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Trifles by Susan Glaspell Essay - 610 Words

Trifles by Susan Glaspell Susan Glaspellss Trifles is a little gem of a play. In one short act, the playwright presents the audience with a complex human drama leaving us with a haunting question. Did an abused Nebraska farm wife murder her husband? Through the clever use of clues and the incriminating dialogue of the two main characters, this murder mystery unfolds into a psychological masterpiece of enormous proportions. Written in 1916, the play deals with the theme of the roles of women in society. This was a time before women had the right to vote or sit on juries. Shortly after writing the play, Glaspell wrote it as a short story entitled A Jury of Her Peers. The scene is set in†¦show more content†¦They tell the audience a great deal about the home life and mental state of Mrs. Wright. The house didnt have a telephone because when Mr. Hale asked if Mr. Wright would want to join him in paying for a party line, Wrights reply was folks talk too much anyway and all he wanted was peace and quiet. When Mr. Hale found Mrs. Wright, she was sitting in her rocking chair looking queer, as if she didnt know what she was going to do next. Hale then went upstairs and discovered Wrights body lying in bed, a rope tied around his neck. Wright had been strangled. The pieces of evidence found in the kitchen by the women paint a picture of a desperate woman who had suffered mental and perhaps physical abuse at the hands of her cruel husband for 30 years. Jars of cherries that Mrs. Wright had preserved were found broken and the women assume it is because of the cold. A roller towel was found dirty, dirty pots under the sink, and a loaf of bread on the table was left to go stale. Mrs. Hale doesnt think Minnie Wright did it because Minnie is still concerned about the household things. She wondered how a person could be strangled without waking up or wakening someone in bed with him. The women find a quilt that Mrs. Wright had been working on and the last stitches are uneven and Mrs. Hale pulls them out. Mrs. Peters finds a birdcage with a broken door hinge that looked as if someone hadShow MoreRelatedTrifles, By Susan Glaspell Essay2136 Words   |  9 Pagesprimarily of a domestic nature. Trifles by Susan Glaspell indicates that a man’s perspective is entirely different from a woman’s. The one-act play, Trifles, is a murder mystery which examines the lives of rural, middle-aged, married, women characters through gender relationships, power between the sexes, and the nature of truth. The play, written in the early 1900s, long before the women’s movement and while men considered women their possessions. In the story of Trifles, it is easy to recognize theRead MoreTrifles by Susan Glaspell1158 Words   |  5 PagesAnalytical Essay on Drama Trifles by Susan Glaspell Heidi Barnard South University Trifles’ By Susan Glaspell I believe had several small defining moments leading to the one larger defining moment, which brings together all of them together. The defining moment is the discovery of the dead bird hidden in the pretty red box, this leads back to smaller points such as her sewing and the bird cage. â€Å" Here’s some red. I expect this has got sewing things in it. (Brings out a fancy box.) What aRead MoreTrifles By Susan Glaspell1000 Words   |  4 Pages  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     In Trifles by Susan Glaspell, the author presents a predominant  theme of women and femininity. This theme reflects upon the underlying message of the play, that women are not treated fairly and are not seen in the same light as men. Susan Glaspell demonstrates the common assumptions made by men towards women in terms of roles and degrading their value/insight. Throughout the play, Glaspell provides many instances to where a woman’s value or insight is degraded. Hale demonstrates thisRead MoreTrifles by Susan Glaspell604 Words   |  2 Pages Trifles by Susan Glaspell is a one-act play that explores the theme of the gender roles and social positions of men and women in early twentieth-century America. The play is loosely based on the true event of the murder of John Hossack which Glaspell reported on while working as a news journalist in Iowa. Years later, she used her experiences and observations to create the play. Trifles is about solving the murder case of farmer John Wright. While Mr. Wright was asleep in the night, someoneRead MoreTrifles, By Susan Glaspell1034 Words   |  5 Pagessay goes. The 1912 play Trifles, by Susan Glaspell, who was inspired to write this play from a story she covered as a reporter. A murder case is being held and authorities are getting down to it suspecting a woman of killing her husband in his sl eep. The character Mrs. Hale who is neighbors and friends with Mrs. Peters, the sheriff’s wife and Mrs. Wright, the woman accused of the murder of her Husband, Mr. Wright. The character Mrs. Hale, in the Susan Glaspell s play Trifles, is displayed as a empoweringRead MoreTrifles, By Susan Glaspell Essay1469 Words   |  6 PagesSusan Glaspell’s one-act play Trifles is based on the murder investigation of John Wright. Minnie Wright’s isolation and the death of her canary are the major factors that led to the murder of her husband. Glaspell stresses the perceived supremacy of males when investigating the murder by giving the men lead roles in the investigation and by making fun of the â€Å"trifles† that the women are choosing to observe. It is ironic because the ordinary items observed by the women were thought of as â€Å"trifles†Read MoreTrifles : Susan Glaspell s Trifles940 Words   |  4 PagesWhat is a trifle? A trifle is something that ha s little to no importance (dictionary.com). For instance, the color of your nails would be considered a