'Hamlet is preoccupied with the ethics of revenge.' Discuss

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As an integral component of Hamlet, revenge provides the impetus for much of the play's action and the foundation for the play's philosophical debate. Yet to argue that the ethics of revenge are the play's preoccupation is to dismiss the myriad of philosophical and psychological questions posed by Hamlet and those that surround him. Hamlet, like all tragedies, is a play of opposites. Contrasting the ideal of an ordered life with the complexities of life tainted by human weaknesses, it presents what is best and worst in humanity. Life and death, love and sexuality, salvation and damnation, justice and revenge, reality and performance each theme is considered and contrasted during the course of Hamlet, creating a fascinating and disturbing account of the nature of humanity. This essay attempts to identify how the mechanisms of revenge influence the overall theme of life that preoccupies Hamlet the character and permeates Hamlet the play.

"The most tolerable sort of revenge is for those wrongs which there is no law to remedy" (A Shakespeare Reader P.1). Francis Bacon's words naturally draw us to the infamous 'untouchables' of Elizabethan drama; those characters whose rank or position raise them above the law and legal justice. Kings such as Macbeth or Claudius embody the very laws they have defiled, whilst nobles such as Brutus or Lorenzo, son of the Duke of Castile (The Spanish Tragedy) feel safe in their social positions above the proletariat. Just as the natures and motives of these murderers differ (Brutus, dubbed by his own avenger as "the noblest Roman of them all," (Julius Caesar V.5.67), acted "in a general honest thought" (ibid, l.70)) so do the natures of their avengers.

Hamlet is no Mark Anthony or Macduff, secure in his right to avenge and able to act without delay, "gentle heavens / …Front to front / Bring thou this fiend of Scotland and myself," (Macbeth V.1.-5). Hamlet's introspection, "O, what a rogue and peasant slave am I" (II..57), doubt, "The spirit that I have seen / May be the devil…[who] / Abuses me to damn me" (III.1.575-80) and constant need to evaluate, "That would be scanned" (III..75), point to a character for whom the justification for revenge is as important as the act itself.

Shakespeare uses the characters of Hamlet and Laertes to present two wholly different revenge philosophies. Greeting the news of his father's murder with "Vows to the blackest devil!" (IV.5.17), Laertes may be described as a typical protagonist from a revenge tragedy. Hot blooded and single minded, he is disdainful of the laws of this world and the next, "both the worlds I give to negligence, / …Only I'll be revenged" (IV.5.1-0). Only once does he ask for the facts of his father's murder, "How came he dead?" (16), allowing himself to be manipulated by Claudius' protestations of innocence. Ophelia's appearance only serves to intensify Laertes' need for revenge. "thy madness shall be paid by weight / Till our scale turns the beam" (155-6). The conversation that follows "I pray you go with me" (14) is closed to us but its effects are quickly seen in Act IV Scene 7. Laertes, convinced of Hamlet's guilt, welcomes the opportunity to "tell him to his teeth, / 'Thus diddest thou'" (IV.7.54-5).

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Claudius' manipulative tricks draw Laertes into the king's web of deception, transforming him from a just avenger into a murderer via a series of half-truths and withheld facts about his father's death. This manipulation may be compared with the ghost's manipulation of Hamlet. By echoing Hamlet's own anger towards the "most seeming-virtuous queen" (I.5.46), the ghost is able to set the Prince against his uncle, securing his vow of vengeance against Claudius. Both Hamlet and Laertes become tools for killing, blind to their own damnation. Yet, at the end, Laertes performs a combined act of contrition and pardon, "Exchange forgiveness with me, noble Hamlet. / Mine and my father's death come not on thee, / Nor thine on me" (V..71-) as he attempts to secure for himself and Hamlet the opportunity for salvation that was denied their fathers.

By presenting Laertes as one who "dare[s] damnation" (IV.5.1) in the name of revenge, Shakespeare creates a stark contrast to the puzzle that is Hamlet. Sir Francis Bacon wrote, "Revenge is a kind of wild justice" (A Shakespeare Reader P.1). In Laertes, Shakespeare presents revenge as a blind deed without thought, driven by anger or grief. As a typical revenge hero, Laertes is able to brush aside all of the moral objections to revenge that prevent Hamlet from playing the role. Hamlet's intellect allows Shakespeare to both examine the ethical questions posed by revenge and place it in the play's overall theme of humanity.

Long before the ghost's fateful intervention we learn that Hamlet holds emotion "within that passeth show," (I..85). Burdened by grief and a gnawing disgust at his mother's hasty remarriage, "a father killed, a mother stained" (IV.4..47), Hamlet is emotionally vulnerable, longing for "self-slaughter" (I..1) to escape what has become a "weary, stale, flat and unprofitable" (1) world. This indifference to life, prompted by the death of a father and the loss of a mother to "incestuous sheets" (I..157) proves fertile ground for the ghost's demand, "Revenge [my] foul and most unnatural murder" (I.5.5) Hamlet responds to this demand with a plea "…that…wings as swift / As meditation or the thoughts of love / May sweep me to my revenge" (I.5.-1). By favouring meditation and love over the chaotic elements such as fire or flood, Hamlet reveals his nature as a thinker and lover; a nature that draws him to constantly examine the ethics of his proposed vengeance and prompt the ghost to reappear to "whet [Hamlet's] almost blunted purpose" (III.4.101)

