Who ever loved that loved not at first sight free essay sample

This poem starts with the description of the young lovers: the incomparably lovely virgin, Hero, dedicated to the service of the love goddess – she is Venus nun(line 45) and the handsome Leander. Both young people are described as having more than human beauty. Hero is so beautiful that the love-god Cupid mistakes her for that most beautiful of the goddesses, his mother Venus. Leanders description is even more extreme, and perhaps a bit bizarre. He is described as so attractive that even men find him beautiful. Marlowe shows his extreme handsomeness as feminine. Some swore he was a maid in mans attire (line 85). Later, Marlowe describes him, however, in great detail, with a muscular, masculine figure. This feminization of Leanders beauty was a Renaissance poetic convention. There was a limited vocabulary, at this time, for male attractiveness, and a feminine description was sometimes deemed necessary even when the subject was, perhaps, not as androgynous as it might seem. We will write a custom essay sample on Who ever loved that loved not at first sight ? or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page However, in this case the homoerotic undertones of Leanders beauty are a foreshadowing of a future event in the poem. The two lovers live on either side of the Hellespont (the strait which joins the Black Sea and the Aegean.) Hero lives in Sestos, where she is a virgin priestess of the goddess. Her duties are to sacrifice to Venus, and to remain sexually pure. She has aroused, it appears, a dangerous desire for her beauty in her many suitors. Her kirtle blue, whereon was many a stain/Made with the blood of wretched lovers slain (lines 15-16). We see her first, in a sacred grove, sacrificing turtle doves to the goddess. The long-haired Leander lives across the water in Abydos. During the yearly festival to Adonis (one of Venus lovers) in Sestos, Leander and Hero first meet. After Leander has seen and fallen in love with Hero, Hero is subsequently shot with an arrow of love by the god Cupid. The two meet and speak of their prodigious attraction, but Hero has made a vow to the goddess Venus, no less, to keep her chastity. Though Leander uses clever-sounding rhetoric to assure Hero that remaining a virgin is no way to serve her goddess (or herself), Vessels of brass, oft handled, brightly shine (line 232), Hero demurs and returns to her tower. Leander is afraid of being missed, and goes home across the water to Abydos. There, his father can tell by his face that he has fallen in love. Leander flees and goes to stand upon the rocks, gazing across the water at Heros tower. He cannot bear to be parted from Hero any longer, so he takes off his clothes and dives into the water to swim back to her. While Leander is swimming, the sea-god Neptune sees him and mistakes him for another famously handsome youth – the king of the gods Zeuss cupbearer Ganymede. Neptune has long coveted this young man, and takes this as an opportunity to steal him from his brother-god. He captures Leander and takes him down to his palace in the deep. Descriptions of sea-nymphs and mermaids, and the wealth under the oceans, ensue. Once Neptune realizes that Leander is almost drowned, and therefore cannot be Ganymede (who was made immortal by Zeus), the god brings Leander back to the surface. Breathing air again, Leander begins to swim toward Sestos, but Neptune follows underneath him, kissing and caressing him at every stroke. Leander is frightened by this and cries out O let me visit Hero ere I die! (line 661) Neptune will not relent, and continues caressing him and talking of love. Once again Leanders sexual ambiguity is brought up – he tells Neptune he is no woman. Neptune at last sees that Leander will not give into him, and sadly lets him go. Leander reaches Heros tower, and knocks on her door. Hero is surprised to find Leander standing there, dripping wet and  naked. She brings him inside, and since he is cold she lets him lie next to her in bed. They engage in amorous embraces, but Hero, mindful of the value of her sacred chastity, attempts to hold Leander off for a time. Eventually they are overcome by their feelings, and, though they are both a little unsure of how to proceed, they consummate their love. The poem ends as morning dawns. Analysis Hero and Leander is a poem – an epyllion, that is, a short epic poem – which Marlowe composed based on work by the sixth-century poet Musaeus. The story, of course, is much older, based on various versions of a Greek myth. The narrative itself is one of iconic