Shakespeares Twelfth Night | Analysis

Shakespeares Twelfth Night | Analysis William Shakespeare’s Twelfth Night, is a rich comedy delving into the innate human desire for love. Shakespeare uses these characters merely as vessels for a larger insight into society as a whole. No person wants what they can truly have, but rather, what they cannot. Shakespeare conveys a cryptic portrayal of romance where his characters are masochists and shows how love can blind and act so impulsively to satisfy an innate need. By ending of the play with three weddings Shakes pear sends the comments that love has no boundaries. When the reader is first introduced to Duke Orinso, he is accounting the first time he laid eyes upon the lady Olivia. Through the use of language, the Duke speaks of a love that he wishes he could be full of and die away, â€Å"If music be the food of love, play on Give me excess of it, that, surfeiting The appetite may sicken, and so die† (Act I, I, 1-3). The Dukes case seems to be self indulgent, and gains enjoyment from being overdramatic. From the on set of the play, he gives off the impression that he knows he will never obtain the love of Olivia, but he enjoys wallowing in self pity, and encouraging others to be sympathetic to his situation as well. In a separate speech, the Duke refers to his desires for Olivia as â€Å"my desires, like fell and cruel hounds, Eer since pursue me (Act I, I, 20-24). It seems as though love or romance for him is a game, rather than an emotion to be taken seriously. Throughout the rest of the play, his pursuance of Olivia never ceases, an d at one point the even threatens to kill his own servant Cesario because of Olivia’s mistaken thinking that Cesario was the man she had just married. With that threat from the Duke, this comedy could have potentially been turned to tragedy. The Duke never once elaborates on the finer feelings for Olivia, he merely pines over her in a superficial way, and had Olivia given in to his persistence, the Duke would have gained a trophy wife, just someone pretty to look at. Only when Cesario revels himself as a woman, Viola, does the Duke show the capacity to love someone he has had a deeper relationship with than just looks. With this ends his masochistic ways of loving someone who will never love him back, but it says nothing for the sometimes transparent emotions the Duke has. Another character that falls deeply into a self satisfying love affair is Countess Olivia. Olivia is blinded by love she and ignores the evidence that points to Cesario as actually not being whom he says he is, and over looks the possibility that Cesario might be a female despite his lack of masculine features. Olivia justifies his feminine features as a eunuch and is will to fall in love with Cesario. Olivia decision to fall in love with a eunuch despite knowing she won’t be able to have children enforces shows how that she is willing to cross the boundaries of society for true love. She describes love as something that comes upon her unexpectedly and out of nowhere, â€Å"Not too fast; soft, soft unless the masters were the man. How now? Even so quickly may one catch the plague? (Act I, V .282 -284). Through the next few acts she schemes to obtain the love of Cesario, a measly servant rather than giving her love to the Duke or Sir Andrew to retain the power she has being the woman of the house. It is hard to take the character of Olivia seriously when we first find her in such despair that she doesn’t want to be seen by any man other than her servant Malvolio and her uncle, then in an instant she can turn to giving her love away to a younger, lower class servant that she barely knows. Shakespeare’s creativity of the foil between the sayings â€Å"loves is blind† and Sebastian’s mistaken disguise as being Cesario, Olivia disregards Sebastian comments about being a stranger ignoring him and insisting that he is the man she fell in love with â€Å"So comes it, lady, you have been mistook But nature to her bias drew in that. You would have been contracted to a maid Nor are you therein, by my life, deceived, You are betrothd both to a maid and man† Act (V, I, 2460). The feeling of true love is so strong with in Olivia that she is will to accept a complete stranger to fill him that gap that true love meant. When Viola raveled herself, the reaction of Olivia is very calm for she has married the disguise that she has fallen in love with. Olivia crosses the boundary of basic society values of getting to know some one before marry that person. In the end of the play, both Olivia and Orinso end up happy, but this is mainly because they marry the m an and woman versions of the same person. Viola who was only trying to find refuge from a shipwrecked, disguises herself as a young boy. Viola is left alone and must look to her own resourcefulness to secure her safety. Conceal me what I am, and be my aid/ for such disguise as haply shall become/ the form of my intent. I’ll serve this duke (Act I, II, 49-51). Violas disguise soon turns into a dilemma, while falling in love with Orsino; she