Were West Memphis Three Innocent Research Paper

Were West Memphis Three Innocent - Research Paper Example The underlying endeavors to discover the young men were weak and hurried, best case scenario and nothing was situated on the principal day. The pursuit was proceeded in the first part of the day the following day and the groups of the three little fellows were found around late morning on May 6, 1993 stripped, hogtied and dumped in a discard. One of them had his genital disfigured; the sum total of what three had been casualties to cut injuries and different slashes. Further assessment of the bodies indicated that the young men had been exposed to mutilation before they were slaughtered. Reason for death was resolved to be mutilation and suffocating. The arraigning party said that the killings had been submitted for a sinister ceremony and that Echols was the ring chief. The sinister turn given to the case by the indictment served to truly sensationalize the case in open discussions and among the individuals by and large. Echols was hence condemned to capital punishment and Misskelle y and Baldwin were given life sentences. The ‘West Memphis Three’ went through near two decades in prison under the watchful eye of an appointed authority at last acknowledged their Alford request and set them free by which time they had burned through the greater part of their childhood serving in the slammer for a wrongdoing they didn't submit (Sharon 2012; BBC News 2011). When given the crude realities, how, one may ask, were three individuals sentenced for such an intolerable wrongdoing set free simply like that very nearly two decades later? There are really numerous conceivable solid reasons which developed in these 20 years and empowered Echols, Misskelley and Baldwin to leave the court as free men in 2011. Furthermore, these are accurately the reasons that I think these men were honest. What's more, hence I will additionally expound upon them in the paper underneath (BBC News 2011). In the event that the proof against the ‘West Memphis Three’ is tak en a gander at altogether and from all the various edges and points of view, it very well may be seen that there was a serious absence of cement physical proof connecting the three men with the three horrifying homicides. DNA testing wasn’t a choice in those days so the police couldn’t conceivably have any strong association between the people in question and the men sentenced for the homicides. It is likewise to be noticed that no close to home assets, blood, skin or hair examples from the indicted men were found on the people in question and moreover there were no onlookers to the wrongdoing itself. These three children were, best case scenario genuinely unpracticed newbies and would have abandoned pieces of information connecting them to the homicide beyond question had they carried out this wrongdoing. This degree of care in the wrongdoing where no intimation was abandoned shown crafted by a specialist criminal, one who comprehended what they were doing and how to approach doing it. Someone like that would have deserted no intimations, however someone like that didn't fit the portrayal or demographical standards of these youngsters (CNN Blog 2011; Elizebath 2011). A barrier lawyer for the three men said that another explanation the fault was nailed to Echols, Misskelley and Baldwin could have been on the grounds that they were significantly easy targets. Another explanation that is firmly connected with the first is that during the underlying examinations in 1993 these three youngsters were the best suspects, and for the police to have the option to convict them would make a flawless small closure of an awful homicide case. In addition these men were by a long shot the police’s best suspects to nail this wrongdoing to. Likewise, during introductory examinations the case was taken care of in a hurried and impartial way where a great deal of subtleties were neglected in the smoked fuelled by the fire of

Qulity Managment Essay Example

Qulity Managment Essay Quality Management for Organizational Excellence Lecture/Presentation Notes By: Dr. David L. Goetsch and Stanley Davis Based on the book Quality Management for Organizational Excellence (7Th Edition) Presented By; Dr. Rania A. M Shamah Associate Professor of Business Administration 1 One: The Total Quality Approach to Quality Management MAJOR TOPICS †¢ What is Quality? †¢ The Total Quality Approach Defined †¢ Two Views of Quality †¢ Key Elements of Total Quality †¢ Total Quality Pioneers †¢ Keys to Total Quality Success †¢ How is Six Sigma Achieved? †¢ The Future of Quality Management 2 One: The Total Quality Approach to Quality Management ? Quality has been characterized in various manners. ? When seen from a consumer’s point of view, it implies meeting or surpassing client desires. ? Quality is a unique state related with items, administrations, individuals, procedures, and conditions that meets or surpasses desires. ? All out quality is a way to deal with working together that endeavors to boost an organization’s seriousness through the consistent improvement of the nature of its ? items, administrations, individuals, procedures, and conditions. 3 The Consequences of Poor Quality Loss of business ? Efficiency ? Costs Benefits of Good Quality ? Upgraded notoriety for quality ? Capacity to order more significant expenses ? Expanded piece of the overall industry ? More prominent client devotion ? Lower risk costs ? Less creation or administration issues ? Higher benefits 4 Responsibility for Quality ? Everybody in the association has some duty regardin g quality, however certain territories of the association are engaged with exercises that make them key regions of obligation. ? Top administration ? Plan ? Acquirement ? Creation/activities ? Quality confirmation ? Bundling and delivery ? Showcasing and deals ? We will compose a custom article test on Qulity Managment explicitly for you for just $16.38 $13.9/page Request now We will compose a custom exposition test on Qulity Managment explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer We will compose a custom exposition test on Qulity Managment explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer Client assistance 5 Costs of Quality ? Disappointment costs acquired by deficient parts/items or defective administrations. †¢ Internal Failure Costs †¢ Costs brought about to fix issues that are identified before the item/administration is conveyed to the client. †¢ External Failure Costs †¢ All expenses acquired to fix issues that are identified after the item/administration is conveyed to the client †¢ Appraisal Costs †¢ Costs of exercises intended to guarantee quality or reveal abandons All TQ preparing, TQ arranging, client evaluation, process control, and quality improvement expenses to keep surrenders from happening Prevention Costs †¢ 6 Ethics and Quality ? Inadequate work †¢ Defective items Substandard help Poor plans Shoddy workmanship Substandard parts and materials Having information on this and neglecting to address and report it in a convenient way is dishonest. 7 Total Quality Management T Q M ? A way of thinking that includes ev erybody in an association in a nonstop exertion to improve quality and accomplish consumer loyalty. ? Absolute quality isn't only one individual idea. ? It is various related ideas arranged to make a complete way to deal with working together. Numerous individuals contributed in important manners to the advancement of the different ideas that are referred to aggregately as complete quality TQM Approach 1. Discover what the client needs 2. Structure an item or administration that meets or surpasses client needs 3. Configuration forms that encourage carrying out the responsibility right the first run through 4. Monitor results 5. Broaden these ideas all through the flexibly chain 8 TQM Elements 1. Persistent improvement 2. Serious benchmarking 3. Representative strengthening 4. Group approach 5. Choice dependent on reality, not conclusion 6. Information on devices 7. Provider quality 8. Champion 9. Quality at the source 10. Providers are accomplices in the process 9 Continuous Improvement ? Consistent Improvement †¢ Philosophy that looks to make ceaseless enhancements to the way toward changing over contributions to yields †¢ Kaizen †¢ Japanese word for constant improvement. Quality at the Source ? The way of thinking of making every specialist liable for the nature of their work †¢ â€Å"Do it right† and â€Å"If it isn’t right, fix it† 10 The Total Quality Approach Defined Total Quality: What It Is and How It Is Achieved ? Key attributes of the absolute quality methodology are as per the following: deliberately based, client center, fixation on quality, logical methodology, long haul duty, collaboration, worker association and strengthening, ceaseless procedure improvement, Each component is clarified on slides (12-14) ? The basis for absolute quality can be found in the need to contend in the worldwide commercial center. ? Nations that are contending effectively in the worldwide commercial center are seeing their nature of living improve. ? Those that can't are seeing theirs decay. 11 The Total Quality Approach Defined Complete Quality: What It Is and How It Is Achieved Key attributes of the all out quality methodology are as per the following: ? Deliberately based ? Absolute quality associations have an exhaustive vital arrangement that contains in any event the accompanying components: vision, strategic, goals, and exercises that must be finished to achieve the expansive destinations. ? The key arrangement for an all out quality association is intended to give it a maintainable upper hand in the commercial center. ? Client Focus ? In a complete quality setting, the client is the driver. This applies to both interior and outside clients. ? Fixation on Quality ? This implies all staff at all levels approach all parts of the activity from the point of view of How would we be able to do this better? At the point when an association is fixated on quality, adequate is rarely sufficient. 12 The Total Quality Approach Defined Total Quality: What It Is and How It Is Achieved Key attributes of the complete quality methodology are as per the following: ? Logical Approach ? While the facts demonstrate that relationship building abilities, inclusion, and strengthening are significant in an all out quality setting, they speak to just a piece of the condition. Another significant piece of the condition is the utilization of the logical methodology in organizing work and in dynamic and critical thinking that identifies with the work. ? Long haul Commitment ? Associations that actualize the executives advancements in the wake of going to momentary courses frequently bomb in their underlying endeavor to embrace the complete quality methodology. ? This is on the grounds that they approach complete quality as simply one more administration advancement as opposed to overall better approach for working together that requires a totally different corporate culture. 13 The Total Quality Approach Defined All out Quality: What It Is and How It Is Achieved ? Cooperation ? Inside rivalry will in general use vitality that ought to be centered around improving quality, and, thusly, outer seriousness. ? Consistent Improvement of Systems ? So as to constantly improve the nature of items or administrations: which is a key objective in an all out quality setting. ? It is important to persistently improve frameworks. ? Constant Process Improvement ? Items are created and benefits are conveyed by individuals utilizing forms inside conditions (frameworks). To constantly improve the nature of items and administrations which is a key objective in a complete quality setting-it is important to consistently improve the procedures that make up the organization’s frameworks. 14 Three-Legged Stool of Total Quality Measures ? Measurable procedure control ? Benchmarking ? Quality apparatuses People ? Quality is worked in ? Quality is normal not assessed ? Workers are enabled Processes ? Ceaseless i mprovement ? â€Å"Good enough† is never adequate 15 Perceived Quality Word of Mouth Personal Needs Expected Quality Past Experience Quality Dimensions ? ? ? ? ? Unwavering quality Responsiveness Assurance Empathy Tangibles Quality Assessment 1. Desires surpassed ESPS (Unacceptable Quality) 16 Perceived Quality Defining Quality is Satisfactory.. Measurements of Quality †¢ Reliability: The capacity to Perform guaranteed administration constantly and precisely. †¢ Responsiveness: Willingness to support clients and to offer brief assistance. †¢ Assurance: The information and kindness of representatives just as their capacity to pass on trust and certainty. †¢ Empathy: The arrangement of caring , individualized regard for clients. Capacity to be agreeable. †¢ Tangibles: The presence of Physical offices gear, work force, and ommunication materials.. 17 Quality Gap Model Customer Perceptions Managing the Evidence Communication GAP 4 Customer Satisfaction GAP 5 Customer Expectations Customer/Marketing Research GAP 1 Understanding the Customer Service Delivery Management Perceptions of Customer Expectations Design GAP 2 Conformance GAP 3 Conformance Service Standards Product Design 18 C ustomer Satisfaction †¢ All clients need to be fulfilled. †¢ Customer reliability is just because of the absence of a superior option †¢ Giving clients some additional worth will charm them by surpassing their desires and protect their arrival 19

Book Riots Deals of the Day for February 8, 2020

Book Riot’s Deals of the Day for February 8, 2020 Sponsored by All the Stars and Teeth by Adalyn Grace with Fierce Reads. These deals were active as of this writing, but may expire soon, so get them while they’re hot! Todays  Featured Deals Furiously Happy by  Jenny Lawson for $2.99. Get it here,  or just click on the cover image below. This Is How It Always Is by  Laurie Frankel for $2.99. Get it here,  or just click on the cover image below. I’m Judging You by Luvvie Ajayi for $2.99. Get it here,  or just click on the cover image below. The Mysterious Affair at Styles by Agatha Christie for $2.99. Get it here,  or just click on the cover image below. In Case You Missed Yesterdays Most Popular Deals Station Eleven by  Emily St. John Mandel for $2.99. Get it here,  or just click on the cover image below. The Deep by Rivers Solomon, Daveed Diggs, William Hutson, and Jonathan Snipes for $1.99. Get it here,  or just click on the cover image below. Previous Daily Deals That Are Still Active As Of This Writing (Get em While Theyre Hot!): Half-Blood Blues by Esi Edugyan for $3.99 I Was Anastasia by  Ariel Lawhon for $2.99 Let the Great World Spin by  Colum McCann for $2.99 Dinner for Everyone by  Mark Bittman for $2.99 Eloquent Rage: A Black Feminist Discovers Her Superpower by Brittney C. Cooper for $3.99 A Girl Like That by Tanaz Bhathena  $2.99 Hummus and Homicide by Tina Kashian for $1.99 The Diviners by Libba Bray for $2.99 Conversations with Myself by Nelson Mandela for $3.99 One Good Earl Deserves a Lover by Sarah McLean for $3.99 I Love You So Mochi by Sarah Kuhn for $1.99 Bring Up the Bodies by Hilary Mantel for $3.99 The Mapmaker’s Wife by  Robert Whitaker for $1.99 Tangerine by  Christine Mangan for $2.99 Wicked Saints by  Emily A. Duncan for $2.99 We Have Always Lived in the Castle by Shirley Jackson for $1.99 No One Is Coming to Save Us by Stephanie Powell Watts for $2.99 Monsoon Mansion by Cinelle Barnes  for $0.99 The Sellout by Paul Beatty for $3.99 The Forgotten Man by Robert Crais for $1.99 I Am, I Am, I Am: Seventeen Brushes With Death by Maggie OFarrell for $4.99 Enlightenment Now by  Steven Pinker for $1.99 The Burning Chambers by Kate Mosse for $2.99 The Surgeon by  Tess Gerritsen for $2.99 The Third Angel by  Alice Hoffman for $2.99 Whiskey When We’re Dry by  John Larison for $1.99 Feel Free by Zadie Smith for $3.99 Breakfast of Champions by Kurt Vonnegut for $2.99 The Epic Crush of Genie Lo by F.C. Lee for $1.99 Burn Baby Burn by Meg Medina for $1.99 That Kind of Guy by Talia Hibbert for $3.99 The Awakened Kingdom by N.K. Jemisin for $2.99 Odd and the Frost Giants by Neil Gaiman for $3.99 Labyrinth Lost by Zoraida Cordova for $4.09 Once Ghosted, Twice Shy by Alyssa Cole for $1.99 Everythings Trash, But Its Okay  by Phoebe Robinson for $4.99 Tiny Pretty Things  by Sona Charaipotra and Dhonielle Clayton for $4.99 Nefertiti by Michelle Moran for $3.99 Instant Pot Obsession: The Ultimate Electric Pressure Cooker Cookbook for Cooking Everything Fast by Janet A. Zimmerman for $2.99 Ash Princess by Laura Sebastian for $1.99 Year of Yes by Shonda Rhimes for $2.99 A Quiet Life in the Country by T E Kinsey for $1.99 The Duchess War by Courtney Milan for $4.99 The House of the Spirits: A Novel by Isabel Allende for $1.99 Mangos and Mistletoe: A Foodie Holiday Novella by Adriana Herrera for $2.99 Guapa by Saleem Haddad for $1.99 The Unlikely Escape of Uriah Heep by H. G. Parry for $4.99 Empire of Sand by Tasha Suri for $4.99 Fatality in F (A Gethsemane Brown Mystery Book 4) by Alexia Gordon for $4.99 Reckless by Selena Montgomery for $3.99 Cant Escape Love by Alyssa Cole for $1.99 Brown Girl in the Ring by Nalo Hopkinson for $5.99 Ark by Veronica Roth for $1.99 Ten Women by Marcela Serrano for $3.99 The Price of Salt by Patricia Highsmith for $0.99 Ormeshadow by Priya Sharma for $3.99 Sisters of the Vast Black by Lina Rather for $3.99 Prophecy  by Ellen Oh for $2.99 Along for the Ride  by Mimi Grace for $2.99 Sign up for our Book Deals newsletter and get up to 80% off books you actually want to read.