separated lovers, a tale full of Roman mythological references which would have been clear and meaningful to most of Marlowes readers. This poem was written in the last year of Marlowes life, 1593. It was a plague year, and the London theatres all were closed. Therefore Marlowe could not write for the stage, and poetry was his creative outlet. For a poem written in such a dark time, and about such a tragic subject (although the lovers end is actually not shown to us by Marlowe), Marlowes tone is surprisingly light, and the lines are full of a love of humanity and a wonder at the beauty of the world. Particularly the descriptions of Leander and Hero, and the vivid picture of the underwater kingdom of Neptune, are vivid and compelling. The poem has been termed mock-epic because it is so full of humor. Hopkins calls it one of the most deliciously comic poems of Elizabethan literature (literaryencyclopedia.com). Marlowes poem is thought to be unfinished, because the story of Musaeus goes on to tell of the lovers tragic demise. It is possible that Marlowe meant to continue the story (for he introduces characters who are not mentioned again – such as the dwarfish beldame (line 351) and Leanders father), but, in the absence of evidence to the contrary, it is just as likely that Marlowe meant never to continue this poem any further. Since the poems tone is so light and full of humor, it is hard to imagine the subject matter changing so drastically from the joy of young lovers to their deaths. However, Marlowe had already proved that he was capable of writing compellingly about the full range of emotions, so he could have intended to finish the story. The poem as it stands, however, can be judged as a complete work of art. George Chapman divided Marlowes lines,  later, in to two sestiads, and composed an additional four to finish the story. Those lines, however, are Chapmans, and differ greatly from Marlowes original work. They are not considered here. The insistence of Leanders feminine beauty, not once but twice in this poem, is seen by some critics as evidence of Marlowes homosexuality. It may well be, but this convention of the allure young men have for other men is evident in the original story, not invented Marlowe. The classical world was much more accustomed to references to homosexuality than the Elizabethan Christian world of Marlowe. He delights in it, however, lingering lovingly on descriptions of Leander (a full forty lines on Leanders description alone, compared with forty-five on Hero, though her description is as much about her dress as her person) and his attractiveness. The importance placed on Leanders attractiveness, however, is more than is usual in poems of this type. It is easy to see how Marlowe may have been putting some of his own feelings into the poem. On the negative side, the courtship of Leander by Neptune is both explicit and disturbing, because Leander is frightened, does not desire the attention, and doesnt exactly know what is happening. He is nearly drowned, and cannot imagine what this god would want from him. Leander shows his sexual ignorance by insisting that he is not a woman. This is not the only instance of his extreme naivetà ©; later, Leander he does not understand what it to be done to consummate his relationship with Hero. This extreme sexual innocence is common in classical poems (such as Daphnis and Chloe) and was considered by the Romans especially to be an interesting subject for a love-poem. This is not a common theme in Elizabethan poetry, so Marlowe took this from Musaeus. The joyous meeting and reunion of the lovers is love-poetry of a particularly effective kind. The emphasis is on the looks in the eyes of the lovers, the words they speak, the embraces they attempt. The realistic touches (such as Leander attempting, by sophistry, to convince Hero to sleep with him) are charming, and remind the reader that these two are not simply iconic lovers from the distant past. Hero and Leander are compelling because their reactions (even the less-than-truthful words of Hero, as she attempts to hold off Leander) are innocent and based on universal human emotions. Marlowe took a story from Greek myths intact, but made the characters believable to an Elizabethan audience. Who ever loved that loved not at first sight free essay sample Who ever loved that loved not at first sight? This poem starts with the description of the young lovers: the incomparably lovely virgin, Hero, dedicated to the service of the love goddess – she is Venus nun(line 45) and the handsome Leander. Both young people are described as having more than