The play is set in Venice (Othello himself, as the play's proper title points out, is the "Moor of Venice") - though only the first part of the play takes place there.
In Act 2 (Scene 1), the play moves location to Cyprus, where it remains until the end.
Hope it helps!
George takes care of Lennie who is mentally handicapped, although physically very strong, a big bear of a man. George depends on Lennie for his companionship, even though George complains about having to take care of Lennie, he really needs him emotionally.
The two share a friendship that is more like a brothers relationship than that between strangers. Lennie, because of his immense strength and his lack of an adult's mental capacity to understand his own strength, is capable of killing with his bare hands. He doesn't mean to do this, but the simple, child-like Lennie can't resist petting soft things.
George looks after Lennie time and again when he gets into trouble. The two run away from jobs where Lennie has done damage with his super strength. George feels compelled to take care of Lennie, having promised his aunt that he would do so.
In the course of the story, we learn that Lennie and George share a secret dream of owning their own farm someday. This story, like a child's bedtime story, soothes Lennie, and George uses it to control Lennie's behavior to a certain extent. He constantly reminds him not to misbehave.
But unfortunately, Lennie does not spend every minute with George. He cannot control the man's behavior all the time. In the end, Lennie's actions lead to a tragic death. Sadly, George feels that the only way to take care of his giant friend, before others can punish him, is to kill him.
The differences between East Egg and West Egg are mostly implied in the novel, but several passages speak directly to their conflicting atmospheres and social standings. Early in Chapter I, Nick mentions West Egg for the first time. He says, "It was a matter of chance that I should have rented a house in one of the strangest communities in North America." Immediately, West Egg is identified as being far from a traditional place to live. Nick then describes the physical shape and appearance of the Eggs as they would be observed from the air; from above, they look quite similar. In fact, Nick tells us, "a more arresting phenomenon is their dissimilarity in every particular except shape and size." Now we know that West Egg is not only strange, it is different from East Egg in every way except its physical topography.
Continuing in this passage from Chapter I, Nick says that West Egg (where he lived) was "the less fashionable of the two." He then comments that "less fashionable" is inadequate in explaining the "bizarre" and "sinister" difference between them. These references foreshadow events to come.
A brief but significant reference to the contrast between East Egg and West Egg occurs in Chapter III at Gatsby's party. Guests from East Egg stay in their small group, choosing not to associate with people who are different from themselves. Their attitude of superiority is clear:
Instead of rambling this party had preserved a dignified homogeneity, and assumed to itself the function of representing the staid nobility of the countryside--East Egg condescending to West Egg, and carefully on guard against its spectroscopic gayety.
Through Nick's observations, Fitzgerald establishes early in the novel a distinct conflict between the societies of East Egg and West Egg.
In Chapter VII of "Scarlet Letter," Hawthorne develops his symbolic "A" with imagination: The scarlet A, unimaginative symbol of itself is magnified in the breastplate as well as in Pearl, the living symbol of Hester's sin. Pearl herself is developed more in this chapter; her capricious nature is obvious. In fact, she is almost fiendish in her appearance in the breastplate and in her cruel insistence that her mother look into the reflection that exaggerates the letter "so as to be greatly the most prominent feature of her appearance."
Wishing to distract Pearl from this cruel reflection, Hester suggests that they walk in the garden where Pearl espies the rose bush:
Pearl, seeing the rose-bushes, began to cry for a red rose, and would not be pacified.
Her mother seeks to quiet her by telling her that there are people approaching. Pearl "scorns" her mother's attempt to quiet her, giving "an eldritch [unearthly] scream," and then quiets down because she is excited by the appearance of the magistrates.
The single red rose outside the prison door in Chapter I is symbolic of Hester and her passionate nature. Now, in Chapter VII, the rose reappears as a symbol of the passionate nature of Hester's child Pearl.
In addition to many examples of Beowulf giving thanks to God for his victories, there are also some specific biblical references. Grendel is said to be a descendent of Cain, Adam and Eve's son who murdered his brother, Abel. Some say the story written on the hilt of the giant's sword is a reference to Noah and the flood. Hrothgar's fatherly words of advice to Beowulf after his defeat of Grendel's mother is often compared to Christ's Sermon on the Mount. Also, the 13th warrior and the betrayal of Beowulf's thanes during his fight with the dragon is often seen to be similar to the last supper and betrayal by Judas before Christ's death. Beowulf's dive into the haunted mere is often compared to Christ's harrowing of hell.
These are great citations from RW to give you a direct answer to your question. The political mood is as varied as the Roman citizens who occupy it.
The question that might be interesting for you to explore so you can do some deeper, critical, and independent thinking, is why the entire play begins with Flavius and Murellus trying to silence the raucous Roman plebeians. As RW notes, these two tribunes are eventually silenced. The plebeians also joke and challenge the authority of the tribunes, somewhat subtly, but they are rude enough, oblivious enough to the fact they once cheered Pompey, now dead, enough that Murellus unleashes on them with "you blocks, you stones."
So chew on this: the poorer citizens are partying, and then they are chastised by their superiors and chased away, who are later also punished.
What might Shakespeare be showing us about the average citizens and the nature of their behavior when it comes to honoring leaders and understanding who's truly leading them?
What might Shakespeare be showing us about the nature of political power and how it changes hands?
And what might he be showing us about how those who speak out in ancient Rome are treated? (Keep in mind that there wasn't a lot of free speech in Elizabethan England, either, so it's not a guarantee that Shakespeare is recommending that Flavius and Murellus be allowed greater freedom. Or is he? You have to weigh evidence from the whole play to determine what stance he might be taking.)
Last thought: compare the first scene of the play to the last scene. What has happened? How does the mood of this scene compare to the opening mood?
Good luck!
The last time that Montag is at the fire station, he says very little at all, because everything that he tries to say is either cut short by Beatty or Faber. Beatty is speaking directly to Montag, and is very antagonistic, and attempts to put words in his mouth. He asks questions, "Where does that put you?" and then before Montag can answer he states, "I'll tell you." After his next comment he jumps in saying, "Stop blushing!" Another time Montag wants to answer but Beatty grabs his wrist saying, "God, what a pulse!". So Beatty isn't necessarily guiding his thoughts; that is more Faber. But he is sure making it hard for him to think at all by directing the conversation and being very aggressive.
It is Faber, who is speaking to Montag through the earpiece he gave him, that directs Montag's thoughts in the right direction. After each of Beatty's antagonistic rants, Faber steps in with comments like, "Don't listen...he's trying to confuse", "Montag hold on...he's muddying the waters!" and "All right, he's had his say. I'll say my say in the next few hours. And you'll take it in...and it's up to you to know with which ear you'll listen."
It is at this point that the fire alarm goes off, saving Montag, at least for the moment, until they show up at Montag's house to burn it. Before this though, he had to battle between Beatty's voice representing the society they live in, and Faber's, representing a new way, and it was very stressful and confusing to Montag.
Charybdis in Greek mythology is a female monster. There she lay under rocks across from Scylla and sucked in and spewed out huge amounts of water, creating a whirlpool. When sailors try to sail between them either they are killed in the whirlpool, or the ships try to sail away from Chaybdis, and Scylla eats the men with her many heads. Circe tells him that “he will find the other rock lie lower, but they are so close together that there is not more than a bow-shot between them. A large fig tree in full leaf grows upon it, and under it lies the sucking whirlpool of Charybdis. Three times in the day does she vomit forth her waters, and three times she sucks them down again; see that you be not there when she is sucking, for if you are, Neptune himself could not save you; you must hug the Scylla side and drive ship by as fast as you can, for you had better lose six men than your whole crew.”
"... we rowed into the strait- Scylla to our port
and on our starboard beam Charybdis, dire
gorge of the salt-sea tide. By heaven when she
vomited all the sea was like a cauldron
seething over intense fire..." (796-800)
When Emily's father dies, she proudly displays no grief on her face, insisting that her father is not dead; he lies in the house three days. (Does she hope he will rise from the dead?) Finally, law enforcement comes, she breaks down with the realization, and they quickly bury her father. The narrator writes, "We believed she had to do that...with nothing left, she would have to cling to that which had robbed her, as people will."
Clearly, Emily has lived in the abolished world of the Old South . Her father has always controlled her life, turning away suitors and ordering everyone in the household about. Emily knows no other world and is self-defined only in terms of life in the Old South. When this world is shattered, her mind is also shattered. Emily's class pride instinctively clungs to what had defined her because she senses that her life will unravel when cast into a new, foreign world. She knows that she will be pitied, and this she cannot bear.
Shakespeare tends to deal with contrasting pairs: so in the way that Romeo and Juliet is about both love and hate, Othello is about jealousy and its opposite, faith (trust!).
Othello actually pledges his life on Desdemona's faith early in the play, which comes full circle: of course, Othello should have trusted Desdemona, for she didn't sleep with Cassio. Othello trusts her at the start - and Iago gradually erodes that trust, planting seeds of suspicion and staging false "evidence" which persuades Othello that he has been cuckolded, and so, must murder his wife. Othello - fatally - trusts Iago.
And Iago, crucially, is the one who makes that change happen. He is the architect of the tragedy: yet how far he creates the tragedy and how far he plays on insecurities already present in Othello's mind depends on your reading of the play. It's notable though that Iago plays on Othello's otherness - Iago tells him he knows about the Venetian women, as he is a Venetian - to justify Desdemona's supposed infidelity. And, when Othello lists the reasons, he famously includes "haply for I am black".
Why does Iago do it though? Well, even Iago himself denies us the answer: "Demand me nothing", he says, in his final lines of the play, "what you know you know. From this time forth, I never shall speak word". That silence refuses the characters - and the audience - the justice of a motive.