trifle. In Trifles by Susan Glaspell, women are criticized and made fun of by men because of the little things they worry about, such as the color of their nails or their hair. This exhibits the gender role difference portrayed during the play’s time period. The central conflict is what the plot is centered around. In Trifles, the central conflictRead MoreSusan Glaspell s Trifles 1507 Words   |  7 Pagesâ€Å"Trifles† is a one act play written by Susan Glaspell in 1916, which was first performed on August 8th by the Provincetown Players in Provincetown, Massachusetts at the Wharf Theater. The author, Susan Glaspell, was born on July 1, 1876 in Davenport, Iowa. Over her lifetime she had become proficient in many different professions: Playwright, Actress, Novelist, and Journalist. For her works, she won an American Pulitzer Prize in 1931. The Provincetown Players was founded by Susan Glaspell and herRead MoreSusan Glaspell s Trifles 1732 Words   |  7 PagesSusan Glaspell (1876-1948) was an American-born Pulitzer Prize winning writer of both plays and fiction. Glaspell came from humble beginnings and went on to study at Drake University and the University of Chicago. Much of Glaspell s work dealt with the relationships between men and women and the negative effects they have on women. In Glaspell s play Trifles, it is revealed that the operations of patriarchy are just an illusion that men have created to make themselves feel superior to womenRead MoreTrifles by Susan Glaspell Essay1253 Words   |  6 Pages Susan Glaspell’s most memorable one-act play, Trifles (1916) was based on murder trial case that happened in the 1900’s. Glaspell worked as a reporter, where she appointed a report of a murder case. It was about a farmer, John Hossack who was killed while he was asleep in bed one night. His wife claimed that she was asleep next to him when the attack occurred. No one believed in her statement, she was arrested and was charged on first degree murder. In Trifles, the play takes place at an abandon

Aristotle’S Poetics Analysis Essay Example For Students

Aristotle’S Poetics Analysis Essay Is a much-disdained book. So unpatriotic a soul as Aristotle has no business speaking about such a topic, much less telling poets how to go about their business. He reduces the drama to its language, people say, and the language Itself to Its least poetic element, the story, and then he encourages insensitive readers like himself to subject stories to crudely moralistic readings, that reduce tragedies to the childish proportions of Aesop-fables. Strangely, though, the Poetics itself Is rarely read with the kind of sensitivity Its critics claim to possess, and he thing criticized is not the book Aristotle wrote but a caricature of it. Aristotle himself respected Homer so much that he personally corrected a copy of the Iliad for his student Alexander, who carried It all over the world. In his Rhetoric (Ill, xv, 9), Aristotle criticizes orators who write exclusively from the intellect, rather than from the heart, in the way Sophocles makes Antigen speak. Aristotle is often thought of as a logician, but he regularly uses the adverb log ¶s, logically, as a term of reproach contrasted with pushup ¶s, naturally or appropriately, to describe arguments made by there, or preliminary and inadequate arguments of his own. Those who take the trouble to look at the Poetics closely will find, I think, a book that treats Its topic appropriately and naturally, and contains the reflections of a good reader and characteristically powerful thinker. Table of Contents 1. Poetry as Imitation 2. The Character of Tragedy 3. Tragic Catharsis 4. Tragic Pity 5. Tragic Fear and the Image of Humanity 6. The Iliad, the Tempest, and Tragic Wonder 7. Excerpts from Aristotle poetics 8. References and Further Reading The first scandal In the Poetics is the Initial marking out of dramatic poetry as a form f imitation. We call the poet a creator, and are offended at the suggestion that he might be merely some sort of recording device. As the painters eye teaches us how to look and shows us what we never saw, the dramatist presents things that never existed until he imagined them, and makes us experience worlds we could never have found the way to on our own. But Aristotle has no intention to diminish the poet, and In fact says the same thing I just said, in making the point that poetry Is more philosophic than history By imitation, Aristotle does not mean the sort of mimicry by which Aristotelian, say, finds syllables that approximate the sound of frogs. He Is speaking of the Imitation of action, and by action he does not mean mere happenings. Aristotle speaks extensively of praxis in the Mechanical Ethics. It is not a word he uses loosely, and in fact his use of it in the definition of tragedy recalls the discussion In the Ethics. Action, as Aristotle uses the word, refers only to what Is deliberately chosen, and capable of finding completion in the achievement of some purpose. Animals and young children do not act in this sense, and action is not the n human life, and a sense for the actions that are worth paying attention to. They are not present in the world in such a way that a video camera could detect them. An intelligent, feeling, shaping human soul must find them. By the same token, the action of the drama itself is not on the stage. It takes form and has its being in the imagination of the spectator. The actors speak and move and gesture, but it is the poet who speaks through them, from imagination to imagination, to present to us the thing that he has made. Because that thing he makes has the form of an action, it has o be seen and held together Just as actively and attentively by us as by him. The imitation is the thing that is re-produced, in us and for us, by his art. This is a powerful