innocently becomes the object of affection of Olivia, the woman she is suppose to help fall in love with Orsino. Orsino looks past the disguise of Cesario and falls in love with Viola regardless of her depictions. When Orsino learns that Cesario is really Viola his actions are surprising. Orsino gives no second thought to the fact that he has fallen in love with a woman while she was disguised as a man. Viola crosses the boundary deception in taking on a disguise to make the Duke fall in love with her. Maria and Sir Toby’s wedding at the end of the play was very surprising. Sir Toby who is a drunk and has a bit of noble blood falls in love With Olivia’s maid Maria. Sir Toby love for Maria is not because she is beautiful or very attractive but because of her cleverness in handling the hoax on Malvolio â€Å"I could marry this wench for this device.† Act (II, IV, 1208). Sir Toby is willing to cross to boundary of social class by marring Maria who happens to be beneath him in society. In conclusion in Twelfth Night Shakespeares commentary on love and romance is that most times it is transparent, that people have their own agendas for their feelings, whether it be beauty, power, or social advancement. None of these characters actually had the true feeling of love, but all were melodramatic and flailed around like they had found the loves of their lives, their missing half. The Bait, John Donne Analysis |The Passionate Shepherd to His Love, Marlowe Analysis The Bait, John Donne Analysis |The Passionate Shepherd to His Love, Marlowe Analysis In The Passionate Shepherd to His Love and The Bait the reader finds two contrasting images of the world. Marlowe paints the world as a utopian society withought any worries or dangers. The shepherd and the lover he is seeking in his quest have no responsibilities in life other than to enjoy life to it fullest. In describing the pleasures which the couple can enjoy in the countryside, Marlowe fails to include the manner in which the shepherd obtains those pleasures and omits any of the negative possibilities which may accompany them. The shepherd tells the female that they will sit upon the rocks/And see the shepherds feed their flocks (5/6), but he does not mention the responsibilities associated with owning flocks of sheep and protecting them from danger. The beds of roses (9) that the shepherd offers to his love will, more than likely, contain thorns and will be a rather uncomfortable place to lie . To obtain the gown made of the finest wool (13) is not an easy task for the shephe rd because he will need to shear a lamb which involves a great deal of hard work. The shepherds courtship in Marlowes poem is the impractical dream of a lover who wants to satisfy his desire without giving any thought to the responsibilities of life in the real world. Marlowe creates a pretty picture of the world, but it is far from the reality of the world lived in by a shepherd. While Marlowes poem takes place in an somewhat imaginary world, Donnes poem portrays a more cynical and realistic image of the world. The characters in Donnes poem live in a world filled with real dangers and the possibility of death. In describing the pleasures used to tempt the lover, Donne includes the negative side of those pleasures. The golden sands, and crystal brooks (3) which are offered may be beautiful, but they do contain silken lines, and silver hooks(4) which can be deadly. When Donne writes about letting others freeze with angling reeds,/and cut their legs with shells and weeds (17-18), it is clear that other fish are struggling and are in danger of getting harmed in their quest for love. Strangling snare, or windowy net( 20) is a further example of the real dangers present for the fish in Donnes portrayal of the world. The world in this poem is more practical than the world described in Marlowes poem; it gives thought to many of the real dangers in life. Donne creates a picture of the world that is actually close to the reality of a life lead by a fish being lured by bait. The concept of romance portrayed in the two poems differs a great deal. Marlowes poem expresses an overly optimistic view of romance. He presents romance as both beautiful and unselfish, and captures the bliss of a natural and undemanding love. The shepherd tells the lady that if she will only, Come live with me and be my Love (1), he will give her delight after delight. He promises that she will be dressed in the finest luxuries Fair lined slippers for the cold, With buckles of the purest gold (15/16) and will eat her meals from silver dishes (21). Never, in this poem, does Marlowe acknowledge any of the negative aspects that are hidden in his idea of romance. He fails to mention that he is not offering her marriage nor any suggestion that they will establish a future together. The concept of romance presented in this poem is one without any true commitment and offers only the pleasures of the moment. Marlowes view of romance captures the joys of a simple and uncomplicated romance t hat is free of obligation. Romantic love in Donnes poem is expressed