Sriram Kumaresan - 20%2F30\s Paragraph Submission Essays

Agnes Macphail Agnes Macphail deserves to be in the Canadian Hall of Fame because she changed the lives for many during her time in parliament, she accomplished what any other woman at the time would ever think of, and while in office she pursued "politics of equality". Agnes Macphail was the first female parliament member ever in Canada, she fought for things that other people never would've taken into consideration. While people were on the streets protesting for women's rights, in office Macphail was fighting for equality of all genders. She changed lives for many workers, prisoners, seniors. Macphail made the Ontario equal pay legislation which meant that workers would get paid according to the job they did, prisoners benefited from Macphail's time in office because they used to be thrown into prisons simply to be punished but thanks to her prisons are meant to make the people better, seniors benefited from Macphail as they got pensions instead of saving up their money in a bank until t hey die. Agnes Macphail was an inspiration for many people but mostly women at the time, she fought as the only woman in Parliament for things she thought needed to be changed in society. Although women's rights were slowly being generated at the time Macphail allowed them to gain confidence and get a say in the things they can and cannot do. Before Macphail they were getting payed a lot less than men and were being taken advantage of but Agnes Macphail made it so that whether a man or woman the worker would be paid the same. Macphail thought unlike any other women she thought about what she can do for everyone not focusing on one thing like women's rights. She fought for men in prisons and even men workers she allowed them to get the things they deserved for what they execute whether it be a crime or a job. To conclude Agnes Macphail was a person that took advantage of her time in office to make positive change. She was named one of the most important people produced by Canada in t he 20th Century and is even on our new 10 dollar bill as the first woman on a bill ever. For all these reasons I think that Agnes Macphail deserves a star on the Canadian Hall of Fame

Small Company Y2K Report essays

Small Company Y2K Report essays 3. Hardware and Software Compliance It is a problem resulting from the common programming practice of using only two-digits to store the year in software. The practice dates back to the 1950's when computers began to be used for business purposes. Using two digits for dates is benign and causes no harm so long as the next year is a larger number than the current year. For example software applications that use dates have no problem with the sequence of 95,96,97,98 and 99. However, when the century ends, the year 2000 will be stored as 00. Calculations or decisions, based on dates or time periods, can go seriously wrong. Inregard to personal and small business computers, the problem is three fold. Firstly, the computer hardware must report the current date correctly. Many computers, especially early Pentiums, 486, 386 and 286 based machines, will on the 1st January 2000 Revert back to 1 April 1980 or some other date. Thus creating a potential problem until the correct date is re-entered - provided of course that the computer can be set manually to a date beyond 311299. Calculation of Leap Year dates may also be incorrect on some computers. Secondly, the computer software must carry out the correct calculations based on a four-digit year (e.g. 1999 or 2000 etc) rather than just using the last two digits. The supplier or manufacturer of the software should be approached to ascertain the compliance of their code, or their schedule to have it corrected and distributed. Thirdly, your data must be in the correct format - namely year described as a four-digit number. If your dates have been entered as described above (that is 15th Feb 1955 entered as 150255), then you have a data conversion to be carried out. To determine if Windows NT 4.0 ,Win95 and would roll to the appropriate date, the control panel applet "DATE&TIME"(d&t) was used to change the dates. The machines d&t were set to the day before each date outlined in the ...

Differences Between Compilers and Interpreters

Differences Between Compilers and Interpreters Before the Java and C# programming languages appeared, computer programs were only compiled or interpreted. Languages like Assembly Language, C, C, Fortran, Pascal were almost always compiled into machine code. Languages like Basic, VbScript and JavaScript were usually interpreted. So what is the difference between a compiled program and an Interpreted one? Compiling To write a program takes these steps: Edit the ProgramCompile the program into Machine code files.Link the Machine code files into a runnable program (also known as an exe).Debug or Run the Program With some languages like Turbo Pascal and Delphi steps 2 and 3 are combined. Machine code files are self-contained modules of machine code that require linking together to build the final program. The reason for having separate machine code files is efficiency; compilers only have to recompile source code that have changed. The machine code files from the unchanged modules are reused. This is known as making the application. If you wish to recompile and rebuild all source code then that is known as a Build. Linking is a technically complicated process where all the function calls between different modules are hooked together, memory locations are allocated for variables and all the code is laid out in memory, then written to disk as a complete program. This is often a slower step than compiling as all the machine code files must be read into memory and linked together. Interpreting The steps to run a program via an interpreter are Edit the ProgramDebug or Run the Program This is a far faster process and it helps novice programmers edit and test their code quicker than using a compiler. The disadvantage is that interpreted programs run much slower than compiled programs. As much as 5-10 times slower as every line of code has to be re-read, then re-processed. Enter Java and C# Both of these languages are semi-compiled. They generate an intermediate code that is optimized for interpretation. This intermediate language is independent of the underlying hardware and this makes it easier to port programs written in either to other processors, so long as an interpreter has been written for that hardware. Java, when compiled, produces bytecode that is interpreted at runtime by a Java Virtual Machine (JVM). Many JVMs use a Just-In-Time compiler that converts bytecode to native machine code and then runs that code to increases the interpretation speed. In effect, the Java source code is compiled in a two-stage process. C# is compiled into Common Intermediate Language (CIL, which was previously known as Microsoft Intermediate Language MSIL. This is run by the Common Language Runtime (CLR), part of the .NET framework an environment that provides support services such as garbage collection and Just-In-Time compilation. Both Java and C# employ speedup techniques so the effective speed is almost as fast as a pure compiled language. If the application spends a lot of time doing input and output like reading disk files or running database queries then the speed difference is barely noticeable. What Does this Mean to me? Unless you have a very specific need for speed and must increase the frame rate by a couple of frames per second, you can forget about speed. Any of C, C or C# will provide sufficient speed for games, compilers, and operating systems.

Information Technology Service Yakka Tech Pty Ltd Essay

Information Technology Service Yakka Tech Pty Ltd - Essay Example It seems that despite having substantial employee strength, it is not being able to meet the standards as per the demands of its customers. The customer service department has been underperforming which is the present cause of concern for the company. The company has been stagnating and the number of customer complaints has been rising dramatically. This case provides a perfect situation for the identification of management loopholes. Accordingly, suitable recommendations have been proposed for rectifying the situation. The underperformance of employees can be dealt with by applying various theories of management. Employee motivation has a key role to play in this regard. The company has also been facing the problem of employee turnover. A similar issue was raised in Cadbury’s where the turnover rates remained high because of unfavorable conditions and malpractices in the areas of human resource management. However, the situation was brought under control by restructuring the HR strategies. An ideal working environment was provided along with sick pays, holidays and other benefits for the employees (Pinnington, Macklin & Campbel, 2007, p.39). This is a critical human resource issue which requires careful understanding of the causes why the employees have been leaving the organization. It is important to make an in-depth analysis of the reasons for employee dissatisfaction, insecurity and lack of commitment (Taylor, 2002, p.60). High turnover rates result in significant costs to the company in the form of recruitment, training and productivity loss (Reichheld & Teal, 2001, p.96). Research reveals that the organizational hassles often affect the quality of work. The kind of supervision, operational hassles or disagreement about of how something requires being done may be reflected through low productivity and poor performance (Basch & Fisher, 1998, p.6). The situation in Yakka Tech is also similar where the operational hassles results on lack of coordination of resources eventually lowering the level of performance.

The Cold War and Ray Bardbury's Fahrenheit 451 Essay

The Cold War and Ray Bardbury's Fahrenheit 451 - Essay Example The story is narrated by a third party with access to Montag’s thoughts and feelings; through this, the reader can easily relate to Montag’s transformation and the sentiments that drive his character. Montag has become a staunch book burner but this is not his own conviction and within no time, he must rediscover himself. The book explores the central theme of censorship and its impact on the individual as well as the community as a whole. The Cold War was an era of great tension and suspicion between democracy and communism. There were deep-rooted ideological, economic and political differences between the United States and its allies on one hand and the Soviet Union and its allies on the other. This was the time immediately before the start of the Second World War. In the novel, books have been banned in society and those that are found are burned along with the homes in which they are found. It is worth noting that the destruction of books began as self-censorship. B eatty explains to Montag how people lost a desire in books and instead opted for instant gratification in the form of television and fast cars. By illustrating censorship as a phenomenon that emerges from culture itself, the author expresses a concern that the evolution of the media is as good as a totalitarian regime in the suppression of free speech. Bradbury Ray. â€Å"Fahrenheit 451.† (New York, NY: Random House Print. 1996.) As highlighted in the book, the degree of mimetic dependence on historical experience creates a picture of the American context in the years following the end of the Second World War and the beginning of the cold war. It represents the widespread influence of the Soviet communism in eastern countries in Europe and the overreaction of America to it. This can be summed up as the fear of communism in American circles and the subsequent atmosphere of deeply rooted suspicion and political persecution in the form of witch hunt. The period represented in Fa hrenheit 451illustrates the overarching response to this pervasive paranoia in American society. This prompts the need to apply censorship in a bid to foster n all-pervasive environment of conformism and apathy.2 Given the suppression of individual thought, Fahrenheit 451 addresses the conflict between individuality and conformity. The characters’ lives revolve around pleasure-seeking and distraction. This culture does not seem to accommodate a broad range of self-expression. In fact, hedonism is the norm, coupled with mindless entertainment. When people try to question this kind of life, they are considered as threats to society. Clarisse, the young seventeen-year old girl and Montag’s friend, symbolizes expression of free thought and individuality. Once when going home from the fire station, Montag meets Clarisse who questions the nature and motivation of his job. At one point she asks him, â€Å"Have you ever read the books you burn?†1 Her questions and opini ons on life are disturbing and confusing to Montag. According to him, reading books is against the law. Bradbury Ray. â€Å"Fahrenheit 451.† (New York, NY: Random House Print. 1996.) 2 Tindal George B. and David Shi. â€Å"American.† W.W. Norton and Company, New York and London: 1997. This implies that Montage is doing this because the law demands so; Montag has to conform to this order, his own feelings and convictions