The term setting does not merely refer to a physical/geographical location in fiction or drama. It more widely refers to the atmosphere/ambience which governs the plot/narrative, and may also influence/mould characters in action.
The moorlands in Emily Bronte's novel, Wuthering Heights or the Egdon Heath in Hardy's novel, The Return of the Native is obviously much more than a place where things happen. The place in each novel becomes an abiding force to make things happen, a place invested with a will or design of its own.
Porphyria's lover waiting all alone indoors on a stormy & rain-soaked evening in Browning's dramatic monologue, Porphyria's lover must have been influenced by the setting which includes the indoor space as much as the storm and rain.
The cul-de-sac, North Richmond Street, in Dublin & the dark muddy lanes in its surroundings play a very significant role in Joyce's story, Araby.
Review the chapters that describe Lyddie's work experience, especially the chapters in which she is doing factory work. The conditions in the factory are exceedingly poor and border on inhumane. Also, the fact that Lyddie is a child and she is being forced to do adult work is ethically wrong. She is made to work for long hours, with little food, and no real breaks. She is also making far less money than she deserves. She is, essentially, being treated like a slave.
Unfortunately, during the time period that this story takes place in, there were no child labor laws to protect children from being taken advantage of; if Lyddie lived in the U.S. today, her employers would be charged with abuse and numerous other crimes.
The time-frame was from after the civil-war until the 1920's or 30's, and this was a time where a lot of old cities in the south were reeling from the after-effects of war and the abolition of slavery. What used to be wealthy, upper-class families with a lot of money were left without anything but the legacy of their name. Because of the notoriety of being from a wealthy southern family, these people (the Griersons in the story) were like the Hollywood celebrities of the time; we love to watch them, analzye their lives, and gloat a bit in their downfalls. This celebrity gossip is what allows the narrator to represent the townsfolk as a whole, and what allows us to get such a complete picture, considering we never really go beyond the townspeople's perspectives.
As time goes on, the townspeople forget, eventually about Emily, until the scandalous news of the surprising discovery comes about. She is no more than a curiosity to people; they go to her house like it is a viewing of an ancient museum, which emphasizes how times have really changed, and how people like Emily Grierson, with all of her elite background, have become obsolete. From the beginning with her father in a more relevant and prominent position, to the end where Emily is no more than a museum relic, the story covers the deterioration and disappearance of a certain era in Southern history.
This is the latter part of act 3 scene 3 in which Hamlet comes across Claudius kneeling and appearing to pray. As Hamlet says "Now might I do it pat, now he is praying": it is the perfect opportunity to kill Claudius and take revenge for his father's murder. However, Hamlet chooses not to.
It is another example of Hamlet's traditional delaying. The reason he gives is that if he were to kill Claudius whilst he was praying, "I ... do this same villain send / To heaven" and he refuses to send Claudius to Heaven when Claudius murder of his father sent Hamlet senior to his death "grossly, full of bread; / With all his crimes broad blown" and therefore unable to reach Heaven.
The scene is replete with dramatic irony however: unbeknownst to Hamlet, Claudius has been unable to pray. Because his offence is "rank" and "smells to heaven" and "hath the primal eldest curse" upon it, being fratricide, recalling Cain and Abel, Claudius is unable to pray. Equally, he refuses to give up the benefits he has accrued from his crime: "My crown, mine own ambition and my queen" and therefore, whilst he may be able to mouth the words of a prayer he cannot pray properly: "Words without thoughts never to heaven go".
This scene is also hugely significant as it is the first time that the audience is given any objective indication (here a voluntary confession) that the murder is anything other than a fantasy of Hamlet's.
The Duke and King are trying to increase spectators to their theatrical productions. After poor turnout to their badly performed Shakespeare Recitation, the Duke decides that what these "Arkansaw lunkheads" want is low comedy -- or maybe something worse than low comedy. So he and the King create the "tragedy" of "The Royal Nonesuch," in which the King prances around the stage naked. While the Duke was making posters to advertise the event, he wrote LADIES AND CHILDREN NOT ADMITTED on as the biggest and last line, to suggest this was to be a sexual performance of some sort. His statement, "If that don't fetch them, I don't know Arkansaw!" meant that he was appealing to the lowest form of sexual humor that the residents of Arkansaw possessed, enticing them to purchase a ticket for admission to the play.
The setting of A Christmas Carol is not determined so much by the physical surroundings of a dismal life in Victorian England, where there is great disparity between rich and poor, but by the conditions of Ebenezer Scrooge's life, his bare existence. He is distant and cold, indifferent to those around him, unmoved by the suffering of the masses, and even estranged from his own family.
The settings reflect Scrooge's attitude and temperament. His home is cold and indifferent, lacking warmth. Yet, Bob Cratchit's home, though meager compared to Scrooge's is warm and full of love.
The home of Fred, the nephew whom Scrooge refuses to accept because his sister Fan died in childbirth, is warm and joyful.
Scrooge cannot allow this type of setting in his home or his heart, until he is transformed by the coldest setting in the book, a visit to his own grave.
The same is true for the locations that he visits with the three spirits.
Jerry Cruncher's message is for Jarvis Lorry, a representative for Tellson's Bank. The message is from the bank, and gives only the instruction, "Wait at Dover for Mam'selle".
Jerry Cruncher delivers his message while the receiver is traveling in a mailcoach headed for Dover. Urging his horse to a gallop, Cruncher overtakes the coach and approaches it "fast and furiously" as it labors up a hill. The coachguard greets him with a loaded weapon, fearing that he might be a highwayman, and is suspicious even when Cruncher identifies himself. It is only when Mr. Lorry affirms that he knows who the horesman is that the guard grudgingly allows Cruncher to deliver his message. The message is brief, and Mr. Lorry sends back a response which is even more cryptive - "RECALLED TO LIFE" (Chapter 2).
Jerry Cruncher is a porter for Tellson's Bank, but for his real occupation he is a grave-robber. Cruncher steals fresh corpses from newly dug graves and gives them to a medical school so that the students can have first-hand experience studying human anatomy. Although grave-robbing is against the law, Cruncher considers it "honest work".
There are many disagreements about this issue, actually, and a case can be made for several different answers.
Here are some of these scenarios and rationales:
- Julius Caesar is the protagonist, or hero. This is because the play is named after him, and he is the leader of Rome during the play. If Caesar is the hero, then the antagonists become the group of conspirators who plot to kill him.
- Brutus is the hero. He is the one who truly loves Rome, and acts honorably out of a sincere desire to do what is good for Rome. If Brutus is the hero, then the antagonist can be Cassius or Caesar, because at different times in the play both work against Brutus.
- Antony is the hero. He is the one who acted honorably thorughout the play, making positive choices and not trying to kill anyone. He is loyal to his friend, Caesar, and after Caesar's death he tries to take down the conspirators who threatened the Roman government.
You can decide for yourself which of these scenarios you think is the most valid, and support that one.
This exclamation has a double meaning. This is because "Faith" is Brown's wife and she is also a symbol for religious faith. After his experience in the forest, Brown does not know if his wife finally resisted the devil or became part of the devil's cult. Because he is so unsure about the outcome of the evening, he exclaims "My Faith is gone.---meaning his wife has made a pact with the devil and/or his religious faith is gone. Unfortunately, Brown is never able to see that people have both good and bad sides. Since he cannot accept the dual nature of man, he sees everyone's dark side. Sadly, he can never enjoy life or people again.
The Reverend Dimmesdale is an example of this assertion. For, before he sins and is tortured by his sin, he is perceived as "ethereal," "angelic." His subtle, emotional admission of sin in one of his sermons then causes the congregation to become endeared to him.
This recognition of sin is what makes one human. Hawthorne writes, "It contributes greatly towards a man's moral health, to be brought to..individuals unlike himself...he must go out of himself to appreciate." Dimmesdale goes outside his own being when he sees himself as part of the world of other sinners, a common man, not the highly educated, isolated one that he was before a sin of passion.
The instrument of D.'s as well as Hester's admission of guilt and its accompanying grief is Pearl. In the first scaffold scene, she innocently looks at her father when Hester is asked to name her lover. She later asks Hester on Election Day, "will he hold out both his hand to me, as when thou ledst me to him from the brookside?" It is Pearl who insists that Hester pick up the cast off letter from the brook. Through her acceptance of this punishment, Hester is thus saved and she and Pearl are both humanized as a result. When Dimmesdale stands on the scaffold with his family and confesses, Pearl kisses him; she loves him just as Jesus loved the sinner on the cross. This is humanity--the admission of sin and its grief and the demonstration of sympathy for others.
The only thing mentioned in the novel that Tom buys for Myrtle is the puppy. Myrtle herself buys the other things. The only Tom has given her is the puppy and pays for the apartment in the city, where the two of them meet for their affair. This apartment is where they have the party and Tom ends up breaking Myrtle's nose. Nick is introduced to all of this in chapter two.
Tom is selfish. We see this by many means. First is that he is having an affair, while both of them are married to other people. With the physical abuse that Myrtle gets from Tom, also goes to show how selfish Tom can be. Yes, he pays for the apartment for Myrtle, but it is only so he can meet her there, so it is for his benefit. We also begin to see the first glimpse into the man that Daisy married. He is wealthy and uses his money as a way of flaunting what he has. By buying these couple of things for Myrtle, he is making sure he can keep her on the side. Myrtle, on the other hand, sees it as his love for her, but we all know he doesn't love her, he is only using her.
