit may have free course. He deceives others, indeed, without scruple, but then he does not consider them bound to trust him, and tries to avail himself of their credulity or criminality without becoming responsible for it. He is a pretty bold experimenter, rather radical in his schemes, but this is because he has nothing to lose if he fails, and much to gain if he succeeds. Nor does he attempt to disguise from himself, or gloss over, or anywise palliate, his designs ; but boldly confronts and stares them in the face, as though assured of sufficient external grounds to justify or excuse them. ng Lear: Study Questions 1) Trace the different stages of Lears insanity. Is it true that  King Lear  is the tragedy of a man going sane, as some critics suggest? 2) Discuss the role of the Fool in  King Lear. 3) What is the significance of the Gloucester subplot? 4) Compare Lears three daughters. By what means does Shakespeare deepen the contrast between Cordelia and her two sinister sisters. 5) Sketch the charact er of Kent. How is he similar to Lear? 6) Discuss the effect of suffering on both Lear and Gloucester. ) Explain the irony in the deaths of Lear and Cordelia. 8) Compare the character Edmund in  King Lear  to the character Iago in  Othello. Are their motives similar? Is one a more developed character than the other and why is this so? 9) Analyze the following quote taken from the letters of John Keats. Take a stand for or against the argument posed: The excellence of every art is its intensity, capable of making all disagreeables evaporate from their being in close relationship with Beauty and Truth. Examine  King Lear  and you will find this exemplified throughout. (Keats in a letter to George and Thomas Keats, 1817) ing Lear: Q A When was  King Lear  first performed? The first recorded performance of the play was on December 26, 1606, before James I at Whitehall Palace. My cue is villainous melancholy, with a sigh like Tom OBedlam. Can you explain the reference to Tom OBedlam? And what does cue mean here? 1) Cue means part in the above quote. 2) In 1247 a convent was founded just outside the London wall for the order of St. Mary of Bethlehem. By 1330 the convent had become the General Hospital of St. Mary of Bethlehem, ready to treat the gamut of common ailments. However, by 1403, Bethlehem had developed into a hospital for the mentally ill, the first such institution in England. In 1547 King Henry VIII granted Bethlehem Hospital, known by now as Bedlam, to the city of London as an asylum for the mentally deranged. By the time Shakespeare wrote King Lear, Bedlam had a solid reputation as a brutal, inhuman prison. Shakespeare refers to Bedlam and the Bedlam beggars, commonly known by the generic name Tom OBedlams, several times in his plays. In Act 2 of King Lear, Shakespeare describes the actions of some inmates: The country gives me proof and precedent Of Bedlam beggars, who, with roaring voices, Strike in their numbd and mortified bare arms Pins, wooden pricks, nails, sprigs of rosemary; And with this horrible object, from low farms, Poor pelting villages, sheep-cotes, and mills, Sometime with lunatic bans, sometime with prayers, Enforce their charity poor Tom! (2. 3. 13-19) Edgar says, The prince of darkness is a gentleman/Modo hes calld, and Mahu (3. 4. 143). Ive read many editions but they do not annotate this passage. Who are Modo and Mahu? Modo and Mahu are fiends originally found in a work called the  Declaration of Egregious Popish Impostures, written in 1603 by  Samuel Harsnett. Do we know what happened to King Lears wife? The only reference to Lears wife in the play is in Act 2 (I would divorce me from thy mothers tomb (2. 4. 130)) and so, although we know she is dead, we do not know the circumstances surrounding her death. A little more information is given in Shakespeares source  King Leir, but not much: Thus to our grief the obsequies performd Of our too late deceasd and dearest queen, Whose soul I hope, possessd of heavenly joys, Doth ride in triumph mongst the cherubins (1. 1. 1-4) Why Study Shakespeare? The Reasons Behind Shakespeares Influence and Popularity Ben Jonson anticipated Shakespeare’s dazzling future when he declared, He was not of an age, but for all time! in the preface to the  First Folio. While most people know that Shakespeare is, in fact, the most popular dramatist and poet the Western world has ever produced, students new to his work often wonder why this is so. The following are the top four reasons why Shakespeare has stood the test of time. ) Illumination of the Human Experience Shakespeare’s ability to summarize the range of human emotions in simple yet profoundly eloquent verse is perhaps the greatest reason for his enduring popularity. If you cannot find words to express how you feel about love or music or growing older, Shakespeare can speak for you. No author in the Western world has penned more beloved passages. Shakes peares work is the reason John Bartlett compiled the first major book of familiar quotations. Here are some examples of Shakespeares most popular passages: †¢ The seven ages of man Shall I compare thee to a summers day? †¢ We band of brothers †¢ The green-eyed monster †¢ Whats in a name? †¢ Now is the winter of our discontent †¢ If music be the food of love †¢ Beware the ides of March †¢ We are such stuff as dreams are made on †¢ Something is rotten in the state of Denmark †¢ To be, or not to be: that is the question 2) Great Stories Marchette Chute, in the  Introduction  to her famous retelling of Shakespeare’s stories, summarizes one of the reasons for Shakespeare’s immeasurable fame: William Shakespeare was the most remarkable storyteller that the world has ever known. Homer told of adventure and men at war, Sophocles and Tolstoy told of tragedies and of people in trouble. Terence and Mark Twain told cosmic stories, Dickens told melodramatic ones, Plutarch told histories and Hand Christian Andersen told fairy tales. But Shakespeare told every kind of story – comedy, tragedy, history, melodrama, adventure, love stories and fairy tales – and each of them so well that they have become immortal. In all the world of storytelling he has become the greatest name. (Stories from Shakespeare, 11) Shakespeares stories transcend time and culture. Modern storytellers continue to adapt Shakespeare’s tales to suit our modern world, whether it be the tale of Lear on a farm in Iowa, Romeo and Juliet on the mean streets of New York City, or  Macbeth in feudal Japan. 3) Compelling Characters Shakespeare invented his share of stock characters, but his truly great characters – particularly his tragic heroes – are unequalled in literature, dwarfing even the sublime creations of the Greek tragedians. Shakespeare’s great characters have remained popular because of their complexity; for example, we can see ourselves as gentle Hamlet, forced against his better nature to seek murderous revenge. For this reason Shakespeare is deeply admired by actors, and many consider playing a Shakespearean character to be the most difficult and most rewarding role possible. 4) Ability to Turn a Phrase Many of the common expressions now thought to be cliches were Shakespeares creations. Chances are you use Shakespeares expressions all the time even though you may not know it is the Bard you are quoting. You may think that fact is neither here nor there, but thats the short and the long of it. Bernard Levin said it best in the following quote about Shakespeares impact on our language: If you cannot understand my argument, and declare Its Greek to me, you are quoting Shakespeare; if you claim to be more sinned against than sinning, you are quoting Shakespeare; if you recall your salad days, you are quoting Shakespeare; if you act more in sorrow than in anger, if your wish is father to the thought, if your lost property has vanished into thin air, you are quoting Shakespeare; if you have ever refused to budge an inch or suffered from green-eyed jealousy, if you have played fast and loose, if you have been tongue-tied, a tower of strength, hoodwinked or in a pickle, if you have knitted your brows, made a virtue of necessity, insisted on fair play, slept not one wink, stood on ceremony, danced attendance (on your lord and master), laughed yourself into stitches, had short shrift, cold comfort or too much of a good thing, if you have seen better days or lived in a fools paradise why, be that as it may, the more fool you, for it is a foregone conclusion that you are (as good luck would have it) quoting Shakespeare; if you think it is early days and clear out bag and baggage, if you think it is high time and that that is the long and short of it, if you believe that the game is up and that truth will out even if it involves your own flesh and blood, if you lie low till the crack of doom because you suspect foul play, if you have your teeth set on edge (at one fell swoop) wi thout rhyme or reason, then to give the devil his due if the truth were known (for surely you have a tongue in your head) you are quoting Shakespeare; even if you bid me good riddance and send me packing, if you wish I were dead as a door-nail, if you think I am an eyesore, a laughing stock, the devil incarnate, a stony-hearted villain, bloody-minded or a blinking idiot, then by Jove! O Lord! Tut, tut! for goodness sake! what the dickens! but me no buts it is all one to me, for you are quoting Shakespeare. (The Story of