human beauty. Hero is so beautiful that the love-god Cupid mistakes her for that most beautiful of the goddesses, his mother Venus. Leanders description is even more extreme, and perhaps a bit bizarre. He is described as so attractive that even men find him beautiful. Marlowe shows his extreme handsomeness as feminine. Some swore he was a maid in mans attire (line 85). Later, Marlowe describes him, however, in great detail, with a muscular, masculine figure. This feminization of Leanders beauty was a Renaissance poetic convention. There was a limited vocabulary, at this time, for male attractiveness, and a feminine description was sometimes deemed necessary even when the subject was, per haps, not as androgynous as it might seem. We will write a custom essay sample on Who ever loved that loved not at first sight ? or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page However, in this case the homoerotic undertones of Leanders beauty are a foreshadowing of a future event in the poem. The two lovers live on either side of the Hellespont (the strait which joins the Black Sea and the Aegean.) Hero lives in Sestos, where she is a virgin priestess of the goddess. Her duties are to sacrifice to Venus, and to remain sexually pure. She has aroused, it appears, a dangerous desire for her beauty in her many suitors. Her kirtle blue, whereon was many a stain/Made with the blood of wretched lovers slain (lines 15-16). We see her first, in a sacred grove, sacrificing turtle doves to the goddess. The long-haired Leander lives across the water in Abydos. During the yearly festival to Adonis (one of Venus lovers) in Sestos, Leander and Hero first meet. Marlowe described it with a memorable ten lines, which is often extracted from the longer poem as its own, stand-alone love-poem. Note the familiar sentiment about love at first sight; Shakespeare used something similar in Act 3 Scene V of As You Like It: It lies not win our power to love or hate, For will in us is overruled by fate. When two are stripped, long ere the course begin We wish that one should lose, the other win. And one especially do we affect Of two gold ingots like in each respect. The reason no man knows; let it suffice What we behold is censured by our eyes. Where both deliberate, the love is slight: Whoever loved that loved not at first sight? After Leander has seen and fallen in love with Hero, Hero is subsequently shot with an arrow of love by the god Cupid. The two meet and speak of their prodigious attraction, but Hero has made a vow to the goddess Venus, no less, to keep her chastity. Though Leander uses clever-sounding rhetoric to assure Hero that remaining a virgin is no way to serve her goddess (or herself), Vessels of brass, oft handled, brightly shine (line 232), Hero demurs and returns to her tower. Leander is afraid of being missed, and goes home across the water to Abydos. There, his father can tell by his face that he has fallen in love. Leander flees and goes to stand upon the rocks, gazing across the water at Heros tower. He cannot bear to be parted from Hero any longer, so he takes off his clothes and dives into the water to swim back to her. While Leander is swimming, the sea-god Neptune sees him and mistakes him for another famously handsome youth – the king of the gods Zeuss cupbearer Ganymede. Neptune has long coveted this young man, and takes this as an opportunity to steal him from his brother-god. He captures Leander and takes him down to his palace in the deep. Descriptions of sea-nymphs and mermaids, and the wealth under the oceans, ensue. Once Neptune realizes that Leander is almost drowned, and therefore cannot be Ganymede (who was made immortal by Zeus), the god brings Leander back to the surface. Breathing air again, Leander begins to swim toward Sestos , but Neptune follows underneath him, kissing and caressing him at every stroke. Leander is frightened by this and cries out O let me visit Hero ere I die! (line 661) Neptune will not relent, and continues caressing him and talking of love. Once again Leanders sexual ambiguity is brought up – he tells Neptune he is no woman. Neptune at last sees that Leander will not give into him, and sadly lets him go. Leander reaches Heros tower, and knocks on her door. Hero is surprised to find Leander standing there, dripping wet and naked. She brings him inside, and since he is cold she lets him lie next to her in bed. They engage in amorous embraces, but Hero, mindful of the value of her sacred chastity, attempts to hold Leander off for a time. Eventually they are overcome by their feelings, and, though they are both a little