By seeing into the character of Tom, we begin to realize how far he will go to get what he wants. He doesn't care who he hurts, just as long as comes out looking like the winner. Jay Gatsby threatens all that Tom is and Tom is not going to allow anyone to take away what makes him look good and look successful. In chapter two, we are given glimpses of Tom's true nature and we are being prepared for the tragic outcome of the novel.
Pap Finn is the alcoholic father of Huckleberry Finn. He is a mean, abusive father who kidnaps his own son in order to get the money that Huck recovered from Injun Joe. He serves as a contrast to Jim, a black slave, who,ironically, is a much better father figure to Huck than his own white dad. After one night when Pap almost kills Huck in a drunken rage, Huck is forced to leave St. Petersburg in order to save his own life. When Huck decides he must leave Pap, he kills a pig and covers Pap's cabin in pig's blood in order to make Pap think Huck is dead. Both literally and metaphorically, this results in Huck's "death" to his old values and a rebirth to new values as he sets off on his journey with Jim down the Mississippi River.
In Call it Courage, Mafatu and his mother first reach land by being washed ashore by the terrible storm. Mafatu believes that the sea god is watching over them and taking them to shore while this is happening. Mafatu's mother is dying, but has one last bit of courage and energy left to pull them both ashore and press a coconut to her boy's mouth to feed him before she dies.
At the end of the story, when Mafatu is attempting to leave the island and reach other land with his people once again, he builds a canoe using the skill and knowledge he has acquired from living on the island. He is able to build a successful ship, with a sail that will take him back to the land he left at the beginning of the story.
It is obvious to Atticus and the sheriff Mr Heck Tate that Ewell was killed when struggling with Boo Radley or Jem, whether he 'fell on his own knife' or not. Most likely, it was Boo who killed Bob Ewell in defending Scout and Jem from his brutal attack. Scout had heard a scraping sound, evidently that of the knife blade glancing off the chicken wire that made up her "ham" outfit.
Ironically, it is Heck Tate who acknowledges that "Bob Ewell "meant business" whereas Atticus at first is in a state of denial over Ewell's intentions to really inflict harm upon his children:
"He was out of hims mind....I can't conceive of a man who'd-"...
It is also Heck Tate who decides on the "official" rendition of events to be written up in the report. Instead of investigating Jem or Boo, he decides to wrap up the case succinctly:
"Mr Finch," Mr Tate said stolidly, "Bob Ewell fell on his kife, He killed himself.
When Atticus protests, Mr Tate insists, saying he can "prove it." He then takes out a switch-blade and demonstrates to both Atticus and Dr. Reynolds how exactly Ewell fell on it, piercing himself between the ribs. Case closed. For the second time (only this time metaphorically speaking) Atticus Finch - the sharp-shootiing lawyer - learns to let dead dogs lie....
For Atticus finally relents to Mr Tate's rendition of the story since, after all, poetic justice has been done. Both Jem and Boo are spared the ordeal of an inquest, and Mr Ewell got what he deserved.
After Dr Reynolds' departure, Atticus doesn't forget to show his gratitude towards Boo. He goes by the Radley house close enough to be within earshot and tells him quietly, "Thank you for my children, Arthur," then walks away.
In "The Most Dangerous Game" I interpreted it that General Zaroff proposes to Rainsford that they hunt together. Rainsford asks to be excused because he doesn't feel well. The next day Zaroff proposes yet again that they go hunting. When Rainsford says he wants to leave the island, Zaroff says he is sorry to hear that and because he won't hunt with Zaroff, Rainsford will become the prey.
""Well, I suppose that's only natural, after your long swim. You need a good, restful night's sleep. Tomorrow you'll feel like a new man, I'll wager. Then we'll hunt, eh? I've one rather promising prospect--" Rainsford was hurrying from the room.
"Sorry you can't go with me tonight," called the general. "I expect rather fair sport--a big, strong, black. He looks resourceful--Well, good night, Mr. Rainsford; I hope you have a good night's rest."
Part of the idea behind Romanticism was to explore the inner nature of man. Here, the whole story focuses on the inner nature of Tom Walker. We see his struggle with his own greed and ambition, and we see the negative consequences when he loses that struggle. We also see his reaction to fear, how he turns to a religion he doesn't even believe in so that he might save himself before death.
As Tom waxed old, however, he grew thoughtful. Having secured the good things of this world, he began to feel anxious.... He thought with regret on the bargain he had made with his black friend, and set his wits to work to cheat him out of the conditions.
Another element of Romanticism was a celebration of nature and a focus on how nature co-existed with humanity. This is shown throughout the story in the description of the woods where Tom met the Devil. The description detailed so as to "bring it to life", and it starts in the first paragraph:
On one side of this inlet is a beautiful dark grove; on the opposite side the land rises abruptly from the water's edge, into a high ridge on which grow a few scattered oaks of great age and immense size.
The land rising shows personification, giving human qualities to nature.
Finally, Romanticism used fantastical - or supernatural - details to emphasize the spirituality of the human. This is shown in the appearance/disappearance of the Devil, and that later disappearance of Tom.
You should notice Lennie's need to touch soft things. This would be a sensory disability. He continues to rub and stroke the dead mouse even though it is dead. He also has to touch the girl's velvet dress, which gets them in trouble in the first place. Then there is his need to touch the soft hair of the girl on the ranch. He also has a processing disorder. He doesn't understand that the mouse should not be touched because it is dead. He over-reacts when he discovers he is doing something wrong. He grips the little girl's dress instead of letting go. He breaks the neck of the ranch woman when she starts to scream. These show behaviors that are abnormal, more common for a very young child then a grown man.
Here's a start: Pros Cons
Romeo-- Loyal Rebellious
Sense of Humor Flighty
Appreciates Beauty Impetuous
Juliet-- Independent Judgemental
Resourceful Spontaneous
Forgiving Risk-taker
Nurse-- Loving Submissive
Protecting Witless
Good Heart Indecisive
Paris-- Loving Controlling
Determined Pushy
Noble Cocky
These are all debatable since it is a subjective topic. Now, you take the remaining characters and select three things you consider to be good traits and three you consider to be unfavorable traits.
The Pigman feeds Bobo peanuts. I do not believe he feeds him hot dogs.
When Bobo, "the ugliest, most vicous-looking baboon (Lorraine) has ever seen in (her) life" responds to the Pigman's call and makes an appearance, the Pigman leans "all the way over the guardrail, tossing peanuts" to him. He would hold up a peanut and ask, ""Bobo want a peanut?", and in response, Bobo "would show these monstrous teeth that (look) like dentures that don't quite fit, and the beast would grunt and swoon and move its head from side to side". Mr. Pignati would "toss peanuts right and left", and sometimes the baboon would "catch the peanut like a baseball". Apparently, Mr. Pignati and Bobo could continue this activity for quite awhile, and John and Lorraine, feeling like they "were intruding", soon become distracted and turn their attention to other exhibits. When John and Lorraine return, the Pigman has a fresh supply of peanuts and is still "chucking them over to Bobo". The baboon obviously loves the treats given to him by the Pigman, and Lorraine notes that when it is finally time to leave and Bobo realizes that he isn't going to get anymore peanuts, "you should have seen the expression on his face!" (Chapter 6).
"Harrison Bergeron" is replete with irony as a narrative about a society that assures that all people are "equal." The opening lines certainly are ironic as it relates the forced equality:
The year was 2081, and everybody was finally equal. They were equal every which way. Nobody was smarter than anybody else. Nobdy was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amerndments...and to the unceasing vigilance of agents of the United States Handicapper General.
Likewise, the intelligent are made to wear the "Handicap Ear Radio" so that they will not take unfair advantage of others. So, "normal" ironically is average and ignorant.
As a modern fable, "Harrison Bergeron" is an exaggerated version of some of the "progressive" educational programs designed to ensure that no one is left behind in the learning process. Test results now show that public schools are faring worse than before the great "concern." Thus, Vonnegut's story is an indictment against twentieth-century people who are willing to accept mediocrity in order to eliminate "unfair" competition. "Everyone gets a trophy whether he/she sits on the bench or plays; as long as the person is on the team, he/she wins, too."
Harrison Bergeron's error is not that he is unwilling to accept mediocrity; he wishes to usurp power. Healthy competition is what makes people stronger spiritually, mentally, and physically. Afterall, Darwin's survival of the fittest is based upon natural competition.
In chapter 14 of "The Sea-Wolf" we learn that Larsen has gone overboard and climbs back on board with a gash in his head. Johansen is nowhere to be seen or found. We are never really sure what happened to him. Larsen takes Hump down to were the crew is "sleeping" trying to discover who is really asleep. The lamp is put out and Larsen is attacked by several of the men. He fights his way out of the attack and climbs back up on deck. We can infere that Johansen was part of the plot to kill Larsen and that he hit Larsen over the head and as Larsen went over he took Johansen with him. However, this would only be a guess because the reader doesn't learn what happens to Johansen, he is gone.
Byron was apparently kissing his own reflection in the sideview mirror of the Brown Bomber, the Watson's 1948 Plymouth. Since it was a bitterly cold day, well below freezing, his lips froze onto the mirror when they made contact.
The furnace at the Watson home was not working, so Dad called Aunt Cydney and she told the family to come right over to her house. Unfortunately, the Brown Bomber's windows were frozen solid, so Byron and Kenny were assigned the chore of scraping the ice off so the family could make the trip to Aunt Cydney's. Unhappy at being asked to work, Byron was pouting, and while Kenny was struggling with his share of the ice, Byron was goofing around. His friend Buphead had stopped by and was egging Byron on, and it was somewhere in the midst of their shenanigans that Byron admired his own reflection in the mirror, gave it a kiss, and got stuck.