William Shakespeares Romeo and Juliet, act 1 scene 5 is a key point in the play Essay Example For Students

William Shakespeares Romeo and Juliet, act 1 scene 5 is a key point in the play Essay In William Shakespeares Romeo and Juliet, act 1 scene 5 is a key point in the play. It is where the two young lovers meet and where the plays main storyline begins to form. The scene is included in all adaptations of the play, which illustrates its importance. However, in each of the two film translations of the play directed by Baz Luhrmann and Franco Zefferelli the scene has been modified to suit the context and setting of the movie. The first, made in 1996 and directed by Baz Luhrmann is set in Americas Verona beach in modern society. The film is aimed at the teenage / young adult market and this is reflected by the modern day setting which includes aspects of society such as drug, gun and gang cultures in order to entertain the target audience with subjects they can relate to. The second adaptation of the play is directed by Franco Zefferelli and was made in 1968. It is intended as a true refection of Shakespeares work and is set around the era and location which Shakespeare intended- the 1590s, Verona, Italy. The society of this time is far different from that of modern day. We will write a custom essay on William Shakespeares Romeo and Juliet, act 1 scene 5 is a key point in the play specifically for you for only $16.38 $13.9/page Order now For example, almost all men carried swords, so fighting in the street was common, Fathers chose suitable husbands for their daughters, people married and had children earlier from 13-14 years of age and young girls were not allowed out of their house without a guardian/ chaperone. The target audiences are adults and students, as it allows the chance to see the context and society in which Shakespeare wrote his plays and sonnets. One of the first and main differences between Shakespeares original work and the two film adaptations are the changes in the text. The first observable contrariety comes at the very beginning of the scene, where the servants are preparing for Lord Capulets party. For a Shakespearean play, this would have been a very important element of the scene, allowing the stagehands to alter the scenery for the party scenes, and also to provide the comic actors in the troupe with a chance to display their talents. It was also a good way to show the contrast between the wealthy characters and those of a lower social standing. However, both directors chose to omit the scene from their film. This is probably because it isnt necessary to conduct scene changes in a motion picture and was seen as a good way to shorten the movie and cut production costs. As a prelude to the party scene, during Romeos speech at the end of scene four, Baz Luhrmann shows Romeo taking a mind- expanding pill. Obviously, this is now an all too common act for modern partygoers, but wasnt seen as much in Shakespeares era. Of course drugs were available, but they werent used in the relaxed, recreational manner of today and so it could only be concluded that Mr. Luhrmann included this to make the film easier for a young audience to relate to. Nonetheless, we now know that Romeo is high on drugs and not fully conscious of his surroundings, which is illustrated with point of view camera shots depicting blurred images, bright lights and slurred sounds. This may now make us cast aspersions on Romeos affection for Juliet, as we know that he his not in his right mind. It could be argued that this is a bad piece of directing, as it is the love between Romeo and Juliet that the plays main story revolves around. Therefore, we must have no doubt that the love they feel for each other is real Baz Luhrmann also brings other aspects of modern life to Lord Capulets party which were not included by Shakespeare, the first being a huge firework display as Romeo and his friends arrive at the party, giving us but a small taster of Lord Capulets wealth, and the preparation which the party has needed. Other moderisations of the scene are the bouncers on the door wielding ultra-modern automatic rifles and a metal detector in case of any weapons being sneaked in. These safety checks are perhaps what would be expected if the party was being thrown by royalty, symbolising the importance of the Capulets and their guests in their society. In contrast to this, Franco Zefferellis attempt to represent the original text is shown by his lack of any new inclusions. However, he does cut down Lord Capulets speech to- welcome gentlemen! I have seen the day that I have worn a visor and could tell a whispering tale in a fair ladys ear such as would please. Tis gone, tis gone. You are welcome gentlemen! and completely removing lord Capulets conversation with his kinsman. Such extractions of text are present in Baz Luhrmanns interpretation too, as Capulets welcoming speech is cut down to a simple à ¢Ã¢â€š ¬Ã¢â‚¬Å" welcome gentlemen! and once again, his conversation is totally omitted from the scene. These alterations are made as perhaps the directors see the speeches as unimportant to the overall story and as a result, are just a waste of time and money. Also, it is possible to see more in a movie than a play and so it would be easier for the director to just show Capulet welcoming his guests rather than including a full welcoming speech from the host. Also, both directors have chopped and changed Tybalts argument with Lord Capulet after he sees Romeo and wishes to fight with him. In Franco Zefferellis version for example, large parts are omitted and Lady Capulet is given a very small part to say- you are a princox. Baz Luhrmann chose to confine the argument to within a few lines and also decided to move Tybalts- Patience perforce with willful choler meeting Makes my flesh trembler in their different greeting. I will withdraw, but this intrusion shall Now seeming sweet convert to bitterest gall to the close of the scene, which creates tension between scenes, as we are left pondering this vengeful threat and what actions may result from it. Throughout the course of the scene, the only dialogue of any real importance is the sonnet spoken between Romeo and Juliet, which is reflected in the fact that both directors made no change to the original text for this part of the scene. However, the sequence of events during and after the sonnet differs slightly between the two versions. .u28ec62c1d60d61e30dfd3ede7b481f4b , .u28ec62c1d60d61e30dfd3ede7b481f4b .postImageUrl , .u28ec62c1d60d61e30dfd3ede7b481f4b .centered-text-area { min-height: 80px; position: relative; } .u28ec62c1d60d61e30dfd3ede7b481f4b , .u28ec62c1d60d61e30dfd3ede7b481f4b:hover , .u28ec62c1d60d61e30dfd3ede7b481f4b:visited , .u28ec62c1d60d61e30dfd3ede7b481f4b:active { border:0!important; } .u28ec62c1d60d61e30dfd3ede7b481f4b .clearfix:after { content: ""; display: table; clear: both; } .u28ec62c1d60d61e30dfd3ede7b481f4b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u28ec62c1d60d61e30dfd3ede7b481f4b:active , .u28ec62c1d60d61e30dfd3ede7b481f4b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u28ec62c1d60d61e30dfd3ede7b481f4b .centered-text-area { width: 100%; position: relative ; } .u28ec62c1d60d61e30dfd3ede7b481f4b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u28ec62c1d60d61e30dfd3ede7b481f4b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u28ec62c1d60d61e30dfd3ede7b481f4b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u28ec62c1d60d61e30dfd3ede7b481f4b:hover .ctaButton { background-color: #34495E!important; } .u28ec62c1d60d61e30dfd3ede7b481f4b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u28ec62c1d60d61e30dfd3ede7b481f4b .u28ec62c1d60d61e30dfd3ede7b481f4b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u28ec62c1d60d61e30dfd3ede7b481f4b:after { content: ""; display: block; clear: both; } READ: Shakespeare: Biography EssayFor example, in the Baz Luhrmann version, Romeo kisses Juliets hand after the line To smooth that rough touch with a tender kiss and then he kisses her on the lips after the line à ¢Ã¢â€š ¬Ã¢â‚¬Å" then move not, while my prayers effect I take. These actions are true to those of the original play, which is odd, as up to now, it has been Franco Zefferelli who has stuck to the script. Surprisingly, it is he who chooses to alter these actions, deciding that Romeo should kiss Juliet after the line à ¢Ã¢â€š ¬Ã¢â‚¬Å" Thus from my lips, by thine my sin is purgd. This is not a good choice, as the sonnet finished a line ago, and the flirtatious banter reaches its crescendo in the final line of the sonnet, leaving the perfect time for the kissing. However, Franco Zefferelli failed to notice the significance of this, and as a result he loses drama from his kissing scene. After the initial kiss, Baz Luhrmann chooses to include shots following the young couple as they attempt to elude Juliets nurse and yet more kissing ensues. This extra part is included to entertain rather continue the story and also perhaps to depict the level of love and lust felt between the two. Once again, the audience is given a subject that they can relate to, making it easier for them to understand how Romeo and Juliet feel about each other. For the rest f the scene, Franco Zefferelli reverts to his former method of accurately reconstructing Shakespeares work and little of the original text is changed. Conversely, Baz Luhrmann chooses to omit the nurses brief talk with Romeo, Capulets short dialogue and all the rest of the text. Instead, the nurse tells Juliet who Romeo is and Romeo discovers Juliets identity when her mother calls for her. As with prior text omissions, Baz Luhrmann most probably saw these pieces as an easy way to shorten the film and keep cost to a minimum. When choosing actors for each of their films, both directors had several factors to consider, such as target audience, setting, budget, current favorites etcà ¢Ã¢â€š ¬Ã‚ ¦. Firstly, Baz Luhrmann knew that he had a large budget which, meant he could enlist the talent some big name actors to star in his film. He also knew that to appeal to the teenage market, his Romeo and Juliet must be attractive and well known. In addition to this, both the actor and actress needed to appear older than the character, but not too old. This needed to be in place so that the director could include the sex scene of