unsure of how to proceed, they consummate their love. The poem ends as morning dawns. Analysis Hero and Leander is a poem – an epyllion, that is, a short epic poem – which Marlowe composed based on work by the sixth-century poet Musaeus. The story, of course, is much older, based on various versions of a Greek myth. The narrative itself is one of iconic separated lovers, a tale full of Roman mythological references which would have been clear and meaningful to most of Marlowes readers. This poem was written in the last year of Marlowes life, 1593. It was a plague year, and the London theatres all were closed. Therefore Marlowe could not write for the stage, and poetry was his creative outlet. For a poem written in such a dark time, and about such a tragic subject (although the lovers end is actually not shown to us by Marlowe), Marlowes tone is surprisingly light, and the lines are full of a love of humanity and a wonder at the beauty of the world. Particularly the descriptions of Leander and Hero, and the vivid picture of the underwater kingdom of Neptune, are vivid and compelling. The poem has been termed mock-epic because it is so full of humor. Hopkins calls it one of the most deliciously comic poems of Elizabethan literature (literaryencyclopedia.com). Marlowes poem is thought to be unfinished, because the story of Musaeus goes on to tell of the lovers tragic demise. It is possible that Marlowe meant to continue the story (for he introduces characters who are not mentioned again – such as the dwarfish beldame (line 351) and Leanders father), but, in the absence of evidence to the contrary, it is just as likely that Marlowe meant never to continue this poem any further. Since the poems tone is so light and full of humor, it is hard to imagine the subject matter changing so drastically from the joy of young lovers to their deaths. However, Marlowe had already proved that he was capable of writing compellingly about the full range of emotions, so he could have intended to finish the story. The poem as it stands, however, can be judged as a complete work of art. George Chapman divided Marlowes lines, later, in to two sestiads, and composed an additional four to finish the story. Those lines, however, are Chapmans, and differ greatly from Marlowes original work. They are not considered here. The insistence of Leanders feminine beauty, not once but twice in this poem, is seen by some critics as evidence of Marlowes homosexuality. It may well be, but this convention of the allure young men have for other men is evident in the original story, not invented Marlowe. The classical world was much more accustomed to references to homosexuality than the Elizabethan Christian world of Marlowe. He delights in it, however, lingering lovingly on descriptions of Leander (a full forty lines on Leanders description alone, compared with forty-five on Hero, though her description is as much about her dress as her person) and his attractiveness. The importance placed on Leanders attractiveness, however, is more than is usual in poems of this type. It is easy to see how Marlowe may have been putting some of his own feelings into the poem. On the negative side, the courtship of Leander by Neptune is both explicit and disturbing, because Leander is frightened, does not desire the attention, and doesnt exactly know what is happening. He is nearly drowned, and cannot imagine what this god would want from him. Leander shows his sexual ignorance by insisting that he is not a woman. This is not the only instance of his extreme naivetà ©; later, Leander he does not understand what it to be done to consummate his relationship with Hero. This extreme sexual innocence is common in classical poems (such as Daphnis and Chloe) and was considered by the Romans especially to be an interesting subject for a love-poem. This is not a common theme in Elizabethan poetry, so Marlowe took this from Musaeus. The joyous meeting and reunion of the lovers is love-poetry of a particularly effective kind. The emphasis is on the looks in the eyes of the lovers, the words they speak, the embraces they attempt. The realistic touches (such as Leander attempting, by sophistry, to convince Hero to sleep with him) are charming, and remind the reader that these two are not simply iconic lovers from the distant past. Hero and Leander are compelling because their reactions (even the less-than-truthful words of Hero, as she attempts to hold off Leander) are innocent and based on universal human emotions. Marlowe took a story from Greek myths intact, but made the characters believable to an Elizabethan audience.