Byron is going through a difficult stage of adolescence. He is rebellious, highly susceptible to peer pressure, and very concerned with his looks. It is important to Byron that he look and act "cool" at all times. To his chagrin, he ends up looking just the opposite when he gets his lips stuck to the mirror (Chapter 1).
“The Props assist the House.” When reading this poem, it is very important to understand the specific meaning of “Props” Dickenson intends. The meaning is: something that assists in the development of something else, in this case a house. It is also helpful to note that this poem is comparing the development of a house to the development of a person’s soul. Dickenson is arguing that the soul is not just something that can be developed without any help from the outside; rather it requires the assistants of props, just like a house cannot be built without the use of props. She says that once our soul is developed however, we often forget the help that was given to us. She does not seem to comment on whether that is a good thing or a bad thing, it is simply stated. She then re-states that even the perfect became so with help, and not in and of their own accord. The last two lines of the poem act on two levels. On the first, they fit within the context of the rest of the poem. The imagery of the ‘Scaffolds’ dropping appeals to the image of the builder’s platforms being taken down, and the house being left alone. In this case, whatever helps the soul develop is taken away, and the fully developed soul remains. It does however act on another level, appealing to the imagery of the ‘Scaffolds’ as “A raised wooden platform used formerly for the public execution of criminals” (Google Dictionary). In this sense, she is saying that the soul’s existence is not evident until the destruction of the body, wherin a person realizes they are still alive (which would indicate they have some sort of immortal soul). This does not fit the context of the poem quite as well, but does reflect an opinion that possibly philosophers efforts to prove the existence of the soul are in vain.
Lady Macbeth's speech makes clear the distinctions in the natures of men and women in Shakespeare's play. Women are portrayed as weak and gentle nurturers (such as Lady Macduff), whereas men are strong and quite capable of violence and cruelty. Knowing that Duncan will be murdered under her roof, Lady Macbeth prays to the invisible "murd'ring ministers" to eliminate from her nature all womanly attributes, such as compassion and pity. She asks that they "take my milk for gall," exchanging goodness and kindness for bitterness. She prays that they will ". . . fill me, from the crown to the toe, top-full / of direst cruelty!" Lady Macbeth seeks to lose all of her feminine "weaknesses" so that she can perform the horrible act that must be done to secure Macbeth the crown. Lady Macbeth intends to murder Duncan herself. Later, she discovers that she can't because as Duncan sleeps, he looks much like her father. This was either an excuse, or she wasn't as "unsexed" as she hoped to be.
Good question - and quite a difficult one to answer. Friar Laurence is a monk, with whom Romeo has struck up a very close friendship. He has odd beliefs (certainly unusual for a Christian friar!) and an unusual faith in nature and natural medicine:
O, mickle is the powerful grace that lies
In plants, herbs, stones, and their true qualities;
For naught so vile that on the earth doth live
But to the earth some special good doth give...
He agrees on the spot to marry Romeo and Juliet, in the hope that he can heal the alliance between their households:
For this alliance may so happy prove
To turn your households’ rancour to pure love.
He also provides sage counsel to Romeo about taking things slowly:
Wisely and slow, they stumble that run fast.
He alone among the adults in Verona seems to have the trust of both Romeo (who comes to him immediately after killing Tybalt, rather than return to the Montague house) and Juliet (who comes to him when she hears she has to marry Paris).
Yet Shakespeare provides a strange, discordant ending to his story. Though he's helped the lovers all the way through, he deserts Juliet at the last minute, in pure cowardice:
Stay not to question, for the watch is coming.
Come, go, good Juliet. I dare no longer stay.
The prince leaves it open at the end of the play as to whether the friar will be punished or absolved, commenting only that they had thought him "a holy man". However - in Shakespeare's source, the friar was hanged.
Proctor is not only concerned with Elizabeth, but he is also concerned with the truth. Elizabeth is not the only accused that John knows. If the girls are allowed to get away with lying, then the others will also be condemned. In addition, as shown by the last scene, Proctor is also concerned with his own credibility. He does not want to be seen as a liar whose only concern was his wife. He wants the court to take his charges seriously because he knows they are true. He wants to be known as a man of truth so in the future people, including his children, will also believe him.
Jaimito tells Dede to stop yelling because he is afraid that she will bring down the anger and reprisal of the SIM upon herself. He does not want what happened to her sisters to happen to her.
Dede stays in the back of the pickup truck with the bodies of her sisters and their driver as Jaimito drives them home through the towns slowly, "standing proud beside them, holding on to the coffins whenever (they) hit a bump". When they arrive at the SIM post at the first little town, Dede challenges them, yelling out, "Assassins! Assassins!", and Jaimito guns the engine to drown out her cries. When Dede repeats her actions at the next town, Jaimito, afraid that the SIM will hear and arrest Dede or worse, pulls over and speaks with her, asking, "Dede, mujer, what is it you want - to get yourself killed too?" Distraught, Dede affirms that that is exactly what she wants, she wants to be with her sisters. Jaimito responds that her martyrdom must be different, "to be alive without them" (Epilogue).
Jem is adamant that Tom is innocent. He doesn't see how the jury could possibly return a "guilty" verdict based on what he's seen at the trial. The fact that he's wrong totally shatters his faith in humanity. This connects with Boo in two ways. First, since Jem has lost his faith in humanity, he understands that maybe Boo is the smart one -- if society is capable of being so horrible to someone, why be a part of it? Second, Tom is innocent and he's wrongly targeted. Boo, as well, has many things said about him (monster, eating squirrels, lurking outside at night, stabbing parents with scissors) and he's innocent as well. Both Tom and Boo are connected throughout the novel, culminating in the symbolism of the title "To Kill a Mockingbird": both Tom and Boo are the mockingbirds of the novel.
He says this because, as the story later turns out, they regret those plans and it all turns out just the opposite of how they intended. He specifically states, "It was, as Bill afterward expressed it, 'during a moment of temporary mental apparition'; but we didn't find that out till later." So, they had what they thought was a sudden light bulb of a great idea, but it doesn't end up being a very good idea at all. Their charge is simply awful to be around, and Bill has to put up with all sorts of mischief and degradations at his hands before they finally decided to pay the kid's father to take him back. Not a very successful kidnapping scheme at all.
It also helps to understand that O. Henry is a funny writer; he often has a sarcastic tone to his stories, and Bill is being funny and a bit sarcastic when he said this. The entire story is very funny, and Bill's sarcasm throughout aids in that humor. So knowing O. Henry's writing style, and the rather wry character of Bill help us to understand that the comment was made in sarcastic hindsight.
In Chapter 10 of "The Scarlet Letter", Chillingworth already suspects Dimmesdale of being the father of Pearl and he is digging, trying to find out if he can coax the truth from the minister. Dimmesdale seems to be hiding something because he his the father of Pearl and does not want to admit it to anyone. In a conversation about hidden sin that is filled with innuendo and double meaning, Chillingworth taunts Dimmesdale . The minister says,"that the hearts holding such miserable secrets as you speak of will yield them up, at that last day, not with reluctance, but with a joy unutterable.” Chillingworth then asks "“Then why not reveal then here?” This makes Dimmesdale very uncomfortable and he clutches his chest and answers, "So, to their own unutterable torment, they go about among their fellow-creatures, looking pure as new-fallen snow; while their hearts are all speckled and spotted with iniquity of which they cannot rid themselves.” Chillingworth is quick to observe, "such men deceive themselves!” Dimmesdale quickly changes the subject to the state of his own health. "He{Dimmesdale] had a ready faculty, indeed, of escaping from any topic that agitated his too sensitive and nervous temperament.—”But, now, I would ask of my well-skilled physician, whether, in good sooth, he deems me to have profited by his kindly care of this weak frame of mine?” Then they are interrupted by the sound of Pearl's laughter.
A Joint Stock Company combines aspects of a 'corporation' and those of a 'partnership'. It is important to understand the differences between the two, in order to understand what was at stake. Corporations have the advantage of 'limited liability', the shareholders of the corporation are legally separate from the corporation. In other words, those who own shares are not held legally responsible for the performance of the stock. Partnerships have 'unlimited liability' which legally translated means those who lose on their investment in your company can go after your personal accounts. A Joint Stock Company would sell 'shares of stock' in the company. Behaving as a corporation a Joint Stock Company sells ownership of the company. The more shares one owned, the more ownership one had in the company. Shares can be bought and sold depending upon demand. However, the owners of Joint Stock Companies were held liable for the performance of the company, a characteristic of a partnership. In economic words, a very high risk on both accounts.
Although Krakauer does try to maintain a certain objectivity in examining Chris McCandless' life and death, I think that his own convictions on the subject begin to be evident even in the introduction. Krakauer describes Chris as "an extremely intense young man...(with) a streak of stubborn idealism that did not mesh readily with modern existence". Long a follower of Leo Tolstoy's philosophy of forsaking "wealth and privilege to wander among the destitute...McCandless began emulating Tolstoy's asceticism and moral rigor to a degree that...astonished...those who were close to him". When he set off into the wild, "he entertained no illusions...peril, adversity, and Tolstoyan renunciation were precisely what he was seeking". Krakauer points out that for most of his sixteen-week ordeal, Chris McCandless "more than held his own", and that had it not been for a couple of "seemingly insignificant blunders, he would have walked out of the woods as anonymously as he had walked into them...instead, his innocent mistakes turned out to be pivotal".
