The And Critique Of The Theory Of Utilitarianism - 1706 Words

In this paper I am going to argue that telling a small lie that would cause no great harm to a friend in order to spare their feelings is an acceptable thing to do. I am going to examine this issue through the perspective of important philosophers Jeremy Bentham(Utilitarian), then through Immanuel Kant(Deontology). After talking about this issue through both of their perspectives, I will argue which person has a more defensible belief. Then I will talk about and critique Kant’s belief to tell the truth in this situation. Next, I will look at Bentham’s belief to tell the small lie along with my own and think of ways my argument can be contradicted and how those contradictions are wrong. Finally, I will end the paper by summing up all of my†¦show more content†¦Telling the lie creates the most happiness in this situation by not lowering it due to their not being any consequence, the lie does not cause any extra happiness, it only prevents any of it from being los t. If the lie resulted in causing more harm than the truth itself, Bentham would not tell the lie because he believes the moral thing to do is to maximize happiness and sometimes that means to choose to preserve the happiness there and not to lower it. The key to understanding why Bentham would tell the is to look at the consequence of the lie rather than the action of lying itself. The only result of the lie is that your friends feelings are not hurt which is why Bentham decides to tell the lie. I agree with Bentham’s belief to maximize happiness in this situation because telling the lie literally has no consequence, it only makes the friend happy by sparing his feelings. In this paragraph I stated what a Utilitarian believes, why they believe it, Bentham’s decision on telling the lie or not and why I agree with Bentham choosing to tell the lie. Now I am going to explain the beliefs of deontology and what one of the most important philosophers of it, Immanuel Kant, wo uld do in the situation of telling a small lie to a friend that would cause no great harm. Deontologists believe in duty based ethics that determine what is and isn’t moral. People have moral duties to do the right thing andShow MoreRelatedUtilitarianism, By John Stuart Mill1599 Words   |  7 PagesUtilitarianism is a doctrine in normative ethics that is outlined and defended by many philosophers, including the English philosopher John Stuart Mill as a standard to determine what are right and wrong actions. At its most basic claim, the right course of action one must take should be in the interest of maximizing what is known as utility. The right course of action is determined as being right if it maximizes the total benefit and happiness gained, while at the same time reducing the greatestRead MoreRetributivism Vs Utilitarian Theory1730 Words   |  7 Pagesmain points of discourse between the two major theories of justified punishment, which I will deconstruct. Feinberg asserts that there are two main theories used to justify punishment: Retributivism and Utilitarianism. These two theories supposedly oppose each other such that they are mutually exclusive and jointly exhaustive (Feinberg). The latter of these theories, Utilitarianism, is the main concern of this paper. I will seek to examine the theory in greater detail by reviewing common criticismsRead MoreThe Ethical Theory Of Utilitarianism912 Words   |  4 PagesUtilitarianism is just one of many ethical theories used and studied in the world that we live in today. Many people would choose to disagree with the ideals that this theory embodies, but before someone chooses to disagree with it, they should know more about the theory instead of judging a book by its cover. In the theory of Utilitarianism, it is believed that an action that is morally right will bear the most favorable balance between good and bad, and that is when everyone’s interest is takenRead MoreUtilitarianism And Its Flaws Of John Stuart Mill s Defends Utilitarianism Essay1307 Words   |  6 Pagesa Global Perspective 7 December 2016 Utilitarianism and its Flaws John Stuart Mill’s defends utilitarianism, an ethical theory according to which, as he puts it, â€Å"actions are right in proportion as they tend to promote happiness, wrong as they tend to produce the reverse of happiness† (155 Ethics). In other words, actions are morally right if they make us happy and actions are morally wrong if they make us unhappy. Utilitarianism is an ethical theory in which an action is morally right if itRead MoreThe Moral Aspects Of Utilitarianism1619 Words   |  7 PagesBernard Arthur Owen Williams greatly influenced philosophical ethics through several studies on the moral aspects of Utilitarianism. His complex thinking and theories, along with his unique approach, gave him a great amount of recognition towards other theorists in his field. He expressed the majority of his beliefs through his writings in which he stressed his critiques of Utilitarianism and Kantianism and emphasized the importance of moral rational. His study of both exte rnal and internal reasoningRead MoreJohn Stuart Mill s Book, Utilitarianism870 Words   |  