Active Sports on Holidays Essay Example for Free

Active Sports on Holidays Essay The best-known from of this sport holiday is undoubtedly the skiing holiday. Skiing can pursued at different levels (beginner, experienced, simply for pleasure, or in pursuit of high performance and excellence ), by different age groups, and in different settings- at a ski school, a ski coursxe, a ski clup, or privately. Skiing is the classic example of sport tourism and the most populer of all winter sports activities. Every year it introduces 40-50 million visitors to the Europen Alps, with 40,000 ski runs and around 12,000 cable ways and lifs to support this popular holiday industry (Mader, 1998). From Britain alone it is estimated that around 653,000 people took ski holidays worth some US$321 million in 1991-92(Mintel international Group, 1992).0 the ski market is now said to account for around 20 percent of the total European holiday market. In the last 25 years the holiday market for winter sports has expanded to the extent that there are now holiday packages to suit many tastes and financial means. Skiing is no longer the preserve of high-altitude dwellers,nor is it limited to the rich and famous. Increasingly, with the provision of self-catering chalets and camp sites to complement hotels and clubs,millions of people throughout the has developed world can enjoy touristic experience of mountain beauty at the same time as learning to ski on all five continents of the world. Cross-country skiing,sometimes known as Nordic skiing or langlauf, has also become very popular. Because this sporth activity is easy learned and the equipment is less expensive than required for downhill skiing, it is practiced by many sportists. The fact that beginners can,from day one,enjoy langlauf in a circuit of loipe(i.e., twin-grooved tracksz) integrated in the countryside and free of the use of ski lifts are but two strong point of this sport(Clough, 1989). Snowshoes are the hottest new trend in winter recreation. Accourding to Schwiesow(1995), snowshoeing is the second fastest-growing winter sport behind snowboarding as outdoor enthusiasts for simpler, more convenient ways toget outside during the winter. Some other new trends are dogs sledding and ice fishing. Many of the best known winter sport resorts in the United States and Canada have at least one dog sled tour company from which to choose. Alaska is provably the best known place for dog sledding, the state’s official sport ( Sloan, 1995). Ice fishing is popular in Minnesota ;there are plenty of companies that will rent huts by the day, week or mount (Sloan, 1995 ). The model of the skiing holiday (that is,a holiday with a single sport as the primary intetion-offered an different levels to different age groups and under different organization forms ) has recently been adopted by varios other forms of sport. Holiday concerns, holiday organizations, (cultural ) societes, and private sport schools now provide holiday courses in sailing, gliding, riding, golf, driving, cycling, mountaineering, surfing and so forth. Cycling tours often follow the ski-holiday model. Nowdays there are hundreds of cycling holidays on offer, of all lengths, levels, and degrees of comfort. Some are organized by well-known cyclist, but very often people decide to organize their cycling holiday themselves. Cycle-friendly countries are growing in number. The world’s most cycle-friendly country is probably the Netherlands due to its low, flat physical characteristics. Bike paths are provided all over the Netherlands from the smallest village to the biggest town. Cycle weekends are also offered by youth organizations, communities, tourist boards, hotels, and so forth. Hotels especially are trying to reach the cycle tourists by offering half or full board, bike hire, and route maps, this is called a single-center or fixed point holiday because the tourists is based at one hotel orcampsite and takes day rides out from there to explore the surroundings. Some hotel chains offer hotel-to-hotel tours with accommodations each night in a different hotel; the luggage is transported by the hotel manager. More sophisticated are those bicycle tours that include not only a guide, but also a bicyle technician, a medical doctor, and support vehicle ( Cample, 1995 ). It is possible to take a cycling tour almost anywhere in the world. Reputable companies throughout North America and Europe operate bycling tours China, Africa, Vietnam, Pakistan, Sri Lanka, Bali, and Thailand, an deven high-altitude regions such as the Atlas Mountains and Tibet. Since the mid-1960s, the bicyle has divided into subspecies of racers, mountain bikes, toures, and hybrids. All-terrain bycling has become one of the fastest growing segments of the recreation industry. Sales of all-terrain bicycles in North America skyrocket from 300,000 bicycles in 1984 to over 2 million in 1986 ( Crandall, 1987 ). At the January 1998 London International Boat Show, the assembled boat builders acknowledged that their industry is facing worldwide problem, a declining interesting in boating:46 percent of sailorsand 35 percent of motor boaters are now over 55 years of age, and boating magazine subscriptions are down by 20 percent in six years. The problem is not limited to Great Britain-the downward trend is acute in the United States, home of the world’s biggest boat industry. In the last decade, turnover in the United States has fallen from $10 million to $8 million, an deven trough â€Å"recreational spending has grown by more than 50 percent in seven years,†¦ boating’s share has shrunk from 3.7 percent to 2.1 percent† ( Groom, 1998, p. 1 ). In 1984, owning a boat was sixth on a wish list of American consumer preferences, but by 1996 it became the 15th. Nevertheless, the link between water sports and holidays is increasing with sailing becoming a very popular holiday activity. The use of smaller and more easily transportable craft, such as dinghy car-toppers, jet skis, and windsurfes, has increased and together with multihulled and chartered cruisers these crafts provide for a wide range of interests. While the Caribbean and the Mediterranean are the most popular seas, it is now possible to charter yachts in the South Pacific, the Seychelles, Australia, Alaska, Brazil, Thailand, and the Galapagos Islands ( Robinson, 1984 ). Martin and Mason’s survey ( 1990 ) indicates that between 1.5 and 2 million people take part in water sports while on holiday in Britain. Britain has been described as a mecca for boating holidays on the country’s two thousand miles of inland waterways each year ; about 87 percent are U.K. residents and 13 percent are inbound tourists principally from Europe ( Hhoseason, 1990 ). A 1986 survey (veal, 1986 ) found that over half of those who take part in sailing do so only when on holiday. Also worth mentioning here are the old, great clipper ships thar a century or mre ago sailed around the world. The Mediterranean and the Caribbean are popular ports for such ships as the Star Clipper, the Star Flyer, the Windstar, and Clup Med’s two play boats. On some, visiting â€Å"crews† learn to navigate and handle the sails. Valef Yachts, a Greek company, advertises â€Å" a vacation fit for a million-aire,† offering its Christina I for around US$100,000 per week for 12 people, none of whom need to have previous yachting experience. With a crew of nine, it has acruising range of 9,500 kilometers of Mediterranean water and includes its own private speedboat for water skiing, a small sailboat,and aWindsurfer for exploiring the Greek islands ( Richins, 1992 ) New sports are constantly developing and tourist are continuously in search of new thrills and experiences. One of these is body-boarding, broadly practiced in Australia, NEW Zealand, and the U.S states of Hawaii and California. The Atlantic coast in France is visited by an increasing amount of tourist who want to body-board and surf.

The Importance of Point of View in The Black Cat :: The Black Cat Point of View Literature Essays

The Importance of Point of View in The Black Cat Point of view is a very important aspect of The Black Cat. The main character tells the story to the reader from his first person point of view. You have a good feel for the story because you have the first person narration. As you read into the story it comes apparent however that the narrator telling the story is not a reliable interpretation of the details around him. You have a good feel for his emotions and the events of the story, but the narrators opinions are so far out that you are forced to wonder just what of the story is the askew interpretation of a madman and what is the reality of the situation. The first person narration of the story plays an integral part in the reader's level of understanding of the main character's madness, as well as the unfolding of plot of the story.   Ã‚  Ã‚  Ã‚  Ã‚  The story revolves around a man and his cat that loves him very devoutly. At the start of the story he is very fond of his loving companion the cat, Pluto. The cat's love for his master eventually becomes Pluto's demise. The cat would follow its master's every move. If the narrator moved the cat was at his feet, if he sat Pluto would clamor to his lap. This after a while began to enrage the narrator. He soon found himself becoming very irritable towards Pluto and his other pets. One night he came home "much intoxicated" and he grabbed Pluto. Pluto bit his hand and this sent him into a rage. "The fury of a demon instantly possessed me. I knew myself no longer. My original soul seemed, at once, to take its flight from my body; and a more than fiendish malevolence, gin-nurtured, thrilled every fibre of my frame"(Poe 103). At this point he seems to have lost it. This description is not that of someone of sane mindset. His soul taking flight from his body appears to be symbolic for the loss of his rational thought. The fury of a demon gives you the imagery of something not human. Poe takes every opportunity to use the narrator, and the point of view, to give you insight into the mind of the madman. He uses eloquent imagery and symbolism to further your understanding of the main character's rational.