The Wars During The French Revolution - 1709 Words

Since the beginning of time, armies have attacked their neighbors with the conquered having to endure the pillaging of their properties and goods. The goods most sought after were things that most resembled the culture and values of the place they had raided. These typically included â€Å"religious articles, military banners or symbols, works of art, and important written records,† (Kurtz 1985, 1). These were sought after by the conquerors because they would represent their success in battle for years and they would be able to display them to show their dominance. In Europe, this occurred frequently even before any of the World Wars. The Religious wars of the sixteenth century seemed to accelerate this trend. However, due to the deprivation caused by these wars, the wars during the eighteenth century were more focused on destruction of enemy forces and infrastructure. The wars during the French revolution marked a return to the old ways of looting personal goods, and it was continued by Napoleon and his armies they brought back to France treasures from public and private collections from Italy and the rest of Europe (Kurtz 1985, 2-3). The rise of Napoleon marked the return of raiding and looting for the sake of demonstrating absolute power over enemies, a practice that was unfortunately continued by Adolf Hitler and the Nazis during their reign of terror and destruction during the 1930sand 1940s. The Nazi war machine wreaked havoc on Europe during World War II. Numerous nationsShow MoreRelatedGeorge Washington : The French And Indian War1249 Words   |  5 Pagescommander in the French and Indian war, George Washington was better equipped to serve as a commander in chief during the Revolution because of his respected nature and his newly found military tactics. â€Å"The French and Indian War was the North American conflict in a larger imperial war between Great Britain and France known as the Seven Years’ War.†(â€Å"Office of the Historian†1) George Washington served as the commander during this war. He led his troops to victory against the French. George WashingtonRead MoreRevolutions And The French Revolution956 Words   |  4 Pages Revolutions are a common occurrence throughout world history. With the amount of revolutions in history, there are those that get lost and those that are the most remembered or well known. One of the well known revolutions is the French Revolution which occurred in the years 1789 to 1799. Before the French Revolution, France was ruled by an absolute monarchy, this meaning that one ruler had the supreme authority and that said authority was not restricted by any written laws, legislature, or customsRead MoreThe French Revolution Occurred During The Time Periods1414 Words   |  6 PagesThe French Revolution occurred during the time periods 1787 to 1799 which shook France. Its climax reached in 1789 when the ancien regime ended in France. The French Revolution was the most violent and by far the most universally significant revolution compared to the rest. The initial cause of the revolution was the social structure of the West. One social structure that was based on the holding of all land by fees that resulted in the relation of the king to vassal was called the feudal systemRead MoreEnlightenment and the French Revolution1227 Words   |  5 Pagesand Cultural Policies of French Revolutionary Period. The age of enlightenment led by influential intellectuals during the 18th century Europe greatly inspired the French citizens, especially the peasants, leading to the revolutionary period culminating from 1789 to 1799. The enlightenment is hailed as the foundation of today’s western political and intellectual culture.1 Growth of liberal democracies and democracies, the spread of secularism, invention of total war and the development ofRead MoreThe French Revolution:. The French Revolution Helped Mold1440 Words   |  6 PagesThe French Revolution: The French revolution helped mold a lot of nations into what they are today. The French revolution began in 1789 and ended in 1799. Some important factors in the revolution are: its people, battles, and how it affected the nations that we know today. The French Revolution, also known as the revolution of 1789, was a movement that helped shape France into what it is today. The Revolution may have began in 1787 but it was not until 1789 the revolution to become worse. TheRead MoreThesis on the First World War1510 Words   |  6 Pagescontext and trend of war in terms of ferocity of the weapons and the increase in human/nations participation was occasioned by the industrial revolution and the French revolution. B. Thesis: The First World War stimulated the greatest changes in warfare because it brought about new technology and industry development, advancement in science, and improved infrastructure and communication; essentially the First World War combined the legacies of the French and Industrial Revolutions and set the patternRead MoreThe French Revolution Essay590 Words   |  3 PagesThe French Revolution The French Revolution last from 1789 to 1799. This war had many causes that began the revolution. Its causes ranged from the American Revolution, the economic crisis in France, social injustices to the immediate causes like the fall of Bastille, the Convening of he Estate-General, and the Great Fear. As a result of this revolution there many effects , immediate and long term. The immediate effects were the declaration of rights of man, abolishing of olds reign, executionRead MoreFrench Revolution754 Words   |  4 PagesFrench Revolution The French Revolution last from 1789 to 1799. This war had many causes that began the revolution. Its causes ranged from the American Revolution, the economic crisis in France, social injustices to the immediate causes like the fall of Bastille, the Convening of he Estate-General, and the Great Fear. As a result of this revolution there many effects , immediate and long term. The immediate effects were the declaration of rights of man, abolishing of olds reign, execution of kingRead MoreThe French Revolution And The American Revolution1254 Words   |  6 PagesThe French Revolution was an influential period of social and political upheaval in France that lasted from 1789 until 1799, and was partially carried forward by Napoleon during the later expansion of the French Empire. The Revolution overthrew the monarchy, established a republic, experienced violent periods of political turmoil, and finally culminated in a dictatorship by Napoleon that rapidly brought many of its principles to Western Europe and beyond. Inspired by liberal and radical ideas, theRead MoreDifference Between French Revolution And American Revolution1217 Words   |  5 PagesDifference between French Revolution and American Revolution Western Europe and the Colonies in the New World experienced major wars during the 18 century: the American Revolution (1775-1783) and the French Revolution (1789-1799), Both were inspired by the philosophy of the Enlightenment; both were the results of oppression the people had to suffer [at] the hands of their rulers. ..and [both] succeeded in toppling the monarchy Difference). Even though these two revolutions were similar in time

Theme Of A Clockwork Orange - 1815 Words

Anthony Burgess’ A Clockwork Orange follows Alex as he violently navigates the streets of a futuristic, totalitarian state with his friends Pete, Georgie, and Dim. After a night of beatings and robbery, Alex and his gang break into the country house of an author and his wife. They attack the author whose manuscript, â€Å"A Clockwork Orange,† condemns any suppression of free will, and force him to watch as they rape his wife. The following night Alex attempts to assert his authority over the gang, and breaks into the house of an old, wealthy lady. In the struggle, Alex kills the woman and his friends leave him to be captured by the police. After serving two years of a fourteen-year sentence, the Minister of the Interior chooses Alex to be a†¦show more content†¦Alexander believes that by removing man’s free will, he is turned into nothing more than a clockwork orange, a hollow machine with only the appearance of organic life. This is highlighted, by Alex ander’s continued support of this belief, despite being the victim of Alex’s free will. Burgess expounds upon the importance of free will when Alex is chosen to undergo the Ludovico’s Technique. The prison chaplain provides a distinctly Christian view on the inviolability of free will as he says, â€Å"What does God want? Does God want goodness or the choice of goodness? Is a man who chooses the bad perhaps in some way better than a man who has the good imposed upon him?† (94). The chaplain explains to Alex that an action can only be considered morally righteous if it is committed with one’s own free will. An act that is forced upon someone, even a good act, has no moral value because the one who acts has no choice. The chaplain comes to believe that the Ludovico’s Technique is in fact more evil than sin itself, as it strips away the very elements that constitute one’s humanity. Alex’s Reclamation Treatment forces the reader to question whether it is better to choose evil or to be forced to choose the good. Through the words of the chaplain, the reader understands that Burgess believes good behavior is meaningless without the ability to be wicked. The most prominent example of free will is shown through Alex’s attempted suicide. As Alex is tortured withShow MoreRelatedThe Theme Of Immorality In A Clockwork Orange1299 Words   |  6 PagesImagine every night being the blackest of nights, where even the police do not stop the criminals lurking in the corners. This is the world in Anthony Burgess’s A Clockwork Orange, where a dystopian society in which juvenile delinquents roam free to terrorize the night is chronicled. Your Humble Narrator, Alex DeLarge, is a member of this appalling culture of teenagers. Over the course of the novel, he performs unspeakable acts of ultraviolence with his droogs, which land him behind bars in StajaRead More What Title? Essay1307 Words   |  6 Pages A Clockwork Orange : Chosen Evil vs. Forced Morality nbsp;nbsp;nbsp;nbsp;nbsp;What becomes of a man stripped of his free will? Does he continue to be a man, or does he cease? These are questions that Anthony Burgess tries to answer. Written in the middle of Burgess’ writing career, A Clockwork Orange was a reflection of a youth subculture of violence and terrorization that was beginning to emerge in the early 1960s. The novel follows Alex, a young hoodlum who is arrested for his violent actsRead More A Clockwork Orange Essay612 Words   |  3 Pages A Clockwork Orange nbsp;nbsp;nbsp;nbsp;nbsp;To leave out the final chapter of A Clockwork Orange is to change the entire meaning of the novel; as Burgess says in the introduction, his story is transformed into a fable. Without the last chapter the reader is left with a dark and pessimistic theme, that absolute good and evil exist in this world and it is possible for a man to be pure evil. Alex is conditioned and unconditioned, and in the end all indications point to a malicious life of crimeRead MoreComparing Kubrick s Film And Burgess Essay1494 Words   |  6 Pagesthe film narrative is perceived as less powerful as the novella. In the book, Alex’s narration accentuates his cruelty, pleasure, and lack of remorse. His pleasure is highlighted in the book displaying his dark thoughts, making the novella A Clockwork Orange appear to be a more grotesque piece in language than the film. This is evident in an act of violence, the raping of two ten-year-old girls. In the film, Alex has what appears to be consensual sex with two women around or a few youngers than himselfRead More A Clockwork Orange, by Stanley Kubrick Essay example1522 Words   |  7 PagesA Clockwork Orange is a Stanley Kubrick film from 1971. Kubrick directed the film and wrote the screen play based on the 1962 novel from author Anthony Burgess. A Clockwork Orange was originally rated, â€Å"X† and nominated for Best Picture, Best Director, Best Film Editing and Best Screenplay, but lost in each category to William Friedkins The French Connection (filmsite.org). The set design is by John Barry, costume design by Milena Canonero, music by Wendy Carlos and cinematography by John AlcottRead MoreAnthony Burgess and A Clockwork Orange987 Words   |  4 PagesImagine existing in a world run by sadistic and insane street gangs who reek havoc on innocent civilians, and there is absolutely nothing you can do about it. Anthony Burgess created this world through his novel, A Clockwork Orange. Anthony Burgess w as born in 1917 and died in 1963. A lot of social changes occurred during this period of time, such as: the roaring twenties, prohibition, the Great Depression, World War II, the fall of the Berlin Wall, and many more. Burgess not only lived through thoseRead MoreA Clockwork Orange, by Anthony Burgess1034 Words   |  5 PagesImagine having stolen, raped, and even murdered all at the age of 15. The new canon of dark literature and controversy has finally hit the stage. A Clockwork Orange by Anthony Burgess written in 1962 could only be described in the old cockney expression â€Å"queer as a clockwork orange†. Meaning it is bizarre internally, but appears natural on the surface. The story begins with the protagonist and narrator Alex a 15-year-old boy, who sets the bar for the most cold-blooded and callous characters of literatureRead MoreAnalysis Of George Orwell s A Clockwork Orange 1611 Words   |  7 PagesAre you really free? Slaves to a cooperate world with pre-deter mined life plans and ‘choices’. Always connected but never truly free to do as we please. Or is this the path we are heading towards? 1984 and ‘A clockwork orange’ show a projection of a harsh dystopian future where the people are ruled over and oppressed by dictatorial governments. The minority who are brave enough to rebel are quickly brought to a halt and then conditioned to fit back into a ‘perfect’ society. In George Orwell’s novelRead MoreThe representation of youth in a clockwork orange and If....1437 Words   |  6 Pagesï » ¿The representation of youths in ‘A Clockwork Orange’ and ‘If†¦.’ I will be investigating how youth is represented in the films A clockwork orange (1972) and If†¦. (1968) and how the films affected the views of the time and how the films influenced youths. I have chosen to investigate these films because of how both films were released at the time of the relaxation of violence in cinema. I also chose these films because the similar themes in both films, as both films focus on youths in societyRead More A Clockwork Orange Essay: New Testament for American Youth?1139 Words   |  5 PagesA Clockwork Orange – New Testament for American Youth? In Anthony Burgess’s A Clockwork Orange, he observes a characteristic of youth that has been documented from the story of Icaris to the movie Rebel without a Cause. Through his ingenious method of examination of this characteristic, the sci-fi novel, he has created an aspect of what he chose to observe: Rebellion. Our hero, Alex, begins the novel by explaining his mischeviouse exploits in a manner not far from nostalgia, that is tainted