as a more cynical experience. Although the first stanzas of the poem represent a romantic world, the remainder of the poem seems to be mocking the existence of such genuine romantic relationships. Donne seems to be warning men about the dangers of women and of falling in love. The imagery in Or treacherously poor fish beset/With strangling snare, or windowy net (19-20) illustrates a mans loss of his ability to move and be free in his search of romance. It further conveys the idea that perhaps a woman is not as totally wonderful as man may believe, and that it is the woman who is in control of the romance Each fish, which every channel hath,/Will amorously to thee swim,/Gladder to catch thee, than thou him (10-13). The concept of romanic love portrayed in this poem is one of warning regarding the commitments and dangers that romance can hold. Donnes view of romance clearly captures the difficulties and complications that can be involved in rom ance. The mood conveyed in these poems is distinctly different. Marlowes poem represents a mood that is carefree and light, and Donnes represents one that is dark and much more serious. In Marlowes poem, the pastoral scene creates an atmosphere of peace and tranquility. The blissful description of romance creates an enchanting feeling that makes the mood of the poem appear magical. The treasures the shepherd offers to his love appeal to the senses and are among the most beautiful and luxurious that nature hills and valleys, dale and field, and all that craggy mountains yield. (3/4) and man have to offer. The animated and cheerful vision that is created when the shepherd tells the woman that the shepherd swains shall dance and sing (25) if she will accept the gifts he offers conveys a mood that is enjoyable and merry. The happiness and promising mood of Marlowes poem is in direct contrast to the darker and dangerous mood of Donnes poem. In Donnes poem, the mood is dark and the characters exist in an environment that is full of uncertainty and laced with danger. The pastoral scene of Marlowes poem is replaced with the chaotic world of fish and bait together in the water. His skeptical description of romance creates a sense of caution which fills the poem with a mood of fear and apprehension. As the fish are completely captivated by the woman, they are willing to betray each other in order to gain her love. This willingness to betray each other plants an air of deceit into the mood of the poem. Fear of being captured Gladder to catch thee, than thou him (12) suggests a mood of anxiety in that the man wants to enjoy the bait, but does not want to be snared by it. The possibility of the fish being caught by the bait also introduces the probability of death to the poem and furthers its gloomy mood in that the fish freeze with angling reeds (17) or are unable to move due to the strangling snare, or windowy net (20). The d ark mood created in this poem is significantly different from the bright mood of Marlowes poem. My opinion that Donnes poem is written as a response to Marlowes poem is based on the significant differences present in the themes of the poets portrayals of the world, their views of romance, and the moods they set in their poems. Donnes realistic interpretation of the world is in direct contrast to the idealistic world portrayed by Marlowe. In Donnes poem, it is suggested that romance is not all joy and bliss, but is serious and can be perilous. Donnes troubled and dark poem was written in response to Marlows light and happy poem. These theme differences in the description of the world, the concept of romance, and the mood of the poems lead me to believe that Donnes poem was written as a response to the poem of Marlowe. This makes me feel that future poets will respond to both of theses poems with their own views.

Night World : Dark Angel Chapter 12

Yes,† Gillian said simply. Her heart rate had picked up a little, but with anticipation rather than fear. Angel was looking very mysterious. He struck a looking-into-the-distance pose, then said, â€Å"Have you ever had the feeling that you don't really know reality?† â€Å"Frequently,† Gillian said dryly. â€Å"Ever since I met you.† He grinned. â€Å"I mean even before that. Someone wrote about the ‘inconsolable secret' that's in each of us. The desire for our own far-off country, for something we've never actually experienced. About how we all long ‘to bridge some chasm that yawns between us and reality †¦ to be reunited with something in the universe from which we now feel cut off†¦' â€Å" Gillian sat bolt upright. â€Å"Yes. I never heard anybody say it that well before. About the chasm- you always feel that there's something else, somewhere, and that you're being left out. I thought it was something the popular people would be in on-but it hasn't got anything to do with them at all.† â€Å"As if the world has some secret, if you could only get on the inside.† â€Å"Yes. Yes.† She looked at him in fascination. â€Å"This is about being a witch, isn't it? You're saying that I've always felt that way because it's true. Because for me there is a different reality†¦Ã¢â‚¬  â€Å"Nah.