President Harding essays

President Harding essays The two former presidents Warren G. Harding and Calvin Coolige were alike in some ways and different in others. President Harding was a news paper owner from Ohio. He was chosen as the Rep. candidate after serving as an Ohio senator. Calvin Coolige was the Vice-president at the time of Warren Harding's death. Coolige fished the rest of Harding's term and then was re-elected. President Coolige followed Harding's policies when finishing his term, but after re-election he began to make some of his own. Harding focused on trying to settle the nation back into peace. He tried to ensure this peace by making treaties and disarmament acts. Harding also tried to lower taxes, take care of war veterans, protect farmers, and collect wartime debts owed to the U.S. . However Harding was not prepared to face the huge problems of the presidency. He made the mistake of appointing some of his Ohio friends to high ranking positions. The men he appointed were involved in many scandals and money stealing. Calvin Coolige like Harding was an admirer of American business. They both believed that business should mainly be left alone without government interference. Coolige especially believed business would be less profitable with more regulation. He also believed, unlike Harding, that nothing could be done to help the U.S. farmers. Coolige vetoed many bills designed to help farmers, like the McNary-Haugen bill, by saying "Farmers have never made much money and I don't believe we can do much about it" . These two presidents were also very different when it came to their personalities. Harding was laid back and likable, always playing cards with his friends and smoking cigars. Coolige, on the other hand, was very quite plain and thrifty. He said very little, earning him the nickname "Silent Cal." These two presidents were more different than alike. They shared only a few views and had very differ...

Poverty in the USA Research Paper Example | Topics and Well Written Essays - 750 words - 1

Poverty in the USA - Research Paper Example For a person to get a satisfying job, he/she needs to have the quality education (Kotler, 12). Most students leave school due to diverse reasons such as early pregnancies or drugs; hence, cannot find a rewarding job. Monetary instability causes low quality or no education at all. Many youths desire to advance their education and acquire rewarding jobs. Unfortunately, their parents and guardians are unable to pay their fees; thus they have to abandon school to secure jobs and help their parents pay debts. Â  Therefore, they create a cycle that never ends, that is from uneducated parent to an uneducated child. American citizens’ faces poverty since they can not grant the manpower needed to ensure a boost in the country’s economy. Majority of the developing states globally lives in destitute scarcity. The wealthy states such as America are a source of refuge to the growing states. They are perceived as ‘lands of opportunities’. America is one such country, of ten referred to as the world’s superpower nation because of her stable economic. This makes it a niche for citizens of developing countries to scramble for employment possibility from its citizens and illegal immigrants. Since the immigrants can settle for any amount of money they are mostly offered jobs, unlike the Americans. The immigrants can work for the extra time, and do multiple jobs. For this reason, they further deny employment opportunities to the citizens who meanwhile, are fighting with the youths for menial jobs.

Preliminary Trial Balance of Wilma Wildcats Company Assignment - 1

Preliminary Trial Balance of Wilma Wildcats Company - Assignment Example The annual interest rate is 8%. 2. The Equipment was purchased prior to 2010. The company uses the straight-line method, assumed a $2,000 salvage value and an estimated useful life of 15 years. Record depreciation expense for 2010. 3. The company issued a $175,000 bond in a prior year at face value. The bond has a contract rate of 9% and pays interest annually on January 1st. Record the adjusting entry for the accrued interest expense on December 31st. 4. The company uses the allowance method to estimate its uncollectible accounts. The new Chief Financial Officer (CFO) decided to use the percent of receivables method and estimated that 10% of Accounts Receivables at December 31, 2010, will be uncollectible. Record the adjusting entry for bad debt expense for 2010. 6. Employees were last paid on December 24, 2010. Several employees worked through December 31st and wages due but not yet paid were $4,200. An adjusting entry needs to be recorded to reflect this liability. Use the space below for T-accounts (REQUIRED FOR GRADING). For each account in the journal entries, you will need to adjust the balance from the preliminary trial balance with the debit or credit from the journal entry. (only need to do T-accounts for those that change) Part 2: Using the trial balance below, complete the income statement and prepare the Statement of Retained Earnings and Classified Balance Sheet on the pages which follow.  