Comparison of Adverts Free Essays

In this essay I will talk about advertising, and the affect it has on the people who view these adverts. Advertising is the way people show consumers what they are selling. There are many types of advertisements including print and verbal, they affect people in many ways, mainly by showing people things they need or want for aspirational reasons. We will write a custom essay sample on Comparison of Adverts or any similar topic only for you Order Now The adverts which I have chosen are an advert from Perfect Pizza. The company sells pre-cooked pizzas which you can buy in store or have delivered. My first impressions of the advert are that it’s very colorful and you are instantly drawn to the images of the pizzas, and the large bold writing. I found this advert in my letterbox as they deliver them to you, so you know what they are selling. The advert uses formal as well as informal language; many bits of the informal text are explanation texts, and the formal parts for information. It’s presented in different colors and sizes, and is spaced out in different places. The text informs you of what is being sold and what the prices are, it also draws attention to itself. The sentences are short, only five words per sentence, but there are a few writing techniques including alliteration. The text is basically factual or as factual as they want you to believe, but when you advertise prices you have to be correct and factual. On the whole the text is very informative, it tells you everything you need to know that will convince you to buy the product, and the information helps you to make the decision by showing you what you could be having. The figures that are used are in pounds and are bold, maybe this is to draw the attention of the reader, so they can be amazed at how cheap the product is. And this would link in with the company slogan, which is ‘Great Taste, Great Value’ this really speaks for itself, a great taste for great value. The key words in this advert are the words deal and only. These words suggest that the sale is part of a deal, or that it’s not at the ordinary price. And only, suggests that the price is very low, or the ‘deal’ does not last long. Maybe because the deal is that good it can not last forever, otherwise the company would go into bankruptcy. The images are of the pizzas, which they are selling. They are spaced out all over the advert, around the writing. Finally there is also a picture or potato skins, which show they sell more than pizzas. There are no people in the picture which is quite surprising as they might have included a picture of a person cooking the pizzas. I believe that this would make the advert more appealing to the consumer. The advert is in color, a reason for this would be so that it appeals to the younger generations, who are more likely to buy these pizzas. But I know that it was done in color for a specific purpose. There are no patterns in the picture, but there is red strip that runs along the top and the bottom. This is to bring attention to the text inside of it, which is very important as it contains the small print. It’s the small print which can usually trick many people. The whole advert is laid out professionally, the images; the information, the logo and the slogan are all put on the front to draw attention to it. Perfect Pizza is placed at the top of the advert so it’s the first thing you see. The fact that is a family corporation would be enough to convince me that the pizzas would be well made and would taste great. This advert is similar to the Domino’s Pizzas adverts, which sponsor The Simpson’s. Because the Simpson’s are so famous I know that Domino’s will have an advantage over Perfect Pizza. This advert appears in food magazines, because it’s selling food. It’s trying to sell itself by showing you what you could have, but I think that this company is in the shadow of another company. I will now analyze my second advert. The company ‘French Connection’ is trying to sell people a sale. French Connection makes quality clothes and sells them off at really fair prices. The advert attracts my attention really well for the following reasons. I found this advert near to the front of the newspaper, so it must be very important because only important adverts get to the front of the paper. The advert uses formal language in the advert. The language is bold and stands out well, the sentences are short but get the message across well, it just tells you what you need to know. The key words in this advert are ‘Sale’ and ‘French Connection’ mainly because the word sale means a cut in price, and French Connection is a well respected country. The slogan is not on the advert, which is a bit unusual as it’s the slogan that sells most of their clothes. In the illustrations the words ‘ Last Big Deal’ are superimposed so that they stand out. The text is yellow and the effect is red, the background though is black. So it looks attractive and stands out. There is no picture of the product, but the company is well known, so people know what they are selling anyway. Because French Connection specialize in clothes. This advert links in with the adverts from ‘NEXT’ and ‘Adams’ which are both major clothes producers. French Connection; seem to have some competition from these brands, which would increase the popularity of the company. This advert appears in many women’s magazines and a few men’s, because they sell both male and female clothing. This is because they want to broaden their horizons, so more people see their adverts. It’s trying to sell the sale which they are holding at one of the bigger stores. So if you want great products at cheap prices you should take note of this advert. Both adverts appeal to me greatly as I am fond of both companies, and they both use good advertising techniques. I would buy both of the products as the pizzas are great and the clothes are really fashionable. I believe that the adverts would appeal to their target audiences, as they are really well made, and really stand out to the consumers. How to cite Comparison of Adverts, Papers