kind of human communication, and the thing imitated is what defines the human realm. If no one had the power to imitate action, life might Just wash over us without leaving any trace. How do I know that Aristotle intends the imitation of action to be understood in this way? In De Anima, he distinguishes three kinds of perception (II, 6; Ill, 3). There is the perception of proper sensible-colors, sounds, tastes and so n; these lie on the surfaces of things and can be mimicked directly for sense perception. But there is also perception of common sensible, available to more than one of our senses, as shape is grasped by both sight and touch, or number by all five senses; these are distinguished by imagination, the power in us that is shared by the five senses, and in which the circular shape, for instance, is not dependent on sight or touch alone. These common sensible can be mimicked in various ways, as when I draw a messy, meandering ridge of chalk on a blackboard, and your imagination rasps a circle. Finally, there is the perception of that of which the sensible qualities are attributes, the thing-the son of Diaries, for example; it is this that we ordinarily mean by perception, and while its object always has an image in the imagination, it can only be distinguished by intellect, noose (111,4). Skilled mimics can imitate people we know, by voice, gesture, and so on, and here already we must engage intelligence and imagination together. The dramatist imitates things more remote from the eye and ear than familiar people. Sophocles and Shakespeare, for example, imitate pentacle and forgiveness, true instances of action in Aristotle sense of the word, and we need all the human powers to recognize what these poets put before us. So the mere phrase imitation of an action is packed with meaning, available to us as soon as we ask what an action is, and how the image of such a thing might be perceived. Aristotle does understand tragedy as a development out of the childs mimicry of animal noises, but that is in the same way that he understands philosophy as a development out of our enjoyment of sight-seeing (Metaphysics l, 1). In each of these developments there is a vast array of possible intermediate stages, but Just as philosophy is the ultimate form of the innate desire to know, tragedy is considered by Aristotle the ultimate form of our innate delight in imitation. His beloved Homer saw and achieved the most important possibilities of the imitation of human action, but it was the tragedians who, refined and intensified the form of that imitation, and discovered its perfection. 2. The Character of Tragedy A work is a tragedy, Aristotle tells us, only if it arouses pity and fear. Why does he single out these two passions? Some interpreters think he means them only as examples-pity and fear and other passions like that-but I am not among those loose but I think he does so only to indicate that pity and fear are not themselves things subject to identification with pin-point precision, but that each refers to a range of feeling. It is Just the feelings in those two ranges, however, that belong to tragedy. Why? Why shouldnt some tragedy arouse pity and Joy, say, and another fear and cruelty? In various places, Aristotle says that it is the mark of an educated person to know what needs explanation and what doesnt. He does not try to prove that there is such a thing as nature, or such a thing as motion, though some people deny both. Likewise, he understands the recognition of a special and powerful form of drama built around pity and fear as the beginning of an inquiry, and spends not one word justifying that restriction. We, however, can see better why he starts there by trying out a few simple alternatives. Suppose a drama aroused pity in a powerful way, but aroused no fear at all. This is an easily recognizable dramatic form, called a tear- jerker. The name is meant to disparage this sort of drama, but why? Imagine a well written, well made play or movie that depicts the losing struggle of a likable central character. We are moved to have a good cry, and are afforded either the relief of a happy ending, or the realistic desolation of a sad one. In the one case the tension built up along the way is released within the experience of the work itself; in the other it passes off as we leave the theater, and readjust our feelings to the fact that it was, after all, only make-believe. What is wrong with that? There is always pleasure in strong emotion, and the theater is a harmless place to indulge it. We may even come out feeling good about being so compassionate. But Dostoevsky depicts a character who loves to cry in the theater, not noticing that while she wallows in her warm feelings her coach-driver is shivering outside. She has day-dreams about relieving suffering humanity, but does nothing to put that vague desire to work. If she is typical, then the tear-jerker is a dishonest form of drama, not even a harmless diversion but an encouragement to lie to oneself. Well then, lets consider the opposite experiment, in which a drama arouses fear in a powerful way, but arouses title or no pity. This is again a readily recognizable dramatic form, called the horror story, or in a recent fashion, the mad-slashes movie. The thrill of fear is the primary object of such amusements, and the story alternates between the build-up of apprehension and the shock of violence. Again, as with the tear-jerker, it doesnt much matter whether it ends happily or with uneasiness, or even with one last shock, so indeterminate is its form. And while the tearjerker gives us an illusion of compassionate delicacy, the unrestrained shock-drama obviously has the effect of coarsening feeling. Genuine human pity could not co-exist with the so-called graphic effects these films use