the play without causing a scandal, as the age of consent in England and the U. S. A is 16, whereas the characters are only 14/15 years old. Knowing all this, I think that Mr. Luhrmann chose his two leading characters well, Romeo has boyish good looks, and the actor Leonardo DiCaprio was very popular at the time of production, especially with teenage girls. In correlation to this, Juliet is a very pretty actress who looks younger than she actually is, fitting the bill perfectly and the prospect of viewing her in a sex scene would attract a wide female audience, but particularly with the teenage bracket. As for other characters, Baz Luhrmann has also done well in his selections à ¢Ã¢â€š ¬Ã¢â‚¬Å" Tybalt is a typical gangster type tall, dark hair, wild eyes etc.. Nurse is an Italian-American woman who looks like a motherly figure, Capulet is a stereotypical corporate businessman and Mercutio is a lively, energetic Afro-American. All of these characters suit their role well and each provide a certain aspect of popular entertainment humour, fear, evil etc which are necessary for a film to be well received. In contrast to this, Franco Zefferelli did not have the budget to employ world famous actors, making his choices a lot more difficult. However, as the film isnt aimed at the younger generation, the need for popular actors is lessened greatly and the need for actors who know the text well is increased. Once again, the directors choice was good, with each actor adapting to his or her role well. The character of the Nurse in particular was a casting triumph, the actress portrays the character flawlessly, providing all of the comic dialogue as if she had written it herself. Through these characters, Zefferelli has tried to produce an accurate reflection of Shakespeares work, relying on the talents of the actors and actresses rather than their reputation to make the film popular and educational. To accompany the dialogue, create atmosphere and represent feelings, both directors have included music with their scene. To tie in with his films modern style, Baz Luhrmann chose two pieces of music to play during the party. The first is the song young hearts being sung/mimed by Mercutio. The director chose this song and the way it is performed for two reasons. Firstly, comic entertainment. The sight of a tall, well built black man wearing make-up, a short skirt and tight top performing a disco classic is enough to make anyone laugh. The song is performed as Romeo staggers into the party, still under the influence of Mercutios drug. The wild performance of Mercutio and the fast beat of the song may also be meant as a reflection of the atmosphere and mood of the party. The second reason Baz Luhrmann chose this song to feature in his film are the lyrics à ¢Ã¢â€š ¬Ã¢â‚¬Å" young hearts, run free, never be hung up, hung up like my man and me! These lyrics are directly related to the character of Romeo, whom we have learnt to be hasty and foolish in matters of the heart, as shown in his devotion to Rosaline who he thinks he loves, but instantly forges upon seeing Julie. .ud99abbb6693fc9008db794d40a819b42 , .ud99abbb6693fc9008db794d40a819b42 .postImageUrl , .ud99abbb6693fc9008db794d40a819b42 .centered-text-area { min-height: 80px; position: relative; } .ud99abbb6693fc9008db794d40a819b42 , .ud99abbb6693fc9008db794d40a819b42:hover , .ud99abbb6693fc9008db794d40a819b42:visited , .ud99abbb6693fc9008db794d40a819b42:active { border:0!important; } .ud99abbb6693fc9008db794d40a819b42 .clearfix:after { content: ""; display: table; clear: both; } .ud99abbb6693fc9008db794d40a819b42 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud99abbb6693fc9008db794d40a819b42:active , .ud99abbb6693fc9008db794d40a819b42:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud99abbb6693fc9008db794d40a819b42 .centered-text-area { width: 100%; position: relative ; } .ud99abbb6693fc9008db794d40a819b42 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud99abbb6693fc9008db794d40a819b42 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud99abbb6693fc9008db794d40a819b42 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud99abbb6693fc9008db794d40a819b42:hover .ctaButton { background-color: #34495E!important; } .ud99abbb6693fc9008db794d40a819b42 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud99abbb6693fc9008db794d40a819b42 .ud99abbb6693fc9008db794d40a819b42-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud99abbb6693fc9008db794d40a819b42:after { content: ""; display: block; clear: both; } READ: How are act 1, scene 1 and act 3, scene 1 of Romeo and Juliet made exciting for the audience ? EssayThe words of the song are warning young people not to fall in love, but to be free and careless, something that Romeo should possibly take heed of. As contrast to this, when Romeo first sees Juliet, the music changes and a solo artist is introduced, performing a slow, romantic ballad. This sharp contrast is included to show the dramatic change in Romeos mood after the drug has worn off and he has seen Juliet. Also, it helps to mark a change in the pace of the as the night draws on and the heat of summer makes the guests lethargic. The romantic lyrics of the song are again related to Romeo as he quickly falls in love with Juliet. In this version, the sonnet spoken between the two is more steady and deliberate, where as in Franco Zefferellis version it is conducted more as conversation than a poem. As a result, the romantic tension that is developed in the original play does not build to any great height. However, as the film is set in the 1590s any unsupervised contact between young persons of the opposite sex would be considered improper, and so Juliet talks to Romeo whilst pretending to watch a dance so as not to be thought promiscuous. It is herd to conclude whether or not the sonnet is performed in this way to fit its historical context or simply because this is how the director interpreted the text but what is gained through historical correctness is lost via lack of entertainment value. The music in Franco Zefferellis film is performed by a group of musicians, such was the only way in Shakespeares era. When Romeo and Juliet first meet, they are dancing a seemingly popular dance known as the Maritzka, which appears to be an actual dance of the Elizabethan age. If it is, then it is to the directors credit that he has continued to keep even small details in the correct historical context. However, further research would be needed to prove this theory. As with Baz Luhrmanns film, the first tune is quick and merry, again illustrating the general mood of the jovial party. After the dance is over, a solo singer is brought in, and a slow song is sung over gentle notes of a classical guitar. It is over this song that Romeo and Juliet speak the sonnet. The words of the song speak of young love being like a rose, blossoming and then dying. Just as with the song in Baz Luhrmannns production, the words of the song bear a special significance to the plot, and both are played again at certain points of the film. These similarities in the use of music show that even though times and social contexts change, peoples emotions and feelings can be reflected and brought out through music, whatever the style or method of performance. As the scene is set in a fancy dress party, costume is an imperative factor in creating the correct atmosphere. Both productions include fancy dress, but it is easy to see the contrast in choice of costume between the two contexts. For example, in the 1590s Zefferellis version the guests just wore simple facemasks in conjunction with their best attire. The design of the mask does not bear any significance with character wearing it, but instead of this, Zefferelli has chosen to highlight the clothing of the times. By doing this, Zefferelli has made his scene very useful to his student audience, who may be interested in different aspects of Elizabethan life, including clothing. Baz Luhrmann however, has used the party sequence to show us more about the characters personalities through their costumes. For example, Romeo is dressed as a knight, suggesting courage, bravery and loyalty. Juliet is presented in a snow-white angels costume, symbolising purity, goodness and brilliance. However, we know that she has disobeyed her parents in the past and perhaps this is a false image? Conversely, Tybalt is attired in sequined devil outfit, complete with horns. Through this costume, we can see that Tybalt is an evil, fiery character, and he doesn t mind people knowing this fact. Murcutios flamboyant, extravert personality is conveyed by him being dressed as a women, complete with make-up, high heels, mini skirt and a tight top. Baz Luhrmann uses these images to strengthen any ideas the viewer had about each characters personality, and it is possibly to draw strong stereotypes from the information we have been shown through costume. In both versions of Romeo and Juliet that have been studied, the language used is directly derived from Shakespeares original text. Even in Baz Luhrmanns modern adaptation, where the classical style dialogue may appear out of place, the imagery created through the language of Shakespeare could not have been replaced and still has significance in the modern society of Baz Luhrmanns movie. For example, Romeos speech on his initial sight of Juliet remains unchanged in both versions. The directors chose to do this because some of the imagery used à ¢Ã¢â€š ¬Ã¢â‚¬Å" She that teaches the torches to burn bright! It seems that she hangs upon the cheek of night does not require alteration, and is as relevant in modern life as it was then. This type of powerful imagery was extremely important In Shakespeares theatre, as Juliets part would have been played by a man, and the audience would need to be told how beautiful she is and the impact she has had on Romeo. This would especially important for those members of the audience who had a poor view of the stage, and relied on the dialogue to follow the story, Overall, the best presentation of act one, scene five is that of Baz Luhrmann. He provides all aspects of entertainment drama, romance, drama, etc.. whilst still portraying all of Shakespeares intended images. He achieves this through good casting, contrasting old language and modern society and through excellent use of imagery.