† Angel grimaced. â€Å"Actually everybody feels exactly the same. Doesn't mean a thing.† Gillian collapsed. â€Å"What?† â€Å"For them. For them, there is no secret place. As for you†¦ well, it's not what you're thinking; it's not some higher reality of astral planes or anything. It's as real as those socks. As real as that girl, Melusine, in the store in Woodbridge. And it's where you were meant to be. A place where you'll be welcomed into the heart of things.† Gillian's heart was racing wildly. â€Å"Where is it?† â€Å"It's called the Night World.† Gray-blue shadows were gliding up the hills. Gillian drove in the twilight, heading toward the darkness in the east. â€Å"Explain again,† she said, and she said it out loud, even though she couldn't see Angel. There was a slight disturbance of air above the seat to her right, a hint of mist, but that was all. â€Å"You're saying it's not just witches.† â€Å"Not by a long shot. Witches are just one race; there are all sorts of other creatures of the night. All the sorts that you've been taught to think are legends.† â€Å"And they're real. And they're just living alongside normal humans. And they always have been.† â€Å"Yes. But it's easy, you see. They look like humans, at least at first glance. As much as you look like a human.† â€Å"But I am a human. I mean, mostly, right? My great-grandma was a witch, but she married a human and so did my grandma and my mom. So I'm all †¦ diluted.† â€Å"It doesn't matter to them. You can claim witch blood. And your powers are beyond dispute. Trust me, they'll welcome you.† â€Å"Besides, I've got you,† Gillian said cheerfully. â€Å"I mean, ordinary humans don't have their own invisible guardians, do they?† â€Å"Well.† Angel seemed to coalesce dimly beside her. From what she could see of his face, he was frowning. â€Å"You can't actually tell them about me. Don't ask why; I'm not allowed to explain. But I'll be with you, the way I always am. I'll help you out with what to say. Don't worry; you'll do fine.† Gillian wasn't worried. She felt steeped in mystery and a sort of forbidden excitement. The whole world seemed magical and unfamiliar. Even the snow looked different, blue and almost phosphorescent. As Gillian drove through rolling farmlands, a glow appeared above the eastern hills, and then the full moon rose, huge and throbbing with light. Deeper and deeper, she thought. She seemed to have left everything ordinary behind and to be sliding more and more quickly into an enchanted place where anything-anything at all-could happen. She wouldn't have been surprised if Angel had directed her to pull off into some snowy clearing and look for a fairy ring. But when he said, â€Å"Turn here,† it was at a main road that led to the straggling outskirts of a town. â€Å"Where are we?† â€Å"Sterback. Little hole-in-the-wall place-except for where we're going. Stop here.† â€Å"Here† was a nondescript building, which looked as if it had originally been Victorian. It wasn't in very good repair. Gillian got out and looked at the moon shining on the windows. The building might have been a lodge. It was set apart from the rest of the dark and silent town. A wind had started up and she shivered. (Uh, it doesn't look like anybody's in there.) (Go to the door.) Angel's voice in her mind was comforting, as always. There was no sign at the door, nothing to indicate that this was a public building. But the stained glass window above the door was faintly illuminated from the inside. The pattern seemed to be a flower. A black iris. (The Black Iris is the name of this place. It's a dub-) Angel was interrupted by a sudden explosion. That was Gillian's impression. For the first instant she had no idea what it was-just a dark shape flying at her and a violent noise-and she almost fell off the porch. Then she realized that the noise was barking. A chained dog was yammering and foaming, trying to get at her. (I'll take care of it.) Angel sounded grim, and an instant later Gillian felt something like a wave in the air. The dog dropped flat as if it had been shot. It rolled its eyes. The porch was dead silent again. Everything was silent. Gillian stood and breathed, feeling adrenaline run through her. But before she could say anything, the door opened behind her. A face looked out of the dimness inside the house. Gillian couldn't make out the features, but she could see the gleam of eyes. â€Å"Who're you?† The voice was slow and flat, not friendly. â€Å"What do you want?† Gillian followed Angel's whispered words. â€Å"I'm Gillian of the Harman clan, and I want in. It's cold out here.† â€Å"A Harman?† â€Å"I'm a Hearth-Woman, a daughter of Hellewise, and if you don't let me in, you stupid werewolf, I'm going to do to you what I did to your cousin there.† She stuck out a gloved finger toward the cringing dog. (Werewolf? Angel, there are real werewolves?) (I told you. All the legendary creatures.) Gillian felt an odd sinking. She had no idea why, and she continued to do just as Angel said. But somehow her stomach was knotting tighter and tighter. The door opened slowly. Gillian stepped into a dim hall and the door slammed shut again with a curiously final sound. â€Å"Didn't recognize you,† the figure beside her said. â€Å"Thought you might be vermin.