Investment Strategies Order Number Essay Example for Free

Investment Strategies Order Number Essay There are many methods an investor can use to determine if a stock is a good buy or not. Three indicators often used to assess the risk of a security are beta, alpha and the Sharpe ratio. One of the most popular measures of risk associated with a security is its beta. Beta is a measure of a stock’s volatility in relation to the market as a whole. The market is given a beta of 1. 0 and individual stocks are ranked according to how much they deviate from the market’s beta. Stocks with a beta of less than 1. 0 are considered less volatile than the market and, therefore, pose less risk. Stocks that have betas higher than 1. 0 are considered more volatile than the market and, therefore, pose more risk. All things being equal, an investor would expect to see higher returns on a stock with a beta higher than the market than one with a beta lower than the market. (1) Beta is also a key component for the capital asset pricing model (CAPM). The original CAPM defined risk in terms of volatility, as measured by a stock’s beta coefficient. The formula is: Kc = Rf + beta Km – Rf) where Kc is the risk-adjusted discount rate (also known as the cost of capital) Rf is the rate of a â€Å"risk free† investment, i. e. ten-year treasury bill Km is the return rate of a market benchmark, such as the SP 500 Kc is the expected rate of return you would require before you would be interested in a particular stock at a particular price. The CAPM expresses the amount of risk a particular stock has and gives an investor an idea of the expected returns he should expect given a certain level of risk. The more risky a stock is the higher the level of returns an investor would expect for that particular stock. (2) A stock’s alpha is a mathematical estimate of the amount of return expected from a stock’s inherent values, such as the rate of growth of in earnings per share, management strengths or other factors, as opposed to general market conditions. Stocks with an alpha greater than 1. 0 can be expected to outperform the market regardless of what happens to the market as a whole. (3) The Sharpe ratio helps investors determine the best possible proportion of securities to use in a portfolio that can also include cash. The formula for the Sharpe ratio is: S(x) = (Rx – Rf) / StdDev(x) where x is some investment Rx is the average annual rate of return of x Rf is the best possible rate of return of a â€Å"risk free† security (i. e. cash) StdDev is the standard deviation of Rx The Sharpe ratio is a direct measure of reward-to-risk. In other words, the Sharpe ratio is used to characterize how well the return of an asset compensates the investor for the risk taken. (4) Although beta, alpha and the Sharpe ratio are useful for an investor to gauge the risk of a security or portfolio of securities there are also other methods an investor can use to determine whether a security is a good investment or not. The two most common methods used to determine the investment potential of a security are fundamental analysis and technical analysis. Fundamental analysis is the process of looking at a business from its financial statements. This type of analysis typically looks at various ratios of the business to determine its financial health. The goal of fundamental analysis is determine the current worth of a stock and how the market values the stock. (5) Probably the most two important factors looked at in fundamental analysis are a company’s earnings and revenue growth. Investors like to see earnings and revenue increasing by at least 25% for each of the last three quarters and year-to-date. Return on equity (ROE) is also a major fundamental factor. ROE reveals how much profit a company earned in comparison to the total amount of shareholder equity found on the balance sheet. (6) The higher a company’s ROE compared to its industry the better. Investors typically look for an ROE of at least 17%. Technical analysis is a method of evaluating stocks by relying on the assumption that market data, such as charts of price, volume and open interest can help predict future market trends. (7) Investors using technical analysis typically look for trends in chart data and use a variety of technical indicators, such as moving averages, Bollinger bands, fast and slow stochastics, MACD, and RSI to determine the right buy point for a stock. More sophisticated investors use a combination of fundamental analysis and technical analysis to determine whether a stock is a good buy or not. They use fundamental analysis to make sure a company is healthy from a financial standpoint and is a leader in its industry. Once determining a stock is healthy from a fundamental standpoint, these investors will use technical analysis to determine the correct buy point for a stock. A stock’s chart will show the investor how the stock is actually performing in the market and whether it is rising out of a good base or is overbought based