Krakauer recognizes that to some, McCandless' actions will be the subject of admiration, while to others, he will be viewed as "a reckless idiot, a wacko, a narcissist who perished out of arrogance and stupidity". Although he does a good job of examining the story from all angles, I think it becomes clear as the narrative progresses that Krakauer, who as a youth shared a sense of adventure, rebellion, and wanderlust similar to the subject of his book, sees McCandless as a character who can be admired "for his courage and noble ideals".
The idea that language shapes our thoughts completely, determining what we can and can't think about, is called "linguistic determinism." The state in "1984" is very much a proponent of this theory, and uses Newspeak to drive older concepts out of existence, so that eventually all independent thought, and then all thought, will become impossible. I don't think it will work—both language and the human spirit regenerate—but I think it is possible to do a lot of damage to a lot of people trying to make it work. An example of this is the way Newspeak deals with qualitative judgments: "ungood" or even "doubleplusungood." These would get rid of "bad" and "terrible."
School Superintendent Virgil Blossom, who sold integration plan for years, now asked courts to suspend integration. President Eisenhower (Ike) asked Faubus to cooperate with Supreme Court. Saturday, Melba planned to see Vince at wrestling match and see what put white people in charge, but she was forbidden to go. Dangerous to be in public.
Sunday. Ad posted in paper by white man who was ashamed of the bigotry and violence of mob against Elizabeth. Before church, Vince asked Melba to be his girlfriend. Integration postponed, 9 forced to look to each other for company, excluded from their friend’s social activities because it wasn’t safe to have them around. People offered books and tutoring; Dr. Lorch & Grace (protected Elizabeth from mob) tutored. Before court hearing of Faubus, meeting at Mrs. Bates. NAACP state attorney Wiley Branton and Thurgood Marshall (lawyer in Brown case, Chief Counsel of NAACP) present. Faubus’ argument against integration was its accompanying violence. Melba intrigued by reporters, they respected her, made her feel important, answered her questions about the profession. "If I could be a news reporter, I could be in charge of a few things."
Shakespeare never directly tells us the answer! As you suggest, his friends suggest that he's worried about his ships - his merchandise. But Antonio responds
My ventures are not in one bottom trusted,
Nor to one place; nor is my whole estate
Upon the fortune of this present year
Therefore my merchandise makes me not sad.
So it's not to do with business. Salanio has another idea:
Why, then you are in love.ANTONIO
Fie, fie!
How do you paraphrase "Fie, fie!"? Our paraphrase here has "nonsense, nonsense". "Yeah, yeah" might be a better option. It implies a negative response without actually stating one.
Then Bassanio enters and everyone exits, leaving him with "better company". And Shakespeare is keen to tell us that Antonio already knows what Bassanio is coming to talk about:
Well; tell me now, what lady is the same
To whom you swore a secret pilgrimage
That you today promis'd to tell me of?
Might Antonio be said because Bassanio is thinking of marrying? Let me state again, it's not absolutely in the text, but I think it's implied. And look what Antonio says to Bassanio in the trial:
Commend me to your honourable wife...
Say, how I lov'd you, speak me fair in death;
And, when the tale is told, bid her be judge
Whether Bassanio had not once a love.
Perhaps it is love after all.
Your first question: Scout is overcome with the same feeling as when Atticus shot the mad dog. In both situations, Scout witnesses her father do something that most other men couldn't and wouldn't do. She sees her father step up to the plate and do what has to be done at the time, regardless of whether society deems it as "right" or "wrong"--he does the morally correct thing.
Your second question: Both Dolphus Raymond and Atticus are saying that kids get it. Kids don't see black and white people; they just see people. Kids can see the unfairness of the verdict from the trial and are innocent enough that Dolphus Raymond can explain his reasoning to them and they won't judge him. Most adults, however, and especially adults in Maycomb, have been socialized and educated in the ways of bias and prejudice that they can only see in tunnel-vision: Tom Robinson is guilty because he is black--nothing else matters. Dolphus Raymond is a drunk, and he doesn't know any better than to live with the Negroes--because Negroes, in their tunnel vision, cannot be good, friendly or innocent. Children don't have this tunnel vision yet.
In Chapter X of "The Scarlet Letter" when Roger Chillingworth apparently drugs the minister and pushes away his vestment, the physician turns away. "But with what a wild look of wonder, joy, and honor! With what a ghastly rapture, ...too mighty to be expressed only by the eye...in ecstasy..." This passage suggests to many readers that as a result of the insidious mental torture from the physician and the agony in his soul from guilt, the Reverend Dimmesdale's scarlet letter on his chest becomes a physical manifestation of this guilt(simply appearing). It seems rather unlikely that Chillingworth would be as ecstatic as he is had Dimmesdale merely carved the letter onto his chest.
However, since he did punish himself by self-flagellation in an attempt to atone for his sin, many readers feel that Dimmesdale may also have made a self-inflicted letter upon his chest. And, it is because he has made this mark himself that Dimmesdale stands "with a look of triumph in his face, as one who, in the crisis of acutest pain, had won a victory." Dimmesdale has put the mark upon himself and has stood like Hester upon the scaffold. Scourged like a Christ-figure, he then dies.
As Siddhartha seeks the enlightenment of losing his "self" he encounters the Samanas, and he seeks out and listens to the Buddha Gotama Buddha. He learns from each the concept of discipline of the self through meditation, and denial. The monks discipline themselves through fasting, renouncement of all material things. As Siddhartha says to Govinda,
"You have renounced home and parents, you have renounced origin and property, you have renounced your own will, you have renounced friendship. That is what the teachings preach, that is the will of the Illustriouls One."
The setting of Kubla Khan palace in Xanadu reminds us of the remoteness of time and place. We go back to the medieval age when Kubla Khan, the grandsons of wildly mysterious Genghis Khan reigned in a dark world.
The name Kubla Khan, itself is baneful and mystery-striking. The surrounding of the place, on witnessed by the poet, gives us the air of a farey land where Alph, the scared river goes down to a ‘sunless see’. Such a scene is beyond our “local habitation and name”. Here our journey starts from mystery.
Once again, amidst Alph’s sinking in noise to lifeless ocean, the poet witnesses Kubla Khan‘s hearing of the voices of his fore-fathers who as if, urge Kubla Khan to wage war. At this we feel the presence of Genghis Khan’s ghostly spirit and our imagination catches some fragments of the dreadful horrors committed by the Mongolian Emperrors.Coleridge with his novelty of art, makes Xanadu, a haunting place of Kubla Khan’s ancestral ghosts.
Immediately after the description of the river, dancing rock, waning moon, woman wailing for her demon lover, and lifeless sea, we come across “a miracle of device”. What we see with poet’s eye, is “a sunny pleasure dome with caves of ice”. Here we are placed between life deth.Kubla Khan’s place Xanadu is full of life but at the same time it is cold like deth.Simultaneous suggestion from the imaginary of death and life, transport us to a never land.
More surprise waits for us. The poet makes his dream a reality, he gets enchanted with the vision of damosel who appears from African country of ancient time and who to the poet in his Muse,-the emblem of poetic inspiration.
Coleridge’s art creates completely a new world where our sense perception finds no entrance. He creates a situation that lies between “sunny pleasure dome” and “caves of ice’ and there in, in one side, there haunts a demon lover and on other, “Abyssinian maid”. Here too, creation of suspense evoking imagination, leads us to a province of dark cum light mystery. The poet simply gives us his experience and with him we remaining “perplexed and still”, watch his mysterious land of dream.
Subtle suggestion is one of the characteristics of supernatural poetry .But Coleridge’s suggestion becomes the presentation of his direct experience. We are led to hang in suspension and ask our self about the limitation of our experience. The concluding part of “Kubla Khan” vivifies this fact.
Coleridge’s art reveals the hidden mystery of life. The three figures in this poem,-‘a woman wailing for demon lover’, ‘the Abyssinian mind’, and ‘the magician with holy dread’ suggests the three parts of life. They are,-life of instinct, life of inspiration and beauty and life of higher spiritual experience. Again, these figures indicate that life itself is a dream. In this world, we are placed in Kubla Khan’s castle, - a place where we live with death and life. The only solace if any, that we have, is creative exhibition of our higher reality – which ordinarily we can not comprehend, because, we have not the “ear to hear, eye to see and heart to feel ”.
Subrata Ray .Mousumipara .Uluberia .West Bengal .India .
In the first stanza, Arnold describes very beautifully a placid evening. He seems to be looking out his window, watching the moon and listening to the beach. But then it turns melancholy; he says that the waves lapping at the shore "bring the eternal note of sadness in." In the next stanza he continues on the sad note, saying that Sophocles heard the same noise ages ago and " it brought/Into his mind the turbid ebb and flow/Of human misery". From here, Arnold draws an analogy. He says that the earth used to be full of Faith, just like the seas are full. Then he says that unfortunately, "now I only hear/Its melancholy, long withdrawiing roar." He states that faith has retreated, and it is disppearing from off the earth.
His states that in this world that "Hath really neither joy, nor love, nor light,/Nor certitude, nor peace, nor help for pain" the only thing that we can really do is "to be true to one another". Overall, the theme of the poem is very sad, that faith and goodness are fading in the world, and evidence of it is all around. So, we must be true, loving, and kind to one another.
1. subtract six from six as well as 27 (this is called combining like terms) this will give you 3y=21. Then divide 3 into 3y as well as 27. This will give you 9 or y=9
2. distribute 5 into (b-6) through multiplication. This will give you 5b-6+7b=12. combine like terms 5b+7b. This will give you 12b=12. Now divide 12 from both sides. This will give you 1 or b=1
3. Realize that the like terms are on opposite sides of the equals sign so you have to use the opposite signs. Subtract the smaller number from the larger number...Start by subtracting 3x from itself as well as 11x. This will give you 17=8x-13. Now continue combining like terms and add 13 from itself as well as 17. This will give you 30=8x. Now divide 8 from 8x as well as 30. this will give you 3.75=x.