to keep scaring us. The attraction of this kind of amusement is again the thrill of strong feeling, and again the price of indulging the desire for that thrill may be high. Let us consider a milder form of the drama built on arousing fear. There are stories in which fearsome things are threatened or done by characters who are in the end defeated by means similar to, or in some way equivalent to, what they dealt out. The fear is relieved in vengeance, and we feel a satisfaction that we might be inclined to call Justice. To work on the level of feeling, though, Justice must be understood as the exact inverse of the crime-doing to the offender the sort of thing he did or meant to do to others. The imagination of evil then becomes the measure of infliction of pain or death is nothing but a thin veil over the very feelings we mean to be punishing. This is a successful dramatic formula, arousing in us destructive desires that are fun to feel, along with the self-righteous illusion that we are really superior to the character who displays them. The playwright who makes us feel that way will probably be popular, but he is a menace. We have looked at three kinds of non-tragedy that arouse passions in a destructive way, and we could add others. There are potentially as many kinds as there are passions and combinations of passions. That suggests that the theater is Just an arena for the manipulation of passions in ways that are pleasant in the short run and at least reckless to pursue repeatedly. At worst, the drama could be seen as dealing in a kind of addiction, which it both produces and holds the only remedy for. But we have not yet tried to talk about the combination of passions characteristic of tragedy. When we turn from the sort of examples I have given, to the acknowledged examples of tragedy, we find ourselves in a different world. The tragedians I have in mind are five: Aeschylus, Sophocles, and Euripides; Shakespeare, who differs from them only in time; and Homer, who differs from them somewhat more, in the form in which he composed, but shares with them the things that matter most. I could add other authors, such as Dostoevsky, who wrote stories of the tragic kind in much looser literary forms, but I want to keep the focus on a small number of clear paradigms. When we look at a raggedy we find the chorus in Antigen telling us what a strange thing a human being is, that passes beyond all boundaries (lines 332 if. ), or King Lear asking if man is no more than this, a poor, bare, forked animal (Ill, v, off. ), or Macbeth protesting to his wife l dare do all that may become a man; who dares do more is none (l, vii, 47-8), or Oedipus taunting Terrifies with the fact that divine art was of no use against the Sphinx, but only Oedipus own human ingenuity (Ode. Try. 9098), or Agamemnon, resisting walking home on tapestries, saying to his wife l tell you to revere me as a an, not a god (925), or Cadmium in the Beach saying l am a man, nothing more (199), while Dionysus tells Penthouse Mimi do not know what you are (506), or Patrols telling Achilles Pulses was not your father nor Thesis your mother, but the gray sea bore you, and the towering rocks, so hard is your heart (Iliad WI, 335 ). I could add more examples of this kind by the dozen, and your memories will supply others. Walt Whitman the poet of American inclusion EssayTragedy is about central and indispensable human attributes, disclosed to us by the pity that draws us toward them and the fear that makes us recoil from what threatens them. Because the suffering of the tragic figure splays the boundaries of what is human, every tragedy carries the sense of universality. Oedipus or Antigen or Lear or Othello is somehow every one of us, only more so. But the mere mention of these names makes it obvious that they are not generalized characters, but altogether particular. And if we did not feel that they were genuine individuals, they would have no power to engage our emotions. It is by their particularity that they make their marks on us, as though we had encountered them in the flesh. It is only through the particularity of our feelings that our bonds with them emerge. What we care for and cherish makes us pity them and fear for them, and thereby the reverse also happens: our feelings of pity and fear make us recognize what we care for and cherish. When the tragic figure is destroyed it is a piece of ourselves that is lost. Yet we never feel desolation at the end of a tragedy, paradox, but to describe a marvel. It is not so strange that we learn the worth of something by losing it; what is astonishing is what the tragedians are able to achieve by making use of that common experience. They lift it up into a state of wonder. Within our small group of exemplary poetic works, there are two that do not have the raging form, and hence do not concentrate all their power into putting us in a state of wonder, but also depict the state of wonder among their characters and contain speeches that reflect on it. They are Homers Iliad and Shakespearean Tempest. Incidentally, there is an excellent small book called Woe or Wonder, the Emotional Effect of Shakespearean Tragedy, by J. V. Cunningham, that demonstrates the continuity of the traditional understanding of tragedy from Aristotle to Shakespeare. ) The first poem in our literary heritage, and Shakespearean last play, both belong to a investigation of which Aristotle Poetics is the most prominent part. 6. The Iliad, the Tempest, and Tragic Wonder In b oth the Iliad and the Tempest there are characters with arts that in some ways resemble that of the poet. It is much noticed that Prospered farewell to his art coincides with Shakespearean own, but it may be less obvious that Homer has put into the Iliad a partial representation of himself. But the last 