4 PagesIn John Stuart Mill’s book, Utilitarianism (1863) he challenges many critics that are against his theory. One of which is the claim that Utilitarianism is a swine doctrine. They interpret the theory by saying a humans ultimate goal in life, is that of a swine; pleasure in the absence of pain. It is quite an understandable remark, but definitely is an over analyzed critique, in my opinion. Mill however replies to the critics in grave detail, defending his theory. Although many strengths and weaknessesRead MoreUtilitarianism, By John Rawls And Robert Nozick1486 Words   |  6 PagesUtilitarianism is a moral theory according to which an action is right if and only if it conforms to the principle of utility. An action conforms to the principle of utility if and only if its performance will be more productive of pleasure or happiness, or more preventive of pain and happiness, than any alternative. The rightness of an action entirely depends on the value of its consequences, this is why the theory is described as consequentialist. The â€Å"separateness of persons† is an objection againstRead MoreEthical Ethics And Normative Ethics1078 Words   |  5 Pagescoincide with. I believe that individuals are granted the perception of free will under a higher authority, but there are overarching human rights that should be abided by. Normative ethics can be separated into two categories, utilitarianism and deontology. Utilitarianism can be defined by Jeremy Bentham in the book The Elements of Moral Philosophy as â€Å"morality, he urged, is not a matter of pleasing God, nor is it a matter of faithfulness to abstract rules. Morality is nothing more than the attemptRead MoreKant s Theory Of Moral Theory1466 Words   |  6 Pagestreatises, deontologists and utilitarians alike have argued over which moral theory is most coherent. Yet, in Mill s critique of Kant, Mill sidesteps this issue, not by directly critiquing Kant s moral theory, but rather by asserting that Kant s moral theory is actually just a form of utilitarianism. Essentially, Kant s universal law test is nothing more than a veiled appeal to consequences, as Mill correctly claims in his critique of Kant. After evaluating what it means to have goodwill in his GroundworkRead MoreRational Fools : A Critique Of The Behavioral Foundations Of Economic Theory1260 Words   |  6 PagesRational Fools: A Critique of the Behavioral Foundations of Economic Theory written by economist, Amartya Sen, takes a look at behavioral self-interest and its relation to behavioral economics. At the time that this paper was written, behavioral economics was becoming a popular area to explore and economists were trying to figure out how they could apply their research to encourage human flourishing. Sen begins this paper by critiquing the work of Edgeworth, who claimed that the 1st principle of

Beauty and the Beast Story Analysis - 1469 Words

Beauty and the Beast is probably one of the most well known fairy tales that the Grimms reproduced. In it s original form it was a long, drawn out story that was catered to adults. The Grimms changed the story to be more understood by children and made it short and to the point. Unlike many of the other fairy tales that they reproduced, Beauty and the Beast contains many subtle symbols in its purest form. It shows a girl and how she transfers to a woman; it also shows that beauty is in the eye of the beholder. The one major thing that separates this story from all the rest is that Beauty gets to know the Beast before marrying him. The story starts out simply enough. There was a merchant who had three daughters and was going to the†¦show more content†¦That is what love comes down to. True love will prevail if it is meant to be. The symbolism in this story is overwhelming in that every little detail can be examined and in turn meant to represent something. Take the forest f or example. According to Jung, who was a Neo-Freudian, the forest is meant to be a feminine attribute and can be related to the unconscious. Also notice that Beauty is the youngest daughter of the three. In life the youngest is the most inexperienced and also usually the most protected child. According to Alder, who was also a Neo-Freudian, the youngest child is the one that is most pampered in life and usually felt inferior to the other children. Maybe this is why Beauty was willing to give up her freedom for her father. She was trying to do something to feel superior to her older sisters. Fairy tales overwhelmingly have an emphasis on looks, in the case it comes in the form of names. Both Beauty and the Beast are named after physical traits that describe their outside appearance but not their inner self. Also, it is the rose that causes the trouble in the first place. A rose can represent perfection, beauty, female sex organs and the trueness of the heart. This could be interpr eted as a sign of what the future is to bring for Beauty. Beauty at the start is a young, inexperienced girl who by the end is transformed into a young woman who is to be married. As Beauty sees her father in the mirror and theShow MoreRelatedAnalysis Of Bruno Bettelheim s Beauty And The Beast 1414 Words   |  6 Pagesin