Why does Hamlet not rush to confront "The serpent that did sting [his] father's life" (I.5.) ? Is he "a coward" (II..548), "unpregnant of [his] cause" (545) ? His soliloquy in Act Scene highlights his conflicting emotions as he spurs himself to anger, "Remorseless, treacherous, lecherous, kindles villain! / O vengeance!" (558-) before admonishing himself for "fall[ing] a-cursing like a very drab" (564). Finally we understand that Hamlet's procrastination stems from the fact that despite his proclamation, "It is an honest ghost," (I.5.14), Hamlet has yet to answer his own question, "Be thou a spirit of health or goblin damned" (I.4.1). The ambiguities surrounding the ghost's true nature raise questions about the legitimacy of its demand for revenge. If, as it claims, it lies in purgatory "Till the foul crimes done in [its] days of nature / Are…purged away" (I.5.1-1), how may it demand revenge, contrary to God's laws? This contradiction is emphasised as the ghost instructs Hamlet to leave his mother "to heaven" (I.5.86). In Act , this doubt robs Hamlet of the perfect opportunity to avenge his murdered father.

Claudius' admission of guilt in Act Scene is followed by a strikingly honest soliloquy as he attempts to reconcile his desperate need to repent with his desire to retain those "effects for which [he] did murder" (III..54). His question, "May one be pardoned and retain th'offence?" (56) bisects the ethics of killing that have preoccupied Hamlet since the appearance of the ghost. Claudius admits that "In…this world / Offence's gilded hand may shove by justice" (58), implying that corruption may usurp earthly law. However, this undisputable proof of the king's guilt, as with the incriminating aside, "How smart a lash that…doth give my / conscience!" (III.1.5), is only witnessed by the theatre audience. Despite Hamlet's determination to find "grounds / More relative" (II..580-1) than the ghost's word as a justification for a revenge killing, this does not come until he crosses to England and discovers his uncle's request that his "head should be struck off" (V..6).

Lacking this definite proof, Hamlet holds back to consider the implications of killing a man at prayer, extending the theological questions already posed by the king. Throughout the play, Hamlet compares an ideal memory of his father against Claudius, "So excellent a king, that was to this / Hyperion to a satyr" (1..1-40). Now he recalls the manner of his father's death, "With all his crimes broad blown, as flush as May" (III.4.81) and acknowledges the likelihood that his spiritual account is a poor one having been denied the opportunity to repent his sins. This prompts the question, "am I then revenged / … / When [Claudius] is fit and seasoned for his passage?" (84-6). Sheathing his sword, Hamlet resolves to wait until he may catch Claudius "about some act / That has no relish of salvation in't" (-), thus sending him to hell. Hamlet's procrastination stems not from a reluctance to kill (as Polonius is about to discover) but a desire to find the perfect time for revenge; an impossible task if one accepts God's prohibition of revenge. This forms a part of the paradox created by the ghost's command, "Taint not thy mind" (I.5.85). Recently described by Peter Brook, in an interview with Richard Eyre, as the most important line in the play, the impossibility of killing without taint is fundamental to the play's philosophical considerations.

Hamlet's preoccupation with life, death and the afterlife is evident throughout the play. After acknowledging, "There are more things in heaven and earth… / Than are dreamt of" (I.5.168-), Hamlet's soliloquies form a series of complex speculations on the natures and states of life and death, God's "canon 'gainst self-slaughter," (I..1), sexuality and relationships. However, amongst all of this speculation, not once does he outwardly consider God's prohibition of revenge, save to negate it, "is't not to be damned / To let this canker…come / In further evil?" (V..6-71). This is particularly surprising when one considers the importance of such issues in Shakespearean England.

The introduction to Sir Francis Bacon's 'Of Revenge' in A Shakespeare Reader notes that Bacon's counsel, "indicates the complex, moral and legal debates about ethics of revenge in Shakespeare England." (P.1). Heaven's laws certainly play their part in other revenge tragedies of the period. In Thomas Kyd's The Spanish Tragedy, Hieronimo asks of the "sacred heavens" (III..5), if the murder of his son were to go "unrevealed and unreveng�d" (), how could heaven's dealings be deemed just "If [heaven] unjustly deal[s] with those that in [its] justice trust" (11) Earlier Shakespearean plays such as Titus Andronicus also consider revenge in a spiritual context. Marcus calls, "O heavens, can you hear a good man groan / And not relent, or not compassion him? / … / Revenge the heavens for old Andronicus!" (IV.1.1-8), asking heaven to intervene for a man "so just that he will not revenge" (17).

Hamlet's disregard of his own spiritual account is particularly noticeable after the murder of Polonius. Although he acknowledges that "For this same lord / I do repent," (III.4.156-7), he goes on to suggest that he is now heaven's "scourge and minister" (15), arguing that he is no longer responsible for his actions. This contrasts with his demand that Gertrude, "Confess [her]self to heaven; / Repent what's past, avoid what is to come" (140-1). This double standard suggests that Hamlet has long accepted his own damnation and is now grasping the opportunity he has longed for since the beginning of the play.