150 lines of Book XVIII of the Iliad describe the making of a work of art by Hyphenates. I will not consider here what is depicted on the shield of Achilles, but only the meaning in the poem of the held itself. In Book XVIII, Achilles has realized what mattered most to him when it is too late. The Greeks are driven back to their ships, as Achilles had prayed they would be, and know that they are lost without him. But what pleasure is this to me now, he says to his mother, when my beloved friend is dead, Patrols, whom I cherished beyond all friends, as the equal of my own soul; I am bereft of him (80-82). Those last words also mean l have killed him. In his desolation, Achilles has at last chosen to act. l will accept my doom, he says (115 Thesis goes to Hyphenates because, in pits of his resolve, Achilles has no armor in which to meet his fate. She tells her sons story, concluding he is lying on the ground, anguishing at heart (461). Her last word, anguishing, ache ¶n, is built on Achilles name. Now listen to what Hyphenates says in reply: Take courage, and do not let these things distress you in your heart. Would that I had the power to hide him far away from death and the sounds of grief when grim fate comes to him, but I can see that beautiful armor surrounds him, of such a kind that many people, one after another, who look on it, will wonder (463-67). Is it not evident that this source of wonder that surrounds Achilles, that takes the sting from his death even in a mothers heart, is the Iliad itself? But how does the Iliad accomplish this? Let us shift our attention for a moment to the Tempest. The character Alonso, in the power of the magician Prospers, spends the length of the play in the illusion that his son has drowned. To have him alive again, Alonso says, l wish Myself were muddied in that oozy bed Where my son lies (V, I, But he has already been there for three hours in his imagination; he says earlier my son I the ooze is bedded; and Ill seek him deeper than oer plummet sounded And with him there lie muddied (Ill, iii, 100-2). What is this muddy ooze? It is Alonso grief, and his regret for exposing his son to danger, and his self-reproach for his own past crime against Prospers and Prospered baby daughter, which made his son a Just target for only comes after he has lost the thing he cares most about. But the spirit Ariel sings a song to Alonso son: Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes; Nothing of him that doth fade But doth suffer a EAI change Into something rich and strange (l, it, 397-402). Alonso grief is aroused by an illusion, an imitation of an action, but his repentance is real, and is slowly transforming him into a different man. Who is this new man? Let us take counsel from the honest old councilor Gonzalez, who always has the clearest sight in the play. He tells us that on this voyage, when so much seemed lost, every traveler found himself When no man was his own (V, I, 206-13). The something rich and strange into which Alonso changes is himself, as he was before his life took a wrong turn. Prospered magic does no more than arrest people in a potent illusion; in his power they are knit up In their distractions (Ill, iii, 89-90). When released, he says, they shall be themselves (V, I, 32). On virtually every page of the Tempest, the word wonder appears, or else some synonym for it. Marinaras name is Latin for wonder, her favorite adjective brave seems to mean both good and out-of-the-ordinary, and the combination rich and strange means the same. What is wonder? J. V. Cunningham describes it in the book I mentioned as the shocked limit of all feeling, in which fear, sorrow, and Joy can all merge. There is some truth in that, but it misses what is wonderful or wondrous about wonder. It suggests that in wonder our feelings are numbed and we are left limp, wrung dry of all emotion. But wonder is itself a feeling, the one to which Miranda is always giving voice, the powerful sense that what is before one is both strange and good. Wonder does not numb the other feelings; what it does is dislodge them from their habitual moorings. The experience of wonder is the disclosure of a sight or thought or image that fits no habitual context of feeling or understanding, but grabs and holds us by a power borrowed from nothing part from itself. The two things that Plotting says characterize beauty, that the soul recognizes it at first glance and spontaneously gives welcome to it, equally describe the experience of wonder. The beautiful always produces wonder, if it is seen as beautiful, and the sense of wonder always sees beauty. But are there really no wonders that are ugly? The monstrosities that used to be exhibited in circus side- shows are wonders too, are they not? In the Tempest, three characters think first of all of such spectacles when they lay eyes on Caliber (II, I, 28-31; V, I, 263-6), but they re incapable of wonder, since they think they know everything that matters already. A fourth character in the same batch, who is drunk but not insensible, gives way at the end of Act II to the sense that this is not Just someone strange and deformed, nor just a useful servant, but a brave monster. But Stephan is not like the holiday fools who pay to see monstrosities like two-headed calves or exotic sights like wild men of Borneo. I recall an aquarium somewhere in Europe that had on display an astoundingly ugly catfish. People came casually up to its tank, were startled, made kisses of disgust, and turned away. Even to be arrested before such a sight feels in some way perverse and has some conflict in the feeling it arouses, as when we stare at the victims of a car wreck. The sight of the ugly or disgusting, when it is felt as such, does not have the settled repose or willing surrender that are characteristic