terms of Freudian psychology, which is represented in his works of The Uses of Enchantment. Beaumont’s story of Beauty and the Beast is where the first discovery of Beauty’s problem was identified as the Oedipal complex. The Oedipal complex is a child’s desire to have a sexual relation with the parent of the opposite sex, but it is repressed deep in the mind. Beauty in Beauty and the Beast has a special bond of affection with her father; there is the problem that arises within this complex thatRead MoreBeauty and the Beast Literary Analysis1310 Words   |  6 PagesBeauty and the Beast Don’t judge a book by its cover. Beauty and The Best is a well know fairytale that has this hidden concept. The best-known version of the story, popularized through Disney, is Madame de Beaumont’s version. The book goes in depth with the two main characters Belle as Beauty and Prince Adam as The Beast. Both characters are protagonists in the fable. The story is examined through three critical perspectives. The analyses include Moral, Fredian, and Reader Response. FairytalesRead MoreThe Lion King, Beauty And The Beast, And Sleeping Beauty1663 Words   |  7 PagesThese stories, however, do have original versions that should be analyzed when researching the true meanings of these children s stories. Walt Disney portrays children s tales as a simple, fun form of entertainment, but the original stories reveal the bigger truths, changes, and adversities of these children books. The Lion King, Beauty and the Beast, and Sleeping Beauty are three of the many children s st ories that have controversial backgrounds. No matter the time frame, these stories have theirRead MoreBeauty And The Beast Analysis1525 Words   |  7 PagesBeauty and the Beast is perhaps one of the most well-known fairy tales in the Walt Disney production and has been a part of our lives growing up. Most people have either seen the animated version or heard about the fairy tale. The recent remake of the 1991 animated version is aimed to contend against criticism for romanticizing Stockholm Syndrome (Duff, 23). Looking back to the animated version of Beauty and the Beast through modern lenses, certain features of the movie start to appear problematicRead MoreEssay about Film Analysis of King Kong Produced by Merian C. Cooper651 Words   |  3 PagesFilm Analysis of King Kong Produced by Merian C. Cooper A classic adventure-fantasy film in the earlier talking films is King Kong (1933). King Kong was conceived by director/producer Merian C. Cooper. Cooper tells the story of an attractive blonde woman and a frightening gigantic ape-monster who are immersed in a Beauty and the Beast type tale. A major section of the film is the struggle on Skull Island between the filmmakers, the islanders, and the other resident of the islandRead More##mal Characters In Bisclavret And The Yellow Wallpaper By Charlotte Perkins Gilman1408 Words   |  6 Pagespersonality and psyche. The ironic twist with both of these stories is that the individuals with aberrant behaviors are put into a sympathetic position, with their traits taking a backseat to the true treachery afoot. These authors establish their respective characters in very different ways, but still hint at the same conclusion that the typical romantic relationships of the times were toxic, revealing that the true monsters of the stories were the main characters’ lovers. It’s hard to see the redRead MoreThe Port rayal Of Children s Books918 Words   |  4 Pagestitles and as central characters in children’s books (e.g., Ernst, 1995; Hamilton, Anderson, Broaddus, Young, 2006). Ernst’s analysis of children s book titles found male names represented nearly twice as frequently as female names. Ernst also found that even books with female or gender-neutral names in their titles frequently had androcentric storylines. That is, the stories revolved around a male character. As noted by McCabe et al., â€Å"Gender representations reproduce and legitimate gender systems;Read MoreEssay on Walt Disney Films Analysis 1227 Words   |  5 PagesWalt Disney Films are known to be as an incredible and outstanding fantasy stories producer. It created more than a hundred of films. Majority of what has been produced rely on fictional stories. The films that were released used animation to capture children’s interest and musically performed as well. Walt Disney produced fantasy stories l ike The Little Mermaid 1989; Sleeping Beauty 1959; Beauty and the Beast 1991; Cinderella 1950 and more. The tales most often than not were always about the lifeRead MoreRhetorical Analysis Of How Of Read Literature Like A Professor By Thomas C. Foster1089 Words   |  5 PagesEhren Lewis Mrs. Mary Smith Ap literature 20 September 2017 Analysis of Symbolism in†How to Read Literature Like a Professor† â€Å"How to read Literature like a Professor† by Thomas C. Foster is a very helpful book that goes over multiple literary strategies on how to read literature like a professor or someone with his literary skill. . With all of these literary strategies, symbolism is one that recurs frequently the throughout the entire book. Foster’s use of different techniques of symbolismRead MoreComparing Disney s Versions Of Princess Centric Tales And Their Popular Counterparts2554 Words   |  11 Pagesmost profitable Disney franchise, grossing over $5 billion worldwide (Sheridan, 2014). This report aims to identify the similarities and differences between Disney s versions of princess-centric tales and their popular counterparts through critical analysis and comparison of their content, tone and style. Approximately one century before Walt Disney began his animation career, the Brothers Grimm (Jacob and Wilhelm Grimm) started their popular legacy through re-writing old folk tales, which they thought