Having had to "hold [his] tongue" (I..15) for so long, he now confronts his mother, "speak[ing] daggers to her" (III..66), that "cleft [her] heart in twain!" (III.4.147). Finally, having made Gertrude aware of her perniciousness, Hamlet appeals to her maternal instinct, "when you are desirous to be blest, / I'll blessing beg of you" (III.4.155-6). Her promise, "I have no life to breathe / What thou hast said to me" (181-) confirms her status as Hamlet's ally against the king. Hamlet's "Good night, mother," (11) is a marked contrast to the sarcastic "good-mother," (I..77) with which he first addresses Gertrude, seeming to highlight a restoration of the son's relationship with his mother.

Caught in the destructive tangle of revenge, Hamlet's relationship with Ophelia cannot be restored.

Although it may be argued that Hamlet belongs in the genre of revenge tragedy, any attempt to confine it to this narrow classification would be unproductive. A short essay such as this can only touch upon the myriad of themes to be found in the play, themes that examine what it is to be human. Hamlet asks, "What is a man," (IV.4. .). His memories of his father are untainted by thought's of the old king's "foul crimes" (I.5.1) whilst his description of Fortinbras as "a delicate and tender prince" (IV.4. .8) is more than a little idealistic. Rosencrantz and Guildenstern prove to be "adders fanged" (III.4. 185.) and Polonius is a "wretched…fool" (III.4.0). Only Horatio remains, "Whose blood and judgement are so well commingled / That they are not a pipe for Fortune's finger / To sound what stop she please" (III..6-4). Horatio, unlike Hamlet, "is not passion's slave" (65); he is "as just a man / As e'er…conversation coped withal" (47-8). It is not surprising that it is left to him to tell Hamlet's story, for who else may Hamlet, or we the audience, trust to give an honest account.

Promising a tale of "carnal, bloody, and unnatural acts / … / Of deaths put on by cunning and forced cause" (V..5-), Horatio prepares to tell the tale as he has witnessed it. This version, whilst honest, cannot be more than a parody of what the theatre audience has seen. Horatio's sketch, illustrates how we, as an audience, have been given privileged access to the innermost thoughts and feelings of the play's protagonists and how Hamlet becomes, for us, so much more than a conventional revenge tragedy.

Shakespeare, William Hamlet - in The Norton Shakespeare

Edited by Stephen Greenblatt, Walter Cohen, Jean E. Howard

and Katharine Eisaman Maus

Published by W. W. Norton & Company (17)

ISBN 0--7087-7

Greenblatt, Stephen Hamlet - in The Norton Shakespeare

Edited by Stephen Greenblatt, Walter Cohen, Jean E. Howard

and Katharine Eisaman Maus

Published by W. W. Norton & Company (17)

ISBN 0--7087-7

Shakespeare, William Titus Andronicus - in The Norton Shakespeare

Edited by Stephen Greenblatt, Walter Cohen, Jean E. Howard

and Katharine Eisaman Maus

Published by W. W. Norton & Company (17)

ISBN 0--7087-7

Shakespeare, William Julius Caesar - in The Norton Shakespeare

Edited by Stephen Greenblatt, Walter Cohen, Jean E. Howard

and Katharine Eisaman Maus

Published by W. W. Norton & Company (17)

ISBN 0--7087-7

Shakespeare, William Macbeth - in The Norton Shakespeare

Edited by Stephen Greenblatt, Walter Cohen, Jean E. Howard

and Katharine Eisaman Maus

Published by W. W. Norton & Company (17)

ISBN 0--7087-7

Kyd, Thomas - The Spanish Tragedy Reproduced in part in A Shakespeare Reader Sources and Criticism

Edited by Richard Danson Brown and David Johnson

Published by Macmillan Press Ltd & The Open University (000)

ISBN 0--115-

Bacon, Francis Of Revenge Reproduced in A Shakespeare Reader Sources and Criticism

Edited by Richard Danson Brown and David Johnson

Published by Macmillan Press Ltd & The Open University (000)

ISBN 0--115-

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Plain Jane

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Plain Jane

Jane was the kind of girl people hardly noticed. Her plain face and slight build, along with her quiet voice, made her someone who people could easily walk past without seeing, just as one passes a familiar landmark, registering its presence but not its significance. Her mouse-coloured hair, though well groomed and cared for, was simple and had no accessories. Her deep-set blue eyes were warm, but neither large nor striking, and her small mouth with its straight, even teeth did not draw any attention. Her school uniform, unlike the one of so many other girls was unadjusted so that it hung loosely off her thin frame. Her shoes were as different as can be from the high heels of the other girls, who tottered by like tipsy flamingos. In the eyes of everyone, Jane was just a plain, ordinary girl.

At school, Jane was quite shy but also friendly and kind. She was good at comforting people with her characteristic smile, which though not charming, was full of warmth. While the other girls discussed their houses and hairstyles, competing over whose house was the biggest, or whose hairstyle was the most fashionable, Jane would sit quietly and just say that her house was okay, and when asked about its size, she would shrug and change the subject to films or animals. On the way to lessons, Jane sidled quickly along the edge of the noisy corridors, as if the racket frightened her. In class she was attentive and thoughtful, praised by all her teachers. Jane was not sporty, but was very musical and played the piano very well. Her friends all said that she was too quiet and modest for her own good.