Essay Bishop free essay sample

The below essay is a final draft, and not a final copy; therefore, it does not have page numbers and cannot be quoted in future publications. The published version of the essay is in the following book available in print and online versions in the Seneca library: Elizabeth Bishop in the 21st Century: Reading the New Editions. Eds. Cleghorn, Hicok, Travisano. Charlottesville and London: University of Virginia Press, June 2012. Part II (of the 4 part book with 17 essays by different people) Crossing Continents: Self, Politics, Place Bishops wiring fused: Bone Key and Pleasure Seas Angus Cleghorn Elizabeth Bishops Edgar Allan Poe amp; The Juke-Box and the Library of America edition of Bishops poetry and prose provide readers with additional context enabling a richer understanding of her poetic project. Alice Quinns compelling tour of previously unpublished archival material and her strong interpretive directions in the heavily-annotated notes let us color in, highlight and extend lines drawn in The Complete Poems. Some of those poetic lines include wires and cables, which are visible in Bishops paintings, as published in William Bentons Exchanging Hats. If we consider the extensive presence of wires in the artwork alongside the copious, recently published poetic images of wires, we can observe vibrant innovation, especially in the material Bishop had planned for a Florida volume entitled Bone Key. The wires conduct electricity, as does The Juke-Box, both heating up her place. Florida warms Bishop after Europe: in this geographical shift, we can see Bishop relinquish stiff European statuary forms and begin to radiate in hotbeds of electric light. Also existing in this erotic awakening is a new approach to nature in the modern world. Instead of wires representing something anti-natural (modernity is often this sort of presence in her Nova Scotian poems, for example, when The Moose stares down the bus), the wires conduct energy into a future charged with potential where It is marvellous to wake up together after an Electrical Storm. This current brings Bishop into alien territory where lesbian eroticism is illuminated by green light, vines, wires and music. Pleasure Seas, an uncollected poem that stood alone in The Complete Poems, is amplified by the previously unpublished Florida draft-poems, many of which include the words Bone Key in the margins or under poem titles; this planned volume is visible in the recent editions and is prominent in Bishops developing sexual-geographic poetics. In The Complete Poems, Pleasure Seas is first of the Uncollected Poems section. As written in the Publishers Note, Harpers Bazaar accepted th e poem but did not print it as promised in 1939. This editorial decision cut Pleasure Seas out of Bishops public oeuvre until 1983 when Robert Giroux resuscitated it in the uncollected section. Thus it is read as a marginal poem, which has received relatively little critical attention. Far less than It is marvellous to wake up together, a previously unpublished poem found by Lorrie Goldensohn in Brazil that has been considered integral to understanding Bishops hidden potential as an erotic poet since Goldensohn discussed it in her 1992 book, Elizabeth Bishop: The Biography of a Poetry. Perhaps because Pleasure Seas has been widely available since 1983 in The Complete Poems, this poem does not appear to critics as a found gem like It is marvellous . . . . Now, however, we can read these previously disparate poems together in the Library of America Bishop: Poems, Prose and Letters volume, in which Pleasure Seas was placed accurately by editors Lloyd Schwartz and Robert Giroux in the Unpublished Poems section. As such, it accompanies numerous unpublished poems, many of them first published by Quinn in Edgar Allan Poe amp; The Juke-Box. Pleasure Seas is a tour de force, and its rejection in 1939 likely indicated to Bishop that the public world was not ready for such a poem. I speculate that had that poem been published as promised, Bishop would have had more confidence in developing the publication of Bone Key, a volume which would have followed, or replaced A Cold Spring and preceded Questions of Travel; she might have re-formed A Cold Spring into a warmer, more ample volume as Bone Key. A Cold Spring ends with the lesbian mystique of The Shampoo, the bubbles and concentric shocks of which make a lot more sense when accompanied, not by the preceding poem, Invitation to Miss Marianne Moore, but by erotic poems such as Pleasure Seas, Full Moon, Key West, The walls went on for years amp; years†¦, It is marvellous to wake up together, and Edgar Allan Poe amp; the Juke-Box. Bishops writing in Florida involves tremendous struggle to express sexual desire and experience. Automatic bodily impulses contend with traditional strictures. Since in Florida pleasures are mechanical (EAP 49) and for Bishop counter the norms of heterosexual culture, her tentative imagination treads the narrow sidewalks / of cement / that carry sounds / like tampered wires †¦ in Full Moon, Key West (EAP 60). She fears the touch of her feet may detonate bombs. Bishops recently published material offers explosive amplitudes measured against the constraints of traditional poetic architecture. Full Moon, Key West and The walls went on for years amp; years†¦, in EAP are dated circa 1943. In both poems, Bishop envisions nature merging with technology to provide an extension of space in her environment: The morning light on the patches of raw plaster was beautiful. It was crumbled amp; fine like insects eggs or walls of coral, something natural. Up the bricks outside climbed little grill-work balconies all green, the wires were like vines. And the beds, too, one could study them, white, but with crudely copied lant formations, with pleasure. (EAP 61) Teresa De Lauretis writes in Technologies of Gender about how innovative language and technology (in film) represent gender and sexuality in new formal expressions of life previously considered impossible. The new poetic material from Bishop similarly re-formulates human living spaces. In the above poem, the man-made rooms construction breaks down into natural similes. A dialectic between nature and architecture has nature grow into walls, balconies and rooms. This poetic process is found in later poems such as Song for the Rainy Season, in which the mist enters the house to make the mildews / ignorant map on the wall. Typical human divisions between construction and organicism are made fluid. In The walls†¦, divisions between inner and outer worlds crumble; for instance, white beds are studied, but are they beds to lie in, or plant beds on the balconies? Bishop writes that they are with crudely copied / plant formations, suggesting both flowers and perhaps a patterned bedspread (rather like the wallpaper-skin of The Fish). The phrase, walls of coral, itself merges architecture with nature, also echoing Stevens 1935 image of sunken coral water-walled in The Idea of Order at Key West, which Bishop had been reading and discussing in letters with Marianne Moore. Stevens and Bishop draw attention to artifices of nature, and nature overpowering artifice. The natural versus manufactured-world dichotomy is deconstructed through innovative cross-over imagery, continuing in these lines: Up the bricks outside climbed little grill-work balconies all green, the wires were like vines. (EAP 61) Vines simply grow up buildings, so we have a precedent for natures encroachment on man-made constructions. Here, Bishop replicates natural vines with little grill-work balconies / all green, a man-made architecture that looks as if it grows on its own. Then the poet surprises us again with another simile, the wires were like vines. The imagery of the wires blackly echoes that of the balconies; again this accretion lends the physical man-made constructions a fluid, surreal life of their own, which is empowered naturally by the simile that has them acting like vines. Vine-wires extend nature through technology into potential domains far from this balconied room. However, despite the revolutionary Building, Dwelling, Thinking, to use the title of the well-known Heidegger essay, this is a poem of walls, which offers temporary extensions of nature, only to be shut down when One day a sad view came to the window to look in, little fields amp; fences amp; trees, tilted, tan amp; gray. Then it went away. Bigger than anything else the large bright clouds moved by rapidly every evening, rapt, on their way to some festivity. How dark it grew, no, but life was not deprived of all that sense f motion in which so much of it consists. (EAP 62) With a last line again sounding like Stevens, and yet the rest of the poem very much Bishop, The walls†¦ concludes with walls between the poets human nature and natures indifferent festivity. The muted colors of traditional human habitation infiltrate her window, so Bishop will have to wait, as her wishful thinkin g indicates earlier in the poem, for a future holding up those words / as something actually important / for everyone to see, like billboards (61). My essay hoists up these formerly scrapped images of alien technology, held back in Bishops time, like billboards. Those diminutive little fields amp; fences amp; trees, tilted, tan amp; gray are found in an earlier poem, A Warning for Salesmen, written between 1935 and 1937. Earlier poems, especially from Bishops years in Europe, lack wires as conduits of energy and transformation. A Warning to Salesmen offers a static portrait of marital doldrums; it speaks of a lost friend, dry landscape, and farmer at home †¦putting vegetables away in sand In his cellar, or talking to the back Of his wife as she leaned over the stove. The farmers land Lay like a ship that has rounded the world And rests in a sluggish river, the cables slack. (EAP 16) Alice Quinn found this poem in Bishops notebook, written when she took a â€Å"trip to France with Hallie Tompkins in July 1935 (251). Even if it is a poem of loss, it also anticipates gain. The slack cables await tightening. The lack of desire in the poem begs for it; Quinn notes this through Bishops scrawling revisions: Lines scribbled at the top of the page to the right of the title: Let us in confused, but common, voice / Congratulate thoccasion, and rejoice, rejoice, rejoice / The thing love shies at / And the time when love shows confidence. To the right at the bottom of the draft, Bishop writes, OK, but the whole poem is crossed out. And below, on the left: My Love / Wonderful is this machine / One gesture started it. (251) This machine anticipates the mechanical sexual pleasures found in the Florida bars written into Edgar Allan Poe amp; the Juke-Box. A Warning to Salesman shows she had long been waiting for Florida . Before she slots nickels into the Floridian Juke-Box, Bishops trip to France includes time spent residing by Luxembourg Gardens in fall 1935. This poem of garden civilization indicates Bishops relationship with European traditional architecture; the poem begins: Doves on architecture, architecture Color of doves, and doves in air— The towers are so much the color of air, They could be anywhere. (EAP 27) While the deadpan-glorious tone might resemble Stevens, we might also think of Bishops The Monument, which was written earlier and first published in 1940; it also ambiguously provokes present explorations of art, thought and place, rather than fixing memories of the past. Barbara Pages essay, Off-Beat Claves, Oblique Realities: The Key West Notebooks of Elizabeth Bishop, clearly demonstrates that Bishops The Monument is a response to Stevens statues in Owls Clover, one of which was located in Luxembourg Gardens, as Michael North demonstrated in The Final Sculpture: Public Monuments and Modern Poetry. Similar to Stevens rhetorical parody of monuments, in Bishops Luxembourg Gardens, histories, cities, politics, and people / Are made presentable / For the children playing below the Pantheon (27) and on goes a list of historys prim pomp. Then a puff of wind sprays the fountains water, mocking the Pantheon, the jet of water first drooping, then scattering itself like William Carlos Williams phallic fountain in Spouts. Finally, the poem ends with a balloon flitting away, as children watching it exclaim, It will get to the moon. By employing the fluid play of kids, wind, water and dispersal, Bishop builds a conglomerate antithesis to traditional Parisian monumentality. With even more Stevensian flux than The Monument, this poem situates Bishops critique of monuments in Europe, unlike the well-known Monument poem, which could be anywhere, and thus speaks of a more liberating and expansive American perspective, drifting from European classical culture possibly all the way to Asia Minor or Mongolia. Also from her 1935 notebook is Three Poems, which works well to explain Bishops transition from studying the architecture of Europe to recognizing its sterile limitations and then finding her own perspective. Section III develops an emotional movement away from stultifying monumentality: The mind goes on to say: Fortunate affection Still young enough to raise a monument To the first look lost beyond the eyelashes. But the heart sees fields cluttered with statues And does not want to look. (EAP 19) In the final stanza a future is foretold by the promise of a fortunate traveler: Younger than the mind and less intelligent, He refuses all food, all communications; Only at night, in dreams seeking his fortune, Sees travel, and turns up strange face-cards. EAP 19) Starving (a word Susan Howe uses to describe American women poets before Dickinson), this speaker is impoverished by statues and has, as the lone alternative, future fortune in surreal night visions of travel. Bishops travels will fill her gypsy-hearts desire as it expands its vocabulary in the roaming poetic technologies found in Florida and Brazil, but Paris itself does not illuminate love. In the Paris of Three Poems, The heart si ts in his echoing house / And would not speak at all (19). This inarticulate prison-house enables us to see why Bishop needed to travel in search of home as an idea, but not a physical settlement, as her use of Pascal illustrates in Questions of Travel. Her jaunt to Brazil inadvertently became an eighteen-year residence with Lota de Macedo Soares, but their home was not fully expressed in the volume, Questions of Travel. Florida was the source of sexual-poetic experimentation; Bishops work from there proliferates with freedom not yet found in Europe, and not written into the published poems from Brazil. The reticent Bishop did not want to be known as a lesbian poet; it would limit her reputation and her private life in the public sphere, and she likely feared that sexual expression would not be accepted in print. A poem from Questions of Travel, Electrical Storm (1960), strikingly indicates excitement with Lota in Brazil. Just as striking, though, is the repressive prison-house in this poetry. It reveals as much repression as it does desire: Dawn an unsympathetic yellow. Cra-ack! – dry and light. The house was really struck. Crack! A tinny sound, like a dropped tumbler. . . . hen hail, the biggest size of artificial pearls. Dead-white, wax-white, cold – diplomats wives favors from an old moon party – they