on how far its current price is from its 50 day moving average. If a stock’s price is 30% or more above its 50 day moving average, the risk that it will fall into a correction is greater. References: (1) http://www. investopedia. com/articles/stocks/04/113004. asp Beta: Know the Risk (2) http://www. moneychimp. com/articles/valuation/capm. htm CAPM Calculator (3) http://www. allbusiness. com/glossaries/alpha/4943389-1. html Business Definition for Alpha (4) http://www. moneychimp. com/articles/risk/sharpe_ratio. htm The Sharpe Ratio (5) http://stocks. about. com/od/evaluatingstocks/a/Fundanatools1. htm Tools of Fundamental Analysis (6) http://beginnersinvest. about. com/cs/investinglessons/l/blreturnequity. htm Return on Equity (ROE) (7) http://www. investorwords. com/4925/technical_analysis. html Technical Analysis

Thomas Hardys The Sons Veto, Graham Greenes The Basement Room and al

Thomas Hardy's The Son's Veto, Graham Greene's The Basement Room and alan Sillitoe's Uncle Ernest In each of the three stories, 'The Son's Veto' by Thomas Hardy, 'The Basement Room' by Graham Green and 'Uncle Ernest' by Alan Silitoe, the respective writer conveys a sense of isolation regarding the central character. There are numerous similarities between the characters based on their common plight, but each story differs in the portrayal of these characters. The writer's effectively present the characters using a varying range of literary styles. In 'The Son's Veto' the disabled Sophy is denied happiness from not fitting in to a higher social class. Graham Green in 'The Basement Room' employs a surreal situation to demonstrate the vulnerability and naiveity of youth. 'Uncle Ernest' is a story, which adopts a dreary approach to Ernest's life. The opening descriptions of the three characters are very effective and induce stereotypical views. This applies to Ernest especially in 'Uncle Ernest' as we first hear of him wearing a "dirty raincoat" and looking as though he "hadn't washed for a month". These observations imply that Ernest is homeless and the use of "dirty" further emphasize the fact that something is wrong in his life. Sophy also stands out from everyone else in 'The Son's Veto' but for different reasons to Ernest. Hardy creates Sophy's character to be misplaced in society, as she is a "young invalid lady" and wheel chair bound. In contrast to this her "nut brown hair was a wonder and a mystery". Her hair is used to make reference to her history suggesting a mysterious and dark background yet its vibrancy allowed her to maintain a part of her character. The wheel chair depicts isolation espe... ...he war. The reader is overwhelmed with sympathy for Ernest, as nothing ever seems to result in happiness for him. Our sympathies lie with all three characters as their isolation has been conveyed to the reader effectively by each author. Philips loneliness is a result of a troubled up bringing which leaves him mentally scared for life. Sophy and Ernest on the other hand are similar to each other and unlike Philip. They both induce a sense of helplessness in the reader after a life of persistent disappointment denies them from any chance of happiness. It becomes almost inevitable that Ernest and Sophy would end up completely isolated as events throughout the stories favor this outcome. On the other hand Philip's situation is different, he is portrayed as a very vulnerable character and it's as if he is prevented from ever having a chance to live a life.

A Consideration of the Role of Feste in Twelfth Night

Shakespeare portrays Feste as a well-drawn, wise, cunning, adaptable character. His character is used in Twelfth Night to reflect on the actions and emotions of the others by keeping himself at a distance from the other characters and not becoming emotionally involved in any of the plots at the beginning of the play. Feste subtly conveys his messages and thoughts through his songs to the audience about the other characters in the play. He reveals in his songs that Orsino is â€Å"roaming† after the wrong love in his pursuit of Olivia. Feste somewhat becomes the narrator of the play by commenting on actions that occur within the play and foreshadowing events. When Feste first enters into the play he has been absent from Olivia's court a long time and must now return into her favour. He does not want to listen to what Maria says to him and using his quick wit manages to answer her. Feste demonstrates his quick wit and ability to juggle words effectively when he says: Let her hang me; he that is well hanged in this world needs to fear no colours. This remark reveals that Feste does not fear Maria's threats and also reveals his intelligence and his philosophical side for he would rather be hanged than be in a war, â€Å"needs fear no colours†. Shakespeare portrays him as a wise man although the Elizabethan audience might consider him a coward and unpatriotic for not wanting to protect and defend his country. Feste carries the stigma of stupidity, which previous fools