"Today, girls, you will be working in pairs on a project on your favourite books or films. Everything has to be in French, and you can make booklets, write reviews, anything. Try to get spelling and grammar correct." Before Mrs Watson had finished speaking, the class was already whispering and gesturing at their friends. She yelled crossly,Cheap University Papers on Plain Jane

"That's enough! You will work with who ever you are next to on the register. Now move!"

There was a collective sigh as the girls scraped back their chairs and looked for their partners. Sarah was working with Jane. They were sort of friends but Sarah did not know anything about Jane's family or home.

"What shall we do?" Sarah asked.

"How about we make a big poster and write reviews of our favourite films and books on it?" Jane suggested.

"Good idea! We'll probably need to do this over the weekend. Do you want to come to my house on Saturday afternoon?"

"Okay, thanks." Jane replied. They chatted and worked half-heartedly on their project.

"So, where do you live?" Sarah asked.

"Near the theme park."

"Isn't that the really posh district?"

"No!"

Jane sighed silently in relief as the bell rang. The class gathered up their work and drifted off to lunch, ignoring the calls of Mrs Watson telling them to hand in their projects by Monday.

Saturday came, and Jane arrived at Sarah's house on a cloudy afternoon. They worked well together, and enjoyed each other's company. When they had finished, Jane prepared to leave.

"Someone's picking me up at the end of the road round about now. Thank you for having me," she said.

"I'll walk you to the end of the road."

"Thanks, but there's no need. The walk is only a couple of minutes."

"But it's drizzling. Come on, I'll bring an umbrella," Sarah insisted, reaching for a stripy umbrella.

"No, really. It's okay! Don't bother. I'd better go now. See you on Monday!" Jane left hurriedly down the road.

Sarah stared after her, feeling very puzzled. She desperately wanted to know the reason for Jane's strange behaviour.

At school, Jane acted normal towards everyone and was her usual friendly self. Sarah was just about to ask her about Saturday, when a friend came over to them and said,

"Hey, Sarah, did you see that Rolls Royce near you house on Saturday?"

"No, where was it?"

"At the end of the road," her friend went on, "I was walking past and it was turning around in the road, which took ages because it was so long."

"I was working on the French project with Jane on Sat-"

Sarah stopped abruptly. Jane had left her house on Saturday afternoon, and had said that she was being picked up at the end of the road! Sarah glanced at Jane, who appeared calm, but whose cheeks were flushed. Surely the Rolls Royce had not been Jane's! Sarah was ashamed as she thought to herself that Jane was too ordinary and simple for her family to own a Rolls Royce. When her friend had left, Sarah said to Jane,

"Was that your Rolls Royce?"

Jane looked troubled. She paused, and then nodded.

"But why didn't you want me to see it?"

"I…well, I thought that if you did, you would act differently towards me."

"How?" Sarah inquired.

"By talking formally, and acting weirdly around me."

"Why would I do that?"

"Because that is what people at my old school did. They treated me as if I was from a different planet," Jane said bitterly.

"What? By calling you Lady Jane?" Sarah joked.

Jane flushed. "Well…actually, yes. But please don't tell anyone!"

"Huh?" Sarah was confused. "Oh! I'm SO sorry! I didn't mean it, I was just joking! Oh my God, I'm such an idiot!"

Jane smiled. "It's okay. Don't blame yourself."

"Me and my big mouth! But, I bet no one is going to care whether you're Lady Jane or not. You're still the same old Jane to us, and we all love you!"

"Thanks, you're a really good friend. Hey, do you want to come to our house this weekend?" she said.

"Sure! What should I be expecting? A mansion?"

Jane just laughed.

Sarah's car pulled up at the front of the building. Several antique as well as new cars were parked there. Neat, green lawns surrounded the beautiful Victorian-style manor. Sarah's eyes were drawn away by a flurry of movement behind a tree. Jane emerged, waving wildly in her plain clothes and clutching a book. Sarah smiled to herself. No matter how flashy her car was, or how grand her house was, Jane was still that simple, down-to-earth, ordinary girl.

Please note that this sample paper on Plain Jane is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Plain Jane, we are here to assist you. Your cheap custom college paper on Plain Jane will be written from scratch, so you do not have to worry about its originality.

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Baroque Music

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Baroque Music

The Baroque era extended from late Renaissance and early Classical periods between 1600 and 1750. The origin of the term "baroque" comes from Portuguese and refers to an "irregular shaped pearl". The era of Baroque music was an age of brilliant progress of knowledge. It was also known for the age of the scientific discoveries of Galileo and Newton, and advances in math of Descartes, Newton, and Leibnitz. Baroque time period included production of some of the greatest music of all time.