The Golden Lily Chapter 19

â€Å"SHE WAS LEAVING TOWN,† I reminded him. â€Å"Not until tomorrow.† He was right, I realized. When we'd spoken to Sonya last night, she'd said two days. â€Å"Are you sure she's really disappeared?† I asked. â€Å"Maybe she's just†¦ out.† â€Å"Belikov's here, and he's freaked out. He says she never came home last night.† I nearly dropped the phone. Last night? Sonya had been gone that long? That was nearly twenty-four hours ago. â€Å"How did no one notice until now?† I demanded. â€Å"I don't know,† said Adrian. â€Å"Can you just come over? Please, Sydney?† I was powerless when he used my first name. It always took everything to an extra level of seriousness – not that this situation needed any particular help. Sonya. Gone for twenty-four hours. For all we knew, she wasn't even alive if those sword-wielding freaks had caught her. Brayden's face was a mix of incredulity and disappointment when I told him I had to leave. â€Å"But you just†¦ I mean†¦Ã¢â‚¬  It was a rare moment of speechlessness for him. â€Å"I'm sorry,† I said earnestly. â€Å"Especially after being late and ruining the museum. But it's a family emergency.† â€Å"Your family has an awful lot of emergencies.† You have no idea, I thought. Instead of saying that, I simply apologized again. â€Å"I really am sorry. I†¦Ã¢â‚¬  I nearly said I'd make it up to him, but that was what I'd said when I left the Halloween dance early. Tonight was supposed to have been the makeup date. â€Å"I'm just sorry.† ADRIAN'S PLACE WAS CLOSE ENOUGH that I could've reasonably walked, but Brayden insisted on driving me, since dusk was falling. I had no problem accepting. â€Å"Whoa,† said Brayden, when we pulled up to the building. â€Å"Nice Mustang.† â€Å"Yeah. It's a 1967 C-code,† I said automatically. â€Å"Great engine. My brother's. He's moved it again! I hope he wasn't out driving anywhere he wasn't supposed to – whoa. What's that?† Brayden looked at where I was staring. â€Å"A Jaguar?† â€Å"Obviously.† The sleek, black car was parked just in front of Adrian's Mustang. â€Å"Where'd it come from?† Brayden had no answer, of course. After more apologies and a promise to get in touch, I left him. There was no pretense of a kiss, not when he was so disappointed in the evening's outcome and I was too anxious about Sonya. In fact, I forgot all about Brayden as I walked up to the building. I had bigger concerns. â€Å"It's Clarence's,† said Adrian, as soon as he answered the door. â€Å"Huh?† I asked. â€Å"The Jag. I figured you'd want to know. He let Belikov drive it over since Sonya left with the rental.† He stepped aside as I entered and shook his head in dismay. â€Å"Can you believe it was locked away in his garage the whole time I lived with him? He said he forgot he owned it! And there I was, stuck with the bus.† I would've laughed under almost any other circumstances. But when I saw Dimitri's face, all humor left me. He was pacing the living room like a trapped animal, radiating frustration and concern. â€Å"I'm an idiot,† he muttered. It was unclear if he was talking to himself or us. â€Å"I didn't realize she was gone last night, and then I spent half the day thinking she was out gardening!† â€Å"Did you try calling her cell?† I knew it was a foolish question, but I had to begin logically. â€Å"Yes,† Dimitri said. â€Å"No answer. Then I double-checked to make sure her flight hadn't changed, and then I talked to Mikhail to see if he knew anything. He didn't. All I succeeded at doing there was making him worry.† â€Å"He should,† I murmured, sitting on the edge of the couch. Nothing good could come of this. We knew the Warriors were obsessed with Sonya, and now she'd disappeared after going out alone. â€Å"I only just found out she came to see you two,† added Dimitri. He stopped pacing and glanced between us. â€Å"Did she say anything at all about where she was going?† â€Å"No,† I said. â€Å"Things didn't exactly†¦ end well between us.† Dimitri nodded. â€Å"Adrian implied the same thing.† I looked up at Adrian and could tell he didn't want to get into it any more than I did. â€Å"We had an argument,† he admitted. â€Å"She was trying to push Sydney into some experiments, and Sydney refused. I jumped in when Sonya kept pushing, and finally she just took off. Never said anything about where she was going.† Dimitri's face grew darker. â€Å"So, anything could've happened. She could've been taken right outside on the street. Or she could have gone somewhere and been abducted there.† Or she could be dead. Dimitri was speaking in terms of her still being alive, but I wasn't so sure. The hunters who had jumped us in the alley had seemed pretty intent on killing her then and there. If she hadn't come home last night, the odds seemed good they'd found her then. Twenty-four hours was an awfully long time to keep a â€Å"creature of darkness† alive. Studying Dimitri's face again, I knew he was well aware of all of this. He was simply operating on the hope that we had a chance to do something, that we weren't powerless. Resolved, Dimitri strode for the door. â€Å"I have to go talk to the police.† â€Å"Missing person report?† asked Adrian. â€Å"That, and more importantly, to get a search out on that car. If she was taken†¦Ã¢â‚¬  He hesitated, driving home the fear that lurked in all of us. â€Å"Well. If she's hidden away somewhere, she's going to be very difficult to locate. But it's a lot harder to hide a car than one woman. If the police can get its description out there, we might get a clue if it turns up.† He started to open the door and then glanced back at us. â€Å"You're sure you don't remember anything else she said that could help?† Adrian and I reiterated that we didn't. Dimitri left, giving us unnecessary instructions to alert him immediately if we thought of anything or – if by a miracle – Sonya showed up. I groaned once he was gone. â€Å"This is my fault,† I said. Adrian looked at me in surprise. â€Å"Why on earth would you say that?† â€Å"Sonya came here – left when she wasn't supposed to – because of me. Because of my blood. Who knows what would've happened if I hadn't refused? Maybe a few minutes difference, and the hunters wouldn't have been around. Or maybe if she hadn't been so upset, she would've been able to defend herself more.† A million memories tumbled through my head. Sonya making the lily grow for me. Sonya talking to the queen on Adrian's behalf. Sonya showing me pictures of bridesmaid dresses. Sonya working diligently to stop Strigoi and redeem herself. All of that could be lost now. â€Å"Maybe, maybe, maybe.† Adrian sat down near me on the couch. â€Å"You can't think like that, and you sure as hell can't blame yourself for the actions of some crazy paranoid fringe group.† I knew he was right, but it didn't make me feel any better. â€Å"I should call the Alchemists. We've got ties to law enforcement too.† â€Å"Probably a good idea,† he said, though his words were a little halfhearted. â€Å"I've just got a bad feeling about those guys. Even if†¦ well, even if she's alive, I really don't know how we're going to find her. Short of some miraculous, magical solution.† I froze. â€Å"Oh my God.† â€Å"What is it?† he asked, looking at me in concern. â€Å"Did you remember something?† â€Å"Yes†¦ but not what you're thinking.† I closed my eyes and took a deep breath. No, no, no. The thought in my head was crazy. I had no business even considering it. Dimitri had the right idea. We needed to focus on normal, concrete methods of locating Sonya. â€Å"Sage?† Adrian lightly touched my arm, and I jumped at the feel of his fingertips against my skin. â€Å"You okay?† â€Å"I don't know,† I said softly. â€Å"I just thought of something crazy.† â€Å"Welcome to my world.† I looked away, conflicted about the decision before me. What I was contemplating†¦ well, some might argue it wasn't so different than what I'd done before. And yet, it all came down to the fine line between doing something by choice and doing something because I had to. There was no question here. This would be a choice. An exercising of free will. â€Å"Adrian†¦ what if I had a way to find Sonya, but it went against everything I believe in?† He took several moments to answer. â€Å"Do you believe in getting Sonya back? If so, you wouldn't be going against everything you believe in.† It was odd logic, but it gave me the nudge I needed. I took out my cell phone and dialed a number I almost never called – though I certainly received texts and calls from it all the time. An answer came after two rings. â€Å"Ms. Terwilliger? This is Sydney.† â€Å"Miss Melbourne. What I can do for you?† â€Å"I need to see you. It's kind of urg – no, no ‘kind of' about it. It's urgent. Are you at the school?† â€Å"No. As shocking as it is, I do go home on occasion.† She paused for a moment. â€Å"However†¦ you are certainly welcome to come to my house.† I don't know why that made me uneasy. After all, I spent plenty of time at Clarence's. Surely a vampire's sprawling estate was much worse than a high school teacher's home. Of course, said teacher was also a witch, so I wasn't certain if I could expect a boring suburban flat or a house made of candy. I swallowed. â€Å"Do you keep a lot of the same spell books at home that you do at school?† Adrian arched an eyebrow at the word spell. Ms. Terwilliger hesitated for much longer this time. â€Å"Yes,† she said. â€Å"And more.† She gave me her address, and before I could even hang up, Adrian said, â€Å"I'm coming with you.† â€Å"You don't even know where I'm going.† â€Å"True,† he said. â€Å"But lack of information's never stopped me before. Besides, I know it has something to do with Sonya, which is good enough for me. That, and you looked scared to death. There's no way I can let you go alone.† I crossed my arms. â€Å"I've faced scarier things, and last I checked, it's not your place to ‘let' me do anything.† There was such concern in his face, however, that I knew I wouldn't be able to refuse†¦ especially since I was kind of scared. â€Å"You have to promise not to tell anyone what we're going to do. Or talk about what you see.† â€Å"Damn. What's going on, Sage?† he asked. â€Å"Are we talking animal sacrifice or something?† â€Å"Adrian,† I said quietly. He grew serious again. â€Å"I promise. Not a word, unless you say otherwise.† I didn't have to study him to know I could trust him. â€Å"Okay, then. But before we go, I need your hairbrush†¦Ã¢â‚¬  Ms. Terwilliger lived in Vista Azul, the same suburb Amberwood was in. To my surprise, the house really did look quite ordinary. It was small but otherwise blended in well to its older neighborhood. The sun had long since set when we arrived, and I was conscious of the school's approaching curfew. When she let us into her house, I found the interior a bit more in line with what I'd been expecting. Sure, there was a TV and modern furniture, but the decor also featured a lot of candles and statuary of various gods and goddesses. The scent of Nag Champa hung in the air. I counted at least three cats in the first five minutes and didn't doubt there were more. â€Å"Miss Melbourne, welcome.† Ms. Terwilliger took in Adrian with interest. â€Å"And welcome to your friend.† â€Å"My brother,† I said pointedly. â€Å"Adrian.† Ms. Terwilliger – fully aware of the Moroi world – smiled. â€Å"Yes. Of course. You attend Carlton, correct?† â€Å"Yeah,† said Adrian. â€Å"You're the one who helped get me in, right? Thanks for that.