of wonder. Wonder is sweet, as Aristotle says. This sweet contemplation of something in every other respect he is a model of the spectator of a tragedy. We are in the power of another for awhile, the sight of an illusion works real and durable changes n us, we merge into something rich and strange, and what we find by being absorbed in the image of another is ourselves. A s Alonso is shown a mirror of his soul by Prospers, we are shown a mirror of ourselves in Alonso, but in that mirror we see ourselves as we are not in witnessing the Tempest, but in witnessing . A tragedy. The Tempest is a beautiful play, suffused with wonder as well as with reflections on wonder, but it holds the intensity of the tragic experience at a distance. Homer, on the other hand, has pulled off a feat even more astounding than Shakespearean, by imitating the experience of a spectator of tragedy within a story that itself works on us as a tragedy. In Book XIV of the Iliad, forms of the word than boss, amazement, occur three times in three lines (482-4), when Prima suddenly appears in the hut of Achilles and kisses the terrible man-slaughtering hands that killed his many sons (478-9), but this is only the prelude to the true wonder. Achilles and Prima cry together, each for his own grief, as each has cried so often before, but this time a miracle happens. Achilles grief is transformed into satisfaction, and cleansed from is chest and his hands (513-14). This is all the more remarkable, since Achilles has for days been repeatedly trying to take out his raging grief on Hectors dead body. The famous first word of the Iliad, mints, wrath, has come back at the beginning of Book XIV in the participle Maine ¶n (22), a constant condition that Loiterer translates well as standing fury. But all this hardened rage evaporates in one lamentation, Just because Achilles shares it with his enemys father. Hermes had told Prima to appeal to Achilles in the names of his father, his mother, and his child, in order to stir his heart (466-7), but Prisms focused misery goes straight to Achilles heart without diluting the effect. The first words out of Prisms mouth are remember your father (486). Your father deserves pity, Prima says, so pity me with him in mind, since I am more pitiful even than he; I have dared what no other mortal on earth ever dared, to stretch out my lips to the hand of the man who murdered my children (503-4). Achilles had been pitying Patrols, but mainly himself, but the feeling to which Prima has directed him now is exactly the same as tragic pity. Achilles is looking at a human being who has chosen to go to the limits of what is humanly possible to search for something that matters to him. The wonder of this sight takes Achilles out of his self-pity, but back into himself as a son and as a sharer of human misery itself. All his old longings for glory and revenge fall away, since they have no place in the sight in which he is now absorbed. For the moment, the beauty of Prisms terrible action re-makes the world, and determines what matters and what doesnt. The feeling in this moment out of time is fragile, and Achilles feels it heartened by tragic fear.

Salome Review Essay Example

Salome Review Paper Essay on Salome Salome one of the books that I have no reservations call genius. Why? Perhaps the entire cause completely unique creation of the author, devoid of clichà ©s and abrasions? Perfect style? Maybe We will write a custom essay sample on Salome Review specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Salome Review specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Salome Review specifically for you FOR ONLY $16.38 $13.9/page Hire Writer greatness and high world the authors thoughts? Or depth, and even bottomless embedded philosophy? Yes! Of course, yes! But thats not all! Dramatically intense action, almost too immerses the reader in the book generates the desire to re-read the play immediately after its completion. From books Wilde breathtaking, and the intensity and sincerity of feeling shown makes the heart pounding harder. Unforgettable The beauty and elegance of style will satisfy gourmets language. lyricism and melodiousness will appeal to lovers of poetry, masterfully written out storyline will attract fans of action, rather than contemplation. An unusual, non-standard interpretation of the Christian legend allow you to see the new in the famous. Sharpened psychology inherent in the book achieved Wilde by truly incredible attention to detail and the emphasis in the speech of the characters. The luxury of colors, richness and elegance, which are d strength is not every artist words do play perfect, which side do not look. Sometimes it seems that the human tongue big enough for Wilde, so subtly, he chooses his words to transmit all colors and iridescence state of mind, emotional outbursts and impulses of his characters Elegance and aesthetics, not knowing borders, intricate and bizarre linguistic resources may seem unnecessary and unnatural, but who would think to accuse nature of that tropical colors are too bright and the sea so fascinating changeable and perfectly The phenomenon Wilde is that any person who is not devoid of chuvst va nice, just can not get past the fragile tie of images and thoughts, the atmosphere, which disintegrates into separate gems when you try to understand it and dissect him. After all, only in his integrity they form a crown on the brow of genius. Clean and defect in the play have merged in the divine dance and spawned masterpiece that can not be described as to convey to the full his epic and priceless. Salome Wilde I can compare with the jewelry. It seems ancient and magical, even though it was created just over a century ago. Bright, like its author, the play ever broke into my vision of a perfect product.