4. First cross multiply. 1(8x+110) and 5(10x+130) This will give you 8x+110=40x+650. Now combine like terms...remember to use the opposite sign because they are on different sides of the equals sign. Subtract 8 from itself as well as 40x This will give you 110=32x+650. Now subtract 650 from itself as well as 110. This will give you -540=32x. Now divide 32 from itself as well as 540. This will give you -16.875=x.
Good
Amanda Wingfield's personality tends toward the eccentric. She lives in a fantasy world dominated by a past that could very well be fabricated to suit her vision of herself. She puts pressure on her handicapped, shy daughter to become something in life, if nothing else at least someone's wife. She insists that Laura have some ambition, she feels the same about her son, Tom, both suffer from a lack of interest or enthusiasm in life.
Jim, the gentleman caller and Amanda share the same sensibility when it comes to how to look at life. Jim encourages Tom, he is an optimist, always looking on the bright side of things.
He also brings the light of joy into Laura's sheltered life, even if it is only for one night. Amanda and Jim share an understanding of reality better than any of the other characters. But Amanda's reality is unstable, where Jim's is much more realistic he is anchored in a reality that includes a fiance, improving his position at work and a cheery attitude about life. Amanda shifts from present to past too often to be considered stable.
Amanda at her worst, is dominating, critical and obsessed with controlling her adult childrens' lives. Jim comes off as more of a free spirit, just enjoying the company of Tom and his family for a night while his fiance, Betty is away.
I believe you're referring to the letting go of Krogstad by Torvald. Torvald is just being promoted to Bank Manager, and one of his first actions is to fire Krogstad. That prompts Krogstad to use the the information he has about Nora to pressure her to convince her husband to give him his job back. It's not just about the loan, but it's about the forging of her father's signature to secure the loan (the note was signed by her father, supposedly, after his death). He threatens to tell Torvald this if she doesn't use her feminine wiles to change Torvald's mind about him. In their conversation about why he is in such a precarious position, because of his immoral action years earlier, he points out that what he did was not so different from Nora's forgery and that the law doesn't much care that a person had noble reasons for the wrongdoing.
The situation is further complicated by Christine's arrival, and Torvald giving Krogstad's position to her. Torvald doesn't want to be seen as weak or indecisive so is unmoved by Nora's requests on Krogstad's behalf. This, then, propels the rest of the action to unfold rather urgently.
While on their way to the pageant, Cecil Jacobs jumps out from behind a tree and scares Jem and Scout. It is this incident which makes Jem and Scout think Cecil is up to his silly tricks again, when they hear noises on their walk home. Unfortunately, however, it is not Cecil, but rather Bob Ewell, who is looking to harm Jem and Scout. After a rumble with Mr. Ewell, Scout manages to break free, but Jem is left behind. Later Sout learns that Jem was brought home safely by Boo Radley. It is at this point that Jem and Scout realize Boo's true heart.
The very first time that Montag meets Clarisse, she mentions how people are so rushed these days that they don't even notice the little things. She says, "I sometimes think drivers don't know what grass is, or flowers, because they never see them slowly...if you showed a driver a green blur, Oh yes! he'd say, that's grass! A pink blur! That's a rose garden. White blurs are houses. Brown blurs are cows." She even talks about the 200-foot long billboards, there because "cars started rushing by so quickly they had to stretch the advertising out". Later, the last time that Montag sees her, she says that for fun, kids her age "go out in the cars and race in the streets, trying to see how close you can get to lampposts, playing 'chicken' and 'knock hubcaps."
Both of these quotes emphasize the need for thrill, entertainment, and speed in their society, which they use as a violent sort of catharsis, drowning all thought and sorrow. I hope that one of those quotes was the one you were looking for. Good luck!
Technically, nothing is "wrong" with the family ambitions. Willy, Happy, and Biff all want to be successful in their own way. The problem arises in their perceptions - for Willy, to be "successful" is to be admired and wealthy, first for his own accomplishments and then for his son's. He plants the idea in Biff's mind that good looks, charm and athletic ability are all that are needed for this admiration. Willy gets wrapped up in the idea of the American Dream - that anyone can achieve great richness. However, Willy fails to understand or explain to his sons that these "riches" come with hard work.
This is why Miller uses the foils of Charley and Bernard, both reserved and hard-working men. Both of these men show a determination to do well in their work - as a result, they are both successful and happy. They aren't about flash - as shown when Willy is surprised that Bernard didn't mention his opportunity to argue a case in front of the Supreme Court. Charley's response is simply:
"He don't have to [mention it]—he's gonna do it."
This is in contrast with Willy, Biff, and Happy, who all talk a good game but never move forward with their plans.
The main theme of "Ten Thousand" is Borson's contrarian view of being alive. The logical conclusion of this contrarian view is that all that is valued or desired is the unknown future. Borson begins establishing the contrarian perspective in his descriptions of nature: the birds "dive up"; the "leaves off the ground" become "wheels"; "branches [are] planted against the sky." Things are not as expected. The end result of this contrarianism is that the empty void ahead is pitted against the meaningless hollowness behind:
All those memories,
you wouldn't want them over again, there's no point.
What's next, you ask yourself.
You ask it ten thousand times.
A second illustrative theme is that of nature illuminating human nature. The scenes in nature as described by Borson, though contrary to expectation and, in some ways, to reason, correlate to humankind's experience. What is usually felt to be experiences that connect a person to Earth and to living and to one's own place in reality, like "feet on the earth" or touching one's own hand ("the way your hands / sometimes touch each other") are merely things you wouldn't care to experience again:
All those memories,
you wouldn't want them over again, ....
All that signifies is the empty void ahead versus the meaningless hollowness behind:
What's next, you ask yourself.
You ask it ten thousand times.
First, change the decimal to a fraction: .2= 2/10
Then, write the mixed number: 2 2/10
Finally, change the mixed number to a fraction by multiplying the whole number (2) x 10 (the denominator of the fraction) and adding the numerator (2) to this number. Place this over the 10 and you have your fraction: 22/10
[Always remember that decimals are just another way to write fractions. One decimal place is 10ths, two places makes 100ths, three places 1000ths, and so on. So, just place the number behind the decimal point over the correct multiple of 10 when you wish to convert a decimal to a fraction.]
John and Elizabeth inhabit a world beyond sorrow, above it, because in Act IV, they are finally reunited emotionally, communicating, reconnected. The sorrow is because it came through the process of John being condemned in the court, stripped bare emotionally, openly confessing his adultery and being accused of witchcraft.
The Proctors strength, love and unity come from John's decision to die with honor. Even though he wants to live so he can enjoy his family and love his wife, he offers his life rather than smear his name, this takes great courage and faith. He protects his immortal soul, but must sacrifice his earthly life to save it.
Now when John and Elizabeth have found each other with deep love and sincere devotion to one another, now they will be separated by death, a death that Proctor chooses and she agrees is the right thing to do.
The Proctors never have a chance to enjoy their new devotion to one another or embrace their new found love and respect.
When Bassett is talking to Paul, Lawrence says he is "serious as a church". It is as if Bassett "were speaking of religious matters" This suggests that Bassett thinks Paul's ability is awe-inspiring, almost supernatural. Later in the story, Paul's eyes are described as "wild" and "blazing with a sort of madness." This suggests that Paul is possessed by some kind of supernatural spirit. He is very afraid that he may have lost his luck and in an effort to satisfy his mother's need for money, he has become almost mad.
In her statement that
"Adversity was like a key in the lock for me",
Minerva is referring to how she is most productive when things are tough. Adversity serves to unlock an inner strength within her, making her fearless and intrepid, completely effective in her work for the Revolution.
After her release from prison, Minerva had gone through a period of malaise. She had been depressed and edgy, wanting to do nothing but lay in bed away from the stresses of the world. Memories tormented her, and she was nervous, nothing like her former self. Then, there is word of an uprising, which fails, "plung(ing) the whole country into despair again". Paradoxically, this downturn of fortune brings brings Minerva out of her torpid state, and she is galvanized into action, focused once again on the cause most dear to her heart. Adversity indeed has worked like a key to the lock upon Minerva's spirit, and, with renewed energy and self-possession, she reassumes a leadership role for the Revolution (Chapter 12).
Part of Scrooge's redemption is to see his effect his treatment has on others, and see how he had been treated. His disregard to the destitute was summed up in the line "If they would rather die, they had better do it, and decrease the surplus population." When he travels with the Ghost of Christmas Present to the Cratchit's, Dickens has Scrooge say " Spirit,' said Scrooge, with an interest he never had before, ' tell me if Tiny Tim will live. ' " Scrooge is ashamed when he hears his statement repeated back. It's evident that after reviewing his own life as a child in Christmases past, and now witnessing Bob with his family, he's begun his transition and has begun to have some sympathy for Tiny Tim. After his redemption, Dickens states that Scrooge became "a second father" to Tiny Tim, because he's learned it was in his own best interest to help where he was able.
When Cherry and Ponyboy go for popcorn, Cherry asks about Johnny. She has noticed that he is somewhat "twitchy" and nervous. Ponyboy takes to the time to explain that Johnny was once beat up by the Socs. A group of them cornered Johnny is an abandoned lot and beat him so badly that he couldn't move. One guy in particular had these big rings that really did a number of Johnny's face.