lay in melting windrows on the red ground until well after sunrise. We got up to find the wiring fused, no lights, a smell of saltpetre, and the telephone dead. The cat stayed in the warm sheets. The Lent trees had shed all their petals: wet, stuck, purple, amo ng the dead-eye pearls. (PPL 81) While the electrical storm is substantial, the poem narrates it after the fact, and the storm cuts off communication with a dead telephone and wiring fused. So the electricity certainly was there, but the lightning is pejoratively like a dropped tumbler. And the only animal in bed is Tobias the cat, Personal and spiteful as a neighbors child. Personal electricity is not expressed, certainly not through Lent; it is spited in the society of neighbors and diplomats wives, whose nature is described as dead-white, their hail like artificial pearls. Unlike the earlier poem of desire, The walls went on for years . . . , in which balconies are transformed by vines into wired energy, Electrical Storm displays the reverse action. Nature is hardened into artifice. Social civilization, like Bishops monuments, is a restrictive agent, part of the past in conflict with the newfound energy of Bishops tropical present. In Brazil, the poet constantly observes the natural world as vulnerable to civilization. Sometimes Bishop presents an alternative harmony, as in Song for the Rainy Season, which moistly answers to the repressive short-circuiting of The Electrical Storm by opening the door of an open house to the mist infiltrating the house and causing mildews / ignorant map on a wall. This poems erotica is played out as the house receives natures water. The house, with its opening to the outer environment, suggests Lota de Macedo Soares property, Samambaia (a giant Brazilian fern), in the mountains above Petr? polis where Soares built Bishop a studio (PPL 911). The progressive architecture of their house lends itself to the way in which Bishops poem has the outer environment flow indoors. More often, however, Questions of Travel traces aggressive conquests, as Bishop works through historys impact on the country. Natural power has been contained – harnessed, mined and packaged throughout history. Take Brazil, January 1, 1502, for example, and note how Bishops natural images dialectically break down, then reach forward technologically. The branches of palm are broken pale-green wheels; symbolic birds keep quiet; the lizards are dragon-like and sinful; the lichens are moonbursts; moss is hell-green; the vines are described as attacking, as scaling-ladder vines, and as one leaf yes and one leaf no (in Portuguese); and while the lizards scarcely breathe, the smaller, female lizards tail is red as a red-hot wire. That beacon beckons from the poems forms of colonial imprisonment. Breathlessness will find breath in EAP. * * William Bentons words from Exchanging Hats: Elizabeth Bishop Paintings accurately convey the benefit of studying two of Bishops art forms to gain greater compositional insight into her One Art. In his introduction, he writes that, If Elizabeth Bishop wrote like a painter, she painted like a writer (xviii). Wires, cables and electrical technology are strewn abun dantly through the paintings. Observed in sequence, Bishops black lines powerfully extend this emergent narrative of Bishop as an electric writer. The paintings Olivia, Harris School, County Courthouse, Tombstones for Sale, Graveyard with Fenced Graves, Interior with Extension Cord, Cabin with Porthole, and E. Bishops Patented Slot-Machine are marked with black lines that technically disturb nature. The bold presence of Bishops lines factor in virtually every painting to infringe upon nature (with the exception of the explicitly pretty watercolor odes to nature, such as the arrangement on the cover of One Art). When we align the Florida paintings with Bone Key and other published poems from Florida, we can chart the artists development in accord with the technological presence of wires. As with the early poems in EAP, her oft-undated Florida paintings, circa 1937-39 when Bishop had returned from Europe, depict square architecture set off by wires askew. In Olivia, a painting of a weathered wood house on Olivia Street in Key West, the modest brown house is fronted by two contrasting white porch-pillars, and to the left like a cosmic aspect, the telephone lines form a tilted steeple (Benton 18) connected to the proximate telephone pole. The painting comes across as a satiric Monument. Likewise, the next painting, Harris School (21), is topped with battlements contrasted by wispy kites flying freely in the orange sunlight. Bishops painterly contrasts invoke satire, rather like the parody of old Parisian architecture in Luxembourg Gardens. County Courthouse (23) is extremely dramatic – a transitional painting in the evolution of Bishops transgressive art. Benton describes it well: â€Å"A view composed of what obstructs it. The central triangle [courthouse structure] that leads the eye into the painting is at once overwhelmed by foliage. Downed power lines contribute to the sense of disorder. The scene is the exact opposite of what a Sunday watercolorist might select. It is, in fact, a picture whose wit transforms it from a scene into an image of impasse†(22). The palms in the foreground overpower the courthouse of similar size in the center. Natures supremacy over the architecture of man-made legal institution is accentuated by downed power lines, symbolizing, as often for Bishop, that our efforts to transmit information over and above nature depend on the co-operation of nature, the winds of which can knock down our voices. Tombstones for Sale, which is the cover of The Collected Prose, and Graveyard with Fenced Graves (31, 33) are filled with iron bars in harsh but beautiful contrast with flowering trees. Recall the iron-work balconies growing' up buildings in The walls went on for years and years †¦. These wonky walls are evident in Interior with Extension Cord, a painting of undetermined year with the dramatic focus on the extension cord crossing the planes of the white room (42). In here, the barren walls out-space the open door with view of the garden. The painting yearns for nature to be let in the door. Cabin with Porthole, the next painting (45), provides compositional relief. Bare but cheerful yellow walls surround the open porthole with blue ocean view; the painters travel bags are casually set in order beside a neat flowerpot on the table. Travel looks homey here, made additionally comfortable by the fan plugged into the wall with electrical cord in the top-right corner. The next undated painting, Gray Church (47), is set by Benton in contrast to the lightness of Cabin with Porthole. The editors placement of Gray Church, the paintings mood nearly as dark as van Goghs The Prison Courtyard, suggests that Benton, like Quinn in EAP, ordered a dramatic narrative sequence so observers could follow an interpretive trail of artistic development. Although E. Bishops Patented Slot-Machine (77)appears later in the books sequence, perhaps because it is more of a sketch than a painting, it would have likely been created near the time she wrote The Soldier and the Slot-Machine in Florida, as Quinn documents it with a rejection letter from The New Yorker, October 28, 1942 (EAP 279). These amateur works of art evince the crucial importance of publishing flawed poems, scrawl, sketches and paintings that are incredibly useful tools to instruct us about their masters; in this case we see projection of the artists techno-dreams. Of E. Bishops Patented Slot-Machine, Benton writes, The rainbow arc at the top of the picture – resembling the handle of a suitcase – bears the legend The DREAM' (76). This dream, rainbow-shaped, carries technology in the form of the slot-machine. Whether or not observers want to view the rainbow dream as lesbian codification, as some students of The Fish do with that poems victorious rainbow of otherness, the undeniable fact is that Bishop has painted The DREAM' onto the handle of her slot-machine. This slot-machine is dependent upon currency for the dream of a fortunate future. Although an amateur painting, it is far more developed in terms of the progress of artistic, hopeful vision than earlier works, such as 1935s Three Poems, in which Bishop is desperately scanning seas from France, and the fortune teller turns up strange face cards as the only potential currency, so the poet dreams of travel. The 1942 sketch and poem, The Soldier and the Slot-Machine (EAP 56-57), not to be confused with the painting just discussed, appears like an adult-version Dr. Seuss parody of E. Bishops Patented Slot-Machine complete with fearful alien beast atop machine in the sketch. In the poem, Bishop uses the soldier persona to depersonalize her dream, destroyed by a third-person other. Still, the persona employs first person: I will not play the slot-machine bookends the poem as a mantra of abstinence from the drunken slot-machine. Nevertheless, it consumes coins until they melt surreally into a pool beneath the floor . . . / It should be flung into the sea. / / Its pleasures I cannot afford (EAP 58). This denial and apparent dismissal through the otherness of the soldier stays with Bishop, who cannot trash her desires in the sea; they pulled on her for years even if their expression remained unpublished. After The New Yorkers Charles Pearce rejected The Soldier and the Slot-Machine, Bishop recalled this event twenty-two years later in a letter to Robert Lowell: â€Å"Once I wrote an ironic poem about a drunken sailor and a slot-machine – not a success – and the sailor said he was going to throw the machine into the sea, etc. , and M[oore] congratulated me on being so morally courageous and outspoken† (EAP 279). Moore in 1964 was at that time congratulating Bishop on a moral lesson to be learned about Brazilian crime and punishment in The Burglar of Babylon. However, the point that Bishop makes with quiet sarcasm in her letter to Lowell is that Moore missed the irony so crucial to understanding The Soldier and the Slot-Machine. Moore reads moral courage in Bishops condemnations; actually, Bishops morally courageous core, the one of social conformity that Moore applauds, melts in the machine. The soldiers denial to play it is weaker than the power of the machine i tself, which melts and breaks into subterranean pieces – unacceptable mercurial junk that will be taken away, a disposal of natural, illicit desire. Travel in Florida and Brazil offers many cabins with portholes for Bishop to view the sea far away from stultifying northwestern culture. Sometimes Bishop allows the establishment to triumph, as in the balanced yellow painting of The Armory, Key West. Even here, though, wires dangle from the flagpole to create slight asymmetry. Merida from the Roof (27), the well-known cover of The Complete Poems, while a bit chaotic with copious windmills outnumbering church steeples, nevertheless illustrates an intoxicating tropical harmony. The dominant palm, telephone wires, city streets and buildings hang together nicely from the painters balcony view. This Mexican painting from 1942 anticipates work Bishop would do in Brazil over the next two decades, such as The Burglar of Babylon, which ends with the poet looking down on Rios crime-ridden poverty with binoculars. * * * When we contrast The Complete Poems with Edgar Allan Poe amp; The Juke-Box, we can see just how much further Bishops unpublished poems went in configuring her relation with the world through nature and technologys extensions of it; natural growth is given additional electrical currency to express sexual awakening, and I argue, a potentially full realization of her poetic power. Lorrie Goldensohn in The Biography of a Poetry discusses her discovery of It is marvellous to wake up together in a box from Linda Nemer in Brazil. This discovery and Edgar Allan Poe amp; the Juke-Box best exemplify Bishops rewired sexuality. Quinn cannot be certain which of these poems was written first. In terms of the arc of the poetics Im tracing here, it makes sense for Poes Box to come first because it works to loosen up the sexual expression of It is marvellous †¦. However, Quinn notes work on Edgar Allan Poe amp; The Juke-Box as late as 1953, and narrates its intended place as the closing poem of A Cold Spring, which Bishop considered calling Bone Key. It may have been written as early as 1938 when Bishop wrote to classmate Frani Blough from Key West about her immersion in Poe (EAP 271). Lloyd Schwartz and Robert Giroux date it in the late thirties to early forties period. As A Cold Spring stands, it concludes with the rapture of The Shampoo – a thinly veiled poem of lesbian eroticism in natures guise. And yet when I teach this poem to students, I often have to explain the concentric shocks. The Shampoo is a wonderful climax, but it abruptly follows Invitation to Miss Marianne Moore. This sequence repeats the juxtaposition evident in Bishops letters between her lush tropical experience and her polite correspondence with Moore. Now we can envision an enlarged not so cold spring in the key of human bone warming up with Edgar Allan Poe amp; the Juke-Box. This poem is filled by emanations of light and sound from the Juke-Box. Starlight and La Conga are the Floridian dance-halls described as cavities in our waning moon, / strung with bottles and blue lights / and silvered coconuts and conches (49). This erotic-tropical electric fulfillment sounds more like Walcott than Bishop. The poem has nickels fall into the slots, drinks drop down throats, hands grope under tablecloths while The burning box can keep the measure †¦. Perhaps to ruin the party, Edgar Allan enters the last stanza in which Bishop writes, Poe said that poetry was exact. This poem, though, is a corrective to Poes poetics, for Bishop knows for herself and Poe in the drinking establishment of poetry that pleasures are mechanical / and know beforehand what they want / and know exactly what they want. Bishop focuses on The Motive for Metaphor, like Stevens, or like Baudelaire whom she was also reading at the time, knowing and tracing her desire for expression as expression. Conversely, Poe in the 19th-century tried to unite his metrical poetic exactitude with ideals of beauty while explaining his technique in The Philosophy of Composition. While the mechanics of meter involve precise measures, Bishop suggests that seeking pleasures is comprised of a more powerful mechanics. Lately Ive been doing nothing much but reread Poe, and evolve from Poe . . a new Theory-of-the-Story-All-My-Own. Its the proliferal style, I believe, and you will see some of the results †¦ [a reference to her prize-winning Partisan Review story In Prison] (OA, 71; EAP 271). Bishops use of Poe illustrates her gripe with tradition as a source of monumental fixture, thus limited understanding, which has taught her well but prevents the poet from dancing at La Conga and telling that Floridian tale in A Cold Spring. Bishop wanted this poem near the end of A Cold Spring but didnt quite get it done. The final lines of the poem deal a further blow to Poe, and by extension to Bishop herself, when she asks, how long does your music burn? / like poetry or all your horror / half as exact as horror here? (50). Poes horror stories (see Bishops notes