† â€Å"I forgive you,† Gillian said, and pulled off her gloves at Angel's direction. â€Å"Downstairs?† He nodded and she followed him to a door which led to a stairway. As soon as the door opened, Gillian heard music. She descended, feeling extremely†¦ subterranean. The basement was deeper than most basements. And bigger. It was like a whole new world down there. It wasn't much brighter than upstairs, and there were no windows. It seemed like an old place; there was a shuffleboard pattern on the cold tile floor and a faint smell of mildew and moisture. But it was alive with people. There were figures sitting on chairs dumped around the borders of the room and more gathered around a pool table at one end. There were figures in front of a couple of ancient looking pinball machines and figures clustered at what looked like a home bar. Gillian headed for the bar. She could feel eyes on her every step of the way. She felt too small and too young as she perched precariously on one of the bar stools. She rested her elbows on the counter and tried to slow her heart down. The figure behind the bar turned toward her. It was a guy, maybe in his twenties. He stepped forward and Gillian saw his face. Shock rippled through her. There was something†¦ wrong with him. Not that he was hideously ugly or that he would have caused a commotion if he got on a bus. Maybe it was something Gillian sensed through her new powers and not through her eyes at all. But the impression she got was that his face looked wrong. Tainted by cold dark thoughts that made Tanya's scheming mind look like a sunlit garden. Gillian couldn't help her recoil. And the bar guy saw it. â€Å"You're new,† he said. The dark and cold seemed to grow in him and she realized he was enjoying her fear. â€Å"Where are you from?† Angel was shouting instructions at her. â€Å"I'm a Harman,† Gillian said as steadily as she could. â€Å"And-you're right. I'm new.† (Good, kid. Don't let him bully you! Now you're going to explain to them just exactly who you are-) (In a minute, Angel. Just let me get-settled.) The truth was that Gillian was completely unsettled. The sense of dread that had been growing ever since she walked in was reaching an unbearable pitch. This place was†¦ she groped for adjectives. Unwholesome. Corrupt. Scary. And then she realized something else. Up until now she hadn't been able to make out the faces of the other figures properly. Only eyes and the occasional flash of teeth. But now-they were moving in around her. It reminded her of sharks, swimming almost aimlessly but ending up in a purposeful gathering. There were people directly behind her-she could feel that with the back of her neck-and there were people on either side of her. When she looked, she could see their faces. Cold-dark-wrong. Not just wrong, but almost diabolic. These were people who might do anything and enjoy it. Their eyes glittered at her. More than glittered. Some of the eyes were shining†¦ like an animal's at night†¦ and now they were smiling and she could see teeth. Long delicate canine teeth that came to a point. Fangs†¦ All the legendary creatures†¦ Sheer panic surged through her. And at the same instant, she felt strong hands on her elbows. â€Å"Why don't you come outside with me?† a voice behind her said. Then things were confused. Angel was yelling again, but Gillian couldn't really hear him over the pounding of her own heart. The hands were exerting pressure, forcing her away from the bar. And the figures with their diabolical faces were settling back, most of them wearing conspiratorial grins. â€Å"Have fun,† somebody called. Gillian was being hurried up the stairs, whisked through the dim building. A blast of cold air hit her as the door opened and she suddenly felt dearer. She tried to break out of the iron grip that was holding her. It didn't do any good. She was out in the snow, leaving the house behind. The street was completely deserted. â€Å"Is that your car?† The hands on her arms eased their pressure. Gillian gave one desperate wrench and turned around. Moonlight was shining on the snow around her, giving it the texture of white satin. Every shadow was like an indigo stain on the sparkling coverlet. The person who'd been holding her was a boy a few years older than Gillian. He was lanky and elegant, with ash-blond hair and slightly tilted eyes. Something about the way he held himself made her think of lazy predatory animals. But his face wasn't wrong, the way the other faces had been. It was set and grim, maybe even a little scary, but it wasn't evil. â€Å"Now, look,† he said, and his voice wasn't evil, either, just rapid and short. â€Å"I don't know who you are, or how you managed to get in there, but you'd better turn around and go home right now. Because whatever you are, you're not a Harman.† â€Å"How do you know?