Cherry is pale and visibly shaken after Ponyboy's story. She tries to assure him that not all Socs are so violent, but he doesn't believe her. At the same time, the fact that Ponyboy is willing to open up to her so much suggests that he is not as prejudiced against the "other" side as some greasers are. We see that Ponyboy has more of an open mind, and that he might be able to see past the hatred. This scene also sets up the scene after the movie, where Ponyboy will realize that the guy with all the rings is Bob, Cherry's boyfriend.
Two-Bit, Ponyboy and Johnny are the greasers who leave the movie with the girls. They are stopped by a car full of Soc boys, two of whom are Cherry's and Marcia's boyfriends. Things get geared up for a fight, but the girls stop it. When the boys are alone later, however, they will go looking for the greasers that were with their girls, which is the catalyst for the rest of the events in the story.
Every writer looks for a unique approach to a story…something that will make his tale memorable and set it apart from the ordinary story. Lorrie Moore in “How to Become a Writer or, Have You Earned This Cliché?” does just that. Her story illustrates the development of a young girl into a writer. It resembles an advice column not about love but rather a “how-to” writer’s manual.
Using her own experiences, the author narrates the story from a second person point of view. Even this is unusual because second person is the least used point of view in literature. Sometimes, as in this story, it is the perfect point of view since the reader feels as though he is a part of the story, and the writer is speaking directly to you. The story becomes more intimate when the reader feels as though he is listening to an internal monologue of the writer.
From the beginning of her attempts at writing, the author never finds anyone who actually likes her work. From her mother, high school teacher, college professor, classmates---no one encourages her to write. Most of the critiques are even mean spirited.
“Where is the story here?” “Why should we care about this character?” “You have no sense of plot.” “How about emptying the dishwater?”
The conflict in the story is the author versus everyone else who read and disliked her story. The resolution to the story comes when the reader reads this story. This is her victory. She wrote something that someone edited and it was good enough to be placed in a book.
Intended to take both a sarcastic but humorous approach to her story, the writer obviously spent much of her college time frustrated by trying to find her traditional approach. Finally, she understood that learning to write includes being discouraged. This forces the writer to try harder and to tolerate criticism. As long as the writer stays true to herself, everything will be okay.
After reading the story, it is obvious that Moore appreciates an original approach to a story. Imagination is a necessity to a writer. To her, the unconventional form for a story makes it interesting and unforgettable.
Probably the most important advice that she gives the writer is that he/she must trust him/herself. She hopes that the new writer will listen to the voices that discourage him and then forget them.
Bradbury ends Farenheit 451 with a hint of hope and faith in the future.It promises us that a new era is going to begin.The promise is of a better world in the future, a world where people are allowed to think and speak and have their own ideas. People will stop destroying books and start reading them.
Throughout the book Bradbury tries to explain how meaningless and empty lfe is without books , through Montague's wife Mildred.She is like an empty vessel she cares about nothing but her daily soaps.Her attempt to suicide shows us that she knows that her life is shallow and not worth living.At the end of the book,we are introduced to more characters like Carisse and Montague who want to bring about a change in this hollow way of life and we know that Montague's life will not be easier but his life now, has aim and inspiration.
At the end of the novel, Montag recalls the biblical passage, "To everything there is a season. A time to break down, a time to build up." The time for destruction has ended; the time for rebirth has begun.
Like all of the Canterbury Tales, there are several different ways you can choose to read each individual tale.
One way might be to compare "The Manciple's Tale" to similar tales in the collection, and the talking crow seems - at first, at least, very similar to Chaunticleer in "The Nun's Priest's Tale".
This is because, I think, the Manciple's tale begins looking like a fun, fantastical tale with no serious consequences just like the Nun's Priest's: a fantastical, mythical figure in Phebus (god of poetry), an emphasis on music and enjoyment, and a comical, talking animal.
But unlike the earlier tales where adultery is a comical subject (think of the Miller's Tale!) Phebus' reaction to the bird's truth-telling provokes, not a comic reaction, but a vicious, brutal act of a realistic violence. This act of violence robs the crow of its speech: turns the comic, fantastical creature into a recognisable crow.
The Manciple raises questions of when to speak, and when not to speak, and whether it is always right to tell the truth. In the crow's taste, as the Manciple creepily reiterates at the end of the tale, the best advice is to keep your mouth shut. It is better, the Manciple says (in his told, aural story) not to speak at all.
And I would argue that - at the end of the Canterbury Tales, as the revelry is coming to an end - falling into silence is precisely the theme of the Manciple's Tale.
The Greeks very much valued hospitality. In fact, it was somewhat of a religious imperative because Zeus was the god of travelers, and they believed that he offered protection to those who were far from home. Thus, if you were kind and hospitable to any strangers who came to your home looking for shelter, food, and the like, you were actually paying homage to the most powerful of the gods. This religious imperative was called xenia, and it entailed a reciprocal relationship between guest and host. The host should offer what he could to any guest, and the guest should never take advantage of the host's generosity and should try to offer something in return if he were able.
Because of this tradition, Odysseus and his men expect that whoever lives in the cave they find will automatically share his food and supplies. Odysseus brings a skin of wine as a gift for whoever this person is as well. When the cyclops, Polyphemus, returns to his home and finds the men eating and drinking, he says that he doesn't fear Zeus at all nor have any reverence for Zeus's traditions. He then proceeds to eat two of Odysseus's men (and he eats a total of four more before the men eventually escape).
Odysseus's criticism of the cyclops for his violent response to what the Greeks' view as a reasonable expectation shows just how prevalent this concept of xenia was. It shows us that the Greeks valued hospitality and reciprocity in a world that, if inhospitable to travelers, would very seriously limit all possibility of travel. Those communities or characters in this poem who do not offer hospitality are all monstrous, and Polyphemus is no exception.
The story that you are referring to is called "The False Gems," is a story about a man who discovers that his wife must have had a rich lover who gave her fabulous jewels, that he thought were fake. Yes, there is evidence in the story, hints that the gems are real. I did realize that there was a twist to this story. The author drops hints about the real nature of the gems. For example,when Mrs. Lantin says:
"Then she would wind the pearl necklace round her fingers, make the facets of the crystal gems sparkle, and say: "Look!are they not lovely? One would swear they were real." (de Maupassant)
Or, once his wife is passed away, and he has to manage his own finances, he does not have enough money to live on, he still doesn't question how his wife had money to even buy fake gems.
"But life soon became a struggle. His income, which, in the hands of his wife, covered all household expenses, was now no longer sufficient for his own immediate wants; and he wondered how she could have managed to buy such excellent wine and the rare delicacies which he could no longer procure with his modest resources." (de Maupassant)
He still does not realize that the gems are real, however, he has no choice once his wife dies, he decides to get rid of them. He tries to sell them and discovers that they were very valuable, only then does he realize that she must have been involved with a lover.
At the conclusion of his short story “Barn Burning,” William Faulkner strongly implies that Abner Snopes burns yet another barn, although whether he does or not is never made absolutely clear. In any case, his young son, Sarty, has run to warn the owner of the barn, Major De Spain, about his father’s intentions:
"De Spain!" he cried, panted [to De Spain’s black servant]. "Where's…" then he saw the white man too emerging from a white door down the hall. "Barn!" he cried. "Barn!"
"What?" the white man said. "Barn?"
"Yes!" the boy cried. "Barn!"
Later, after De Spain gallops off in the direction of the barn, Sarty hears gun shots in the distance, but again Faulkner leaves unclear who fired the shots and whether anyone was injured or killed. Faulkner does, however, make it possible for us to make a few assumptions, including the following:
He went on down the hill, toward the dark woods within which the liquid silver voices of the birds called unceasing - the rapid and urgent beating of the urgent and quiring heart of the late spring night. He did not look back.
In any setting, the five senses are taste, touch, smell, sight, and hearing. In terms of literature, imagery is descriptions of something in terms of the five senses. Imagery forms mental pictures of things through the use of words.
There is lots of imagery in "The Cask of Amontillado," from the descriptions of the characters to the setting. For instance, while descending into the catacombs, Monstressor continuously points out how uncomfortable it is down there. He uses words like "damp," "moisture," and "foulness" and similes such as "the niter hangs like moss" which make the reader imagine what it smells, feels, and looks like in the underground tomb. Poe also strengthens the imagery in the story by describing the sounds of Forunato's bells ("jingled"), his cough ("Ugh! ugh! ugh!...), his laugh ("Ha! ha! ha!-he! he!"), as well as his screams at the end of the story ("For the love of God, Montressor!"). Through his use of imagery, Poe helps the reader imagine what is happening in the story. This heightens the suspense of the story and the horror of the protagonist's actions.
In both stories, revenge for the death of a father plays an important part. Achilles kills Priam's son, Hector. Priam's son, Paris, kills Achilles. Then, in revenge, Achillie's son, Pyrrus, takes revenge for his father's death by killing Priam viciously. Pyrrus is not troubled by killing Priam, even as Priam begs for his life. In "Hamlet", young Hamlet's delays and procrastinates taking revenge for his father's death at the hands of Claudius. In fact, after the scene you mention, Hamlet chides himself in a long soliloquy over his ability "to do nothing". Thus, the comparison should be between Pyrrhus and Hamlet. Pyrrhus, like Fortinbras, is a man of action and murders the killer of his father. Hamlet, on the other hand, simply thinks and thinks and thinks about taking revenge.