Night World Black Dawn Chapter 9 Free Essays

She was in his mind. It was all around her, like astrange and perilous world. A terribly frighteningworld, but one that was full of stark beauty. We will write a custom essay sample on Night World : Black Dawn Chapter 9 or any similar topic only for you Order Now Everything was angles, as if she’d fallen into theheart of a giant crystal. Everything glittered, coldand clear and sharp. There were flashes of color aslight shimmered and reflected, but for the most part it was dazzling transparency in every direction. Like the fractured ice of a glacier. Really dangerous,Maggie thought. The spikes of crystal around her had edges like swords. The place looked as if it had never known warmth or softcolor. And youlive here?she thought to Delos. Go away.Delos’s answering thought came to her.on a wave of cold wind. Get out! No,Maggie said. You can’t scare me. I’ve climbed glaciers before.It was then that she realized whatthis place reminded her of. A summit. The bareand icy top of a mountain where no plants-andcertainly no people-could survive. But didn’tanything goodever happen to you? shewondered. Didn’t you ever have a friend†¦or apet†¦ or something? No friends,he said shortly. No pets. Get out of here before I hurt you. Maggie didn’t answer, because even as he said itthings were changing around her. It was as if the glinting surfaces of the nearby crystals were suddenly reflecting scenes, perfect little pictures withpeople moving in them. As soon as Maggie lookedat one, it swelled up and seemed to surround her. They were his memories. She was seeing bits ofhis childhood. She saw a child who had been treated as aweapon from the time he was born. It was all aboutsome prophecy. She saw men and women gatheredaround a little boy, four years old, whose blacklashed golden eyes were wide and frightened. â€Å"No question about it,† the oldest man was saying. Delos’s teacher, Maggie realized, the knowledge flowing to her because Delos knew it, and shewas in Delos’s mind. â€Å"This child is one of the Wild Powers,† theteacher said, and his voice was full of awe andfear. His trembling hands smoothed out a brittlepiece of scroll. As soon asMaggie saw it she knew that the scroll was terribly old and had been keptin the Dark Kingdom for centuries, preserved hereeven when it was lost to the outside world. â€Å"Four Wild Powers,† the old man said, â€Å"who willbe needed at the millennium to save the world-or-to destroy it. The prophecy tells where they willcome from.† And he read: â€Å"One from the land of kings long forgotten; One from the hearth which still holds the spark; One from the Day World where two eyes are watching; One from the twilight to be one with the dark.†, The child Delos looked around the circle of grim faces, hearing the words but not understandingthem. â€Å"‘The land of kings, long forgotten,†Ã¢â‚¬Ëœ a womanwas saying. â€Å"That must be the Dark Kingdom.† â€Å"Besides, we’ve seen what he can do,† a big mansaid roughly. â€Å"He’s a Wild Power, all right. The bluefire is in his blood. He’s learned to use it too early, though; he can’t control it. See?† He grabbed a small arm-the left one-and heldit up. It was twisted somehow, the fingers clawed and stiff, immobile. The little boy tried to pull his hand away, but hewas too weak. The adults ignored him. â€Å"The king wants us to find spells to hold thepower in,† the woman said. â€Å"Or he’ll damage himself permanently.† â€Å"Not to mention damaging us,† the rough mansaid, and laughed harshly. The little boy sat stiff and motionless as theyhandled him like a doll. His golden eyes were dryand his small jaw was clenched with the effort notto give in to tears. That’s awful,Maggie said indignantly, aiming herthought at the Delos of the present. It’s a terrible way to grow up. Wasn’t there anybody who cared about you? Your father? Goaway, he said. I don’t need your sympathy. And your arm,Maggie said, ignoring the cold emptiness of his thought. Is that what happens toitwhen you use the blue fire? He didn’t answer, not in a thought directed ather. But another memory flashed in the facets of a crystal, and Maggie found herself drawn into it. She saw a five-year-old Delos with his armwrapped in what looked like splints or a brace. Asshe looked at it, she knew it wasn’t just a brace. It was made of spells and wards to confine the blue fire. â€Å"This is it,† the woman who had spoken beforewas saying to the circle of men. â€Å"We can controlhim completely.† â€Å"Are you sure? You witches are careless sometimes. You’re sure he can’t use it at all now?