on The Tell-Tale Heart on the upper-right corner of the draft of this poem), and I would suggest her writing in The Complete Poems (as wonderful as it is), articulate a fictional horror that only comes half-way to expressing the full pleasure of horrific catharsis available in the experience and writing of Florida honky-tonks. Who would have thought Elizabeth Bishop a Honky-Tonk Woman? Bethany Hicok traces Bishops florid night-life in her 2008 book, Degrees of Freedom: American Women Poets and the Womens College, 1905-1955, and thanks to Quinn we have the poetic evidence in print. It is marvellous to wake up together is a full and complete rendering of Bishops eroticism. We might give Bishop latitude for not publishing this one in the Second World War period; Quinn estimates the date between 1941-6 when Bishop lived with Marjorie Stevens in Key West (267). Perhaps in the twenty-first century readers are comfortably relieved to hear Bishop express her lesbian sexuality, but in her time she did not want to be publicly scrutinized as a lesbian poet. In some respects, It is marvellous to wake up together is like Electrical Storm, since the poem speaks of sex after it has happened. Here, though, the stormy clearing is less anxious and repressive. Instead of diplomats wives and spiteful neighbors children, Bishop feels the air suddenly clear / As if electricity had passed through it / From a black mesh of wires in the sky. All over the roof the rain hisses, / And below, the light falling of kisses (EAP 44). Technology is god-like, hovering over their chosen house, and yet it is not alien, for the lightning storms electrical current of rain follows in hisses rhymed with kisses. Bishop is fully in the arena now – with the powers above electrically charging the nature that conducts itself harmoniously in the bedroom. In the second stanza electricity frames the house so readers can imagine it being sketched artistically. Remnants of past prison-houses exist, and yet the past constraints of an inarticulate heart are transformed in this reality where we imagine dreamily / Now the whole house caught in a bird-cage of lightning / Would be delightful rather than frightening; the pleasure of this reality is also a dream, and it remains a dream in the last stanza. My point is not simply that dreams can come true, but that this true dream is limited to this houses electrical currents. The speaker is lying flat on [her] back, which is an interesting line because it suggests sex, and yet it is from this position, this same implified point of view that the speaker emphasizes inquiry: All things might change equally easily, / Since always to warn us there might be these black / Electrical wires dangling. Without surprise / The world might change to something quite different †¦. What sort of change is envisioned? The poem vaguely considers open futures; something quite different could be horrific or promisi ng. Whatever change may come, these wires hang over the house, through Bishops poem and art as charged presences connected to future advancement. Dear Dr. - was written in 1946, around the same time Bishop might have finished It is marvellous to wake up together. It continues to wire her present into the future: Yes, dreams come in colors and memories come in colors but those in dreams are more remarkable. Particular amp; bright(at night) like that intelligent green light in the harbor which must belong to some society of its own, amp; watches this one now unenviously. (EAP 77) These seven lines pull together a lot. Bishops dreams – in Paris were quite alienated from her art-culture milieu; in Florida dreams are amplified by Juke-Boxes, liquor and dancing. There she finds physical lushness to match the dream currents that will sizzle in Brazilian experience. And yet in Dear Dr. —† near the end of her relationship with Marjorie Stevens, Bishop is writing from Nova Scotia to her very helpful psychiatrist, Ruth Foster (286), expressing this foreign glow as an alien perspective: that intelligent green light in the harbor / which must belong to some society of its own, suggesting some alien technological prophesy, which watches this one now unenviously (77). Goldensohn writes of electrical impasse in The Biography of a Poetry: â€Å"But still the wires connect to dreams, to nerve circuits that carry out our dreams of rescue and connection, or that fail to: in The Farmers Children, a story written in 1948 shortly before Bishop went to Brazil, the wires also appear, telephone wires humming with subanimal noise eerily irrelevant to the damned and helpless children of the story† (33). This story, written late in the Florida years, is further evidence of Bishops proliferal style, the multi-generic One Art developed in response to family, Northern traditions, Poe, and Europe. Bishops evolving art comprised of poetry, fiction, letters and painting demonstrates psycho-sexual evolution found in Southern tropical harbors, far from the Northern remoteness of her mothers Nova Scotia. These poems from Edgar Allan Poe amp; The Juke-Box register extensively the alien vision so far ahead of what was admitted in Bishops present. By contrasting the reserved perfections from The Complete Poems, such as Electrical Storm, and the limits of history as in Brazil, January 1, 1502, we can see what is held back there, waiting for the more fully expressed imperfect transgressions of Edgar Allan Poe amp; The Juke-Box. The Complete Poems provide intricately innovative poems that point out limited perspectives while expanding ethical imaginations of the future, whereas Quinns book enables readers to thoroughly explore the dream workings of a poet bursting from the libidinal confines of her time, swinging by green vines through wires of sound and light to transmit electricity for an erotically ample future. Bishops anxiety and longing for a more tolerant future society, as expressed in Dear Dr. —, can also be traced back to her thwarted effort at publishing Pleasure Seas. This powerful erotic poem sits chronologically in the middle of her poetic development away from Europe (signaled by Luxembourg Gardens and Three Poems circa 1935), and stimulated by Florida in the late 1930s. Pleasure Seas illustrates the new powerful range of Bishop to be discovered when reading EAP and the Library of American edition next to The Complete Poems. As an Uncollected Poem in The Complete Poems, Pleasure Seas wo uld perhaps sit more easily in the Poe . . . Box. The aberration of Pleasure Seas in The Complete Poems may explain why only a handful of critics have discussed its significance. Bonnie Costello, Barbara Comins, Marilyn May Lombardi, and Jeredith Merrin have published helpful interpretations of Pleasure Seas. Each critic picks up on the poem as an indication of developments that Bishop makes, or does not quite make, in other published poems. Bonnie Costello, for example, writes in Questions of Mastery: ’Seascape’ and ‘Pleasure Seas’†¦anticipate the perspectival shifts in ‘Twelfth Morning; or What You Will,’ ‘Filling Station,’ and ‘Invitation to Miss Marianne Moore,’ in all of which the poets pessimism is countered. In these later poems she achieves a vision at once immediate, even intimate, and yet directed at the world and questioning a single perspective of selfhood† (15-16). Costello also makes an important observation in a footnote: Song may be a rewriting of Pleasure Seas' (249, n. 16). However, according to Schwartz and Giroux, Song was written in 1937, two years before Pleasure Seas, which then reads as an amplified fulfillment of the sad song from two years earlier. The latter ocean poem swells with pleasure in face of forces that threaten that very pleasure. Now that we can read Pleasure Seas in the larger context of Bishops struggle to write sexual poetics, the poem makes more sense and gathers like-minded poems into its vortex of desire. Pleasure Seas is a study of water — contained, distorted and freed. It begins with still water in a walled off swimming-pool (195) – another wall like the ones that go on for years and years in the poem from 1943. This man-made pool contains pink Seurat bathers, like the publicly acceptable automatons in his famous paintings, Bathers and La Grande Jatte. This viewer, though, is a surrealist who observes this scene through a pane of bluish glass. Seurats bathers have beds of bathing caps, again resembling and anticipating the beds inside and outside the balconied rooms of The walls go on for years and years †¦. Are these bathers heads in or out of it? Contained within a pool, they are willing prisoners of public space in chemically-treated water. At the close of the poem, they are Happy . . . likely or not in their floral white, lavender, and blue caps, which are susceptible to greater weather forcing the water opaque, / Pistachio green and Mermaid Milk. The floral garden colors of their caps contrast with disarming shades. That awfully bright green is like that intelligent green light in the harbor of Dear Dr. , belonging to the alien society unenvious of the contemporaneous one. Jeredith Merrin, in Gaiety, Gayness and Change, asks how Pleasure Seas moves from entrapment to freedom, from (to borrow from Bishops own phrasing fr om other poems) Despair to Espoir, from the awful to the cheerful'? (Merrin in Lombardi 154). The next sentence of Pleasure Seas envisions free ocean water out among the keys of Florida mingling, interestingly, with multi-chromatic soap bubbles, poisonous and fabulous, suggesting both The Shampoo to come, and the poisonous rainbow of oil in The Fish – another natural being that should exist freely in nature, which is caught in a rented boat. Even the keys float lightly like rolls of green dust connotes geological formations that are susceptible to erosion. Everything green and natural is made alien. The threat is intensified by an airplane; a form of human technological height that flattens the water to a heavy sheet. The sky view is dangerous in Bishops poems; consider 12 OClock News in which the view from the media plane ethnocentrically objectifies the dying indigenes below. In Pleasure Seas the poet says the planes wide shadow pulses above the surface, and down to the yellow and purple submerged marine life. The waters surface even becomes a burning-glass for the s un – the supreme force of nature is harnessed as destructive technology, as with the high airplane, which, as Barbara Comins notes in That Queer Sea, is casting a wide shadow upon the water . . . uggesting some inherent anguish in going ones own way' (191). Comins and Merrin see Bishop here pushing the poetic limits of her sexual expression. Even though the sun turns the water into a burning glass, the sun naturally cools as the afternoon wears on. Nature and technology dance in a somewhat vexed but dazzling dialectic here. Brightest of all in this poem is the violently red bell-buoy / Whose neon-color vibrates over it, whose bells vibrate // To shock after shock of electricity. Neon is the most alien of lights. As with the Juke-Box charging its place, this buoy electrifies its environment. Its otherly transgression rhythmically shocks pulses through the sea. The sea is delight. The sea means room. / It is a dance floor, a well ventilated ballroom. These lines from Pleasure Seas contain the charge picked up in the dance-halls of Edgar Allan Poe amp; the Juke-Box. That poem has seedy, drunken desire releasing the inner alien; in Pleasure Seas it is potentially trans-gendered here in the homonym of the red bell-buoy, the color of passion also found in the red-hot wire of the lizard tail in Brazil, January 1, 1502. That lizard is notably female. Both poems vibrate outward into larger spaces. From paradisal waters, the poem retreats to the tinsel surface of swimming pool or ship deck where Grief floats off / Spreading out thin like oil. Natural poison spills, damages, and disperses. And love / Sets out determinedly in a straight line†¦But shatters and refracts in shoals of distraction (196). These shoals receding around the keys anticipate the homosexual vertigo of Crusoes surreal islands in the late great semi-autobiographical poems of Geography III, the 1976 volume beginning with young Elizabeth Bishops formative experience of inversion In the Waiting Room – falling off / the round, turning world (160). Pleasure Seas ends with water crashing into the coral reef shelf – at the surface of nature, half in, half out – An acre of cold white spray is there / Dancing happily by itself. Out there in the sea, as land gives way to coral reef, the poet creates a well ventilated ballroom to be free and ecstatic. Unlike the public spaces of the Florida ho nky-tonks, these pleasure seas are solitary. They are, however, natural – and thus contrast the ironic happiness of the people in the swimming-pool and on the yacht, / Happy the man in that airplane, likely as not (196). This pleasure of 1939 holds the promise of liberation, momentarily. While explorations in the late thirties lead to joyful poems such as It is marvellous to wake up together, and the thirsty Edgar Allan Poe amp; the Juke-Box, another Florida poem bids farewell, circa 1946. In the golden early morning †¦ contains many of the Floridian tropes merging nature with technology. About a trip to the airport, it indicates a break up with Marjorie Stevens (M in the poem). As the speaker is being driven to the airport in the early morning, she reads the newspaper stories of human horror: I kept wondering why we expose ourselves to these farewells amp; dangers— Finally you got there amp; we started. It was very cold amp; so much dew! Every leaf was wet amp; glistened. The Navy buildings amp; wires amp; towers, etc. looked almost like glass amp; so frail amp; harmless. The water on either side was perfectly flat like mirrors—or rather breathed-on mirrors. (EAP 80) The water as foggy mirror is an example of how technology (a mirror in this case) extends nature to reflect for Bishop an extension of herself that cant quite exist freely on its own, or in the social world. More dramatically, an airplane descends this early morning: Then we heard the plane or felt it . . . She feels the sublime vehicle as if it were made out of / the dew coming together, very shiny. The plane is similar to the aircrafts technological transgression in Pleasure Seas, but In the golden early morning . . . , it is also like a product of nature made from the dew. This simile resembles the fusion of technology and nature in Pleasure Seas where the red bell-buoy charges the sea, or in The walls . . . where the wires were like vines. These images express Bishops longing to extend but not quite transcend the provocative desires of the physical world. Her projections are made possible by poetic languages explicit tropic function: it is a technological extension of reality. Bishops technologies blatantly transgress nature by pointing to her exclusion from it when it participates in traditional symbolic order. She comments, as the flight crew in the poem gets out of the plane, I said to you that it was like the procession / at the beginning of a bullfight . . . (EAP 81). Somebodys going to die. From the outside looking in, Bishop is neither inside the plane, or remaining part of the natural morning. Always liminal, always on the move, she and her poetry are the