Glass Menagerie and D.O.S essays

Glass Menagerie and D.O.S essays Dreams and aspirations help to keep alive, a sense of hope, something to live for. Yet if one does not make their dreams flexible they may fall short and thereby feel their life is unfulfilled. Both Tom Wingfield and Willy Loman in The Glass Menagerie and Death of a Salesman, respectively, live every day with a hope that soon they will be able to achieve these goals that they have set forth for themselves. Yet due to obstinacy of Willys dream it has become impalpable, while Tom has the ability to realize that a man can change his reveries based upon his current conditions. The American Dream is a fabrication in which a man finds happiness with a house, a successful job, a nice car and a perfect family consisting of a wife and 2.5 children. Willy has geared his ambitions towards this dream. He can not accept the fact that he is just another salesman trying to convince his buyers of why his product is important. Willy feels that the only way to succeed in the business world is to be well-liked, yet he can not even do that. He creates illusions of his prosperity in order to cater to his unobtainable dream. Willy convinces himself and his sons when he says, Be liked and you will never want. You take me, for instance. I never wit in line to see a buyer. Willy Loman is here! Thats all they have to know, and I go right through. Willy Loman can not comprehend that not all dreams come to be and that if one sets their bar too high, they may have to lower it in order to be content in the future. Willy hopes and really believes that someday (hell) have (his) own business, and (hell) never have to leave home anymore. Willys disturbing avoidance of his neighbor Charley is a direct denial of his present state. Charley is living the American Dream. He has worked hard and earned every morsel of food put on his table, every penny out of his pocket. Will...