In chapter 5, the chapter named, "Kamala," Siddhartha spends a night in a ferryman's hut where he has a dream. In that dream his childhood friend, Govinda, whom he has just parted with for the very first time of their lives, asks Siddhartha,
"Why have you forsaken me?" As Siddhartha embraces Govinda, he turns into a woman and "out of the female gown poured a spring from a full breast, at which Siddhartha lay and drank, and strong and sweet did the milk from this breast taste. It tasted of woman and man, of sun and forest, of animal and flower, of every fruit, of every desire. It made him drunk and unconscious" (20).
To properly analyze this, it's necessary to pull from the teachings of Carl Jung, the analytic psychologist (and student of Freud). During the writing of Siddhartha, Hesse underwent therapy with a student of Jung and through the relationship eventually met Dr. Jung and subsequently became an avid fan of Jung's philosophies.
According to Jung one aspect of each individual is the "anima" or "animus," determined according to your gender. The anima is the image of the ideal person of the opposite sex. It is your perfect match. This match is called the "animus" in women and is typically unconscious.
Govinda was Siddhartha's lifetime childhood companion. They left their home together to join the samanas (in ch.2) and left there to see Gotama the Buddha. When Siddhartha left Govinda (who stayed behind with the Buddha to learn his teachings), Siddhartha has an awakening or epiphany. He realizes that he's never known himself. He had been running away from himself. This was reinforced by his time as a samana. As a samana he sought to conquer all physical needs and wants, to ignore any physical want or desire for food, sex or pleasure. It was spend in the Hindu stage called Moksha - which is the negation of life, pursuing release from life. Siddhartha sought to dissolve the self, but found that the self was unknown to him. He wasn't able to "dissolve" something he had no knowledge of.
The dream Siddhartha had in the ferryman's hut symbolized Siddartha's physical awakening. In his dream Siddhartha symbolically transformed his childhood companion into a woman, demonstrating his desire to seek out his anima or his (feminine) other half.
Wilson's 14 Points was an ideal plan aimed at ending the problems that had caused the war: have open agreements, free trade, democracy, and self determination. The actual plan (Treaty of Versailles) reflected the immediate needs of European nations to reduce Germany's power and to extend their own, as well as to pay the high costs of the war.
1. The war had been fought on European soil, and those nations were determined that Germany would pay for damages and be reduced in power not only at home, but also around the world.
2. Wilson agreed to the loss/compromise of points #1-13 in order to get the League of Nations into the final treaty, although it was never ratified at home (a whole other essay topic).
3. Because the Treaty did not address the causes of war, left a power imbalance in Europe, and caused great resentment in Germany, the seeds were planted for another war in which Germany could claim that the treaty was unfair and they would never have agreed to the armistice if they had known that this was the treaty they would get.
The actual events in the ending are foreshadowed when Roy warns Mr. Buckley-whose first name isn't given, and is described as looking "like a farmer dressed for Sunday". Then Buckley writes the note that is then delivered to Tom. This foreshadows the fact that the note is significant, since Tom goes and gets the notes and starts to mess with them. It also foreshadows that Buckley is Bob (his rough appearance, no first name).
The main issue of the story though is that the nit-picky, city-dwelling examiner does not sympathize with the western style of loyalties and word-giving in place of contracts and paperwork. O. Henry goes to great lengths to describe the steeliness of the examiner, his perfectionism, his lack of sympathies. Contrasted with the laid-back nature of Tom, this foreshadows that the examiner would not have excused Bob's way of loaning money, and hence why Tom forestalled him. That leads to the main interest and suspense of the story.
Before his deportation, Moche was "a man of all work at a Hasidic synagogue". He was poor, but the people loved him; "nobody ever felt encumbered by his presence". Moche had "great dreaming eyes, their gaze lost in the distance". In the absence of a proper master of the cabbala, Moche becomes a teacher of sorts to Elie. Moche is profoundly spiritual, and he teaches Elie that "man raises himself toward God by the questions he asks Him", and that although man cannot understand them, the answers to man's questions come from God, who lives deep within his soul.
Moche is much changed when he returns after his deportation. There is "no longer any joy in his eyes...he no longer (talks) about God or the cabbala, but only of what he had seen". Moche has returned to warn the people of Sighet of what is happening beyond the sheltered confines of their village so that they can prepare themselves while there is still time, but no one will listen. Whereas before he was beloved, now Moche is pathetic, "a madman".
The change in Moche is illustrated in his eyes. Before his deportation, he had always gazed into the distance. His eyes were focused on spiritual things, and the things he spoke of were not of this earth. After his deportation, he speaks "only of what he had seen", and from his eyes tears fall, "like drops of wax". Moche weeps, and "close(s) his eyes, as though to escape time". His gaze has been turned from the spiritual to the real, and he has found that the two are not compatible. Elie discovers the same thing later when he loses his faith in the brutal reality of the concentration camps (Chapter 1).
These lines come after Claudius has been trying to pray after he sees the play "The Mousetrap." What he doesn't know is that Hamlet sees him praying and almost kills him during that time. Hamlet decides not to kill Claudius because, according to Elizabethan belief, a person killed in the middle of prayer and confession of sin would go directly to heaven. Hamlet knows his own father was killed when he was sleeping. His father said the murder meant that he was "sent to my account/With all my imperfections on my head." ( Act I,scene v, lines 83-84)In other words, he is not in heaven, but in purgatory waiting for his sins to be burned away.
So Hamlet decides not to kill Claudius because he wants to wait until Claudius is doing something sinful, then kill him so he will be sent to hell or purgatory. Then Hamlet leaves and Claudius says these lines,"“My words fly up, My thoughts remain below. Words without thoughts never to heaven go” In other words, he is not willing to repent of his sin, therefore, the sin will not be forgiven. So Claudius' words are flying up but because he does not have the repentance to go with the words, his words will never reach heaven. Ironically, Claudius is in an unrepentant state and if Hamlet would have killed him, Claudius would not have been set to heaven, but the hell or purgatory as he wished.
Burris Ewell probably represented the biggest ordeal for Miss Caroline Fisher on the first day of school. The Ewells are the poorest family in town, and Burris reflects their ignorance: He tells Miss Fisher that he hadn't "planned on staying" anyway, just before calling her a slut and insulting her prior to his permanent departure.
The students explain to Miss Caroline that the Ewells had only shown up to the first day of school for as long as anyone could remember, and that she was to mark them absent for the rest of the year. The "truant lady" never bothered going out to the Ewells' to fetch any of the kids after the first day of school, as no one had high expectations of any of them.
Miss Caroline also has to learn about the proud poverty of the Cunninghams, as Walter refuses the quarter offered to buy him lunch. Scout serves as witness to all these lessons, as she is our narrator while also being a character.
There are several different types of love portrayed in the play "Antigone". The most prevalent is love between family members, which is more specifically displayed as loyalty. Antigone demonstrates this love when she goes against Creon's decree and buries Polyneices. Ismene also displays this kind of love when she wants to die rather than live without Antigone.
Romantic love is displayed by Haimon for Antigone.
Creon is in love with power, and, to some extent, in love with his country. He puts his love for his country above the love for his family He'd rather kill Antigone to uphold his law and win the respect (or fear) of people of Thebes than pardon his niece and one of his last living relatives.
Harper Lee wants to look at more than just one kind of prejudice in her novel To Kill a Mockingbird. That's why she created the characters of Tom Robinson and Boo Radley.
The most obvious example of prejudice is the racism that boils up around the Tom Robinson case. Robinson, as a black man in the South, faces the same racial hatred that black people have had to endure there for hundreds of years. Sometimes this racism results in physical tragedy, even death, as with Robinson. But always it subjects the people involved (both the haters and the hated) to a diminished capacity to live their lives in a fully meaningful way.
With Boo Radley, we also see prejudice, but it is of a different nature. This is the prejudice that people engage in with their neighbors and other folks who aren't necessarily all that different from them. Boo Radley, and the other Radleys, were culturally similar to Scout's family and the rest of the white people of Maycomb County. But since they kept to themselves and lived in what seemed a peculiar way, they were subjected to unfounded speculation and character aspersions that were unjustified.
To Kill a Mockingbird doesn't ask readers to simply look at the cruel and unjust actions of others, which is all to easy to do; it also asks readers to consider their own potential unfair actions and judgments. Is there a Boo Radley in your neighborhood?
Lena and Ruth represent the stereotypical female role of the past; this is part of the reason that there is so much tension between the two women and Walter and Beneatha.
1. Lena is the matriarch of the family and represents the circumstances that many older mothers of the 50s faced. She is a relatively young widow; she must still work in order to be able to provide for her adult children, and she maintains quite a bit of authority over her children--mainly because they still live with her. Specifically in the play, Lena brings hope, common sense, and history to her family. She still dreams that she might have a house for her family even though she finds herself late in life. When Walter gets riled up, she attempts to calm him down; when Beneatha flits from one interest to another, she counsels her to be stable, and when Ruth sees her new baby only as an obstacle, she reminds her of the blessing of new life. Most significantly, Lena is able to remind her children of the past, not just what their father went through but also of the values that their culture once adhered to so strongly. She admonishes Walter in Act 1, Scene 2,
"Oh—So now it's life. Money is life. Once upon a time freedom used to be life—now it's money. I guess the world really do change . . ."
2. Ruth also fits a certain stereotype of her day. She desires to be a supportive wife to her husband and a loving but strict mother to her child. Her relationship with Travis somewhat mirrors Lena's with Walter. While Ruth is not much older than Beneatha, she clings to tradition and a sense of identity through her husband. In contrast, Beneatha is the modern woman--independent, open-minded, and bold. Ruth's role is not significantly different from Lena's. I think that Hansberry characterizes Ruth in such a fashion to demonstrate that traditional female roles and modern ones will always clash.