† Gillian blurted before Angel could tell her what to say. â€Å"Because I'm related to the Harmans. I'm Ash Redfern. You don't even know what that means, do you? If you were a Harman you'd know that our families are kin.† (You are a Harman, and you are a witch!) Angel was actually raging. (Tell him! Tell him!) But the ash-blond boy was going on. â€Å"They'll eat you alive in there if they find out for sure. They're not as-tolerant-of humans as I am. So my advice is, get in your car, drive away, and never come back. And never mention this place to anybody else.† (You're a lost witch! You're not a human. Tell him!) â€Å"How come you're so tolerant?† Gillian was staring at the boy. His eyes†¦ she'd thought they were amber colored originally, like Steffi's, but now they were emerald green. He gave her an odd look. Then he smiled. It was a lazy smile, but with something heart-wrenching behind it. â€Å"I met a human girl last summer,† he said quietly, and that seemed to explain everything. Then he nodded at her car. â€Å"Get out of here. Never come back. I'm just passing through; I won't be around to save you again.† (Don't get in the car. Don't go. Tell him. You're a witch; you belong to Circle Midnight. Don't go!) For the first time, Gillian deliberately disobeyed an order of Angel's. She unlocked the car with shaky hands. As she got in, she looked back at the boy. Ash. â€Å"Thank you,† she said. â€Å"Bye.† He wiggled his fingers. He watched as she drove away. (Go back there right now! You belong there, just as much as any of them. You're one of them. They can't keep you out. Turn around and go back!) â€Å"Angel, stop it!† She said it out loud. â€Å"I can't! Don't you see that? I can't. They were horrible. They were-evil.† Now that she was alone, reaction was setting in. Her whole body began to shake. She was suddenly blind with tears, her breath catching in her throat. â€Å"Not evil!† Angel shimmered into the seat beside her. He had never sounded so agitated. â€Å"Just powerful-â€Å" â€Å"They were evil. They wanted to hurt me. I saw their eyes!† She was lapsing into hysteria. â€Å"Why did you take me there? When you wouldn't even let me talk to Melusine? Melusine wasn't like them.† A violent shiver overtook her. The car veered and she struggled with it, barely getting control. All at once everything seemed alien and terrifying; she was out on a long and lonely road, and it was night, and there was an uncanny being in the seat beside her. She didn't know who he was anymore. All she knew was that he wasn't any kind of an angel. The logical alternative sprang immediately to her mind. She was alone in the middle of nowhere with a demon†¦ â€Å"Gillian, stop it!† â€Å"Who are you? What are you, really? Who are you?† â€Å"What do you mean? You know who I am.† â€Å"No, I don't!† She was screaming it. â€Å"I don't know anything about you! Why did you take me there? Why did you want them to hurt me? Why?† â€Å"Gillian, stop the car. Stop. The. Car.† His voice was so commanding, so urgent and imperative, that she actually obeyed. She was sobbing anyway. She couldn't drive or see. She felt, literally and honestly, that she was losing her mind at that exact moment. â€Å"Now look at me. Wipe your face off and look at me.† After a moment she managed. He was shining. Light seemed to radiate from every inch, of him, from the gold filaments of his hair, to his classic features, to the lines of his perfect body. And he'd calmed down. His expression was rapt and uplifted, the serenity only marred by what looked like concern for her. â€Å"Now,† he said. â€Å"I'm sorry if all this scared you. New things are like that sometimes-they seem repulsive just because they're different. But we won't talk about that now,† he added, as Gillian caught a shuddering breath. â€Å"The important thing is that I wasn't trying to hurt you.† His eyes seemed to grow even more intense, pure violet flame. Gillian hiccupped. â€Å"But-you-â€Å" â€Å"I could never hurt you, Gillian. Because, you see, we're soulmates.† He said it with the weight of a monumental revelation. And although Gillian had no idea what it meant, she felt an odd quiver inside, almost of recognition. â€Å"What's that?† â€Å"It's something that happens with people who belong to the Night World. It means that there's only one love for everyone who exists. And when you meet that love, you know them. You know you were meant to be together, and nothing can keep you apart.† It was true. Every word seemed to resonate inside Gillian, touching off ancient, hidden memories. This was something her ancestors had known. Her cheeks had dried. Her hysteria was gone. But she felt very tired and very bewildered. â€Å"But †¦ if that's true†¦Ã¢â‚¬  She couldn't put the thought together. â€Å"Don't worry about it right now.† Angel's voice was soothing. â€Å"We'll talk about it later. I'll explain what it all means. I just wanted you to know that I would never hurt you. I love you, Gillian. Don't you realize that?† â€Å"Yes,† Gillian whispered. Everything was very foggy. She didn't want to think, didn't want to consider the implications of what Angel was saying. She just wanted to get home. â€Å"Relax and I'll help you drive,† Angel said. â€Å"Don't worry about anything. It's all going to be all right.†