Free Essays on The Color Puple

Alice Walker’s The Color Purple presents the life-long struggle of Celie, a black Georgia woman, who yearns to obtain confidence and self-esteem. During the early stages of the novel, references to wagons are made, signifying the â€Å"old days,† whereas towards the end of the work automobiles surface. Though Walker never discusses any specific time or place where the story actually occurs, the change in transportation suggests about a forty-year span of Celie’s life, from the beginning of the novel until the end. Written in first person, Celie writes a series of letters to God, explaining the torture that she faces, and begging him for some form of mercy. After years of abuse, both physically and emotionally, Celie discovers herself searching for some self-respect. Fonso, Celie’s abusive father, forces her to marry Albert, also abusive by nature. Celie finds a degree of hope through the depiction of Albert’s mistress, Shug. Shug serves as a tremendous force in Celie’s attainment of confidence, as the two eventually form a strong bond. Celie’s sister, Nettie, intelligent and caring who â€Å"mean[s] everything in the world† to Celie, also faces many of the same obstacles that Celie does, but Nettie first helps Celie overcome hers. As time passes, Celie gains more and more self-respect as well as some respect from others. The central theme flowing throughout the work remains that man often defeats his problems through the nurturing of close intimate relationships. The bond between Shug and Celie allows Celie to conquer her passive behavior. Likewise, her relationship with Nettie also instills a strong sense of courage and self-esteem within Celie. Celie refuses to allow the horrible deeds of the men in her life to control her towards the latter stages of the novel. The intimate relationships that Celie shares with both the energetic Shug and the loving Nettie provides Celie with hope that she will one day come out of her pa... Free Essays on The Color Puple Free Essays on The Color Puple Alice Walker’s The Color Purple presents the life-long struggle of Celie, a black Georgia woman, who yearns to obtain confidence and self-esteem. During the early stages of the novel, references to wagons are made, signifying the â€Å"old days,† whereas towards the end of the work automobiles surface. Though Walker never discusses any specific time or place where the story actually occurs, the change in transportation suggests about a forty-year span of Celie’s life, from the beginning of the novel until the end. Written in first person, Celie writes a series of letters to God, explaining the torture that she faces, and begging him for some form of mercy. After years of abuse, both physically and emotionally, Celie discovers herself searching for some self-respect. Fonso, Celie’s abusive father, forces her to marry Albert, also abusive by nature. Celie finds a degree of hope through the depiction of Albert’s mistress, Shug. Shug serves as a tremendous force in Celie’s attainment of confidence, as the two eventually form a strong bond. Celie’s sister, Nettie, intelligent and caring who â€Å"mean[s] everything in the world† to Celie, also faces many of the same obstacles that Celie does, but Nettie first helps Celie overcome hers. As time passes, Celie gains more and more self-respect as well as some respect from others. The central theme flowing throughout the work remains that man often defeats his problems through the nurturing of close intimate relationships. The bond between Shug and Celie allows Celie to conquer her passive behavior. Likewise, her relationship with Nettie also instills a strong sense of courage and self-esteem within Celie. Celie refuses to allow the horrible deeds of the men in her life to control her towards the latter stages of the novel. The intimate relationships that Celie shares with both the energetic Shug and the loving Nettie provides Celie with hope that she will one day come out of her pa...