† Theman who said it was tall, with a chilly, austereface-and yellow eyes like Delos’s. Your father,Maggie said wonderingly to Delos. And his name was †¦ Tormentil? But †¦She couldn’t go on, but she was thinking that he didn’tlook much like a loving father. He seemed just likethe others. â€Å"Until I remove the wards, he can’t use it at all.I’m sure, majesty.† The woman said the last word in an everyday tone, but Maggie felt a little shock.Hearing somebody get called majesty-it made him moreof a king, somehow. â€Å"The longer they’re left on, the weaker he’ll be,† the woman continued. â€Å"And hecan’t take them offhimself. But I can, at any time – â€Å" â€Å"And then he’ll still be useful as a weapon?† â€Å"Yes. But blood has to run before he can use the blue fire.† The king said brusquely, â€Å"Show me.† The woman murmured a few words and strippedthe brace off the boy’s arm. She took a knife fromher belt and with a quick, casual motion, like Maggie’s grandmother guttinga salmon, opened a gash on his wrist. Five-year-old Delos didn’t flinch or make asound. His golden eyes were fixed on his father’s faceas blood dripped onto the floor. â€Å"I don’t think this is a good idea,† the old teachersaid. â€Å"The blue fire isn’t meant to be used like this,and it damages his arm every time he does it= â€Å"Now,† the king interrupted, ignoring him andspeaking to the child for the first time. â€Å"Show mehow strong you are, son. Turn the blue fire on †¦Ã¢â‚¬  He glanced up deliberately at the teacher. â€Å"Let’ssay-him.† â€Å"Majesty!† The old man gasped, backing againstthe wall. The golden eyes were wide and afraid. â€Å"Do it!† the king said sharply, and when the littleboy shook his head mutely, he closed his hand onone small shoulder. Maggie could see his fingerstighten painfully. â€Å"Do what I tell you. Now!† Delos turned his wide golden eyes on the old man, who was now shrinking and babbling, his trembling hands held up as if to ward off a blow. The king changed his grip, lifted the boy’s arm. â€Å"Now, brat! Now!† Blue fire erupted. It poured in a continuousstream like the water from a high-power fire hose.It struck the old man and spreadeagled him againstthe wall, his eyes and mouth open with horror. Andthen there was no old man. There was only a shad owy silhouette made of ashes. â€Å"Interesting,† the king said, dropping the boy’sarm. His anger had disappeared as quicklyasithad come. â€Å"Actually, I thought there would bemore power. I thought it might take out the wall.† â€Å"Give him time.† The woman’s voice was slightlythick, and she was swallowing over and over. â€Å"Well, no matter what, hell be useful.† The kingturned to look at the others in the room. â€Å"Remember-all of you. A time of darkness is coming. Theend of the millennium means the end of the world.But whatever happens outside, this kingdom isgoing to survive.† Throughout all of this, the little boy sat andstared at the place where the old man had been.His eyes were wide, the pupils huge and fixed. Hisface was white, but without expression. Maggie struggled to breathe. That’s-that’s themost terrible thing I’ve ever seen.She could hardly get the words of her thought out. Theymade you kill your teacher-he made you do it. Yourfather. She didn’t know what to say. Sheturned blindly, trying to find Delos himself in this strange landscape, trying to talk to him directly.She wanted to look at him, to hold him. To comfort him. I’m so sorry. I’mso sorry you had to grow uplike that. Don’t be stupid,he said. I grew up to be strong.That’s what counts. You grew up without anyone loving you,Maggiesaid. He sent a thought like ice. Love is for weak people. It’s a delusion. And it can be deadly. Maggie didn’t know how to answer. She wanted to shake him. All that stuff about the end of the millennium and the end of the world-what did that mean? Exactly what it sounded like,Delos said briefly. The prophecies are coming true. The world o f hu mans is about to end in blood and darkness. And then the Night People are going to rule again. And that’s why they turned a five-year-old into alethal weapon? Maggie wondered. The thoughtwasn’t for Delos, but she could feel that he heard it. I am what I was meant to be,he said. And I don’t want to be anything else. Are you sure?Maggie looked around. Althoughshe couldn’t have described what she was doing, she knew what it was. She was looking forsomething†¦ something to prove to him †¦ A scene flashed in the crystal. The boy Delos was eight. He stood in front of apile of boulders, rocks the size of small cars. Hisfather stood behind him. â€Å"Now!† As soonasthe king spoke, the boy lifted his arm.Blue fire flashed. A boulder exploded, disintegrating into atoms. Again! Another rock shattered. â€Å"More power! You’re not trying. You’re useless!†The entire pile of boulders exploded. The bluefire kept streaming, taking out a stand of trees behind the boulders and crashing into the side of amountain. It chewed through the rock, meltingshale and granite like a flamethrower burning awooden door. The king smiled cruelly and slapped his son onthe back. â€Å"That’s better.