The one child policy essays

The one child policy essays Throughout this essay the one child policy will be outlined and how it will be enforced. Also wether the need for the one child policy will outweigh the problems of human rights The one child policy consists of three main points: having delayed marriages and child bearing, having fewer and healthier births and having only one child per family. After years of encouraging reproduction, in 1979 the Chinese government created a policy known as the one child policy. The policy was implemented due to its large population as it continued to increase and its attempt to fight widespread poverty and to improve the overall quality of life. As each year passed Chinas population increased by 55 million. This is why the policy was adopted; to ensure that china would be able to feed its people; this was a worry as china had a bad historical background of severe flooding and famine The one child policy although did not apply to all people. There are several ways you can have second child legally. If you lived in a rural areas where families needed support in there old age or if you were from an ethnic minority you were formally excluded or if your first child was mentally or physically disabled or if you had twins or people who were made redundant form state firms were excluded from the one child policy. Although it had been known that the government forced these people to comply by these rules. If you decided you wanted to have second child without you having any of theses exceptions and the government caught you the person/s would miss out on a lot of compensation and financial assistance. Such as assistance in education, university and public schooling, Medicare, priority pension and youre the parents would not be offered a 5-10% salary as an incentive to have only one child. Also having another child would mean 15% of family income was imposed or you were forced to have an abortion and the granny police were around to make sure ...

Evaluating antitrust legislation Essay Example | Topics and Well Written Essays - 500 words

Evaluating antitrust legislation - Essay Example The origin of Anti Trust Law lies in the reaction to public outcry over the corporate monopolies that dominated US manufacturing and mining. The trusts formed by mergers and mutual understandings used to control prices according to their profit needs. This practice has come to an end by the enacting and executing this act. In the 20th century President Theodore Roosevelt and his successor President William Howard Taft, responded to public criticism over the rapid merger of industries by pursuing more vigorous legal action, and steady prosecution. This brought the downfall of monopoly in the manufacturing resulting in price fall. The Clayton law in 1914 declared price discrimination, tying and exclusive-dealing contracts, corporate mergers and interlocking directorates as illegal but not criminal. The Robinson-Patman Act, passed by US congress in 1936 explicitly forbade forms of price discrimination, in order to protect small producers from extinction due to competition. From 1937 to 1940 Roosevelt's effort to cope with economic decline brought federal antitrust enforcement back. After that Congress added its last piece of important legislation in 1950 with the Celler-Kefauver anti merger act. This made the businesses unable to target the assets of the rivals also in addition to previous forbidding of anti competitive stock purchases. A loop hole was plugged.

HCM337-0704B-01 Current Legal, Ethical, and Regulatory Issues in H - Essay - 3

HCM337-0704B-01 Current Legal, Ethical, and Regulatory Issues in H - Phase 2 Discussion Board - Essay Example NAP’s Ethical Guidelines for Professional Care Services in a Managed Health Care Environment (1999) put patients at the top of their priorities. Their commitment for a patient-focused care means that they would rigidly observe the rights of their patients such as the right to have access to appropriate professional services, the healthcare’s obligation to meet with patient’s satisfaction, and the healthcare provider’s duty to provide delivery by uniquely trained personnel when complexity of the patient’s condition requires the knowledge and expertise beyond those of the primary care provider. Failure of compliance to these ethical guidelines can result to major penalties. A case documented by Klein and Campbell (2006) wherein members of the groups clinical and anatomic pathology laboratory, and 2 Michigan-based consulting and management services companies were sued by the government because or their alleged submission of â€Å"$1.3 million in false claims to Medicare and Medicaid†. The government also argued that the defendants â€Å"engaged in fraudulent conspiracy by offering referring physicians a discounted price for a routine, automated chemistry panel.† After the accused were proven guilty, they were, under the False Claims Act, potentially liable for 3 times $1.3 million, or $3.9 million, penalties of up to $10,000 for each of the 134,655 claims, and $116,000 for the cost of the investigation by the OIG. The physicians, who sold the laboratory to Corning in 1995 for $6.6 million, denied breaking any laws, but in 1998 settled with the government for $ 875,000. The consulting companies and their owner, whom the pathologists argued put into place the challenged billing practice, settled for $35,000. With the information supplied by other postings about my current and future health work, I can see outright the repercussions that might