† â€Å"Well,† said Ms. Terwilliger, with a shrug, â€Å"I'm always happy to help star pupils – especially those who are so diligent about keeping me in coffee. Now then, what's this urgent matter that brings you out at night?† My eyes were already on a large bookcase in her living room. The shelves were filled with old, leather-bound books – exactly the kind she always made me work on. â€Å"Do you†¦ do you have a spell that would help locate someone?† I asked. Each word caused me pain. â€Å"I mean, I know they're out there. I've come across them in my work a couple of times. But I was wondering if there was maybe one that you'd recommend over another.† Ms. Terwilliger laughed softly, and I looked away. â€Å"Well, well. This is definitely worth a late-night visit.† We were in her dining room, and she pulled out an ornate wooden chair to sit down. One of the cats brushed against her leg. â€Å"There are a number of location spells, certainly – though none are quite at your level. And by your level, I mean your constant refusal to practice or better yourself.† I scowled. â€Å"Is there one that you could do?† She shook her head. â€Å"No. This is your problem. You're going to do it. You need to.† â€Å"Well, not if it's beyond me!† I protested. â€Å"Please. This is a matter of life and death.† That, and I didn't want to taint myself with her magic. Bad enough I was encouraging her at all. â€Å"Rest easy. I wouldn't make you do it if you couldn't handle it,† she said. â€Å"To make it work, however, it's imperative we have something that can connect us to the person we're looking for. There are spells where that's not necessary – but those are definitely out of your league.† I produced Adrian's brush from my purse. â€Å"Something like a strand of hair?† â€Å"Something exactly like that,† she said, clearly impressed. I'd remembered Adrian's complaint about Sonya using some of his personal items. Although he apparently cleaned the brush regularly (and really, I'd expect nothing less from someone who spent so much time on his hair), there were still a few lingering red strands. Carefully, I plucked the longest one from the bristles and held it up. â€Å"What do I need to do?† I asked. I was trying to be strong, but my hands shook. â€Å"Let's find out.† She rose and walked into the living room, studying the shelves. Adrian turned to me. â€Å"Is she for real?† He paused and reconsidered. â€Å"Are you for real? Spells? Magic? I mean, don't get me wrong. I drink blood and control people's minds. But I've never heard of anything like this.† â€Å"Neither had I until a month ago.† I sighed. â€Å"And unfortunately, it is real. Worse, she thinks I have a knack for it. Do you remember at all when one of the Strigoi in your apartment caught on fire?† â€Å"Vaguely, but yeah. It kind of all got brushed aside, and I never thought much about it.† He frowned, troubled by the memory. â€Å"I was out of it from the bite.† â€Å"Well, it wasn't some freak accident. It was†¦ magic.† I gestured toward Ms. Terwilliger. â€Å"And I made it happen.† His eyes widened. â€Å"Are you some kind of mutant human? Like a fire user? And I use mutant as a compliment, you know. I wouldn't think less of you.† â€Å"It's not like vampire magic,† I said. Some part of me supposed I should be pleased that Adrian would still be friendly with a â€Å"mutant.† â€Å"It's not some internal connection to the elements. According to her, some humans can work magic by pulling it from the world. It sounds crazy, but†¦ well. I did set a Strigoi on fire.† I could see Adrian taking all of this in as Ms. Terwilliger returned to us. She set down a book with a red leather cover and flipped through the pages before finding what she wanted. We all peered at it. â€Å"That's not English,† said Adrian helpfully. â€Å"It's just Greek,† I said, skimming the ingredient list. â€Å"It doesn't seem to require much.† â€Å"That's because a huge part of it is mental focus,† explained Ms. Terwilliger. â€Å"It's more complicated than it looks. It'll take you a few hours at least.† I took in the time on an ornate grandfather clock. â€Å"I don't have a few hours. Too close to curfew.† â€Å"Easily remedied,† said Ms. Terwilliger. She picked up her cell phone from the table and dialed a number from memory. â€Å"Hello, Desiree? This is Jaclyn. Yes, fine. Thank you. I have Sydney Melrose out here right now, helping me on a very crucial project.† I nearly rolled my eyes. She was perfectly aware of my last name when she needed to be, apparently. â€Å"I'm afraid she might be out past the dorm curfew, and I was wondering if you'd be kind enough to allow an extension. Yes†¦ yes, I know. But it's very important for my work, and I think we can all agree that with her exemplary record, she's hardly the type we need to worry about abusing such privileges. She's certainly one of the most trustworthy students I know.† That got a small smirk from Adrian. Thirty more seconds, and I was free of curfew. â€Å"Who's Desiree?† I asked, once Ms. Terwilliger hung up. â€Å"Your dorm matron. Weathers.† â€Å"Really?† I thought of stout, motherly Mrs. Weathers. I never would've guessed her first name was Desiree. It was the kind of name I would associate with someone sultry and seductive. Maybe she had some scandalous life outside of school we didn't know about. â€Å"So, do I have an all-night pass?† â€Å"Not sure I'd push it that far,† said Ms. Terwilliger. â€Å"But we certainly have enough time for this spell. I can't make it for you, but I can help you with the ingredients and supplies.† I tapped the book, forgetting about my fear as I scanned the lengthy list. Details like this put me back in my comfort zone. â€Å"You have all of these?† â€Å"Of course.† Ms. Terwilliger led us down a hall that branched off from the kitchen, where I'd expect to find bedrooms. One room did indeed give us a glimpse of a bed as we walked by, but our eventual destination was something else altogether: a workshop. It was kind of what you'd get if you crossed a wizard's lair with a mad scientist's lab. Part of the room had very modern equipment: beakers, a sink, burners, etc. The rest was from a different era, vials of oils and dried herbs, along with scrolls and honest-to-goodness cauldrons. Plants and herbs lined the sill of a dark window. There were two more cats in here, and I was pretty sure they weren't the same ones I'd seen in the living room. â€Å"It looks chaotic,† said Ms. Terwilliger. â€Å"But I daresay it's organized enough, even for you.† Upon closer inspection, I saw she was right. All of the plants and little vials were labeled and in alphabetical order. All of the various tools were equally identified, enumerated by size and material. The room's center was a large, smooth stone table, and I set the book down on it, careful to stay on the page I needed. â€Å"What now?† I asked. â€Å"Now, you construct it,† she said. â€Å"The more of it you do on your own, the stronger your connection will be to the spell. Certainly come and get me if you have trouble with the ingredients or the directions. Otherwise, the more of your focus and concentration that goes into this, the better.† â€Å"Where are you going to be?† I asked, startled. As much as I disliked the thought of working with her in a creepy, arcane lab, I disliked the thought of being alone here even more. She gestured toward where we'd come from. â€Å"Oh, just out there. I'll entertain your ‘brother' too since you really do need to do this alone.† My anxiety increased. I'd protested Adrian's original request to come here, but now I wanted him around. â€Å"Can I at least get some coffee?† She chuckled. â€Å"Normally, I'd say yes – particularly if you were just doing grunt work to build an amulet or potion. Because you'll be using your mind, the magic will work much better if your thoughts are free and clear of any substances that affect your mental state.† â€Å"Boy, that sounds familiar,† muttered Adrian. â€Å"Okay, then,† I said, resolving to be strong. â€Å"I need to get started. Sonya's waiting.† Provided she was still alive to wait. Ms. Terwilliger left, telling me to get her when I was on the spell's last stage. Adrian delayed a moment to speak with me. â€Å"You sure you're okay with all of this? I mean, from what I know about you and the Alchemists†¦ well, it seems like you'd actually be pretty not-okay with this.† â€Å"I'm not,† I agreed. â€Å"Like I said, this goes against everything I believe – against everything they've taught me. Which is why you can't tell anyone. You heard her passive aggressive remark about me not practicing? She's been on me for a while now to develop my so-called magical skills, and I keep refusing – because it's wrong. So, she has me research spell books for my independent study with her, in the hopes of me learning by osmosis.† â€Å"That's messed up,† he said, shaking his head. â€Å"You don't have to do this. You don't have to do anything you don't want to.† I gave him a small smile. â€Å"Well, I want to find Sonya. So I do have to do this.† He gave me no smile in return. â€Å"Okay. But I'm just going to be out there – having a tea party with her cats or whatever it is she has in mind. You need me? You yell. You want to leave? We go. I'll get you out of here, no matter what.† Something clenched in my chest, and for a moment, the whole world narrowed down to the green of his eyes. â€Å"Thank you.† Adrian left, and I was alone. Well, almost. One of the cats had stuck around, a sleek black one with yellow eyes. It was lying on a high shelf, watching me curiously, like it wondered if I could really pull this off. That made two of us. For a moment, I couldn't move. I was about to willingly work magic. All the protests and arguments I'd given Ms. Terwilliger were like ash in the wind now. I started trembling and felt short of breath. Then, I thought about Sonya. Kind, brave Sonya. She'd devoted so much energy and time to doing the right thing. How could I do any less? As I'd noted to Ms. Terwilliger, the spell was deceptively simple. It didn't require half as many steps as the fire amulet. I had to keep water simmering in a copper cauldron and add different ingredients to it, most of which were clear oils that had to be measured with exacting care. The air soon grew heavy with the scent of bergamot, vanilla, and heliotrope. Some of the steps had the same ritual redundancy I'd done before. For example, I had to pluck thirteen fresh mint leaves off one of her plants, dropping each leaf in one at a time while counting them off in Greek. Then, when they had simmered for thirteen minutes, I had to remove each one with a rosewood spoon. Before leaving, Ms. Terwilliger had told me to stay focused and think about both the steps of the spell and what I was ultimately hoping to accomplish. So, I turned my thoughts toward Sonya and finding her, praying that she was okay. When I finally finished these initial steps, I saw that almost an hour had gone by. I'd barely noticed it passing. I wiped a hand over my forehead, surprised at how much the steamy room had made me sweat. I went out to find Ms. Terwilliger and Adrian, uncertain what weird activity I'd find going on. Instead, things were pretty ordinary: they were watching TV. Both glanced up at my approach. â€Å"Ready?† she asked. I nodded. â€Å"Smells like tea in here,† said Adrian, as they followed me to the workroom. Ms. Terwilliger examined the small cauldron and nodded her head in approval. â€Å"It looks excellent.