† No. That’s horrible,Maggie told Delos. That’swrong. This is what it should be like. And she sent to him images of her own family.Not that the Neelys were anything special. Theywere like anybody. They had fights, some of them pretty bad. But there were lots of good times, too, and that was what she showed him. She showed him her life†¦ herself. Laughingasher father frantically blew on a flaming marshmallow on some long-past campingtrip. Smelling turpentine and watching magical colors unfold on canvasas her mother painted. Perch ing dangerously on the handlebars of a bike while Miles pedaled behind her, then shrieking all theway down a hill. Waking up to a rough warmtongue licking her face, opening one eye to see Jake the Great Dane panting happily. Blowing out candles at a birthday party. Ambushing Miles from herdoorway with a heavy-duty water rifle †¦ Who is that?Delos asked. He had been thawing;Maggie could feel it. There were so many thingsin the memories that were strange to him: yellowsunshine, modern houses, bicycles, machinerybut she could feel interest and wonder stir in himat the people. Until now, when she was showing him a sixteenyear-old Miles, a Miles who looked pretty muchlike the Miles of today. That’s Miles. He’s my brother. He’s eighteen and he just started college.Maggie paused, trying to feel what Delos was thinking. He’s the reason I’m here.He got involved with this girl called Sylvia-Ithinkshe’s a witch. And then he disappeared. I went tosee Sylvia, and the next thing I know I’m waking up ina slave-trader’s cart. In a place I never knew existed. Delos said, I see. Delos, do you know him? Have you seen him be fore?Maggie tried to keep the question calm. She would have thought she could see anything thatDelos was thinking, that it would all be reflected inthe crystals around her, that there was nothing he could hide. But now suddenly she wasn’t sure. It’s best for you to leave that alone,Delos said. I can’t,Maggie snapped back. He’s my brother! If he’s in trouble I have to find him-I have to helphim. That’s what I’ve been trying to explainto you. We help each other. Delos said, Why? Because we do. Because that’s what people are supposed to do. And even you know that, somewhere down deep. You were trying to help me in my dream She could feel him pull away. Your dreams are just your fantasies. Maggie said flatly, No. Not this one. I had it before I met you. She could remember more of it now. Here in his mind thedetailswere coming to her, all the things that had been unclear before. And there was onlyone thing to do. She showed it to Delos. The mist, the figure appearing, calling her name.The wonder and joy in his face when he caughtsight of her. The way his hands closed on hershoulders, so gently, and the look of inexpressibletenderness in his eyes. And then -I remember!Maggie said. Youtold meto look for a pass,underneath a rock thatlooked likea wave about to break You told me to get awayfromhere, to escape. Andthen†¦ She remembered what had happened then, andfaltered. And then he had kissed her. She could feel it again, his breath a soft warmthon her cheek, and then the touch of his lips, just as soft. There had been so much in that kiss, somuch of himself revealed. It had been almost shy in its gentleness, but charged with a terrible passion, as if he had known it was the last kiss theywould ever share. It was †¦ so sad,Maggie said, faltering again.Not from embarrassment, but because she was suddenly filled with an intensity of emotion that fright ened her. I don’t know what it meant, but it was so sad†¦. Then, belatedly, she realized what was happeningwith Delos. He was agitated. Violently agitated. The crystalworld around Maggie was trembling with denialand fury-and fear. That wasn’t me. I’m not like that,he said in avoice that was like a sword made of ice. It was,she said, not harshly but quietly. I don’t understand it, but it really was you. I don’t understand any of this. But there’s a connection betweenus. Look what’s happening to us right now. Is thisnormal? Do you people always fall into each oth ers’ minds? Get out!The words were a shout that echoedaround Maggie from every surface. She could feel his anger; it was huge, violent, like a primal storm. And she could feel the terror that was underneath it, and hear the word that he was thinking anddidn’t want to think, that he was trying to bury and run away from. Soulmates.That was the word. Maggie couldsense what it meant. Two people connected, boundto each other forever, soul to soul, in a way thateven death couldn’t break. Two souls that were destined for each other. It’s a lie,Delos said fiercely. I don’t believe in souls. I don’t love anyone. And I don’t have any feelings! And then the world broke apart. That was what it felt like. Suddenly, all aroundMaggie, the crystals were shattering and fracturing.Pieces were falling with the musical sound of ice.Nothing was stable, everything was turning to chaos. And then, so abruptly that she lost her breath,she was out of his mind. She was sitting on the ground in a small cave lit only by a dancing, flickering flame. Shadows wavered on the walls and ceiling. She was in her ownbody, and Delos was holding her in his arms. But even as she realized it, he pulled away and stood up. Even