James Baldwin Essay

Has writing ever changed your life? Have you wondered about the author of the amazing work? James Baldwin was the author of books, plays, and essays that broke literary ground. His work explored social and racial issues regarding discrimination. James Arthur Baldwin was born in Harlem, New York in August 2, 1924 to Emma Berdis Jones and an unknown father. His stepfather was David Baldwin, a Baptist preacher and a factory worker. Baldwin grew up with an abusive father and a poor family with eight siblings. He wrote and edited the school magazine at his middle school, Frederic Douglass Junior High, at the age of 11. At the ages of 14 through 16, Baldwin was a Pentecostal preacher at Pentecostal Church, delivered by the difficulties of life, as well as his abusive stepfather, who was also a preacher. At the age of 15, a running buddy, Emile Capouya, recommended the young Baldwin to meet Beauford Delaney, an American modernist painter. Delaney became Baldwin’s mentor, living proof that African-American artists exist and that he could become one himself. You might be wondering what Baldwin achieved in young adulthood as he matured into the revolutionary writer he became. After attending high school, Baldwin started a string of ill paid jobs, self-study, but earned a literary apprenticeship in New York City. Around the age of 20, Baldwin moved to Greenwich Village, New York a popular home of African American artists and writers. While in New York, he befriended Richard Wright, a fellow African-American writer. At the age of 21, Baldwin landed a fellowship through Wright. He started to publish his first essays and short stories (ex: The Nation, Partisan Review, and Commentary). Three years later, at the age of 24, Baldwin moved to Paris on another fellowship. His personal life was lonely. He once loved Lucien Happersberg, a Swiss artist that he lived with while he stayed in Switzerland. He was single and had no children. His personal hobbies included writing and reading which lead to his writing career. He enjoyed writing poems, essays, short stories, and plays that were against discrimination. Baldwin was one of the leading voices in the civil rights movement. His work broke literary ground by influencing others. Maya Angelou called Baldwin her â€Å"friend and brother† and was greatly influenced by his work. He was especially well known for his essays on the black experience in America. He provided an unflinching look at the black experience in America through his work. Nobody Knows My Name, one of Baldwin’s touching books, hit the best-sellers list, selling more than a million copies. Early on December 1, 1987, Baldwin died of esophageal cancer in Saint-Paul-de-Venice, France. He was buried at the Ferncliff Cemetery in Hartsdale, near New York City. Baldwin was cheerful and active days before his death, hosting a Thanksgiving dinner. He had continued to write until his death at the age of 63. He had finished Cross of Redemption: Uncollected Writings, and had published The Price of the Ticket in 1985, just two years from his death. James Baldwin was an influential person. I learned that anyone can change things within and without your reach with determination. I was impressed that he was eager to change people’s perspectives of the world around them. The lesson that I learned from him was that one should do the right thing in bad situations. James Baldwin was a truly amazing person.

The Issue Of Voting Right Act Of 1965, By Thomas R. Dye...

1. Thomas R. Dye and Susan A. Macmanus states, â€Å" courts are political institutions because they attempt to resolve conflicts in society. Courts make public policy in the process of resolving conflicts. Some of the nations most pivotal policy decisions that we follow today have been made by courts rather than legislative or executive bodies at both the federal and state levels. 2. There has been many issues where policy decisions have been determined by courts. For example, federal courts have taken the lead in eliminating racial segregation and guaranteeing individual voters an equal voice in government. Little Rock Nine exemplifies the U.S. Supreme Court decision in Brown v Board of Education of Topeka Kansas tied to the 14th Amendment that segregated schools are unconstitutional. Voting Right Act of 1965 is a prime example of the policy decision that guarantees individual voters in equal voice in government. 3. A felony is a crime punishable by at least a year’s imprisonment. A misdemeanor is a crime punishable by a fine or less than a year’s imprisonment. 4. Loser pay law is a requirement that the losing party in a civil suit pay the legal fees of the winner. The loser pay law system that is currently in place discourages frivolous law suits that are often designed for people to con innocent parties to pay the damages rather than incur even higher cost of defending themselves. 5. The U.S. has evolved into the most litigious society because of the rise in number