† I didn't know how she could tell at a glance but figured I'd take her word for it. â€Å"Now. The actual scrying involves a silver plate, correct?† She scanned her shelves of dishes and pointed at something. â€Å"There. Use that.† I pulled down a perfectly round plate about twelve inches across. It was smooth, with no ornamentation, and had been polished to such brilliance that it reflected almost as well as a mirror. I probably could've done without that part, though, seeing as my hair and makeup were showing the wear and tear of the day. Around anyone else, I would have felt selfconscious. I set the plate on the worktable and poured one cup of water from the cauldron onto the silvery surface. All non-liquid ingredients had been removed, and the water was perfectly clear. Once it stopped rippling, the mirror effect returned. Ms. Terwilliger handed me a tiny bowl of galbanum incense, which the book said should be burning during this last stage. I lit the resin with a candle, and a bitter, green smell wafted up, contrasting with the sweetness of the liquid. â€Å"You still have the hair?† Ms. Terwilliger asked. â€Å"Of course.† I laid it across the water's smooth surface. Part of me wanted something to happen – sparks or smoke – but I'd read the directions and knew better. I pulled a stool up to the table and sat on it, allowing me to gaze down into the water. â€Å"Now I look?† â€Å"Now you look,† she confirmed. â€Å"Your mind needs to be both focused and spread out. You need to think about the components of the spell and the magic they hold, as well as your desire to find the spell's subject. At the same time, you need to maintain a perfect clarity of mind and stay fixed on your task with razor sharp focus.† I looked down at my reflection and tried to do all those things she'd just described. Nothing happened. â€Å"I don't see anything.† â€Å"Of course not,† she said. â€Å"It's only been a minute. I told you this was an advanced spell. It may take a while for you to fully muster the strength and power you need. Stay on task. We'll be waiting.† The two of them left. I stared bleakly at the water, wondering how long â€Å"a while† was. I'd been excited when the spell seemed so simple originally. Now, I wished there were more ingredients to mix, more incantations to recite. This high-level magic, relying on will and mental energy, was much more difficult – mainly because it was intangible. I liked the concrete. I liked to know exactly what was needed to make something happen. Cause and effect. But this? This was just me staring and staring, hoping I was â€Å"staying fixed† and using â€Å"razor sharp focus.† How would I know if I was? Even if I achieved that state, it might still take a while to manifest what I needed. I tried not to think of that yet. Sonya. Sonya was all that mattered right now. All of my will and energy had to go into saving her. I kept telling myself that as the minutes ticked by. Each time I was certain I should stop and ask Ms. Terwilliger what to do, I would force myself to keep looking into the water. Sonya, Sonya. Think about Sonya. And still, nothing happened. Finally, when an ache in my back made sitting unbearable, I stood up to stretch. The rest of my muscles were starting to cramp up too. I walked back to the living room; almost an hour and a half had passed since I'd last been out here. â€Å"Anything?† asked Ms. Terwilliger. â€Å"No,† I said. â€Å"I must be doing something wrong.† â€Å"You're focusing your mind? Thinking about her? About finding her?† I was really tired of hearing the word focus. Frustration was replacing my earlier anxiety about magic. â€Å"Yes, yes, and yes,† I said. â€Å"But it's still not working.† She shrugged. â€Å"And that's why we have a curfew extension. Try again.† Adrian flashed me a sympathetic look and started to say something – but then thought better of it. I nearly left but paused as a troublesome thought nagged at me. â€Å"What if she's not alive?† I asked. â€Å"Could that be why it's not working?† Ms. Terwilliger shook her head. â€Å"No. You'd still see something if she wasn't. And†¦ well, you'd know.† I returned to the workroom and tried again – with similar results. The next time I went to talk to Ms. Terwilliger, I saw that it hadn't been quite an hour. â€Å"I'm doing something wrong,† I insisted. â€Å"Either that, or I messed up the initial spell. Or this really is beyond me.† â€Å"If I know you, the spell was flawless,† she said. â€Å"And no, this isn't beyond you, but only you have the power to make it happen.† I was too tired to parse her esoteric philosophy nonsense. I turned without a word and trudged back to the workroom. When I reached it, I discovered I'd been followed. I looked up at Adrian and sighed. â€Å"No distractions, remember?† I said. â€Å"I won't stay,† he said. â€Å"I just wanted to make sure you're okay.† â€Å"Yeah†¦ I mean, I don't know. In as much as anyone can be with all of this.† I nodded toward the silver plate. â€Å"Maybe I do need you to get me out of here.† He considered for a moment and then shook his head. â€Å"I don't think that's a good idea.† I stared up at him in disbelief. â€Å"What happened to me not having to do anything I didn't want to do? And you nobly defending me?† One of his knowing little smiles played over his lips. â€Å"Well. That was back when you didn't want to do this because it challenged all your beliefs. Now that the line is crossed, your problem seems to be a little pessimism and not believing you can do this. And honestly, that's bullshit.† â€Å"A little pessimism?† I exclaimed. â€Å"Adrian, I've been staring at a bowl of water for over two hours! It's nearly one thirty. I'm exhausted, I want coffee, and every muscle in my body hurts. Oh, and I'm about ready to throw up from that incense.† â€Å"Those things all suck,† he agreed. â€Å"But I seem to recall you giving all of us lectures recently about enduring hardships to do what's right. Are you saying you can't do that to help Sonya?† â€Å"I would do anything to help her! Anything within my power, that is. And I don't think this is.† â€Å"I don't know,† he speculated. â€Å"I've had a lot of time to talk to Jackie – she lets me call her that, you know – and I've learned all about this human magic stuff. There's a lot you can do with it.† â€Å"It's wrong,† I grumbled. â€Å"And yet here you are, with the ability to find Sonya.† Adrian hesitated and then, reaching some decision, stepped toward me and rested his hands on my shoulders. â€Å"Jackie told me that you're one of the most naturally gifted people she's ever encountered for this kind of stuff. She said that with a little practice, a spell like this'll be cake for you, and she's certain you can pull it off now. And I believe her. Not because I have proof you're magically talented but because I've seen how you approach everything else. You won't fail at this. You don't fail at anything.† I was so exhausted I thought I might cry. I wanted to fall forward and have him carry me out of here, like he'd promised earlier. â€Å"That's the problem. I don't fail, but I'm afraid I will now. I don't know what it's like. And it terrifies me.† Especially because Sonya's life depends on me. Adrian reached out and traced the lily on my cheek. â€Å"You won't have to find out what it's like tonight because you aren't going to fail. You can do this. And I'll be here with you as long as it takes, okay?† I took a deep breath and tried to calm myself. â€Å"Okay.† I returned to my stool after he left and tried to ignore the fatigue in my body and mind. I thought about what he'd said, about how I wouldn't fail. I thought about his faith in me. And most importantly, I thought about Sonya. I thought about how desperately I wanted to help her. All these things churned within me as I stared at the water, crystal clear except for the hair floating in it. One red line against all that silver. It was like a spark of fire, a spark that grew brighter and brighter in my eyes until it took on a more definite shape, a circle with stylized lines radiating from it. A sun, I realized. Someone had painted an orange sun onto a piece of plywood and hung it on a chain-link fence. Even with the shoddy canvas, the artist had gone to a lot of care in painting the sun, stylizing the rays and making sure the lengths were consistent with each other. The fence itself was ugly and industrial, and I caught sight of what looked like an electrifying box hanging on it. The landscape was brown and barren, but mountains in the distance told me it was still the greater Palm Springs area. This was kind of like the area Wolfe lived in, outside of town and away from the pretty greenery. Through the fence, beyond the sign, I caught sight of a large, sprawli ng building – â€Å"Ow!† The vision vanished as my head hit the floor. I had fallen off the stool. I managed to sit up, but that was all I could do. The world was spinning, and my stomach felt queasy and empty. After what could have been three seconds or three hours, I heard voices and footsteps. Strong arms caught hold of me, and Adrian helped me to my feet. I clung to the table while he picked the stool up and helped me sit back down. Ms. Terwilliger pushed the silver plate aside and replaced it with an ordinary kitchen plate filled with cheese and crackers. A glass of orange juice soon joined it. â€Å"Here,† she said. â€Å"Eat these. You'll feel better.† I was so disoriented and weak that I didn't even hesitate. I ate and drank as though I hadn't eaten in a week while Adrian and Ms. Terwilliger waited patiently. It was only when I'd practically licked the plate clean that I realized what I'd just consumed. â€Å"Havarti and orange juice?† I groaned. â€Å"That's too much fat and sugar for this time of night.† Adrian scoffed. â€Å"Glad to see there's no lasting damage.† â€Å"Get used to it if you're going to be using magic a lot,† said Ms. Terwilliger. â€Å"Spells can deplete you. Not unusual at all to have your blood sugar drop afterward. Orange juice will become your best friend.† â€Å"I'll never get used to it, seeing as I'm not going to – † I gasped, as the images I'd seen in the silver plate came tumbling back to me. â€Å"Sonya! I think I saw where she's at.† I described what I'd seen, though none of us had any clue about where or what this place might be. â€Å"You're sure it was like a regular sun? With rays?† asked Adrian. â€Å"Because I thought the hunters used that old Alchemist one – the circle and dot.† â€Å"They do, but this was definitely – oh God.† I looked up at Adrian. â€Å"We have to get back to Amberwood. Right now.† â€Å"Not after that,† said Ms. Terwilliger. She was using her stern teacher voice. â€Å"That took more from you than I expected. Sleep here, and I'll make sure everything's cleared up with Desiree and the school tomorrow.† â€Å"No.† I stood up and felt my legs start to buckle, but in the end, they held. Adrian put a supportive arm around me, clearly not believing in my body's recovery. â€Å"I have to get back there. I think I know how we can find out where this place is.† Adrian was right that the sun I'd just described wasn't the design that had been on the sword or brochure. Both of those had used the ancient symbol. The one in my vision was a more modern adaptation – and this wasn't the first time I'd seen it. The sun in my vision was an exact match for Trey's tattoo.