There was three periods in Baroque music. In early Baroque style two ideas prevailed; one is the opposition to counterpoint and the most violent interpretation of the words, realized in the emotional recitative in free rhythm. The harmony was experimental and pre-tonal. Vocal music was in the leading position. In the formation of the Baroque style Italy represented only one limit, which influenced primarily in the development of vocal monody. The other pole was England, which influenced the development of abstract instrumental style that spread all over the Europe. The middle Baroque period brought all the bel-canto style in the cantata and opera, and with it the distinction between aria and recitative (Bukofzer 17). Musical forms began to grow and contrapuntal quality was reinstituted. Chord progression was governed by an undeveloped tonality along with modes that were reduced to major and minor. The last period, which is the late Baroque style, is different by a fully established tonality that helped to regulate chord progressions, dissonance treatment, and the formal structure. The contrapuntal technique culminated in the full combination of tonal harmony. Also the concerto style appeared with emphasis on mechanical rhythm. Vocal music was now dominated by instrumental music. However, the modern revival of Baroque music is limited almost exclusively to works in late Baroque period.

The idea of dualism is probably what best sums up the transition from the Renaissance to the Baroque music (Bekker, Jr 45). There were great contrasts when old ideas coexisted with new. Dualism played a crucial role in the development of Baroque music, which was built on the Renaissance model of counterpoint, and also the rise of instrumental forms. The Baroque era was thought as a musician's era. The important principal during this period of time was the message the music itself could express. Musical notation as in forte, adagio, allegro, was introduced to indicate emotions and tempo.Do my essay on Baroque Music CHEAP !

Music has always provided emotional enrichment to the expressive powers of verse. The emotions had an objective nature, which was at risk to rational description, especially in the language of music. Baroque composers used different musical descriptions of a particular emotion as building blocks of a certain piece. The musicians were not concerned with expressing their own feelings and emotions, instead they sought to describe with objectivity, feelings, and emotions that were distinct from what they actually felt.

The most universal stylistic elements of Baroque music are continuo and ornamentation. Both of these involved the difference between what the composer had written down and what the performer played. The continuo typically consisted of a harpsichord and a cello, which provided the harmonic and rhythmic foundation of Baroque collection. Ornamentation is the decoration of the musical line, with its trills, mordant and grace notes. Ornaments were rarely written out, and often were not even indicated, but were just left for a performer to decide.

There were a lot of major composers of the Baroque era; some of them are George Frederic Handel, Johann Sebastian Bach, Henry Purcell, Antonio Vivaldi, Alessandro Marcello, Arcangello Corelli, and many more. Usually the most famous composers which we associate Baroque music were Handel, Bach, and Vivaldi.

Antonio Vivaldi (1678-1741) was one of the three of the greatest and most famous composers of the late Baroque period. He studied for priesthood and had lessons in music since early childhood. Then he started his career as a violin teacher and conductor of the Venetian orchestra, later he had established himself as a violinist of remarkable ability. For almost thirty years he was in-house composer of the girls conservatory. His concertos were written for string orchestra with contunio to which solo instruments or groups of instruments were added.

Another famous composer was Johann Sebastian Bach (1685-1750). He was the son of musician and a member of a large musical family with a long tradition in music. He received lessons in music by his elder brother. Early in his life, he made a career as an organist. He was appointed as a court organist in Weimar. In the employment of a prince in Cothen partial chamber music, he composed much of his suites, sonatas, and keyboard music. Many of his major works were composed while serving as a teacher at a choir school in Leipzig.

George Frederic Handel (1685-175), the composer of the Music for the Royal Fireworks. He was permitted to study music through the intervention of the Duke of Saxe-Weussenfeld, he received organ lessons from early childhood. He studied law, which he combined with a position of organist. Later he worked as a musician, and played the second violin in the opera orchestra. Handel wrote his first Italian operas before he was twenty, and all together he composed forty operas, as well as numerous oratorios and instrumental pieces.

The heritage of Baroque music has been so amazing that it has been a challenge to later generations. The recognition of the greatness of Baroque music has developed slowly. It is significant that modern composers returns to formal and technical devices of the Baroque style and make them serve a new function in modern music.

Works Cited

Bekker Jr., Peter. "The Baroque Era." New York Friedman/Fairfax Publishers, 1.

Bukofzer, Manfred. "Music in the Baroque Era." New York W.W. Norton & Company Inc., 147

Logan, Jack. "Baroque Music." New York W.W. Norton & Company Inc, 161

Please note that this sample paper on Baroque Music is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Baroque Music, we are here to assist you. Your cheap custom college paper on Baroque Music will be written from scratch, so you do not have to worry about its originality.

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Frankenstein

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The University of California includes several different

campuses across the state of California. In 168, at one of

the university's campuses in Davis, California, which was a

medical school, there were 50 incoming students. By 171,

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it was enlarged to 100 entering students. One of the

students trying to enter in 17 was Allan Bakke who was

twice rejected by the Davis Medical School; this turned

into a landmark case.

In the coming years before Allan Bakke trials, the

special admissions program, which was for the minorities,

worked separate from the regular admissions program. The

minimum grade accepted for the special admissions was

significantly lower than the regular admissions. When

Allan Bakke, a Caucasian male, applied to the Davis

Medical School in 17, he scored a 468 out of a possible

500 from his interviewers. In the 17 incoming class,

there were ,464 applications for 100 people. His

application was denied. When it came time to consider

Bakke's application, the Davis Medical School was only

taking people with a score of at least 470. Bakke was

outraged at the school's chairman of the Admissions

Committee, Dr. George H. Lowrey. Bakke wrote a letter to

him complaining about the admissions process.

In 174, Bakke tried again to get into the school.

There were even more applicants, ,77 for 100 positions.