in literature have inflicted upon all fools but Shakespeare created Feste as an intelligent fool who would change the audience's perception of the role of fools. Shakespeare displays Feste's skill at juggling words as an example of the differences between Feste and other fools as traditionally fools are considered to be ignorant buffoons who are there to entertain using jokes and juggling objects to create amusement. However, Feste displays his insight about the people surrounding him instead while also offering his thoughts about which ruinous condition he would rather be in, â€Å"many a good hanging prevents a bad marriage†. Here he hints that a bad marriage may take place and that death is better than to be unhappy in life. Feste is not loyal to his mistress like Malvolio is to Olivia and Viola is to Orsino for he wanders through the different courts always in search of favour and money. In Orsino's court he sings of love and how it can kill, â€Å"I am slain by a fair cruel maid† man's folly and man's deceitful nature while in Olivia's court he sings to Sir Toby and Sir Andrew he sings more joyful and careless songs but still reflecting on the characters' actions. When he sings the type of song Sir Toby selected he adds on to it when he sees they like it and makes the song relevant to what is happening and sings about what he has seen as an outsider watching the scenes that are happening. Even when he uses music he acts in his capacity as the fool for the house and is secretly wording the advice he would give to certain other characters in the play should he be allowed to tell them. This illustrates his perceptiveness and ability to adapt to any situation no matter what he is supposed to do. Feste's perceptiveness is used as a device to remember what has happened in Twelfth Night without becoming too involved in the play and not seeing the bigger perspective. Sir Andrew is revealed as even more ignorant than Sir Toby has already portrayed him as Feste uses his skills at juggling words to make up new words, which seem real and genuine to Sir Andrew. Feste uses his role as the fool to poke fun at Sir Andrew and sets him up for further humiliation later on because Sir Andrew stores the words Feste uses in his memory and later uses them in any context to try and convince everyone of his intelligence. As Twelfth Night is a play all about foolery and based on the Feast of Fools it is fitting that Feste should make fun of the lesser characters of the play, which somehow make the audience laugh at them as well. Feste is the centre of amusement and merriment in every situation, providing the entertainment for the others and he does this in many ways. Sir Toby enjoys Feste making fun of Sir Andrew and Feste knows this so he does it to please Sir Toby and Sir Andrew being the person he is doesn't realise this and pays Feste as well. Feste demonstrates his cunning in managing to get money out of two people for different reasons. In Act 4 Feste reveals he is ready to become part of the play and take an active role. The others have tricked Malvolio agrees to dress up as Sir Topas, a curate. He thoroughly enjoys his new role as he is making Malvolio madder and without Malvolio in the way he is more important to his mistress, Olivia. In his role as Sir Topas he is more appealing to Sir Toby as Sir Toby hates Malvolio for his puritan-like ways. Feste's disguise convinces Malvolio that Feste is a real curate and Feste undermines his own character being reluctant to join in and always being himself he is now pretending to be something he is not although he is adapting to this new role he is putting on a different face, which he has never done before. Feste reveals one of his flaws through his disguise when he does not know where is a safe place to stop teasing Malvolio and juggling words. In this way he goes over the top with his role and needs someone to keep him in check but has no one to do this for him. Feste's final song seems to be a perfect ending to Twelfth Night. While this song contains many silly words and phrases designed to make people laugh, it does have a serious side to it that suggest that love and marriage are not the only things in life and that there is not always a happy ending. The song goes through the life cycle from a â€Å"little tiny boy† and reverts all the way back around again to when the â€Å"world begun†. It seems to be about Feste's life in particular and his choice to become a fool. He is saying that becoming a fool was his only way to survive because he could not have succeeded any other way. Shakespeare uses Feste as someone to reflect and a way to end the play fittingly. In Twelfth Night, the fools are the ones that control the comedy and humour in the play. They assist in the make believe game and fool around with characters who â€Å"evade reality or rather realize a dream†. This makes Feste a pivotal character in Twelfth Night as without him many other things could have happened and a lot less humour and jokes would have occurred.