ACT Test day tips

SAT / ACT Test Day Tips - What to Do to Prep the Night Before the SAT / ACT SAT / ACT Prep Online Guides and Tips It's finally here! Your SAT / ACT is this Saturday! We atPrepScholarwant to make sure yourtestday goes well, so here are some tips.Feel free to forward this to your friends if you think it's helpful! Dealing with Pre-ACT / SAT Nervousness and Anxiety It's inevitable that you'll feel a little nervous before the test. After all, this is an important test. However, you definitely don't want to get into your own head. The best way to combat nervousness is to evaluate all the work you've done. If you've been working hard with a prep program, you'll already be way ahead. You'll know exactly what kinds of questions are going to appear, you'll know what your strengths are, and there will only be few surprises. Furthermore, if you're a junior or younger, it's likely that you'll have many more chances to take this test. Even if you don't do as well as you'd like on this test, you'll be able to take it again. Don't get nervous during the test, either. It's easy to get flustered when you get stuck on a question, or get a string of questions that you can't answer.This is how the ACT and SAT are designed.Theywantto trip you up like this so you start making mistakes. So don't let them win–don't get nervous. It's hard to predict how you're doing on the test overall based on a few questions. What's important is that you stay strong throughout the entire 4-hour test. Imagine yourselfcrushingthe ACT / SAT. Positive thoughts directly improve performance. The Day Before the ACT / SAT The day before thetest, you generally want to be relaxing. Sure, take some time to study lightly - review flashcards or lessons - but as a rule of thumb, don't study more than 2 hours. Instead, spend some time doing relaxing activities (think long bath, not intense video games). Also, make sure you get enough sleep, at least 7 hours but no more than 9 hours.This might mean getting to bed one to two hours earlier than normal, and letting your natural sleep cycle take over. Wake Up Early Set your alarm clock for two hours before thetesttime.If you want, set another backup clock for 5 minutes later.Your brain takes up to two hours to fully wake up, and you don't want to be starting theteston a cold engine. Do some jumping jacks to get the blood flowing, and then take a shower to be clean for thetest.Eat a full breakfast high in complex carbs like whole grain cereal or toast and low in sugars like maple syrup.Follow your normal coffee routine if you don't drink it most days, then you shouldn't today either. Wear Comfortable Layered Clothing Today's not the day for fashion.Wear practical clothing in layers, so you can take off layers if the room is too warm, or put more on if it's cold.A good set is t-shirt, pajama pants or jeans, sneakers, and a sweatshirt. Make Sure You Have Everything, Including Snacks What you need: your printed admissions ticket, multiple number 2 pencils, an raser, your photo ID, a calculator, a watch, a bottle of water, and a snack (I recommend a granola bar or trail mix). Put everything in a bag or your backpack the day before, so you have zero surprises the morning of the test. Warm up with a Few Problems If time allows before your test, try two problems from each section just to get used to doing problems. Get those juices flowing. Test Center Best Practices: Get there early, and focus on yourself Get there early aim to be there at least fifteen minutes earlier than the recommended time.You don't want the panic that comes with getting to your test late. Use Google Maps to find directions the day before, and if you're not driving yourself, make sure you and your driver (often a parent) coordinate on your schedule. When you get to the test center, you might see your friends. Say hello, but don't linger to chat. Often you'll make each other more nervous. Instead, say "I'd really like to focus now, let's chat after the test?" It might be weird in the moment, but you don't need distractions. Take the Breaks About halfway through, even if you don't feel the need to, take a break to use the restroom, drink a sip of water, and down your snack.You'll thank yourself later. Like this? Subscribe to our blog on the right hand side on top to get more great tips about what to do after you get your score back! Other links you might like: Future SAT Test Dates What to do in case you get a low SAT / ACT score Want to improve your SAT score by 160 points or your ACT score by 4 points?We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

COMMUNITY POLICING Term Paper Example | Topics and Well Written Essays - 1250 words

COMMUNITY POLICING - Term Paper Example of partner in community policing, application of window broken approach in community policing and relation of community policing and the Chicago department of police. Community policing is used to decrease the increasing rate of crime with the help of people. Community policing is also known as neighborhood policing. It highlights one important idea that it can reduce the crime by demanding the active involvement of people in the process of detectiing a crime. It addresses the issues of crime in the society, the fear of people about the crime, criminals and vandals in the society, problems and issues taking place where the attention of the police is not reached. This notion is designed to work with the use of organizational strategies making sure the involvement of people in a systematic way and by the use of problem solving techniques. Therefore it can address the immediate problems of society and will help to keep the social order in the desired way. Over the last twenty five years, the notion of community policing has been evolving and it has grabbed the attention of the state government in America. The violent crime control and Law enforcement was enacted in the United States in 1994 and it ordered to create a community police who are supposed to work in the community areas encouraging the involvement of people in that particular area to reduce crime and bring social order and harmony. â€Å"In addition, a new agency, the Office of Community Oriented Police Services (COPS), was created to carry out this mission, and to administer extensive funding and implementation of community policing programs across the country. According to the latest estimates, community policing is widespread, with approximately 80 percent of larger municipal and county police departments employing an average of twenty or more community policing officers.† (Willis). â€Å"A community policing concept paper is created with a vision statement definition of community policing, an outline of