Opera Critique Rigoletto

The Metropolitan Opera House at Lincoln Center is home for the world’s most creative and talented artists working in opera. Upon entering the building, the vicinity at Lincoln Center is unique and elegant. Approaching the Metropolitan Opera, a stylish and well-structured water fountain full of water is gushing while the off-white marble floor allures the visitor to the building. Entering the building, the glamorous and sophisticated snowflake-like chandeliers and winding staircase gives the visitor a welcoming feel. Before sitting, the visitor will notice the red carpets and the particular set-up of the theater. As the seats are elevated upward, there are sound cushions to promote a higher quality sound on the side balconies. What felt very informative were the captions in front of the seats, that also were available in other languages, to understand the singers. Guiseppe Verdi’s Rigoletto was written between 1850 and 1851. When the stage is first viewed, it is evident the time frame Verdi had written in. Rigoletto, played by George Gagnidze, is a hunch-baked jester that acts out the part very well. Costumes in the play were very detail- oriented and focused primarily on the way individuals dressed in the 19th century. The stage settings were altered according to Act, which represented very hard work and skill. During Act II, Gilda played by Christine Schafer, and Rigoletto join together in a duet that explains the courtship and Gilda’s abduction. The costumes, although could not be seen up close, were elegant for the time period. Rigoletto is dressed during this Act in a white, somewhat formal shirt beneath his regular vest – which was a dark brown, along with white tights underneath knee length shorts. As opposed to how individuals dressed today, it seemed outlandish but well- designed. The opera singers and orchestra had the most contribution to the performance. The pitch and vocals of the performers proved to be rich with character insight. Rigoletto contains a wealth of musical empowerment and melody. As the conductors of the orchestra are observed, it is apparent the time and practice placed into the performance were well spent. Compared to modern music, the orchestra conducted music that was pleasing to the ear that gave a new cultural view of other genres of music. Overall, the performance of Rigoletto at the Metropolitan Opera House at the Lincoln Center was an enriching experience. After only viewed one other play, The Christmas Music Spectacular at Rockefeller Center, it certainly offered a cultural background for the Italian culture. The theater itself was definitely an exquisite and elegant building that often is not found in the local area. The performance was an excellent portrayal of the 18th century as far as costumes and stage set-up while the musical aspect depicted the inspired drama set in Rigoletto. This experience has given an eye-opener to a different genre of music while setting an appreciation for other cultures.

The Falklands War Essays

The Falklands War Essays The Falklands War Essay The Falklands War Essay I am going to choose to do the Falklands War, which started in April1982. The Falkland Islands are situated just off the east coast of Argentina in South America. The cause of the war was when the Argentine Junta invaded the island encountering little or no resistance from people living on the islands. They did this while the British and Argentineans where still in peace negotiations about who owned the islands. After this Britain sent over a task force consisting on planes, ships and men to take back the islands and did successfully and were victorious by 15th June the same year when the Argentine forces surrendered to the British command. The Jus In Bello issues One of the conditions of a just war is proportionality, which in this conflict has not been kept to because during the bombing of Port Stanley the British Harrier Jets used cluster bombs. These bombs annihilate anything over a greater distance than a normal bomb because lots of little bombs break off and all go in different directions increasing the surface area of which the bomb affects. Some people would say is disproportionate because it may spread and get a civilian building as well as a military target. Also these bombs were far more powerful than any thing the opposing Argentines had to offer and because a less powerful bomb would have been more proportionate and would have still done the job. Also the British used phosphorous munitions, which are poisonous. This is disproportionate because it may cause a painful death, which is not usually caused by a normal bullet. The Argentines had lots of Napalm bombs; these are bombs that create fires causes a large area to be totally burned and destroyed which is disproportionate because it inflames a massive area when it may be disproportionate compared to the size of the military target which could be a lot smaller. Also in war the countries have to keep to targeting military targets and not civilian buildings and that only military people be involved and not civilians in the fighting. In the Falklands War this was kept very well with only three civilian deaths during the whole conflict. This is good because it means that the accuracy of any bombs dropped on the Falkland Islands was on target or very close to the target because there would have been a considerable amount of more deaths if the accuracy were bad. Another reason that this war was fought under the right conditions was because the prisoners taken on each side were kept and treated very well. One incident however that happened at Goose Green went against the conditions of war. Some Argentine forces were fighting and raised a white flag to surrender. Subaltern Jim Barry moved towards the Argentine troops in order to take them as prisoners. As he moved though he was shot and was instantly killed by an Argentine soldier. Although this thought to have been a mistake rather than a meaningful act it angered the British troops who immediately launched 66mm rockets and aimed concentrated machine gun fire at the building. The building was set ablaze and no survivors emerged. This action is very disproportionate as it is killing many Argentiness to retaliate for the death of one British soldier. The Falklands war did nonetheless prove that in this modern era there could be such a thing as a just war because the modern weaponry can be proportionate. Jus ad Bellum issues There was a just cause for war because when Argentina took over the islands it was because Britain gave up any land in South America or the islands near it to some Spanish Colonists and the Argentines claimed they were the successors to the Spanish colonists. However Britains claims was that they had never fully given up interest in the Falklands Islands and after Spain quit the islands in 1811, and Argentina took control until 1933 when they were evicted from the islands by an American warship after a dispute between them. After this Britain became the owners of the Islands again until Argentina invaded. It was a just cause to go to war because Britains islands were attacked without reason and they are doing so in self-defence of their islands. It could said however, that Britain did not feel under any immediate pressure by the invasion of the islands because they are so far away from Britain. Another condition is that there must be a reasonable chance of success which, from Argentinas sided was kept because they were right next to the Falklands Islands and as Britain is such a long way away they did not think that Britain would bother to reclaim the islands. Whereas on the British side that sent a task force against an unknown opposition because they did not know how many troops, planes or ships the Argentines had and so they did not know there probability of success. Also was war the last resort? -In this case it wasnt as Argentina invaded while the talks were still ongoing between the two governments. However Argentina had between debating for 150 years for the return for the islands and had been in negotiations with Britain for the last few years. Another condition in war is proportionality. Was it kept in a war in which 1000 men were sent to enable 1800 half citizens to give them a choice of government? Many people do not think so. However is it not right to protect your citizens if they belong to you despite them being thousands of miles away from the British homeland? Argentina did have a right to own the Falklands Islands but not the right to go to war with Britain because the British had not committed a fault to Argentina to have a just cause for going to war. Britain did have a right to go to war in self-defence but did the war bring less suffering to the islands than the war itself would cause. From a pacifists of principle point of view it would not be a just reason to go to war as the British government did not try and make war a last resort even thought they were attacked. From a selective objectors point of view they would agree with the war, as it is an act of self-defence but could not justify the moral issues of the war.