Lowrey gave him a low score that made a large

contribution to his failure for the second time. Bakke,

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The trial court agreed with his case but refused to

make the school admit Bakke. Next, he made an appeal to

the California Supreme Court, who said the school's

admissions program were unconstitutional. The court

ordered the University of California to admit Allan Bakke.

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Why was Africa colonised in the years 1870-1914?

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Introduction

Before 1870 the African continent was not unknown to the rest of the world. Africans had been trading directly with the Europeans and Americans before 1500. The possible reasons behind colonialism that have been suggested include missionary, technology, and Imperial rivalry.

It is important to try to distinguish between the difference in the terms colonialism and imperialism. They have often been exchanged such that they follow the same meaning. However the English Oxford dictionary definition implies that colonialism is a method of establishing colonies while imperialism is defined as a policy or practice of extending a states rule over other territories.

To remain a great nation or to become one, you must colonise French statesman Leon Gambetta (Joll 10, p.81) Write your Why was Africa colonised in the years 1870-1914? research paper

The interest in Africa had begun long before 1870. The British had a key interest in Egypt while the French had occupied Algeria since the Early 180s. However regardless of the fact that the Europeans had a foot in Africa they still felt the need to set some ground rules for the scramble of her land. This was achieved via the international Berlin Conference during 1884-1885. One of the main reasons behind the conference seemed to be due to be the British occupation of Egypt in 188. This had aggrieved other powers, as they wanted to claim terriorty elsewhere.

The reasons for the colonisation of Africa are vast, as the demand and manner of colonisation varied from country to country.

It has been argued that one of Britains main needs for land in Africa was result of her need to protect India from political threat and secure routes to India. India was the Brightest Jewel in the Imperial Crown (Hobsbawn 1, p.6), which resulted in her being a focal point in the British foreign policy. This seemed to drive the British scramble for Africa during 1880s and 180s. An example of this was the construction of the Suez Canal, which resulted in the formation of a much shorter and safer route to India after 186. Thus Egypt became a great stragertical importance to Britain. Although British occupation of Egypt in 188 had originally been the result to protect investor interest in Egypt, its retention was seen to be due to the fact that it was of vital section to the route to India. The further expansion in Central and East Africa appeared to be the result of British preoccupation with regards to the security of Egypt. Of significant importance was the Upper Nile, as control of this by a rival power would lead to the loss of control of the water supply on which the whole of Egyptian economic life depended.

Germany and Italy need to expand into Africa seem to be a matter of national prestige rather then an economic advantage. During the late 1880s and early 100s Italy was a vastly overpopulated nation. A great number of the Italian citizens travelled abroad to find work. Thus the concept of having an empire in North Africa (Tunisia being less then 100 miles away from Sicily) was seen an opportunity for land in which the Italians could settle, similar to the French settlers in Algeria. However most importantly it provided an opportunity to create a new Roman Empire in terriority that had been once of Ancient Romes richest provinces. The Italian idea was destroyed when the French had obtained a protective over Tunisia in 1881. By 180 the Italians had control in Eritrea and Somaliland. After the Emperor of Ethiopia had denounced his treaty with the Italians, they chose to attack Ethiopia, which lead to there defeat at Adowa. This had lead to a hatred of the idea of colonies in Italy and the embarrassment felt by many Italian people played a significant part in why Mussolini attacked Ethiopia in 15.

The Germans need for African land was not the result of economic requirements but more a sense of dissatisfaction at his position in the world during the end of the 1th century. The colonies Germany obtained in South West Africa and Tanganyika were a symbol to the Germans that had achieved the status of world power. However the Germans associated the construction of a large navy with the acquisition of colonies (an idea held The Kaiser). The building of the navy was seen by many Germans as the only true method of gaining world status since its interest in Africa were mainly in terriority occupied by the British. Although the British were suspicious of the German Navy the Germans saw this as a means of breaking the British worldwide dominance.

After 1870 the French extended her North African, where Algeria had already attracted a number of French settlers, by placing a protectorate over Tunisia in 1881. The French had also played a protectorate over Morocco in 11. The French reasoning behind this was because disturbances on the Algerian border required French action in Morocco as a way to keep order. The French scramble for Africa was comparable to the British in terms of terriorty, but as it was on mainly situated around the lands of the Sahara, it offered little opportunity for French investment.

Throughout the 180s the Anglo-French rivalry in Central Africa was the main theme in the diplomatic relations between the two countries. Part of these relationships involved the French gaining concessions and favourable commercial and frontier agreements from the British, as the British trying to keep as much of Africa open to the greatest possible amount of British trade and influence. Their rivalry came to a head in 188 with a confrontation at Fashoda on the Upper Nile. The conflict arose due to the meeting of a French expedition that was sent across Africa to stake a claim to the territory, with a British force that had just successfully reconquered Sudan. The French realise that to oppose the British in Africa was not there means, unless they had the support of Germany in Europe, the cost of which would be the renunciation of Alsace- Lorraine for good. It was felt that this was far to high a price to pay for any French Government. This stance was further backed by the fact that the French Government never had its publics backing for its quests into Africa. Algeria (a French colony) had a large population of French settlers, and under the Third Republic this was thought of as a part of France rather then a colony. Frances other ally Russia was reluctant to aid the French outside Europe.