Lord of the Flies Essay Example

Lord of the Flies Essay Civilization vs. Savagery What do symbols illustrate in novels? In William Golding’s Lord of the Flies, symbols are illustrated through people, objects, and colors. In this novel, a group of children are faced with the difficulty of living isolated from society after their plane crashes on a deserted island. With no formal civilization, parents, or rules, the kids have the freedom to do as they choose. Throughout the novel, the boys find and use objects on the island that symbolize something of different importance. In Lord of the Flies, William Golding uses different objects to symbolize the difference between civilization and savagery. One of the first symbols presented in the Lord of the Flies is the conch shell. After the boys’ plane has crashed on the island, Ralph and Piggy, two of the main characters, find the conch lying in the sand on the beach. Ralph immediately recognizes the conch as being a possible way â€Å"to call the children to assemblies. † (Cox 170). The conch soon becomes one of the most powerful symbols of civilization in the novel. â€Å"He can hold it, when he’s speaking. † (Golding 33). This quote refers to the idea that, whoever has possession of the shell, may speak. It soon becomes a symbol of democratic power, proactively governing the boys. We will write a custom essay sample on Lord of the Flies specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Lord of the Flies specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Lord of the Flies specifically for you FOR ONLY $16.38 $13.9/page Hire Writer With Ralph being the leader, and Piggy by his side, the conch shell serves as an equivalent to the executive branch of government. He who holds the shell is superior, at that time. When savagery begins to take control of the boys as the novel progresses, the conch shell begins to lose power. After innocent Ralph is involved with the murdering of Simon, he holds onto the conch tightly, remembering the sense of graciousness that he once had. The conch shell ends up getting smashed during the scene of Piggy’s death, when Roger kills him with ‘the rock,’ another symbol in the book. Another symbol presented in Lord of the Flies is the beast. The beast, representing horror, is the most intricate of all the symbols. It is unique because it is not an actual object, but instead it is the imagination of the boys. It shows the inclination toward evil that all human beings are faced with in a time of great disaster. Simon, a character of human goodness rather than savage, comes up with the conclusion that the beast was not actually an object or figure, but instead it was the boys themselves. â€Å"Maybe it’s only us. † (Golding 89). After Simon speaks of this, the boys erupt in anger. Jack and the rest of his savage boys fall into chaos. Jack promises that there is a beast and they will find and kill it. The boys’ strong will to kill shows their fear of the beast and it disables the connection that they once had with civilization. As the savagery of the boys continues, the beast becomes looked upon as a leader, and they begin to make sacrifices. The erratic behavior expressed by the boys is what brings the beast out of their imaginations and portrays it as something that actually exists. The more devilish the boys become, the more the beast seems to be real. Along with the conch, the next symbol, the signal fire, was also present at the beginning of the novel. This symbol, representing life, was one of the only chances the boys had for reconnecting with society. Two signal fires were made on the island. One was built on the mountain in hope that a plane would see it, and the other was built on the beach, in hope that a ship would see it. In the first few chapters, the boys strived hard to keep the fire going, except for Jack. Instead of focusing on the fire, Jack was more excited about hunting for pigs. â€Å"There was a ship. Out there. You said you’d keep the fire going and you let it out! † (Golding 70). This shows how much the fire meant. Knowing that the boys may only have one chance at being saved, Ralph was furious at Jack when he found out that he let the fire burn out. The fire was so important to the boys on the island because it represented the small amount of civilization still left inside of them. When the fire burnt out and the ship did not see them, the boys ultimately gave up. They recognized the fact that they weren’t going to be saved and they would have to live lives of savages. Oddly enough however, at the end of the story the boys are saved because a ship sees a fire on the island; not the signal fire, but a fire made from the destruction caused by the savage boys. Another symbol is presented through the disability of one of the characters, Piggy, whose vision is much below average. He has glasses and these glasses play an important role throughout the book. Piggy is the smartest and most intellectual out of all the boys. From the very beginning of the novel Piggy’s intellect is shown when he uses his glasses to start the first ignal fire. He uses the lenses to reflect the sun’s light on a piece of wood. Piggy’s glasses play a key role in keeping the boys’ minds focused on being rescued. As long as they had a signal fire lit, the chances of being rescued were still probable. The boys’ chances of being returned to society vanish after an altercation between Ralph and Jack, where Jack steals Piggy’s glasses from his face. Ralph and Piggy are now left abandoned after Jack, now with the glasses, moves to the other side of the island with a few of the other boys. Piggy, without his glasses, cannot see. This represents the change from civilization to savagery. At the start of the novel, when Piggy first has his glasses, the boys on the island remain civilized, making attempts to keep the signal fire strong. As the novel progresses, and Piggy looses his glasses, the decline of civilization toward savagery is present. The collapse of the boys is also revealed through the symbolic masks that the boys design. These masks, which are used by Jacks followers called ‘the hunters,’ are made of clay paint. The evilness of the boys is clearly shown when they wear the masks. It is almost as if an infectious disease is spread upon them; they lose all sense of civilization. After Jack paints the mask on his face for the first time, it is clear what it does to him. â€Å"He began to dance and his laughter became a blood thirsty snarling. â€Å"He capered toward Bill, and the mask was a thing of its own, behind which Jack hid, liberated from shame and self-consciousness. † (Golding 64). This not only shows the cruelty of the mask, but it also shows how it opens Jack into the world of being a savage. Also, Golding mentions the colors of Jack’s first mask as being Red, White, and Black. These colors symbolize â€Å"violence, terror, and evil. † (Golding). The darkest and most violent symbol on the island is the rock. Roger, one of the savage boys, uses the rock to kill Piggy. Comparable to the mask, the rock is red representing violence. â€Å"High overhead, Roger with a sense of delirium abandonment, leaned all of his weight on the lever. † (Golding 180). This describes the scene when Roger, standing on a cliff, pushes the rock down on Piggy. The scene in the story when Roger kills Piggy represents more than just the death of one of the protagonists. Not only does the rock smash Piggy, but it also shatters the conch. The conch and Piggy were a few of the only figures of civilization left on the island. At this point, almost all the boys become savages and feel no sympathy towards the death of Piggy. In Lord of the Flies, the main characters are used to signify important thoughts and concepts. Piggy represents â€Å"prudence, logic, science, and the process on thought, which he uses throughout the story to remain civilized. † (Taylor). Piggy is the thinker behind Ralph, the leader, who comes up with ideas such as starting the fire with his glasses. His intellect represents the world of civilization that the boys once lived in. Simon has been given the characteristic of a mystic, or someone that is supernatural. He signifies â€Å"the Christ-figure. † (Spitz). In an Interview, William Golding even refers to Simon as â€Å"a saint. † (Kermode 219). He is shy and incomplete, yet he uses the intellect that he has to help others. Ralph, who has been the leader from early in the novel, is the most important representation of civilization on the island. Even though he loses his best friend Piggy, his friend Simon, and the conch, he still remains civilized. Like Simon, he learns that savagery is present among all humans. Jack, being the first of two main antagonists, is the number one exemplary of savagery on the island. His lust for power and his rampant terror among the boys sets him far apart from the civilized. This is present at the very beginning of the novel when Jack becomes upset about loosing the top leadership position to Ralph. The second antagonist is Roger. Roger shows the cruelty and bloodthirstiness of the savages at their climax. Roger, being one of Jack’s main followers, ends up murdering Piggy with the rock. The most significant and most apparent symbol in the story is the Lord of the Flies. The Lord of the Flies, which gives the book its title, is a slaughtered pig’s head that is placed onto a spear. The head, seen by Simon, is described as gruesome and terrifying. When Simon stumbles upon it in the Jungle, it seems to talk to him, telling him about the evil that lies within all humans. The dead pig’s head also tells Simon that he is going to have some â€Å"fun† with him, which foreshadows Simon’s death. The Lord of the Flies is ultimately a symbol of terror, but more importantly a symbol of the devil. The evil shown through the pig’s head is the same evil that has been causing the civility of the boys to decline. In Lord of the Flies, William Golding uses different objects to symbolize the difference between civilization and savagery. From the beginning of the novel to the end, the decline of civilization toward savagery is present among the boys. At the start, the boys tried hard to remain civilized by using objects such as the signal fire and Piggy’s glasses. As the novel progressed, the turn from civilization to savagery began to take place after Jack lets his lust for savagery get the best of him when he steals Piggy’s glasses. Lastly, at the end of the novel, the domination of savagery is present with the masks, the Lord of the Flies, and the rock. Once all hope of returning to civilization is lost, the boys accept their lives as savages. The symbolism that Golding employs in Lord of the Flies shows the difference between the civilization that the boys’ once knew and the savagery that fell upon them. Works Cited Cox, C. B. A review of ‘Lord of the Flies. ’ † Critical Quarterly 2. 2 (Summer 1960): 112-17. Contemporary Literary Criticism. Ed. Roger Matuz. Vol. 58. Detroit: Gale, 1990. 170-72. Dunn, Daisy, â€Å"Book Blog| The Spectator. † Spectator Magazine| World Politics Current Events, News, and Discussion. The Spectator. 17 Nov. 2011. Web. 25 Nov. 2011. Golding, William. Lord of the Flies. New York: Penguin, 2006. Print. Golding, William. â€Å"Lord of the Flies Themes| Gradesaver. † Study Guides Essay Editing| Gradesaver. Gradesaver LLC, 1999. Web. 9. Nov. 2011. Kermode, Frank. â€Å"The Meaning of It All. † Lord of the Flies: Casebook Edition. Ed. James R. Baker Arthur P. Ziegler, Jr. New York: Penguin Group, 1988. Spitz, David. â€Å"Power And Authority: An Interpretation of Golding’s ‘Lord of the Flies. ’ † The Antioch Review 30. 1 (Spring 1970): 21-33. Contemporary Literary Criticism. Ed. Sharon R. Gunton. Vol. 17. Detroit: Gale, 1981. 172-73. Taylor H. Harry. Rev. of The Case Against William Golding’s Simon-Piggy. (2004): 65-67. Bloom, Harold. â€Å"Bloom’s Guides: Comprehensive Research Study Guides. † Print. Lord Of The Flies Essay Example Lord Of The Flies Paper I will now talk about the opening of Harry Hooks second screen adaptation of William Goldings cult novel about a group of British school children that revert to savagery when marooned on a deserted island. The new adaptation replaces British school children with a group of American military cadets. Harry Hook is also a very effective professional film director who employs a wide range of camera techniques. At the start of Harry Hooks version of Lord Of The Flies we see a blank screen for about 10 seconds, we also hear very strange electronic music, which gives a strange intriguing effect. This also gives the audience no idea about what is going on this is very similar to Peter Brooks first shot in his screen adaptation of Lord Of The Flies only Brook has a bell in the background. We see the foot descending. When we see the foot it gives a shocking effect, but as we then see the full male body descending it seems quite peaceful. While we see this there is no noise at all. This is also very similar to Peter Brookss version of The Lord Of The Flies because I think Brook uses Cricket and people clapping politely to represent peace, Harry Hook decides to use the silence to represent peace. We will write a custom essay sample on Lord Of The Flies specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Lord Of The Flies specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Lord Of The Flies specifically for you FOR ONLY $16.38 $13.9/page Hire Writer When we see the man slowly sinking past the camera we see he is wearing a pilots uniform. The audience can infer that this man is a pilot. The audience can also deduce that we are in the sea or underwater. We then see bubbles rising from his mouth we can now infer that he is drowning; we then see a blue screen this is confusing the audience are trying to guess what is happening. The camera then cuts to a shot of boys above the water, the water is splashing against the camera and making the camera move so we can not see exactly what is going on, we hear loud screaming there is a sense of panic and worry. Harry Hook has used the camera in a first person point of view so it seems like we are actually seeing the view that one of the boys would see. We then see an underwater shot looking upwards we see flailing legs and hear muffled shouting. I like this camera technique because it creates a sense of confusion and disorientation. This camera technique was used a lot in the film Jaws it created a sense of panic and distress because when ever we seen an underwater shot in Jaws we knew something bad was going to happen just like when we hear the drum in Peter Brooks version of The Lord Of The Flies we know something bad is going to happen. The camera then rotates 360 degrees looking upwards from under the water. This shows the vulnerability of the survivors. We then see another underwater shot of a boy swimming down again. The audience is confused wondering what is he after? Then see a mid shot of a life raft then exploding open this startles the audience and explains how they survive and also what the boy was so desperate to retrieve from the water. In the next shot we see the title credits Lord Of The Flies on a silver and black background. And just like the Peter Brook version the letters stand out from the black background. We hear jaunty music drums, violins and flutes it has a very Irish jig feel to it, which in my opinion creates a sense of adventure and excitement. The next shot we see an extreme long shot of the island where their destination is. The raft floats onto the screen from a distance showing the survivors, who there are about twenty children and one pilot, unconscious. The boys wade ashore to where their journey begins. Lord of the Flies Essay Example Lord of the Flies Paper Lord of the Flies was written in the 50s, a decade or so after the war. The war demonstrated the savagery of the human race most famously so with the dropping of the atomic bombs on Hiroshima and Nagasaki. The book is a reflection of Goldings pessimism of human nature. The island becomes a microcosm of the wider world where fallen human nature leads to a huge war. When all the boys meet together in chapter 2, there is initially some conflict between Ralph and Jack, but this is just a struggle of egos and not necessarily showing any kind of savagery. There is at first an agreement to order the island with a democratic system, and this is first represented by the conch, which is in effect the symbol for democracy on the island. Ill give the conch to the next person to speak. He can hold it when hes speaking. Originally we see the boys as mildly presentable, most noticeably the choir who are introduced to us in a formation all in identical black clothing Each boy wore a square black cap with a silver badge in it. Their bodies from throat to ankle, were hidden with black cloaks. But soon all the boys except Piggy become far more scruffy and disorganised and eventually develop animalistic behaviour. These traits are most prominent in Jack. Here are some quotes showing his less civilised appearance Tattered shorts, hair is considerably longer, His bare back was a mass of dark freckles and peeling sunburn. He is described as dog like, flared nostrils hiss of indrawn breath, eyes are bolting and nearly mad. He speaks more aggressively now aswell as being offensive suddenly Jack shouted in rage Are you accusing? He and his now group of hunters which in itself is a descent into savagery turning a group of choir boys to hunters now discover bloodlust and have somewhat of an obsession with hunting. We will write a custom essay sample on Lord of the Flies specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Lord of the Flies specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Lord of the Flies specifically for you FOR ONLY $16.38 $13.9/page Hire Writer On Jacks first hunting attempt we saw reluctance in killing the pig. Perhaps because his consience is trying to prevent him from crossing the line into savagery. The next time Jack sees the pig he attacks it with no hesitation at all. He swung back his right arm and hurled the spear with all his strength. compulsion to kill Not only does he not hesitate when hunting anymore but he actually enjoys it as stated by Ralph But you like it! You want to hunt. Which is not followed by a denial from Jack. Hunting is becoming a personal preoccupation for him. Kill the pig. Cut her throat. Spill her blood. Is Jacks most emphatic statement concerning hunting, and cements the idea in the readers head Jack is now a savage. His attitude rubs of on the boys, they become more savage and are made into a tribe, with painted faces and a desire to kill. The boys sat down and panted like dogs. paint our faces so they wouldnt see-surround them and then.. An example of Jacks attitude rubbing of on the choir boys is when Roger and Maurice kick over the littluns sand castles kicking them over, burying the flowers, scattering the chosen stones. Maurice followed, laughing, and added to the destruction. The fact that the small boys were known with the generic title of littluns and bullied about due to the social heirachy in place is explained by the fact there is no society where the boys are. No mothers watching their children the society is their own, and with those rules out of place Golding shows, this cruel nature is in all of us, but society restricts us from demonstrating it. Maurice had received chastisement for filling a younger eye with sand. Now there was no parent to let fall a heavy hand. The whole system of democracy begins to fail early on in the book, Jacks stubbornness to cooperate is a main cause of this, he hunts on his own and takes away many of the boys from democracy All at once the crowd swayed towards the island and were gone-following Jack. Most of the boys do not play their part in the democratic society Theyre off bathing, or eating, or playing Ralph makes meetings and everyone talks and makes decisions, but very rarely are these ideas actually into action Every day. Twice a day. We talk. Jack insists on dictatorship, he breaks the rules frequently and likes to control the group and not hear others views. Eventually he breaks away from the group and forms his own, who are complete savages and only seek to cause destruction upon the island. He becomes somewhat of a tribal chief, dressing himself up as an idol The move from democracy to dictatorship is shown through tribal dancing, chanting, feasting, disregard for the littluns. The tribe do not use names, they sacrifice a pigs head to the beast. The conch loses power throughout the book mainly because of Jack manipulating its purpose and rules. For instance he says the conch doesnt count at the top of the mountain and eventually it is destroyed in the fight between the two tribes. One can also detect the descend into savagery through the events of the boys using rocks and stones and making fires. The great rock of pink granite is the meeting place of the boys for meetings and could therefore be seen as the physical symbol of organisation, democracy and civilisation manifested on the island. Rocks and stones are soon items that aggression are taken out, for example there is a part of the book where Roger throws stones at Henry, even though he deliberately misses him because the way he acted in a civilised society is still fresh in his mind. here, invisible yet strong, was the taboo of the old life. He is excited at the prospect of mastery over Henrys actions, an emotion showing fallen human nature. In Chapter 6 we see a party led by Ralph and Jack lead a party to hunt the beast on a previously unexplored part of the island. All but Ralph become restless with the challenge of being rescued and are instead compelled to tip over rocks, but this time it has a darker motive. The rocks are not just tipped for fun as they were with Jack, Simon and Ralph early on, but they are tools of losing aggression. The climax of rock tipping is met when Ralph and Piggy and the twins go to Jacks tribe on the fort. Roger finds a rock that would be suitable to crush the people down below a log had been jammed under the topmost rock and another lever under that a full effort would send the rock thundering down. Note that Roger no longer hesitates when it comes to using rocks to inflict pain, the invisible force that is his civilised self is now gone. Roger pushes the rock down and kills Piggy, the group have commited a deliberate act of murder and it completes the descendance of his tribe into evil, savage behaviour. The conch exploded into a thousand tiny fragments and ceased to exist this is a symbol of the complete and utter annhialation of democracy, order, and civilization. It holds the significance of Piggys glasses being broken (the breakdown of true vision) but on a grander scale. Also fire holds a role in the descent into savagery, originally fire is a good thing. It seems as though it is the boys escape from the island and perhaps their only hope, this would be done by sending up smoke which they hoped would be seen by a passing boat/ship If a ship comes near the island they may notice us. So we must make smoke on top of the mountain. This plan eventually turns into an assault on nature, the fire crawled through leaves and brushwood was savage with smoke and flame The fire spreads across the island and Golding suggests the death of the boy with the mulberry birthmark. Golding is perhaps demonstrating symbolically how all humans are born with the mark of original sin, and are destined to be evil and go to hell. This is suggested by the line Piggy looked nervously into hell. The task of keeping the rescue fire alight becomes increasingly difficult, Jacks group finds hunting a more desirable occupation and only