Thai Food as a Cultural Product Essay Example for Free

Thai Food as a Cultural Product Essay The use of food as cultural products by tourism industry today affects the culinary heritages in negative senses Do you agree with this statement? Please explain and give example. Cultural products as a part of tourism industry have become an influential strategy in modern international trade. Food is one of the distinctive goods, which have popularly been brought to represent the country and the culture of its residents. However, surprisingly, the use of food as a cultural product by tourism industry today no longer fully displays the intellectual inheritance of the nation; on the contrary, it affects the culinary heritages in negative senses. Having become a cultural product, foreign-cuisine restaurants blossom in every part of the world. For instance, Thai food has become internationally popular because of its sophistication and variety. (Global Investment Center, 2008, p. 245) People can experience Thai cultures without practically going abroad through various choices of Thai food, which are available in their own countries. Nevertheless, often times, the food to which they expose is not a real representative of Thai culinary art since it is reduced in terms of cultural accuracy. There generally are some changes in ingredients due to some difficulties such as rare alien constituents, but, surprisingly, the changes in Thai food are usually not by reason of the lack but intentionally made. Thai cuisines served abroad are frequently modified. This does not occur from a misunderstanding of Thai cultures because several chefs in Thai restaurants overseas are from Thailand. Instead, this happens to be more because of customers; in other words, this is an effect of culture shock. Peter Adler describes culture shock as a five-stage educational and developmental process based on work by Kalvero Oberg and others – which are the honeymoon stage, the disintegrate stage, the reintegrate stage, the autonomy stage, and the interdependence stage respectively. Newly exposed individuals experience the curiosity and excitement of a tourist at first before they feel overwhelmed by the new cultures requirements. After that, they will express outer-directed anger and resentment toward the new culture before they gradually gain a balanced perspective of the two cultures and become fluently comfortable at last. (Pedersen, 1995, p. 3) The first two stages give an explanation to the Thai recipe modification case. Like any other cuisine, one dishful of true Thai food can be exciting and appealing while a repetition of it may not be as superb and may later cause to feel uncomfortable. When it comes to business, a dish per person is not adequate; a restaurant needs a regular customer. As a result, a number of Thai restaurants overseas choose to simplify their own recipes to make their diners feel less awkward with their menus so as to keep their visits. Even though, according to Adler’s theory, the culture-experiences will eventually get along with the real Thai food, the business has a tendency not to take the risk as the stake is too high. The loss of some ingredients due to changes in recipes does not only mean the loss of its taste but also the loss of Thai culinary heritages accumulated since hundreds of years ago, for the ingredients do not only flavor the food but have benefits both in terms of medicine and cookery as well. Even though Thailand was not scientifically advanced back in old times, Thais learned how to utilize herbs as medicament and put them in their food. For example, flowers of a Hummingbird tree in Tamarind paste soup can help balance the body systems, relieve a seasonal fever, and deodorize the soup when adding fish. Tom-Yum is another example. A variety of herbs in the spicy soup, apart from seasoning, can help digestion, prevent bloating, release gas, relieve a fever, and control sexual desire and blood pressure. The removal of some components from Thai food in Thai restaurants overseas without the least concern regarding the culinary heritages is, therefore, the neglect of cultures in a cultural product itself. So far, the existence of Thai food abroad as a cultural product has seemingly been disregarded at the same time as other exotic cuisines on account of several reasons. Diners usually do not truly get the essence of the cuisine or even have a misconception about the culinary art. As long as bean sprouts are still seen in Green curry served in Thai restaurants in the Unites States, using food as a cultural product might not be a good idea. Reference: Longrain: Modern Thai Food. Melbourne: Hardie Grant. Christofi, V. , Thompson, C. L. (2007). You cannot go home again: a phenomenological investigation of returning to the sojourn country after studying abroad. Journal of Counseling and Development, 85(1), 53-64. Global Investment Center. (2008). Thailand Country Study Guide. Washington, DC: International Business. Pedersen, P. (1995). The five stages of culture shock. Westport, CT: Greenwood. Smithies, A. (1952). Modern International Trade Theory and International Policy. In The American Economic Review: Vol. 42, No. 2, Papers and Proceedings of the Sixty-fourth Annual Meeting of the American Economic Association (pp. 168-176). N. P. : American Economic Association. Ward, C. , Bochner, S. , Furnham, A. (2001). The psychology of culture shock. Newyork: Routledge.

cloning :: essays research papers

Cloning humans and organs could only yield new technologies that will be beneficial to society. Organ cloning is something that would be extremely beneficial to society. For example, if we could clone human organs there would be no need for waiting lists for people looking for donors. Scientist could make a clone of a patient’s organ, that their body would be more likely to accept, without the imperfections of their previous organ. This way, another person who was on the waiting list could receive the organ. In America there are thousands of people on waiting lists to receive new organs that will help prolong their life. Many of these people will die because there is not a suitable donor that matches their needs. Imagine the lives that will be saved if an individual can clone their own liver, or any other organ that is needed to survive an illness. The process is fairly uncomplicated. When a child is conceived, doctors will take a few cells from it and clone them. These cells will then be placed in a national tissue bank until needed. There they are readily available. If the child gets hurt, or contracts a disease, it will have a â€Å"repair kit† to fall back on. Most of the controversy is over whether or not we will be killing another human in order to get these parts. In a sense, we would. The frozen embryo would be placed in a surrogate mother. There it needs only a mere week to grow. It can then be removed, and the needed organ singled out. Then, this organ can be grown in a lab, where scientists can speed up the process greatly. Yes, we did create the beginnings of a human, but it was only one week old. Whether or not people believe in the "art" of cloning you have to agree that there are definitely good things that can come from all of this research. Researchers say that within 5-10 years we will actually be able to grow headless human clones. I’m not saying that this should be ethical to everyone, but just imagine the possibilities. No more waiting lists, and nearly uliminating organ rejection should be and exiting prospect to everyone. This type of technology could save thousands of lives. Using just the embryonic cloning, we could drastically improve many people’s chance to live. . Cloning has the ability to change the face of the planet forever. cloning :: essays research papers Cloning humans and organs could only yield new technologies that will be beneficial to society. Organ cloning is something that would be extremely beneficial to society. For example, if we could clone human organs there would be no need for waiting lists for people looking for donors. Scientist could make a clone of a patient’s organ, that their body would be more likely to accept, without the imperfections of their previous organ. This way, another person who was on the waiting list could receive the organ. In America there are thousands of people on waiting lists to receive new organs that will help prolong their life. Many of these people will die because there is not a suitable donor that matches their needs. Imagine the lives that will be saved if an individual can clone their own liver, or any other organ that is needed to survive an illness. The process is fairly uncomplicated. When a child is conceived, doctors will take a few cells from it and clone them. These cells will then be placed in a national tissue bank until needed. There they are readily available. If the child gets hurt, or contracts a disease, it will have a â€Å"repair kit† to fall back on. Most of the controversy is over whether or not we will be killing another human in order to get these parts. In a sense, we would. The frozen embryo would be placed in a surrogate mother. There it needs only a mere week to grow. It can then be removed, and the needed organ singled out. Then, this organ can be grown in a lab, where scientists can speed up the process greatly. Yes, we did create the beginnings of a human, but it was only one week old. Whether or not people believe in the "art" of cloning you have to agree that there are definitely good things that can come from all of this research. Researchers say that within 5-10 years we will actually be able to grow headless human clones. I’m not saying that this should be ethical to everyone, but just imagine the possibilities. No more waiting lists, and nearly uliminating organ rejection should be and exiting prospect to everyone. This type of technology could save thousands of lives. Using just the embryonic cloning, we could drastically improve many people’s chance to live. . Cloning has the ability to change the face of the planet forever.