in the dimness she could see that his face was pale, his eyes fixed. As she got to her feet, she could see somethingelse, too. It was strange, but their minds were still connected, even though he’d thrown her out of his world. And what she saw†¦was herself. Herselfthrough his eyes. She saw someone who wasn’t at all the frailblond princess type, not a bit languid and perfect and artificial. She saw a sturdy, rosy-brown girlwith a straight gaze. A girl with autumn-coloredhair, warm and vivid and real, and sorrel-coloredeyes. It was the eyes that caught her attention: there was a clarity and honesty in them, a depth and spaciousness that made mere prettiness seem cheap. Maggie caught her breath. Do I look like that? she wondered dizzily. I can’t. I’d have noticed inthe mirror. But it was how he saw her. In his eyes, she wasthe only vibrant, living thing in a cold world of black and white. And she could feel the connectionbetween them tightening, drawing him toward her even as he tried to pull farther away. â€Å"No.†His voice was a bare whisper in the cave.†I’m not bound to you. I don’t love you.† â€Å"Delos-!’ I don’t love anyone. I don’t have feelings.† Maggie shook her head wordlessly. She didn’thave to speak, anyway. All the time he was tellingher how much he didn’t love her, he was moving closer to her, fighting it every inch. â€Å"You mean nothing to me,† he raged through clenched teeth. â€Å"Nothing!† And then his face was inches away from hers, and she could see the flame burning in his golden eyes. â€Å"Nothing,† he whispered, and then his lipstouched hers. How to cite Night World : Black Dawn Chapter 9, Essay examples

Poetry Comparative Essay Guide Example For Students

Poetry Comparative Essay Guide What the examiner will look for: When marking your essay, the examiner will look to see whether you have appreciated and explored the: ; ideas attitudes and tone structure and form techniques used by the poets When answering an exam question, keep these five criteria in mind. Question! Now consider the exam question. Highlight and underline key words and requirements: How is the theme of death presented in the two poems? Choose two of the poems you are studying to try this exercise (you might need to replace death with a different theme, depending on the collection of poetry you are focusing on). When planning an answer it is a good idea to look at each poem in turn and to note down examples or quotations relevant to each of the following criteria. Try drawing a table like the one below: Death* Ideas Attitudes Tones Structure Form Techniques Effect/ purpose Poem 1 Poem 2 Can you find two or three quotations (single words or short phrases) to put in each box? Make sure that you appreciate and explore the examples you choose. Notice which poetic devices or techniques have been used and then suggest why. Think about why a poet might have used these particular words and phrases. How do they elate to the main ideas or themes? This will help you to write good quality poetry essays. Throughout your essay, move from one poem to the other in every paragraph. Start each paragraph with a topic sentence which summaries how each poem is related to your point: ; Both poems demonstrate Although the first poem has a positive tone, the second poem ; Each of the poems takes a slightly different approach ;The two poems contrast in There is a similar description of In both poems. In the body of the paragraph make sure you compare ideas from both poems. Support your points with short quotations from each poem. You should also include close analysis of individual quotations. Examine the words used and think about the wider connotations of these. Look for similarities and differences between the two poems you are using. Finish each paragraph with a concluding sentence that sums up the point youve made about both poems. Try not to write about one poem then the other without explicitly comparing the two. Just putting the two poems in the same paragraph is not enough. Make sure you use key words like similar and different, and connecting phrases like on the other hand and likewise. Conclusion A strong conclusion to an essay should leave an examiner with a positive attitude to your work. What would you write in your conclusion that draws all your points together? Try to think about both poems and, most importantly, your feelings and attitudes. What do you think about the poems and what they have to say? What is the Examiner looking for in a response to the Poetry? The exam is designed to test your ability to do the following things: textual evidence? Can you explore language, structure and form and how they contribute to the meaning of texts? Can you compare the ways that ideas, themes and relationships are presented in the memos by selecting pertinent details from the texts? Can you respond to the poems critically, in detail, and sensitively? In other words you need to: Write a detailed and nuanced comparison of the poems considering how the language and form contribute to the overall meaning of the poems, and the relationships, themes and ideas that the poets are trying to present to the audience. What is the Examiner looking for