Ralph, Piggy and Simon are left with the fire. A turning point in the book is when the fire goes out and a ship goes by without noticing the boys. The fire going out is symbolic of the hope of being rescued dying out, and the ship going away shows the boys going further and further from civilisation. The hunters later come back and look disappointed that the fire is gone, but a dead pig on the fire rises their spirits and it seems that eating the dead pig seems more important to them than the prospect of rescue, which is a demonstration of the group turning to savagery. At one point when Sam and Eric are guarding the fire, the flames illuminate the outline of the dead parachutist, this invokes fear them and they run away convinced they have seen the beast. Fear is then felt by all in the group at some point, even the rationally Piggy is swept away by supersticion. It is fear that is detrimental to the state of the group, sincere statements from Sam and Eric leave little room for doubt. Weve seen the beast with our own eyes-No we werent asleep they even give a detailed account of how the beast chased them through the forest. The groups response was a strong one The circle of boys shrank away in horror. Sam and Erics irrational fear has been passed to all other boys, even those who try to combat it feel fear, even Simon is fearful of it However Simon thought of the beast, there rose before his inward sight the picture of a human race once heroic and sick. Even though the boys descend from civilisation into savagery there are glimpses of their previous states of mind even in the light of their situation. Boys state their addresses and Jack flinches when describing how he killed a pig. Percival Wemys Madison, The Vicarage, Harcourt St. Anthony, Hants, telephone, telephone, telephone Civilisation is in the boys minds, but gradually savagery descends and we see all traces of society fade away, most noticeably in Jacks new found bloodlust and lack of hesitation when killing pigs. Lord of the Flies Essay Example Lord of the Flies Essay Argument 1: Civilization vs. Savagery Every human has a central instinct lying within them. It is not a question of how close to the actual surface it appears, but rather how well an individual controls and deals with it. In a state of increasing distress and panic, what is one truly capable of? Can one remain sophisticated or will the temptation of their dark inner most thoughts take over, bringing out the savage which exists in us all? William Golding’s Lord of the Flies explores this inquiry through an allegory represented by a group of boys who have been marooned on a deserted island, with no surviving adults. Lord of the Flies has been interpreted and analyzed in several different manners. It has been derived that the allegory of Civilization vs. Savagery is among the strongest interpretations based on considerable supporting evidence. William Goldings Lord of the Flies allegorically shows the good and evil that co-exists in every human being. Each character and symbol displays this possible by what it represents. Ralph and Jack allegorically represent opposing political forces: Jack as the dictator and Ralph as the prototype of a democratic leader. The disappearance of authority figures and the prospect of fun, however, also bring with them fear, for the boys are scared of the possibility of long-term abandonment on the island, a fear that is to be reinforced later by the monster. (Golding, note 1, p. 33) The island represents the archetypal garden and the conch shell which represents power. Golding uses British schoolboys to prove that a little bit of evil exists in all of us. Each of t hese symbols help in proving that we all have some evil in our hearts. â€Å"Everything is taken from the ship. Nothing is invented. We will write a custom essay sample on Lord of the Flies specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Lord of the Flies specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Lord of the Flies specifically for you FOR ONLY $16.38 $13.9/page Hire Writer It is all painstakingly applied on the island. Time is nothing but the time necessary for capital to produce a benefit as the outcome of work. And the providential function of God is to guarantee a return. God knows his people, the hardworking honest type, by their beautiful properties, and the evil doers, by their poorly maintained, shabby property. Robinsons companion is not Eve, but Friday, docile towards work, happy to be a slave, and too easily disgusted by cannibalism. Any healthy reader would dream of seeing him eat Robinson. † (Gilles Deleuze, p. 12) Ralph begins the story as a carefree boy who does not understand the tragedy amongst the boys. Ralph soon realizes a need for authority and becomes the true leader of the boys. He represents a democratic leader and a traditional form of government. To enforce a parliamentary procedure, he uses to conch shell. Weve got to talk about this fear and decide theres nothing in it. (Golding, note, 1, p. 88) This symbolizes power and authority. In the Civilization vs. Savagery allegory Ralph is part of civilization. He represents reason and leadership. While on the island it was Ralph who first gathered everyone on the beach. It was there that he was elected chief and he established their society. He runs a democracy where everyone votes on issues and he is willing to take everyone’s opinion into consideration. He believes that as long as they stay civilized they can easily survive, live in harmony, and eventually be rescued. â€Å"We’ve got to have rules and obey them,† (Golding, p. 42). Ralph insists on having rules on the island and at first Jack agrees with him although his jealousy for Ralph’s power drives him to constantly undermine and disobey Ralph and his requests. Argument 2: As a religious allegory The significance of Golding’s work is buried deep in his allegorical symbolism. The central focus of Golding’s allegory is the conflict between good and evil. Through his work, Golding attempts to define the nature of evil. He demonstrates the overwhelming presence of evil in every aspect of human life. He depicts evil in his story in many ways. Golding elaborates on the problems of moral choice as well as the inevitability of original sin and human fault. The blindness of self deception, as expressed by the boys, further aids in the development of Lord of the Flies as a religious allegory. During the time in which William Golding devised his allegory, the typical writing style of his contemporaries was centered about an uncertainty of human values. â€Å"The writers of the 1950’s exhibited a fundamental doubt whether life has any importance whatsoever† (Cox 49). Golding contrasted this typical point of view by describing friendship, guilt, pain, and horror with a full sense of how deeply meaningful these can be for the individual. Golding used young boys to show how religion and the teachings of the Bible remain present in every man’s life. Thus, Golding’s novel, Lord of the Flies, is a religious allegory with ties to both the new and Old Testament of the Bible. The success of Golding’s work is credited largely to his Christianity. His religion provides and intricate and symbolic plotline to many of his novels. His religious sense does not provoke him to give up all hope for human kind; instead, it provides him with insight to the dignity and importance of human action. The development of plot,descriptions of the island and sea, and treatment of character, he explores actual life to prove dramatically the authenticity of his own religious view point (Cox 48). Golding has been known to have a preoccupation with evil and original sin. Original sin is the Christian idea that all people are born with an inherent sin because of the actions of Adam and Eve. Golding once told a reporter, â€Å"Evil can look after itself. Evil is the problem† (qtd. in Green 173). Golding wishes to scrape off the labels and destroy artificial patterns. He represents himself as what used to be termed a Deist, yet the whole moral framework of his novels is conceived in terms of traditional Christian symbolism (Green 173). In the Lord of the Flies, the character Simon is presented as a Christ figure. There are many different interpretations of what Simon actually represents, however, Golding intended this character to be interpreted as a Christ-figure. As proven by this novel, along with his subsequent literary works, Golding is not to be labeled easily. His characters serve many purposes symbolically and in plot development. Lord of the Flies’ moral framework is conceived in terms of traditional Christian symbolism, however Golding does not fail to include several twists to further obfuscate the reader attempting to label his work. Golding has included a Christ-figure in several of his works. This Christ figure is always someone actively engaged in interpreting the human condition. The characters provide a sense of insight to the influence religion has had on William Golding’s life. The fact that so many of his works include such Christ-figures exhibits the prominent influence of religion in Golding’s life. Golding appears to be preoccupied with the problems that are the eternal questions of a religious man: the nature of good and evil, guilt and responsibility, the meaning of death and free will (Hynes, â€Å"Novels of a Religious Man† 70). His novels are preoccupied with these themes. The characters are challenged with the opportunity to do the right thing and the temptation to give in to the inherent evil within themselves. Golding’s strong intent to convey his message in made obvious in the way he communicates his central message. When Simon suggests that perhaps the beast is in only the boys themselves, it is very symbolic of this idea. This rather subtle interpretation of human nature from a small boy demonstrates further that Golding is so concentrated on his moral message that he will not hesitate to make the youngsters â€Å"dance to his tune† (Johnston 11). The fact that Golding will allow for his central message to be conveyed through the use of a young boy represented as the Christ-figure in the novel shows his intent and focus on religion as well as his concern for the human race. The allegorical symbolism of the novel is presented even more boldly in the content of the story. Even the title itself contains allegorical significance. The name, â€Å"Lord of the Flies,† was the Philistine Beelzebub or Satan. The Jews transmuted his name to mean Lord of the Dung or Filth (Green 176). This name is tied into the sodomy and brutal killing of the sow. It is also connected to the flies surrounding, seemingly engulfing the impaled pig’s head. By the time of the New Testament, â€Å"Lord of the Flies was translated to Lord of the Devils, a generalized Satan (Green 176). It seems utterly too coincidental for this title to have such a deep rooted-religious meaning without the intention of the author. Golding has purposely chosen such a title to lay the groundwork for his religious allegory. The title of the novel is not the only similarity between Golding’s work and the Old Testament. The approach of evil serves as another device to connect Golding’s work to the Bible. Literary critic E. M. Foster concurs with my observation about the approach of evil as an allegorical device. As in the Old Testament, when evil appears in the form of the â€Å"Lord of the Flies†, Beelzebub, he sends a messenger to prepare his way for him in another form. The name of his predecessor is Jack in the Old Testament (Foster 100). This is similar to the approach of evil in the Lord of the Flies. While some may interpret the odious Jack as the satanic figure, he can also be viewed as evil’s predecessor. His evil character and influence comes before the downfall of the island to the inherent evil of the boys. He is the first of all of the boys to have a bloodlust; Jack exhibits the first urge to hunt. Jack’s dictatorial character serves as a harbinger to the evil that will inhabit the island when it is unleashed in all the boys. Another connection to the Old Testament is found in the treatment of pigs throughout the course of the novel. Literary critic Kirsten Olsen notes that in the Old Testament the pig is a non-kosher food. The swine serves as a symbol of filth and forbiddenness (Olsen 130). In the story, the incidents associated with pigs are intertwined with the darkest aspects of human behavior. The hunting of the pigs for food turns into a joyous hunt for blood. The hunt of the female sow shows the true evil of the boys as they sodomize and torment the pig (Golding 135). The joy derived from the killing of the pigs exposes the true evil that is present in the boys. There is another strong association to the Old Testament found in the form of the murderous feast dance performed by the boys (Golding 135). Literary critic Kirsten Olsen observes that this ritualistic dance is strikingly similar to the dance of the Israelites depicted in the Old Testament. The boys dance ritualistically as they all fall victim to the mob mentality that surrounds them. The Israelites dance as they worship the golden calf: both ritualistic dances have an atmosphere of total abandon and revelry (Olsen 130). The last relationship to the Old Testament is present in the Christ-figure of the novel, Simon. While, Golding himself has referred to Simon as a Christ-figure, many literary critics interpret Simon as a derivative of Moses. The similarity between Moses and Simon is evident in their actions. Both Simon and Moses bring wisdom down from the mountain only to discover barbarous ignorance from their people (Olsen 130). The second portion of allegorical symbolism is connected with the New Testament. The first such symbolic intertwining is found in the setting of the island itself. The uninhabited island that serves as the setting for the Lord of the Flies is a mirror image of Eden when the boys first land there. The lush, remote island is full of fruit which hangs for the picking. As literary critic, Lawrence Friedman observes, the tropical climate prompts the boys to shed their clothes (Friedman 65). Literary critic L. L. Dickinson says the boys â€Å"accepted the pleasure of morning, the bright sun, the whelming sea and sweet air, as a time when play was good and life so full that hope was not necessary and therefore forgotten† (Dickinson 13). The boys are free to do what they wish, being restricted only by their own conscience. Just as Adam and Eve were at their own liberty do what they pleased, the boys unrestricted and free. They know however, that performing a morally wrong action will force them to suffer the consequences just as Adam and Eve. The perfection of the setting is placed in the boys’ hands. Just as Adam and Eve had their destiny placed at their fingertips, the boys are tempted with the same decisions. Golding illustrates that mankind is just like Adam and Eve: we can only suppress our greed and savagery for a short amount of time before it inevitably surfaces. Thus, the halcyon, â€Å"Edenic† setting slowly turns into a hell. The setting that resembles paradise is only ephemeral strictly because of the savagery within the boys. The irony is that boys create their own hell just as Adam and Eve were by their own fault exiled from Eden. The beginning of the transformation of the island is represented by the shattering of Piggy’s glasses (Friedman 68). Piggy represents reason in the microcosm of the island. Thus, when Jack strikes Piggy and consequently shatters one of his lenses, reason is symbolically half blind. Hence, without reason, the boys begin to express their inner savagery and slowly the island transforms. This incites the transformation of the innocuous little boys into cold hearted savages. The building of the first is a signal of resurgence of civilized values. However, the fire soon rages out of control. The boy with the birthmark is killed: the seed of fear has been planted (Friedman 68). Reason has failed to explain the darkness within and the island paradise begins its fatal transformation into hell. Golding’s story reflects his opinion on original sin and human nature. Golding demonstrates how evil is dormant in human nature even when the world appears sunny. He depicts how the corruption of darkness can arise from man himself and cast shadows over the sunny, seemingly pleasant setting (Hodson 22). The central Christian message of the novel that Golding attempts to convey is that we are all born in sin or will lapse into it (Foster 100). The boys’ behavior is inevitable because of man’s original sin. The growth of savagery in the boys demonstrates the overwhelming power of original sin (Cox 47). The boys are too evil to account for the evil within themselves. Thus, they project their irrational fears out into the outside world. The beast serves as the externalization of the inner darkness in the children’s nature and its ascendancy is inexorable, along with the path into savagery. This is symbolic of the evil instilled in man through original sin. Literary critic, Arnold Johnston, notes that this also depicts the challenge that the good or holy aspect of society must overcome (Johnston 10). Perhaps the most significant part of Golding’s allegorical puzzle is his Christ-figure, Simon. As well as being compared to Christ, Simon has also been interpreted by the literary critic Samuel Hynes as a saint. He is compared to his supposed namesake, Simon, from the New Testament (72). Simon is one of Christ’s apostles. Other than the name, the other similarity that Simon shares with Simon from the Bible is, as Golding himself puts it he â€Å"voluntarily embraces his fate† (qtd. n Hynes, â€Å"Novels of a Religious Man† 72). The first aspect in the development of Simon as the Christ-figure in the novel is his isolation. His lonely, voluntary quest for the beast is the symbolic core of the book. In his excursion away from the boys, Simon shows himself to be the one character who has an affinity with nature. His first act once the boys reach the island is to withdraw to a place of contemplation, a limpid, sunlit space in the midst of the forest (Hynes, William Golding’s Lord of the Flies19). There are strong religious overtones o the area that Simon finds which, with its candle-buds and serene stillness, resembles a place of worship. This withdrawal parallels Christ’s withdrawal to the temple as a young boy as described in the New Testament. Golding creates the character Simon with intentions for him to be the embodiment of moral understanding. Golding describes Simon to be â€Å"a lover of mankind, a visionary, who reaches commonsense attitudes not by reason but by intuition† and to be â€Å"a Christ-figure in my fable† (qtd. in Hodson 27). The whole story moves towards Simon’s view of reality. Simon helps the â€Å"littluns’ reach a high branch of fruit, indicating his kindness and sympathy; many of the older boys would rather torment the â€Å"littluns† than help them. Simon also sits alone in the jungle clearing while marveling at the beauty of nature. This indicates his basic connection with the natural world. Simon takes the responsibility to help Ralph with the shelter while the other boys enjoy the island or join Jack in the hunt (Golding 53). Simon is the sole exponent of fundamental, natural good. Through Simon’s pure goodness, he is ostracized form the rest of the boys on the island. Simon’s confrontation with the Lord of the Flies is the most complex of the whole novel. This scene is sublimated to its primary purpose: dramatizing the conflict between the civilizing and savage instincts in human beings. The scene also shows Simon’s innocence and sets the stage for the harsh contrast between him and the rest of the savage boys. While staring into the pig’s mouth he sees the infinite cynicism and evil of adult life. This scene serves to dramatize the clash between good and evil. Christ also has a confrontation with evil when he is tempted by Satan in the New Testament. The â€Å"Lord of the Flies† has invaded Simon’s forest sanctuary to preach an age old sermon: evil lies within man whose nature is inherently depraved. Simon cannot counter this lesson. He is engulfed by the spreading of the vast mouth, overwhelmed by Beelzebub’s power and thus he loses consciousness (Friedman 70). He later gathers the courage to face the evil; the inherent and inexorable evil that is in all the boys (Cox 53). He then climbs the hill to go spread the word to the rest of the boys and enlighten them. Golding paints his most startling and powerful scene shortly after the confrontation between good and evil. This scene is the brutal murder of Simon when he descends from the mountain to share the truths of life with the rest of the boys and free them from their fears. They eliminate the hope of Christ’s sacrifice by repeating the pattern of his crucifixion. Lawrence S. Friedman concurs that Simon’s fate underlines the most awful truths about human nature: its blindness, its irritability, and its blood lust (Friedman 71). Piggy and Ralph’s participation in Simon’s heinous murder help to further expose the hopeless human condition. The boys later console themselves and say that Simon’s death was an accident. Piggy’s desperate rationalizations of his ignominious action point to the inability of human reason to cope with the dark reality of nature. As literary critic Lawrence Friedman states, Piggy’s excuses are frantic attempts to explain basest human instincts and actions (Friedman 72). Another similarity between Simon and Christ is that both die for their society (Dickinson 24). Christ dies for the sins of the world; Simon dies as atonement for the evil in the boys. Simon’s dead corpse and the way it is carried out into the ocean is another way of tying him to Christ. He is seen in a holy light after his untimely death. The way Golding describes the corpse being carried out to sea suggests transcendence. â€Å"Softly surrounded by a fringe of inquisitive bright creatures, itself a silver shape beneath the steadfast constellations, Simon’s dead body moved out toward the open sea† (184). The other characters in Lord of the Flies become allegorical agents through Golding’s intricate plot development. All of the boys are both good and bad. Even Ralph and Piggy participate in Simon’s murder: this demonstrates the complexities of human nature. Jack’s name is symbolic in its ties to the New Testament. Jack was a disciple of Christ (Dickinson 14). Thus, the miscreant, Jack, serves as an ironic twist of the religious connotations of his name. Golding’s novel serves as a lesson for society. It teaches us that evil is inherent in all men due to original sin. The spiritual vacuum of Golding’s novel is completed within the tragedy of Lord of the Flies: the futility of Simon’s sacrificial death, the failure of adult morality, and the final absence of God. In this novel, God’s absence leads only to despair. Golding himself states that theme of his novel is â€Å"grief, sheer grief, grief, grief† (qtd. n Friedman 74). The novel is a meditation on the nature of human political society, dealing with such concerns as the development of political systems and the clash in human nature between savage and civilized behavior. Golding has composed a narrative that is essentially a myth or allegory. His elusive writing style has been the central focus of countless literary critics. This myth or allegory strikes through to the deepest roots of our existence- to fear, to hunger, and then to the will to survive. Because these roots are universal to men, he has managed to give fictional form to religious themes. For it is through myths and allegories that the substance of religious belief is most directly communicated. ?