It is unfair to assume that the colonisation of Africa did not bring some economic advantage to those European nations that engaged in such adventures. A critic of imperialism, J.A Hobson, (Joll 10, p.7) attributed it to economic pressure. Lenin gave a more controversial analysis suggesting that it be due to the saturation of the European markets. He postulated that the only reason for introducing new industrial markets, (a situation that brought all the great European powers into competition with each other) was through applying a large amount of force to territory. This caused rivalry between the European powers that would therefore lead to war. Although the First World War was ultimately fought over European issues, the hope of European gain played a significant part. However there were ways by which the imperialist movement, before 114, had created an atmosphere in Europe that made the possibly of war an reality. The most important of these seemed to be the colonial rivalries and arms race that accompanied them had significantly altered the ways of the international arena. The imperialist movement is also had thought to have encouraged ideas of racial superiority which along with the concepts of an crude evolutionary theory had created a method of justifying world dominance in terms of colonialism.

Perhaps a more convincing argument relating the need for colonial expansion could be found in the fact, that in the case of Britain, it was a method of overcoming depression. The general idea of British businessmen during the 1880s was that a method of overcoming the overproduction of the Great Depression could be solved by a large export into this unknown land.

The economic advantages brought through colonisation can be seen in the development of technology in the European nations. For example the rubber needed for the internal combustion engine came from the rainforests of the Congo. Copper needed for the new electrical and motor industries were found in Zaire and Zambia. Perhaps the most significant find for imperialist came in South Africa, which became the Worlds greatest gold producer and it also had its far share of diamonds. A consequence of this was to be found in the construction of side railways, the profit from such mines was that vast (perhaps a more telling consequence of the demand for diamonds and gold was the South African War of 18-10.). The demand for vegetable oil in Africa played a role in the development of the soap industry.

The colonisation of African land seemed to be made easier through the presence of technologies such as steamships and railways. The accessible of quinine also decreased the death of European in African tropics. It has been argued that the machine may not have evolved as quick as it did if it had not been used in such expeditions.

In 180 Christian missionaries had barely touched the shores of Africa; but the next forty years saw a complete penetration into the African subcontinent. The influence of the missions in order to gain territory in Africa is unknown, as there was no real quest from missionary headquarters in Europe to gain secular empires. However rivalry between Catholic and Protestant missionaries could easily develop; for example, into rivalry between the French and the British governments.

Conclusion

It is difficult to attribute the colonisation of Africa to one particular reason. The four countries that held the majority of African land have been discussed however there were others such as Belgium (Congo) and Portugal (Mozambique). Each country had its own means and reasons for colonisation which was added by the attitude developed by the people of that country (such as Britain) or hindered such as Italy (after the defeat to Ethiopia) and France (after defeat to the British at Fashoda). There were other benefits to the European natures that colonised Africa such her contribution to European painting (initiated by Pablo Picasso around 107) and to a certain degree the science of Anthropology was developed at a rapid pace. However in weighing up the benefits of colonialism, one must question the effect, as its legacy is apparent in the problems of Africa today (Zimbabwe).

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The Thorn Birds - Synopsis

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The Thorn Birds begins in 115 and spans three generations of the Cleary family, living, for the most part, in the Australian outback. It was not until I began reading this book that I realized that it's impossibly long and detailed, and that an entire miniseries based on it couldn't fit all of the various subplots and details from the book. Regrettably,

The main character, if one can be clearly defined, is Meggie. She is six when the book begins, and some background is given about her father, Paddy, and her mother, Fiona. Fiona seems cold and distant, but a devoted mother and housewife, going to bed exhausted every night but never complaining. In fact, she rarely talks at all. She favors her eldest son Frank out of all of her children; he is in his late teens in the beginning of the book. It is hinted that Frank isn't entirely "legitimate," and it isn't until much later that it is formally revealed that he wasn't fathered by Paddy. The circumstances around Fiona and Paddy's marriage are also revealed�Frank was born out of wedlock, the child of a famous politician Fiona had been involved with. This disgraced Fiona's well-to-do family, and they were anxious to have somebody marry her and get her out of their lives. Frank does a lot of work for his mother but doesn't really have a life of his own. The lives of Meggie's other brothers aren't really explored. Frank cares for Meggie deeply and gives her the most attention out of anyone in their family, and she is clearly devoted to him. Frank takes his intense dislike and anger at Paddy, and his "mistreatment" of Fiona (Frank doesn't think Paddy deserves her), out on people in town whom he gets into fights with. Despite his described small stature, his anger makes him dangerous and this is what begins his career as a boxer, later on in the story. Around this time, Paddy receives a telegram from his sister, Mary Carson, who he hadn't talked to in years. She asks him and his family to join her in Drogheda, Australia to work, and it is assumed, so she can get to know them before she dies. Paddy is eager to relocate to Australia from New Zealand, as there were more opportunities for productive and rewarding lives than in New Zealand.