in an A* response to the Poetry? An A* response is characterized by a conceptualized, insightful and imaginative approach to the texts that combines an analytical and exploratory use of detail in ACH poem individually with evaluative comparison across both poems discussed in the answer. Essentially, an A* response will set itself apart from the hundreds of other responses because it has an individual and unique approach that shows the writer has developed their own individual ideas about the texts. .u240415a3000ab666bed0fa09a9f5e2a7 , .u240415a3000ab666bed0fa09a9f5e2a7 .postImageUrl , .u240415a3000ab666bed0fa09a9f5e2a7 .centered-text-area { min-height: 80px; position: relative; } .u240415a3000ab666bed0fa09a9f5e2a7 , .u240415a3000ab666bed0fa09a9f5e2a7:hover , .u240415a3000ab666bed0fa09a9f5e2a7:visited , .u240415a3000ab666bed0fa09a9f5e2a7:active { border:0!important; } .u240415a3000ab666bed0fa09a9f5e2a7 .clearfix:after { content: ""; display: table; clear: both; } .u240415a3000ab666bed0fa09a9f5e2a7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u240415a3000ab666bed0fa09a9f5e2a7:active , .u240415a3000ab666bed0fa09a9f5e2a7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u240415a3000ab666bed0fa09a9f5e2a7 .centered-text-area { width: 100%; position: relative ; } .u240415a3000ab666bed0fa09a9f5e2a7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u240415a3000ab666bed0fa09a9f5e2a7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u240415a3000ab666bed0fa09a9f5e2a7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u240415a3000ab666bed0fa09a9f5e2a7:hover .ctaButton { background-color: #34495E!important; } .u240415a3000ab666bed0fa09a9f5e2a7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u240415a3000ab666bed0fa09a9f5e2a7 .u240415a3000ab666bed0fa09a9f5e2a7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u240415a3000ab666bed0fa09a9f5e2a7:after { content: ""; display: block; clear: both; } READ: Love and Divine Love EssayThis approach is characterized by a confident engagement with the themes, ideas, relationships and technical construction of the poems. Equally, the writer of an A* response will show comparative skill; making links and cross referencing the poems using telling detail to form the basis of insightful comparisons between the poems. At first this may appear daunting but with a ruthless and systematic approach it can be achieved. Essentially, the key to performing at this level is having your own ideas; if you can form your own opinions about each of the poems then you will be able to write this kind of essay. The real skill here is to marry the ideas that you have with a written style that allows you to showcase them in the examination. You might begin and end your response with some theoretical discussion of the concept in the title question. In the case of this question, the concept is death, therefore you might begin our essay in the following way: The finality of death is presented in very different ways throughout the two poems and ; it forms a central concern of the poets and each one focuses on different aspects such that we might come to see the poems as exploring the process of death. That is, while in Mid-Term Break, Haney centers the narrative of his poem on the nature of grief the longer term impact of a death conversely, Gillian Slackers The Field Mouse is concerned with the genocidal murder of people during the ethnic cleansing in the Balkans during the sass. Points to Note It important that you write in an imaginative way showing that you have a personal engagement with the poems; this will ensure that your ideas are individual and set you apart from the many other responses. You must use carefully selected quotations from the poems that are embedded into the body of your essay. You want to avoid a situation where each paragraph is punctuated by huge quotations which are not gaining you credit; carefully selected words or phrases which are embedded into the body of your argument will work much more efficiently. You must develop your ideas fully based on the textual details that you use, this ill ensure that you are rewarded for insight and exploration which is a necessary characteristic of an A* response. It is important to engage with the texts as poems; that is, you need to show you understand that poetic form and technique are central to how the meaning of the poems is derived. In order to do this, it is important to learn key terms and concepts related to the creation of poems. You need to write in a consistently comparative way an A* rest compare the poems simultaneously in the same paragraph of the r Although you only need to hit each criteria once in your essay, a tend to repeatedly hit the criteria throughout. Coif Stage 1: The Introduction Your introduction needs to do the following: Address the terms of the question referring directly to the key word question; Some conceptual discussion of the key concept in the title question, An initial comparison of how the key concept in the title question is each poem you need to make sure you include in this the titles an poets you are going to discuss. Stage 2: Body Paragraphs Each body paragraph needs to do the following.