Most Important Themes in The Crucible, Analyzed

Most Important Themes in The Crucible, Analyzed SAT / ACT Prep Online Guides and Tips The Crucible remains a staple of high school English because it is rich in themes that are consistently relevant to human beings regardless of time period. But these themes aren't always easy to explain or dissect in the context of the play, and they can be even harder to develop into essays. Read on for an overview of what a theme is, a list of important themes in The Crucible with specific act-by-act details, and a summary of how to use this information in your essays and other assignments. What’s a Theme? Why Are Themes Important? Before I get into the nitty-gritty of howThe Cruciblethemes are expressed, let's do a quick overview of what themes are and why they matter. A theme is a central topic that is addressed by a work of literature. Themes can be expressed in many different ways. In the case of a play like The Crucible, themes are revealed mainly through the dialogue of the characters. They're also revealed though events in the plot. Themes tell us what the purpose of the work is. What is the writer attempting to convey to the viewer? The Crucible's themes have lent the play artistic longevity because they're more or less universal to the human experience across time.If you hope to write an awesome essay onThe Crucible, you should have extensive knowledge of its themes. If you can show that you understand the themes of a work of literature, you've clearly mastered the material on a deeper level.In the next few sections,I'll take a look at a group of broad themes inThe Crucible, including irony, hysteria, reputation, and power. Theme 1: Irony First off, what is irony? Many people are under the impression that irony is just when something happens that you don't expect (or that you really hoped wouldn't happen). In reality, true irony only happens when a situation is the exact opposite of what you would expect.The classic example of an incorrect use of irony is in Alanis Morisette's song "Ironic" when she says that "rain on your wedding day" is an example of irony. Well, it's not. Sure, you don't expect or want rain, but it's not the polar opposite of getting married. A real example of irony would be if two married guests got into a fight about going to your wedding that ended in their divorce. Irony abounds throughout The Crucibleascharacters who believe they are combating the Devil’s handiwork actually perform it themselves.The ruthlessness with which the suspected witches are treated is aimed at purifying Salem, but it achieves the opposite outcome. The town slips further and further into chaos and paranoia until it reaches a point of total devastation.As Reverend Hale says to Danforth, â€Å"Excellency, there are orphans wandering from house to house; abandoned cattle bellow on the highroads, the stink of rotting crops hangs everywhere, and no man knows when the harlots’ cry will end his life - and you wonder yet if rebellion’s spoke?† (Act 4, pg. 121). The court's attempts to preserve Puritan morality by arresting and executing accused witches ironically lead to the removal of the most virtuous people from society. These people are the only ones who refuse to throw out false accusations or lie about involvement in witchcraft, so they find themselves condemned (this is the fate of Rebecca Nurse). This means that much of the population that remains is comprised of the power-hungry, the selfish, and the cowardly. Act 1 There are several ironies in Act 1 that center around Abigail Williams. In her conversation with John, Abigail claims that he helped her realize all the lies she was told by two-faced people in Salem who only publicly adhere to the conventions of respectable society (pg. 22).The irony is that, in the face of John’s rejection, Abigail turns around and creates her own lies soon after that give her increased control over the society she resents.She puts on a fake front to get what she wants, ultimately creating a persona that’s even worse than that of the hypocrites she criticizes.Abigail’s many deceptions are sometimes laughably ironic as she chastises others for lying even as she is spinning falsehoods.In this act, she yells â€Å"Don’t lie!† at Tituba immediately before she tells some of the most damning lies of the play accusing Tituba of witchcraft (â€Å"She comes to me while I sleep; she’s always making me dream corruptions!† pg. 4 1). Hale also makes some unintentionally ironic statements in Act 1 when he begins his investigation.He claims that they must not jump to conclusions based on superstition in their investigation of Betty’s affliction.Hale is convinced that a scientific inquiry based only on facts and reality can be conducted to detect a supernatural presence. This is ironic becausesearching for "the Devil's marks" as the potential cause of an ailment is inherently superstitious. Once the accusations begin, Parris initiates an ironic thought process that persists throughout The Crucible: â€Å"You will confess yourself or I will take you out and whip you to your death, Tituba!† (pg. 42).This â€Å"confess or die† mindset is one of the central ironies of the play.The whole purpose of a trial is to hear both sides of the story before a verdict is reached.In telling people they must confess to their crimes or be hanged, the officials show that they have already decided the person is guilty no matter what evidence is provided in their defense. Act 2 In Act 2, John Proctor’s guilt over his affair with Abigail is demonstrated through an ironic exchange with Reverend Hale. When Hale asks him to recite his commandments, the only one he forgets is adultery.This is also the commandment that he has violated most explicitly, so you’d think it would be the first one to spring to mind.The fact that he forgets only this commandment shows that he is trying extremely hard to repress his guilt. This act also sees the irony of Hale discussing the â€Å"powers of the dark† that are attacking Salem (pg. 61).This is irony of the same type that I discussed in the overview of this theme.Hale doesn’t realize that his own fears and suspicions are the real powers of the dark.Salem is under attack from the hysteria that is encouraged by the same people who seek to keep imaginary supernatural demons at bay. Act 3 In Act 3, Hale continues to make ironic statements about the existence of concrete proof for the accusations of witchcraft.While touting his holy credentials, he claims that he â€Å"dare not take a life without there be a proof so immaculate no slightest qualm of my conscience may doubt it† (pg. 91).This â€Å"immaculate proof† that has led him to sign numerous death warrants is nothing but the fabrications of teenage girls and other townspeople seeking petty revenge.These types of statements made by Hale earlier in the play become even more ironic in Act 4 when he realizes he made a horrible mistake by trusting the â€Å"evidence† that was presented to him. Abigail’s presence is always rife with irony in The Crucible, as she constantly chastises others for sins she herself has committed.When she is brought in for questioning and claims to see Mary’s familiar spirit, she says â€Å"Envy is a deadly sin, Mary.†Abigail herself has acted out of envy for the entire play.Her jealousy of Elizabeth Proctor’s position as John’s wife has led her to attempted murder, first by the charm in the woods and now by accusing Elizabeth of witchcraft. Elizabeth is a victim of cruel irony in this Act when she is summoned to testify on the reasons why she dismissed Abigail from her household.John has already confessed that the affair was the reason for Abigail’s dismissal.John tells the judge to summon Elizabeth to back him up because he knows she always tells the truth.Ironically, though she is normally honest to a fault, in this situation Elizabeth decides to lie to preserve John’s reputation, not knowing he has already confessed.This well-intentioned mistake seals both of their fates. Act 4 Act 4 is Danforth’s turn to shine in the irony department.He is appalled by Elizabeth’s lack of emotion when he asks her to help the court get a confession out of her husband (pg. 123).This attitude comes from a man who has shown no remorse for condemning people to death throughout the play.He refers to John’s refusal to confess as â€Å"a calamity,† looking past his own involvement in the larger calamity of the conviction that led John to this point. Later in Act 4, Danforth becomes angry at the implication that John’s confession may not be the truth. He insists,â€Å"I am not empowered to trade your life for a lie† (pg. 130).Of course, we know that Danforth has been trading people’s lives for lies this whole time.He has sentenced people to death based on lies about their dealings in black magic, and he has accepted other false confessions from those who would rather lie than be executed.To Danforth, anything that doesn’t confirm that he was right all along is a lie. Discussion Questions Here are a few questions related to this theme that you can use to test your grasp of irony and its significance as a theme in The Crucible: How is Parris’ fate in act 4 ironic when considering his role in the events of the play? Why do certain characters seem to be blind to the irony of their actions (Abigail, Danforth)? Why is hypocrisy so common in repressive communities like Salem? Explain the irony of Hale’s position at the end of the play as compared to his actions at the beginning. Hale wrongly assumes that his academic mindset will save him from jumping to the wrong conclusions in the witchcraft investigation. Ironically, he is the first to demand a confession from Tituba based on Abigail's dramatic but false testimony. Theme 2: Hysteria The thematic significance of hysteria builds quickly as accusations of witchcraft proliferate throughout Salem.The power of collective hysteria ultimately becomes insurmountable because it grows larger than the influence of the few rational voices in the community. The seeds are planted in Act 1, when Abigail is questioned about her activities in the woods and ends up accusing Tituba of witchcraft to avoid punishment.The town, already primed with rumors of black magic, is quickly willing to accept that the first few women who are accused are involved in black magic because they’re beggars and slaves.No one considers that the accusers are lying, partially because they’re seen as innocent children and partially because many â€Å"witches† confess to avoid the death penalty. Armed with the false proof of these coerced confessions, the court officials aggressively persecute anyone who is accused.Hysteria blinds the people of Salem to reason as they become convinced that there is a grand Satanic plot brewing in town, and they must not hesitate to condemn anyone who could be involved.This is a lesson in how fear can twist perceptions of reality even for those who consider themselves reasonable under normal circumstances. Act 1 Even before Abigail makes accusations, rumors of witchcraft have morphed into accepted truths in the minds of the more superstitious members of the community.Ann Putnam jumps at any opportunity to blame supernatural forces for the deaths of her children.Ann’s extreme conclusions are gradually accepted because rational people are too afraid to challenge the consensus and risk bringing accusations upon themselves.Hale’s involvement is taken to mean that there must be a supernatural element to Betty’s illness.Rational explanations are ground up by the drama of the rumor mill, and people see only what they want to see (whatever keeps them in the good graces of society andmakes them feel the best about themselves) in situations that don't appear to have easy explanations. The madness begins in earnest with Abigail’s claim that Tituba and Ruth were conjuring spirits in the woods.Parris is extremely dismayed by this revelation because of the damage it will do to his reputation.Thomas Putnam tells him to â€Å"Wait for no one to charge you - declare it yourself.†Parris must rush to be the first accuser so he can place himself beyond reproach. It's atoxic strategy that causes panic to spread quickly and fear for one’s life to take the place of rationality.Tituba is pressured to confess and name the names of other â€Å"witches† to avoid execution, which leads to Abigail and Betty’s accusations, now validated by a coerced confession.This vicious cycle continues to claim the lives of more and more people as the play progresses. Act 2 By Act 2, there are nearly 40 people in jail accused of witchcraft.Many people confess when threatened with execution, and this only heightens the paranoid atmosphere.The authorities ignore any inconvenient logical objections to the proceedings because they, too, are swept up in the madness. The hysterical atmosphere and the dramatic performances of some of the accusers cause people to believe they have seen genuine proof of witchcraft.Each new false confession is thrown onto the pile of â€Å"evidence† of a grand Satanic plot, and as the pile grows larger, the hysteria surrounding it is fed generously. This hysteria-based â€Å"evidence† of witchcraft includes the discovery of the poppet in the Proctor household with a needle in it.Elizabeth's side of the story is disregarded because Abigail’s testimony is far more dramatic."She sat to dinner in Reverend Parris's house tonight, and without word nor warnin' she falls to the floor. Like a struck beast, he says, and screamed a scream that a bull would weep to hear. And he goes to save her, and, stuck two inches in the flesh of her belly, he draw a needle out." (Cheever pg. 71). The idea that a witch's familiar spirit is capable of stabbing people is too scary for the superstitious and now hysterical people of Salem to give Elizabeth the benefit of the doubt. No one even considers Mary's statement about sticking the needle in herself. In this environment, whoever yells the loudest seems to get the most credibility. Act 3 The depths of the hysteria that has gripped Salem are revealed in Act 3 when John finally confronts the court. Danforth makes a shocking argument defending the way the trials have been conducted, insisting that only the victim’s testimony can serve as reliable evidence in this type of trial.He is completely oblivious to the fact that the â€Å"victims† might be lying.The court refuses to challenge anyone who claims to have been afflicted. When the petition testifying to the good character of the accused women is presented, the reaction from Danforth, Hathorne, and Parris is to arrest the people who signed it rather than considering that this might indicate that the women are innocent.Danforth is convinced that â€Å"there is a moving plot to topple Christ in the country!† and anyone who doubts the decisions of the court is potentially involved.They so fear the devilish consequences of challenging the accusers that they’re willing to take them at their word and ignore any defenses the accused have to offer.Nowhere is there any consideration of ulterior motives. The power of mass hysteria is further revealed when Mary is unable to faint outside of a charged courtroom environment.She believed she had seen spirits earlier because she was caught up in the delusions of those around her.Abigail distracts the judges from any rational investigation in this act by playing into this hysteria.Danforth, who has the most authority, is also the most sold on her act, and it only takes a few screams to persuade him that he’s in the presence of witchcraft.This leads to Mary’s hysterical accusation of Proctor after she finds herself targeted by the other girls and about to be consumed by the hysteria herself if she doesn’t contribute to it. Act 4 Danforth continues to demonstrate the effects of hysteria in act 4 even after things have died down a bit in Salem and there have been rumblings of discontent about the court’s actions.As John gives his confession, Danforth says to Rebecca Nurse â€Å"Now, woman, you surely see it profit nothin’ to keep this conspiracy any further. Will you confess yourself with him?† (pg. 129)He is still convinced that all the prisoners are guilty and is determined to force them to admit their guilt. Danforth also becomes frustrated with Proctor when he won’t name names in his confession: â€Å"Mr. Proctor, a score of people have already testified they saw [Rebecca Nurse] with the Devil† (pg. 130).Danforth insists that John must know more about the Devil's dealings than he has revealed.Though Rebecca Nurse's involvement has already been corroborated by other confessors, Danforth demands to hear it from John to confirm that John is fully committed to renouncing his supposed ties to Satan. Discussion Questions Here are a few questions about hysteria to consider now that you've read a summary of how this theme was expressed throughout the plot of the play: How does the hysteria in the play get started? What are some of the factors that feed the panic and suspicion in Salem, and why are officials (like Danforth) unable or unwilling to listen to reason? Is there any character besides John Proctor that represents the voice of common sense amidst the madness? Why is Cheever both astonished and afraid when he finds the poppet with the needle in it? Why is everyone so quick to believe Abigail’s story? Danforth explains that witchcraft is an invisible crime and that only the victims are reliable. How does this philosophy perpetuate hysteria? Even though there is significant reason to believe Abigail is lying about Elizabeth's familiar spirit stabbing her, the frenzied investigators ignore testimony that challenges their chosen witchy narrative. Theme 3: Reputation Concern for reputation is a theme that looms large over most of the events in The Crucible.Though actions are often motivated by fear and desires for power and revenge, they are also propped up by underlying worries about how a loss of reputation will negatively affect characters' lives.John’s concern for his reputation is strong throughout the play, and his hesitation to reveal Abigail’s true nature is a product of his own fears of being labeled an adulterer. Once there have been enough convictions, the reputations of the judges also become factors. They are extremely biased towards believing they have made the correct sentencing decisions in court thus far, so they are reluctant to accept new evidence that may prove them wrong.The importance placed on reputation helps perpetuate hysteria because it leads to inaction, inflexibility, and, in many cases, active sabotage of the reputations of others for selfish purposes. The overall message is that when a person's actions are driven by desires to preserve favorable public opinion rather than do the morally right thing, there can be extremely dire consequences. Act 1 Reverend Parris' concerns about his reputation are immediately evident in Act 1. Parris initially insists that there are â€Å"no unnatural causes† for Betty’s illness because he fears that he will lose favor with the townspeople if witchcraft is discovered under his roof.He questions Abigail aggressively because he’s worried his enemies will learn the full story of what happened in the woods first and use it to discredit him.Parris is very quick to position himself on the side of the accusers as soon as Abigail throws the first punch, and he immediately threatens violence on Tituba if she doesn't confess (pg. 42).He appears to have no governing system of morality. His only goal is to get on the good side of the community as a whole, even in the midst of this