After they have relocated to Australia, Mary Carson is introduced as a cynical, cold, angry, and bitter aging woman who only enjoys the company of the local priest, the young, handsome, and earnest Ralph de Bricassart. He immediately takes a liking to Meggie, much to the distaste of Mary. Ralph's affection towards Meggie haunts him throughout his life, as does her affection towards him. To zip forward most unabashedly, Frank leaves home to become a boxer, and Meggie moves away into a miserable marriage with Luke O'Neill, a worker from Drogheda. She grows to despise him, rarely sees him as he's always working (they don't even live together) and is completely depressed. Ralph comes to visit her once during this unhappy period in her life, and this happens to be when she is giving birth to Luke's daughter, Justine. She releases a lot of pent-up frustration with Ralph, and he is horrified by this direct contrast to the sweet-natured Meggie he had been so accustomed to.

The next time that Ralph and Meggie meet is at a honeymoon resort island, where after years of denying their intense feelings for each other, they engage in a whirlwind, soul-searching affair. Meggie leaves her husband upon her return home, and goes back to Drogheda pregnant with Ralph's child. She sees this as a major victory, since she cannot ever be happy with Ralph in the way that she wants (a husband) she is gleeful with the notion of having his son, the child of a priest, a triumph over God himself, who, Meggie is certain, must despise her.Cheap University Papers on The Thorn Birds - Synopsis

Meggie is now middle-aged, Dane has become a priest, and Justine is in London, an accomplished and brilliant actress. Dane has been under Ralph's wing during his aspiring priesthood, but neither of them knowing that they are father and son. In a cruel twist of fate, Dane dies rescuing someone he doesn't know from drowning. This hits both Justine and Meggie very hard, Justine saw him as the only person who she loved and who loved her unconditionally. Meggie is, understandably, also devastated. She finally sees Ralph again, and tells him that Dane was his son. This is the last time that Ralph and Meggie see each other; Ralph dies soon after the death of his son.

Justine is in London, getting engaged and whatnot, she has very little interest in Drogheda or the family she left behind there. Meggie has reached the conclusion that the Clearys "fizzled out," and that one would've thought that when they moved to Drogheda, they would have had at least a hundred grandchildren by now, but there's only Justine. Meggie decides that it's best that they leave Drogheda, let new people begin their lives there.

And so concludes the expansive story of the Clearys and their descendants. My report does this book little justice; there are so many mini-storylines in this book that would be impossible to work into a paper of reasonable length. This book sucked me in and it was a refreshing change from the snarky cynicism that I'm so familiar with, and is a common attitude in many of the books I've read and enjoyed. It was a heart-wrenching romance story which didn't make me puke, and made a priest breaking his vows of chastity seem romantic without a trace of perversion. I even read his denial of "tampering with children" (which he hadn't) without a thousand Catholic priest jokes springing to mind. (At least not right at that second.) The Thorn Birds also gave me a very honest view on mortality, following Meggie from the carefree age of six to her worn and disillusioned middle age was depressing but also provided some welcome contemplation of life. All in all, I thoroughly enjoyed this book, but wouldn't recommend it to anyone who doesn't want to be completely and unashamedly wrapped up in the lives of the characters.

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Spanish Lesson 8

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Acrobat el/la acróbata

band La banda

ticket El boleto

circus El circo Write your Spanish Lesson 8 research paper

skill La destreza

line/row La fila

cage La jaula

teddy bear El oso (de peluche)

clown El payaso

roar El rugido

ticket office La taquilla

tree El árbol

forest El bosque

donkey El burro

sky El cielo

rabbit El conejo

horn El cuerno

stable El establo

star la estrella

ranch la finca

hen la gallina

rooster el gallo

moon la luna

sheep la oveja

bird el pájaro

paw la pata

duck el pato

turkey el pavo

feather la pluma

pig el puerco

tail el rabo

rat el ratón

bull el toro

cow la vaca

to escape escapar

to bark ladrar

to occurr ocurrir

to roar rugir

to jump saltar

to fly volar

behind detrás de

exciting emocionante

above; over; on top of encima de

big; great gran

to end up ir a parar

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grande - grandísima; sucia - sucísima [drop tha vowel]

amable amabilísima [change tha ble to bil]

deficil - deficilisma [if it ends in a consonant jus add it on]

c  q [comico-comiquisimo] | g  gu [larga-larguisima] | z  c [feliz-felicisimo]

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permanant characteristics adjectives go befo the noun

ex la blanca nieve (becuz nieve is always be blanca)

demonstrative adj (ese, esa, aquel), quantative adj (mucho, poco), cardinal #s (dos, tres) go before the noun

exs ese nino; pocos gorillas; cuatro elefantes

BUENO CHANGES TO BUEN AND MALO CHANGES TO MAL when used.

ex buen circo; mala muhcacha

GRANDE can change to GRAN and go befo the noun to say "great" but it can go after the noun in the form of grande to make it say "big"

Ex circo grande (large circus) VS gran circo (great circus)

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HONDURAS

-North of Mar Caribe, south of Nicaragua and has coasts in pacific ocean and golf of fonesca

- Capital is Tegucigalpa with 700.000 ppl

- Has a large history with the Mayan Empire

- 181 declares its independence

- 18 Mitch destroyed n caused losses of 800 mil and need for bill

Please note that this sample paper on Spanish Lesson 8 is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Spanish Lesson 8, we are here to assist you. Your persuasive essay on Spanish Lesson 8 will be written from scratch, so you do not have to worry about its originality.

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