Carrie Chapter Eight

She lay on her bed, looking at the ceiling, sweating. ‘Carrie! Supper!' ‘Thank you, (i am not afraid) Momma.' She got up and fixed her hair with a dark-blue headband. Then she went downstairs From The Shadow Exploded (p. 59): How apparent was Carrie's ‘wild talent' and what did Margaret White, with her extreme Christian ethic, think of it? We shall probably never know. But one is tempted to believe that Mrs White's reaction must have been extreme †¦ ‘You haven't touched your pie, Carrie.' Momma looked up from the tract she had been perusing while she drank her Constant Comment. ‘It's homemade.' ‘It makes me have pimples, Momma.' ‘Your pimples are the Lord's way of chastising you. Now eat your pie.' ‘Momma?' ‘Yes?' Carrie plunged. ‘I've been invited to the Spring Ball next Friday by Tommy Ross-‘ The tract was forgotten. Momma was staring at her with wide my ears-are-deceiving-me eyes. Her nostrils flared like those of a horse that has heard the dry rattle of a snake. Carrie tried to swallow an obstruction and only (i am not afraid o yes i am) got rid of part of it. ‘-and he's a very nice boy. He's promised to stop in and meet you before and-‘ ‘No.' ‘-to have me in by eleven. I've-‘ ‘No, no, no!' ‘-accepted. Momma, please see that I have to start to, to try and get along with the world. I'm not like you. I'm funny – I mean, the kids think I'm funny. I don't want to be. I want to try and be a whole person before it's too late to-‘ Mrs White threw her tea in Carrie's face. It was only lukewarm, but it could not have shut of Carrie's words more suddenly if it had been scalding. She sat numbly, the amber fluid dripping from her chin and cheeks on to her white blouse, spreading. It was sticky and smelled like cinnamon. Mrs White sat trembling, her face frozen except for her nostrils, which continued to flare. Abruptly she threw back her head and screamed at the ceiling. ‘God! God! God!' Her jaw snapped brutally over each syllable. Carrie sat without moving. Mrs White got up and came around the table. Her hands were hooked into shaking claws. Her face bore a half-mad expression of compassion mixed with hate. ‘The closet,' she said. ‘Go to your closet and pray.' ‘No, Momma.' ‘Boys. Yes, boys come next. After the blood the boys come. Like sniffing dogs, grinning and slobbering, trying to find out where that smell is. That †¦ smell!' She swung her whole arm into the blow, and the sound of her palm against Carrie's face (o god i am so afraid now) was like that flat sound of a leather belt being snapped in air. Carrie remained seated, although her upper body swayed. The mark on her cheek was first white, then blood red. ‘The mark,' Mrs White said. Her eyes were large but blank, she was breathing in rapid, snatching gulps of air. She seemed to be talking to herself as the claw hand descended on to Carrie's shoulder and pulled her out of her chair. ‘I've seen it, all right. Oh yes. But. I. Never. Did. But for him. He. Took. Me . . .' She paused, her eyes wandering vaguely toward the ceiling. Carrie was terrified. Momma seemed in the throes of some great revelation which might destroy her. ‘Momma-‘ ‘In cars. Oh, I know where they take you in their arms. City limits. Roadhouses. Whiskey. Smelling †¦ oh they smell it on you!' Her voice rose to a scream. Tendons stood out on her neck, and her head twisted in a questing upward rotation. ‘Momma, you better stop.' This seemed to snap her back to some kind of hazy reality. Her lips twitched in a kind of elementary surprise and she halted, as if groping for old bearings in a new world. ‘The closet,' she, muttered. ‘Go to your closet and pray. ‘No.' Momma raised her hand to strike. ‘No!' The hand stopped in the dead air. Momma stared up at it, as if to confirm that it was still there, and whole. The pie pan suddenly rose from the trivet on the table and hurled itself across the room to impact beside the living-room door in a splash of blueberry drool. ‘I'm going, Momma!' Momma's overturned teacup rose and flew past her head to shatter above the stove. Momma shrieked and dropped to her knees with her hands over her head. ‘Devil's child,' she moaned. ‘Devil's child. Satan spawn-‘ ‘Momma, stand up.' ‘Lust and licentiousness, the cravings of the flesh-‘ ‘Stand up!' Momma's voice faded her but she did stand up, with her hands still on her head, like a prisoner of war. Her lips moved. To Carrie she seemed to be reciting the Lord's ]Prayer. ‘I don't want to fight with you, Momma,' Carrie said, and her voice almost broke from her and dissolved. She struggled to control it. ‘I only want to be let to live my own life. I†¦ I don't like yours.' She stopped, horrified in spite of herself. The ultimate blasphemy had been spoken, and it was a thousand times worse than the Eff Word. ‘Witch,' Momma whispered. ‘It says in the Lord's Book: â€Å"Thou shalt not suffer a witch to bye.† Your father did the Lord's work-‘ ‘I don't want to talk about that,' Carrie said. It always disturbed her to hear Momma talk about her father. ‘I just want you to understand that things are going to change around here, Momma.' Her eyes gleamed. ‘They better understand it, too.' But Momma was whispering to herself again. Unsatisfied, with a feeling of anticlimax in her throat and the dismal rolling of emotional upset in her belly, she went to the cellar to get her dress material. It was better than the closet. There was that. Anything was better than the closet with its blue light and the overpowering stench of sweat and her own sin. Anything. Everything. She stood with the wrapped package hugged against her breast and closed her eyes, shutting out the weak glow of the cellar's bare, cobweb-festooned bulb. Tommy Ross didn't love her, she knew that. This was some strange kind of atonement, and she could understand that and respond to it. She had lain cheek and jowl with the concept of penance since she had been old enough to reason. He had said it would be good-that they would see to it. Well, she would see to it. They better not start anything. They just better not. She did not know if her gift had come from the lord of light or of darkness, and now, finally finding that she did not care which, she was overcome with an almost indescribable relief, as if a huge weight, long carried, had slipped from her shoulders. Upstairs, Momma continued to whisper. It was not the Lord's Prayer. It was the Prayer of Exorcism from Deuteronomy. From My Name Is Susan Snell (p. 23): They finally even made a movie about it. I saw it last April. When I came out, I was sick. Whenever anything important happens in America, they have to gold-plate it, like baby shoes. That way you can forget it. And forgetting Carrie White may be a bigger mistake than anyone realizes †¦ Monday morning: Principal Grayle and his understudy, Pete Morton, were having coffee in Grayle's office. ‘No word from Hargensen yet?' Morty asked. His lips curled into a John Wayne leer that was a little frightened around the edges. ‘Not a peep. And Christine has stopped lipping off about how her father is going to send us down the road.' Grayle blew on his coffee with a long face. ‘You don't exactly seem to be turning cartwheels.' ‘I'm not. Did you know Carrie White is going to the prom?' Morty blinked. ‘With who? The Beak?' The Beak was Freddy Holt, another of Ewen's misfits. He weighed perhaps one hundred pounds soaking wet, and the casual observer might be tempted to believe that sixty of it was nose. ‘No,' Grayle said. ‘With Tommy Ross.' Morty swallowed his coffee the wrong way and went into a coughing fit. ‘That's the way I felt,' Grayle said. ‘What about his girl friend? The little Snell girl?' I think she put him up to it,' Grayle said. ‘She certainly seemed guilty enough about what happened to Carrie when I talked to her. Now she's on the Decoration Committee, happy as a clam, just as if not going to her Senior prom was nothing at all.' ‘Oh,' Morty said wisely. ‘And Hargensen – I think he must have talked to some people and discovered we really could sue him on behalf of Carrie White if we wanted to. I think he's cut his losses. It's the daughter that's worrying me.' ‘Do you think there's going to be an incident Friday night?' ‘I don't know. I do know Chris has got a lot of friends who are going to be there. And she's going around with that Billy Nolan mess; he's got a zooful of friends, too. The kind that make a career out of scaring pregnant ladies. Chris Hargensen has him tied around her finger, from what I've heard.' ‘Are you afraid of anything specific?' Grayle made a restless gesture. ‘Specific? No. But I've been in the game long enough to know it's a bad situation. Do you remember the Stadler game in seventy-six?' Morty nodded. It would take more than the passage of three years to obscure the memory of the Ewen-Stadler game. Bruce Trevor had been a marginal student but a fantastic basketball player. Coach Gaines didn't like him, but Trevor was going to put Ewen in the area tournament for the first time in ten years. He was cut from the team a week before Ewen's but must-win game against the Stadler Bobcats. A regular announced locker inspection had uncovered a kilo of marijuana behind Trevor's civic book. Ewen lost the game – and their shot at the tourney – 104-48. But no one remembered that; what they remembered was the riot that had interrupted the game in the fourth period. Led by Bruce Trevor, who righteously claimed he had been bum rapped, it resulted in four hospital admissions. One of them had been the Stadler coach, who had been hit over the head with a first-aid kit. ‘I've got that kind of feeling,' Grayle said. ‘A hunch. Someone's going to come with rotten apples or something.' ‘Maybe you're psychic,' Morty said. From The Shadow Exploded (pp. 92-93): It is now generally agreed that the TK phenomenon is a geneticrecessive occurrence – but the opposite of a disease like haemophilia, which becomes overt only in males. In that disease, once called ‘King's Evil,' the gene is recessive in the female and is carried harmlessly. Male offspring, however, are ‘bleeders.' This disease is generated only if an afflicted male marries a woman carrying the recessive gene. If the offspring of such union is male, the result will be a haemophiliac son. If the offspring is female, the result will be a daughter who is a carrier. It should be emphasized that the haemophilia gene may be carried recessively in the male as a part of his genetic make-up. But if he marries a woman with the same outlaw gene, the result will be haemophilia if the offspring is male. In the case of royal families, where intermarriage was common, the chances of the gene reproducing once it entered the family tree were high – thus the name King's Evil. Haemophilia also showed up in significant quantities in Appalachia during the earlier part of this century, and is commonly noticed in those cultures where incest and the marriage of first cousins is common. With the TK phenomenon, the male appears to be the carrier.. the TK gene may be recessive in the female, but dominates only in the female. It appears that Ralph White carried the gene. Margaret Brigham, by purest name, also carried the outlaw gene sign, but we may be fairly confident that it was recessive, as no information has ever been found to indicate that she had telekinetic powers resembling her daughter's. Investigations are now being conducted into the life of Margaret Brigham's grandmother, Sadie Cochran – for, if the dominant/recessive pattern obtains with TK as it does with haemophilia, Mrs Cochran must have been TK-dominant. If the issue of the White marriage had been male, the result would have been another carrier. Chances that the mutation would have died with him would have been excellent, as neither side of the Ralph White – Margaret Brigham alliance had cousins of a comparable age for the theoretical male offspring to marry. And the chances of meeting and marrying another woman with TK gene at random would be small. None of the teams working on the problem have yet isolated the gene. Surely no one can doubt, in light of the Maine holocaust, that isolating this gene must become one of medicine's number-one priorities. The haemophiliac, or H-gene, produces male issue with a lack of blood platelets. The telekineticn or TK-gene, produces female Typhoid Marys capable of destroying almost at will †¦ Wednesday afternoon. Susan and fourteen other students – The Spring Ball Decoration Committee, no less – were working on the huge mural that would hang behind the twin bandstand on Friday night. The theme was Springtime in Venice (who picked thew hokey themes, Sue wondered. She had been a student at Ewen for four years, had after two Balls, and she still didn't know. Why did the goddam thing need a theme, anyway? Why not just have a sock hop and be done with W): George Chizmar, Ewen's most artistic student, had done a small chalk sketch of gondolas on a canal at sunset and a gondolier in a huge straw fedora leaning against the tiller as a gorgeous panoply of pinks and reds and oranges stained both sky and water. It was beautiful, no doubt about that. He had redrawn it in silhouette on a huge fourteen-by-twenty-foot canvas flat, numbering the various sections to go with the various chalk hues. Now the Committee was patiently colouring it in, like children crawling over a huge page in a giant 's colouring book. Still, Sue thought, looking at her hands and forearms, both heavily dusted with pink chalk, it was going to be the prettiest prom ever. Next to her, Helen Shyres sat up on her haunches, stretched, and groaned as her back popped. She brushed a hank of hair from her forehead with the back of her hand, leaving a rose-coloured smear. ‘How in hell did you talk me into this?' ‘You want it to be nice, don't you?' Sue mimicked Miss Geer, the spinster chairman (apt enough term for Miss Mustache) of the Decoration Committee. ‘Yeah, but why not the refreshment Committee or the Entertainment Committee? Less back, more mind. The mind, that's my area. Besides, you're not even -‘ She bit down on the words. ‘Going?' Susan shrugged and picked up her chalk again. She had a monstrous writer's cramp. ‘No, but I still want it to be nice.' She added shyly: ‘Tommy's going.' They worked in silence for a bit, and then Helen stopped again. No one was near them; the closest was Holly Marshall, on the other end of the mural, colouring the gondola's keel. ‘Can I ask you about it, Sue?' Helen asked finally. ‘God, everybody's talking.' ‘Sure.' Sue stopped colouring and flexed her hand. ‘Maybe I ought to tell someone, just so the story stays straight. I asked Tommy to take Carrie. I'm hoping it'll bring her out of herself a little †¦ knock down some of the barriers. I think I owe her that much.' ‘Whom does that put the rest of us?' Helen asked without rancour. Sue shrugged. ‘You have to make up your own mind about what we did, Helen. I'm in no position to throw stones. But I don't want people to think I'm uh †¦'