bout of collective hysteria. Abigail also shows concern for her reputation.She is enraged when Parris questions her suspicious dismissal from the Proctor household.Abigail insists that she did nothing to deserve it and tries to put all the blame on Elizabeth Proctor.She says, "My name is good in the village! I will not have it said my name is soiled! Goody Proctor is a gossiping liar!" (pg. 12) The first act of The Crucibleclearly establishes the fact that a bad reputation can damage a person’s position in this society severely and irreparably. Act 2 In this act, we learn more details about the accused that paint a clearer picture of the influence of reputation and social standing on the patterns of accusations.Goody Good, an old beggar woman, is one of the first to be named a witch. It’s easy for more respectable citizens to accept that she’s in league with the Devil because she is an "other" in Salem, just like Tituba.When Abigail accuses Elizabeth, a respected farmer’s wife, it shows that she is willing to take big risks to remove Elizabeth from the picture.She’s not a traditionally accepted target like the others (except in her susceptibility as a woman to the misogyny that runs rampant in the play). In Act 2, the value of reputation in Salem starts to butt heads with the power of hysteria and fear to sway people’s opinions (and vengeance to dictate their actions).Rebecca Nurse, a woman whose character was previously thought to be unimpeachable, is accused and arrested.This is taken as evidence that things are really getting out of control ("if Rebecca Nurse be tainted, then nothing's left to stop the whole green world from burning." Hale pg. 67).People in power continue to believe the accusers out of fear for their own safety, taking the hysteria to a point where no one is above condemnation. At the end this act, John Proctor delivers a short monologue anticipating the imminent loss of the disguises of propriety worn by himself and other members of the Salem community.The faces that people present to the public are designed to garner respect in the community, but the witch trials have thrown this system into disarray.Proctor’s good reputation is almost a burden for him at this point because he knows that he doesn’t deserve it. In a way,John welcomes the loss of his reputation because he feels so guilty about the disconnect between howhe is perceived by others and the sins he has committed. Act 3 John Proctor sabotages his own reputation in Act 3 after realizing it's the only way he can discredit Abigail.This is a decision with dire consequences in a town where reputation is so important, a fact that contributes to the misunderstanding that follows.Elizabeth doesn’t realize that John is willing to sacrifice his reputation to save her life.She continues to act under the assumption that his reputation is of the utmost importance to him, and she does not reveal the affair. This lie essentially condemns both of them. Danforth also acts out of concern for his reputations here. Hereferences the many sentencing decisions he has already made in the trials of the accused. If Danforth accepts Mary’s testimony, it would mean that he wrongly convicted numerous people already. This fact could destroy his credibility, so he is biased towards continuing to trust Abigail.Danforth has extensive pride in his intelligence and perceptiveness. This makes him particularly averse to accepting that he's been fooled by a teenage girl. Act 4 Though hysteria overpowered the reputations of the accused in the past two acts, in act 4 the sticking power of their original reputations becomes apparent.John and Rebecca’s solid reputations lead to pushback against their executions even though people were too scared to stand up for them in the midst of the trials.Parris begs Danforth to postpone their hangings because he fears for his life if the executions proceed as planned.He says, â€Å"I would to God it were not so, Excellency, but these people have great weight yet in the town† (pg. 118). However, this runs up against Danforth’s desire to preserve his reputation as a strong judge.He believes that â€Å"Postponement now speaks a floundering on my part; reprieve or pardon must cast doubt upon the guilt of them that died till now. While I speak God’s law, I will not crack its voice with whimpering† (pg. 119).Danforth’s image is extremely valuable to him, and he refuses to allow Parris’ concerns to disrupt his belief in the validity of his decisions. In the final events of Act 4, John Proctor has a tough choice to make between losing his dignity and losing his life. The price he has to pay in reputation to save his own life is ultimately too high.He chooses to die instead of providing a false confession because he doesn’t think life will be worth living after he is so disgraced. As he says,â€Å"How may I live without my name? I have given you my soul; leave me my name!† (pg. 133) Discussion Questions Here are a few discussion questions to consider after you've read my summary of how the theme of reputation motivates characters and plot developments in The Crucible: How are characters’ behaviors affected by concern for their reputations? Is reputation more important than truth? Why doesn’t John immediately tell the court that he knows Abigail is faking? How does Parris’ pride prevent him from doing anything to stop the progression of events in the play? Why does Mary Warren warn John about testifying against Abigail? Why does he decide to do so anyways? Why does John decide to ruin his reputation in Act 3 by confessing to the affair? How is the arrest of Rebecca Nurse a sign that the hysteria in Salem has gotten out of control? How does reputation influence who is first accused of witchcraft? If you're an old beggar woman who sometimes takes shelter in this creepy shack, you better believe these jerks are gonna turn on you as soon as anyone says the word "witch." Theme #4: Power and Authority The desire to preserve and gain power pervadesThe Crucible as the witch trials lead to dramatic changes in which characters hold the greatest control over the course of events.Abigail’s power skyrockets as the hysteria grows more severe.Where before she was just an orphaned teenager, now, in the midst of the trials, she becomes the main witness to the inner workings of a Satanic plot.She has the power to utterly destroy people’s lives with a single accusation because she is seen as a victim and a savior. The main pillars of traditional power are represented by the law and the church.These two institutions fuse together in The Crucible to actively encourage accusers and discourage rational explanations of events. The girls are essentially given permission by authority figures to continue their act because they are made to feel special and important for their participation.The people in charge are so eager to hold onto their power that if anyone disagrees with them in the way the trials are conducted, it is taken as a personal affront and challenge to their authority. Danforth, Hathorne, and Parris become even more rigid in their views when they feel they are under attack. Act 1 As mentioned in the overview, religion holds significant power over the people of Salem.Reverend Parris is in a position of power as the town's spiritual leader, but he is insecure about his authority.He believes there is a group of people in town determined to remove him from this position, and he will say and do whatever it takes to retain control.This causes problems down the line as Parris allows his paranoia about losing his position to translate into enthusiasm for the witch hunt. Abigail, on the other hand, faces an uphill battle towards more power over her situation.She is clearly outspoken and dominant, but her initial position in society is one of very little influence and authority.One path to higher standing and greater control would be in becoming John Proctor’s wife.When she can’t get John to abandon Elizabeth for her, she decides to take matters into her own hands and gain control through manipulating the fears of others. Abigail accuses Tituba first because Tituba is the one person below her on the ladder of power, so she makes an easy scapegoat. If Tituba was permitted to explain what really happened, the ensuing tragedy might have been prevented.No one will listen to Tituba until she agrees to confirm the version of events that the people in traditional positions of authority have already decided is true, a pattern which continues throughout the play.Tituba is forced to accept her role as a pawn for those with greater authority and a stepping stone for Abigail’s ascent to power. Act 2 By Act 2, there have been notable changes in the power structure in Salem as a result of the ongoing trials.Mary Warren’s sense of self-importance has increased as a result of the perceived value of her participation in court.Elizabeth notes that Mary's demeanor is now like that of â€Å"the daughter of a prince† (pg. 50).This new power is exciting and very dangerous because it encourages the girls to make additional accusations in order to preserve their value in the eyes of the court. Abigail, in particular, has quickly risen from a nobody to one of the most influential people in Salem.Abigail’s low status and perceived innocence under normal circumstances allow her to claim even greater power in her current situation.No one thinks a teenage orphan girl is capable of such extensive deception (or delusion), so she is consistently trusted.In one of the most well-known quotes in the play, John Proctor angrily insists that â€Å"the little crazy children are jangling the keys of the kingdom† (pg. 73), meaning the girls are testing out the extent of the chaos they can create with their newfound power. Act 3 In Act 3, Abigail’s power in the courthouse is on display.She openly threatens Danforth for even entertaining Mary and John's accusations of fraud against her. Though Danforth is the most powerful official figure in court, Abigail manipulates him easily with her performance as a victim of witchcraft. He's already accepted her testimony as evidence, so he is happy for any excuse to believe her over John and Mary.John finally comes to the realization that Mary's truthful testimony cannot compete with the hysteria that has taken hold of the court.The petition he presents to Danforth is used as a weapon against the signers rather than a proof of the innocence of Elizabeth, Martha, and Rebecca. Abigail's version of events is held to be true even after John confesses to their affair in a final effort to discredit her.Logic has no power to combat paranoia and superstition even when the claims of the girls are clearly fraudulent.John Proctor surrenders his agency at the end of Act 3 i n despair at the determination of the court to pursue the accusations of witchcraft and ignore all evidence of their falsehood. Act 4 By Act 4, many of the power structures that were firmly in place earlier in the play have disintegrated.Reverend Parris has fallen from his position of authority as a result of the outcomes of the trials.He is weak and vulnerable after Abigail's theft of his life's savings, and he’s even facing death threats from the townspeople as a result of John and Rebecca's imminent executions.In Act 1 he jumped on board with the hysteria to preserve his power, but he ended up losing what little authority he had in the first place (and, according to Miller's afterward, was voted out of office soon after the end of the play). The prisoners have lost all faith in earthly authority figures and look towards the judgment of God.The only power they have left is in refusing to confess and preserving their integrity. In steadfastly refusing to confess, Rebecca Nurse holds onto a great deal of power.The judges cannot force her to commit herself to a lie, and her martyrdom severely damages their legitimacy and favor amongst the townspeople. Discussion Questions Here are some discussion questions to consider after reading about the thematic role of the concepts of power and authority in the events of the play: How do the witch trials empower individuals who were previously powerless? How does Reverend Hale make Tituba feel important? Compare and contrast three authority figures in this drama: Hale, Danforth, and Parris. What motivates their attitudes and responses toward the witch trials? What makes Danforth so unwilling to consider that the girls could be pretending? Why does Mary Warren behave differently when she becomes involved in the trials? How do the actions of authority figures encourage the girls to continue their accusations and even genuinely believe the lies they’re telling? Mary Warren when she comes back from Salem in Act 2 A Quick Look at Some Other The CrucibleThemes These are themes that could be considered subsets of the topics detailed in the previous sections, but there's also room to discuss them as topics in their own right. I'll give a short summary of how each plays a role in the events of The Crucible. Guilt The theme of guilt is one that is deeply relevant to John Proctor's character development throughout the play. John feels incredibly ashamed of his affair with Abigail, so he tries to bury it and pretend it never happened. His guilt leads to great tension in interactions with Elizabeth because he projects his feelings onto her, accusing her of being judgmental and dwelling on his mistakes. In reality, he is constantly judging himself, and this leads to outbursts of anger against others who remind him of what he did (he already feels guilty enough!). Hale also contends with his guilt in act 4 for his role in condemning the accused witches, who he now believes are innocent. There's a message here about the choices we have in dealing with guilt. John attempts to crush his guilt instead of facing it, which only ends up making it an even more destructive factor in his life. Hale tries to combat his guilt by persuading the prisoners to confess, refusing to accept that the damage has already been done. Both Hale and Proctor don't want to live with the consequences of their mistakes, so they try to ignore or undo their past actions. Misogyny and Portrayal of Women Miller's portrayal of women in The Crucible is a much-discussed topic. The attitudes towards women in the 1950s, when the play was written, are evident in the roles they're given. The most substantial female character is Abigail, who is portrayed as a devious and highly sexualized young woman. She is cast as a villain. Then, on the other end of the spectrum, we have Rebecca Nurse. She is a sensible, saintly old woman who chooses to martyr herself rather than lie and confess to witchcraft. The other two main female characters, Elizabeth and Mary Warren, are somewhat bland. Elizabeth is defined by her relationship to John, and Mary is pushed around by other characters (mostly men) throughout the play. The Crucible presents a view of women that essentially reduces them to caricatures of human beings that are defined by their roles as mothers, wives, and servants to men. Abigail, the one character who breaks from this mold slightly, is portrayed extremely unsympathetically despite the fa ct that the power dynamic between her and John makes him far more culpable in their illicit relationship. Deception Deception is a major driving force inThe Crucible. This includes not only accusatory lies about the involvement of others in witchcraft but also the lies that people consistently tell about their own virtuousness and purity in such a repressive society. The turmoil in Salem is propelled forward by desires for revenge and power that have been simmering beneath the town's placid exterior. There is a culture of keeping up appearances already in place, which makes it natural for people to lie about witnessing their neighbors partaking in Satanic rituals when the opportunity arises (especially if it means insulating themselves from similar accusations and even achieving personal gain). The Crucible provides an example of how convenient lies can build on one another to create a universally accepted truth even in the absence of any real evidence. Even before the witch trials, the people of Salem are doing lots of little magic tricks to make all their unholy thoughts and actions disappear. AbracaDENIAL! How to Write AboutThe CrucibleThemes It's one thing to understand the major themes in The Crucible, and it's another thing completely to write about them yourself. Essay prompts will ask about these themes in a variety of different ways. Some will be very direct. An example would be something like: "How are themes like hysteria, hunger for power, reputation, or any of a number of others functional in the drama? Choose a single character and discuss how this person embodies one of the themes. How is Miller’s underlying message revealed in one of these themes and through the character?" In a case like this, you'd be writing directly about a specific theme in connection to one of the characters. Essay questions that ask about themes in this straightforward way can be tricky because there's a temptation to speak in vague terms about the theme's significance. Always include specific details, including direct quotes, to support your argument about how the theme is expressed in the play. Other essay questions may not ask you directly about the themes listed in this article, but that doesn't mean that the themes are irrelevant to your writing. Here's another example of a potential essay question for The Crucible that's less explicit in its request for you to discuss themes of the play: "Most of the main characters in the play have personal flaws and either contribute to or end up in tragedy. Explain who you believe is the central tragic character in the play. What are their strengths and personal flaws? How does the central tragic character change throughout the play, and how does this relate to the play's title? How do outside forces contribute to the character's flaws and eventual downfall?" In this case, you're asked to discuss the concept of a tragic character, explaining who fits that mold in The Crucible and why. There are numerous connections between the flaws of individual characters and the overarching themes of the play that could be brought into this discussion. This is especially true with the reputation and hysteria themes. If you argued that John Proctor was the central tragic character, you could say that his flaws were an excessive concern for his reputation and overconfidence in the power of reason to overcome hysteria. Both flaws led him to delay telling the truth about Abigail's fraudulent claims and their previous relationship, thus dooming himself and many others to death or imprisonment. Even with prompts that ask you to discuss a specific character or plot point, you can find ways to connect your answer to major themes. These connections will bolster your responses by positioning them in relation to the most important concepts discussed throughout th e play. What's Next? Now that you've read about the most important themes in The Crucible, check out ourlist of every single character in the play, including brief analyses of their relationships and motivations. You can also read my full summary of The Crucible here for a review of exactly what happens in the plot in each act. The Crucible is commonly viewed as an allegorical representation of the communist "witch hunts" conducted in the 1950s. Take a look at this article for details on the history and thematic parallels behind this connection. 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: