Auden

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In "Musee des Beaux Arts" W. H. Auden describes the ordinary human indifference to suffering. His poem is an example of ekphrasis, poetry describing artwork. In this poem Auden utilizes an ironic duality in his expression and comprehension of human anguish. His poem is full of remarks that seem casual and accidental, and yet still accurate, definite and precise. He ponders the mystical qualities of "the miraculous birth" and "dreadful martyrdom" in the midst of normal, everyday scenes (7, 10). With an impressive balance of Apollonian and Dionysian elements Auden is able to express his thoughts on the lofty subjects of art and suffering, while maintaining a controlled, if subtle, poetic format. All of these dualities in Auden's poetry express his perception of indifference to the human condition, and ask the reader to question his or her own tendencies of apathy towards others. "Musee des Beaux Arts" shows how both the Old Masters and Auden perceived that it is human nature to remove oneself from the suffering of others.

The dramatic situation which Auden sets the poem in serves to illustrate his thoughts on the connections between art and suffering. The poem is incredibly visual as it follows the speaker's walk through a corridor in an art museum. This speaker passes by paintings of scenes such as "the miraculous birth" (6) of Christ and the scene of "children…skating / on a pond at the edge of the wood" (7-8) waiting for Christ's martyrdom. Auden deliberately removes the personal and individual qualities from these paintings, describing the suffering as it takes "place / While someone else is eating or opening a window or just walking dully / along" (-5). This hasty summarization of how one perceives suffering suggests the speaker's brief glances as a museum goer, and his reactions as he "walks dully along" to look at other paintings (4-5). A minimal amount of attention is given to each highly crafted and detailed painting. In this sense the speaker's lack of concern translates into Auden's concern that individuality and uniqueness is threatened. In the World War II landscape that this poem was written in Auden is obviously worried about the minimalization and dehumanization of real human anguish. By describing the two magnificent pieces of art in less than nine lines Auden shows how one's quick glimpses and fleeting thoughts about each painting hardly do justice to the art and the message that the art is trying to give. The speaker in the poem gives no more attention to the suffering depicted in each scene than the children "skating on a pond" give to the torturer (7-8).

The apathetic condition of humanity is further emphasized in the poem as the speaker stops in front of Pieter Brueghel's painting, "Landscape with the Fall of Icarus" which he simply calls "Icarus" (14). This truncation of the title is ironic because the poem deals with issues of indifference and Brueghel's original title emphasizes the landscape and how Icarus' suffering was not of the greatest importance in it. By changing the title to simply Icarus, Auden re-emphasizes Icarus in the painting, somewhat against the artist's original intentions. Although this may be partially due to issues of meter, the shortened title shifts the emphasis from the landscape to the pair of legs sinking in the ocean. Brueghel's title helped emphasize "how well they understood / It's human position," namely, the importance of the landscape over the position of suffering (-). It seems that the dramatic situation here attempts to show how art, especially visual images, can aestheticize suffering, and Auden, by forcing Icarus to be the focus of the painting again emphasizes that it is he who deserves the attention, but normally does not get it. Brueghel's painting captures the myth of Icarus and all of his suffering, and condenses it into a single "snapshot" scene. Similarly, Auden's poem attempts to condense the paintings and all of their implications into a single, short poem. Auden, like Brueghel, presents to the observer a reflection of what they might be unconsciously doing to human suffering, namely, ignoring it.

Auden in his own poem attempts to understand and express the "human position" of suffering as the great masters did (). He is acutely aware that pain usually happens unnoticed, in the margins of everyday activities. Auden makes this reduction of importance evident, for instance, when he manages to condense a hugely important myth, the fall of Icarus, into less than one line "a boy falling out of the sky," (0). Auden's short descriptions of the scene seem like a casual commentary, the "white legs disappearing into the green / Water" (18-1). Auden's detached and unpretentious language makes the poem act in a similar manner to Breughel's painting. The poem, like the paintings magnifies the event of suffering, paradoxically, through ironic understatement. The poem serves then as its own message as an example of the threat to humanity.

Auden masterfully uses language in the poem, choosing words heavily charged with social ideas to emphasize his meaning. His diction seems simultaneously conversational and meticulous. He uses the word "anyhow" to describe where the "dreadful martyrdom" must occur. "Even the dreadful martyrdom must run its course / Anyhow in a corner" (10-11). Without the word "anyhow" the line would flow without interruption. However, the word interjection "anyhow" throws off the stream of speech, and focuses the awareness on the incredible juxtaposition of torture and nonchalance. The exact location of where the torture happens is unimportant, "some untidy spot," (11) it only reiterates how well the "Old Masters" understood the issue (). Another important word is "amazing" in the lines "must have seen / Something amazing" (1-0). Those on the ship saw, and did not stop for "a boy falling out of the sky" (0). The word "amazing" here further demonstrates the incredibility of indifference to suffering. Also, the word "amazing" draws in a reference to the myth of Icarus, as he was trapped with his father in a labyrinth when they designed the wax wings to escape. That the ship in Breughel's painting does not stop to notice even "something amazing" proves that that Old Master truly understands the "human position" on suffering ().

Auden's semi-religious upbringing also shows through in the heavily Biblical diction of the poem. The "dreadful martyrdom" goes on unnoticed by the children or animals (10). The dogs, horse and children who are nearby are described as "innocent" (1). Here, the adjective "innocent" makes a reference to Biblical passages about the innocence of children, like animals. It is important to note that the term "innocent" does not necessarily forgive the children for their indifference, it only partially explains it. The word "forsaken" is also highly charged with Biblical themes (16). Not only does the word "forsaken" work because it condenses the main theme of the poem, but also because it echoes Christ's last words, "My God, my God, why hast thou forsaken me?" (Matthew 746). In Auden's poem it is the plowman who "may / Have heard the splash, the forsaken cry" (15-16) and it is this common, hard-working person who could have done something, reacted to the pain, but instead chose to continue his own self-serving labor. Auden's choice of words such as "martyrdom," "innocent," and "forsaken" all draw a parallel between the suffering that Jesus went through, the suffering that Icarus dies from and the suffering of the "others" as observed by Auden and his contemporaries.

The poem also has a sense of development that guides both the speaker and the reader towards a better appreciation of the victim of suffering. There is a physical sense of movement as the speaker literally walks down the corridor of the museum as there is also a poetic unfolding of the situation and argument. As the poem develops it moves from a plurality to singularity of sufferers. Auden leaves "the aged" without any description and the "children" as nameless and faceless ice skaters (5,7). From there it moves on to the singular "torturer" whose horse "scratches its innocent behind on a tree" while again, whoever the torturer is abusing remains unknown (1-1). However, in the final part of the poem we are given far more specific details. The name of the final sufferer is given, Icarus, and he is described, "white legs disappearing into the green / Water" (18-1). This focus on detail at the end of the poem draws the reader closer to the situation and is perhaps Auden's way of forcing the reader to acknowledge the suffering, at least temporarily.

There is also a shift in the diction as Auden uses more artistic, visual words. Icarus is depicted in "green" water, with "white" legs. The passing ship is "delicate" and "expensive" (1). These details help emphasize the composition of the painting and draw attention back to the actual artwork being referred to. The poem climaxes briefly in line 0 when the ship sees "a boy falling out of the sky" but then appropriately drops back to the anticlimactic and uncaring line "had somewhere to get to and sailed calmly on" (1). This let down is fitting to the theme of the poem, drawing attention to the intense suffering that is briefly observed then immediately forgotten and moved away from. By ending with this downcast line Auden's poem reflects the indifference he writes about.

"Musee des Beaux Arts" comes across initially as a poem praising the understanding and craftsmanship of the painters. However, as the poem moves onward the focus shifts from the actual art to the message contained in the paintings. Auden claims that the Old Masters understood suffering because they portray it as ignored, unimportant to others, casual, commonplace. This insight is what Auden finds remarkable in the paintings. He asserts that those artists "were never wrong" and never will be (1). The paintings which depict scenes that took place so long ago are still accurate in their portrayal of human indifference. Auden admires this perception of human nature, and, in tribute to their acuity he too crafts a piece of art which is detailed, precise and beautiful, and hopefully alerts the careful observer to consider his or her own position towards suffering. The speaker of the poem, the museum patron, mirrors the role of the innocent children who numbly go through the course of their day, or the plowman who chooses to ignore the pain which is occurring so near to him. In the same way that this speaker can be seen as those in the paintings he can also be amplified to represent people, especially those persons that Auden observed around him, in general. The poem, through it's mock concern of details, accurate commentary on the nature of people and beautiful artistry shows that Auden too was one of the "Old Masters" concerned about, and able to accurately portray suffering as it truly occurs in the human tradition.

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Famers of the Great Plains

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Farmers of the Great Plains

In the late 1860's and early 1870's families began to heavily populate what was known as and is still known as the Great Plains. There were two principal methods to acquiring land. A settler could get land at no cost under one of the federal land laws, or he could purchase it from private or public owners. The second method to acquiring land was by purchase. The federal government had withdrawn large areas from the public domain, thereby denying settlers access to it. This was put under land laws.

The high point of every farmer's year was harvest time. The entire family worked from sun up to sun down picking the crops before they rotted throughout the field. Droughts were a constant threat to the farmers, also known as sodbusters. Water became scarce as wells and springs dried out. The rich prairie soil eventually dried out and turned to dust. As the prairie grass grew drier and drier, lightening or heating fires easily ignited it. Walls of flames jumped from field to field turning the farmers' hard work to ashes. The farmers periodically would have problems with grasshoppers. The grasshoppers would eat through an entire crop within a matter of hours. Families were eventually forced to burn their fields before the grasshoppers and other insects spread.

The main crops for farmers in this time consisted of wheat, corn, alfalfa, potatoes, barley, rye, and corn. Farmers also raised chickens, pigs, horses, cows and sheep. During the days there were many chores and tasks to take care of and no time for playing or resting. Not only the men worked on the fields. Woman had many roles to accomplish. They were expected to be a good mother and wife while also cooking, doctoring, canning, preserving meat, and making clothes for the family all without electricity or plumbing. Small children and older children also had important roles. The small children fed the chickens, gathered eggs, picked wild berries and searched the prairie for anything that was possible to burn. Older children plowed and planted, pitched hay, hauled water, and tended to all the animals. Both boys and girls of all ages helped with laundry and kitchen chores.

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In late 1870's life on the Great Plains changed dramatically. New farming machines, such as the steam tractor, began to make pioneer life more productive. Before machinery was invented farmers could only plant so much acreage, because the labor was so difficult. One farmer was only able to plant about 7 acres of each crop, now they are able to plant up to 100 acres a day with they newly developed machinery. Steam-driven tractors pulled huge mechanical plows, reapers, threshers, and combines. These new machines added more rest and play time and allowed more social activities for the farmers and their families, such as barn dances and horse races. The most important piece of equipment to the farmers was the prairie schooner, pulled by four to six oxen or mules. The prairie schooner was a wagon that had to be light enough to resist the weight of twenty-five hundred pounds of worldly goods and also not be too strenuous on the oxen or mules. The majority of the wagons were made of hardwood and iron. The iron was used only for reinforcement when parts took a hard pounding. The only thing that shielded the pioneers from dust and rain was a partial clothe covering. Another small tool that the farmer's used was a John Deere plow. The plow was useful in tilling the tough soil of the Great Plains.

The pioneers had their own way of dressing. Backwoodsmen wore loose frocks, also known as hunting shirts, which hung halfway down the thighs. These shirts were made of coarse linen or loose wool. They also wore leather leggings to protect their legs and a belt that suspended a hunting knife, tomahawk, bullet pouch and gunpowder horn. Women wore linen dresses with a petticoat underneath. Some women that considered themselves lucky owned a sunbonnet, a handkerchief or a bed gown. In the summer everyone went barefoot but in the winter, moccasins were the chosen footwear for everyone.

The housing and lifestyle of the great plain farmer's was much different than that of today. Most farmers live in dugouts or sod houses, and very few in log cabins. Other than windows, a door, and a few poles or rafters to hold up the ceiling, sod houses cost a little to nothing. Log houses were much harder to build and cost a lot more money. They dug wells for water. In main parts of the Great Plains water could be found at less than a hundred feet, and often as little as thirty feet below the surface. Until a farmer could afford a windmill, he drew water up by a bucket or pump. For fuel, farmers initially relied on twisted hay or on dried buffalo or cow manure. Receipts for butter sold in the local town or village and was an important income to the farmer's and their families. The income within farming was very sparing. Farmers raised much of their own food and depended mostly on the income from selling butter and a few bushels of grain or some livestock at a nearby town. It was very common for one settler to make close to $100-$00 per year.

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Avbes vda ase

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The Different Ideals of the American Dream

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Journalistic accounts are typically thought of as factual account of what has happened. The accounts are mostly straight forward and easy to understand. They usually don't include the author's personal opinions or commentary. The boundaries for this were stretched and even broken by Hunter S. Thompson in, Fear and Loathing in Las Vegas, and Joan Didion in, Slouching Towards Bethlehem. They both wrote their pieces from their own perspective and with commentary. The writings hold the writers own representation of a reality that they are trying to get the reader to buy into. The difference is that Thompson finds a way to deny objectivity through his writing, such as being high on drugs, but Didion is very objective and is caught making mistakes that go against her representation. Although the writing styles of these two journalists are similar, their messages are quite different. While Thompson embraces what he believes to be the American Dream, Didion implies that the American Dream is lost.

In, Fear and Loathing in Las Vegas, the prominent use of drugs is apparent, but the way Thompson uses these drugs in search of something, is not so clear. The subtitle of Fear and Loathing in Las Vegas is "A Savage Journey to the heart of the American Dream," this leads into Thompson's ideals of the American Dream which are found through his drug infested search. The use of drugs are used to change Thompson's perception. Thompson uses drugs as an accessory to everyday life in his account of events. These drugs cause the escape from reality to be possible which leads him to get in touch with a different perception. This perception that is gained helps Thompson find the ideals he is in search for along with the drugs being apart of the ideal. As Thompson and his lawyer are headed to Las Vegas he thinks to himself, after being frustrated by not knowing what the story he was covering was suppose to be, "Every now and then when your life gets complicated and the weasels start closing in, the only real cure is to load up on heinous chemicals and then drive like a bastard from Hollywood to Las Vegas" (Thompson 1). The fact that he complacently tells himself that this is a true escape from life goes to show that he is willing to take any means necessary to leave reality for a moment in time. Thompson uses the word "heinous" as though the chemicals have a life of their own that changes the way he perceives things. Thompson feels as though searching for the ideals of the American Dream lies within oneself. The way to find it depends on how deep you are willing to look for it. In the beginning of the event he says

But our trip was different. It was a classic affirmation of everything right and true and decent in the national character. It was a gross, physical salute to the fantastic possibilities of life in this country-but only for those with true grit. And we were chock full of that. (Thompson 18)

Although the first part of the quote about being, "right and true and decent in the national character," is ironic between what is legal in America and all of the drugs and alcohol he consumes, he leads the reader to believe that there are so many possibilities in America despite the irony in his writing style. Instead of saying that everyone can enjoy these possibilities he says that the only way to receive these possibilities is for you to have "true grit." He says this because of the illegal things, such as the drugs and the drinking, that they consume throughout the trip. He makes a point that not everyone is willing to risk themselves for these "fantastic possibilities." Because the risks that he takes are illegal it makes him paranoid throughout his writing. This paranoia is what causes tension between what he is embracing as the ideals of the American Dream. He embraces the ideals that it is okay for one to be pumped up on drugs and to explore the many "possibilities," or freedoms, which lay open to him. Towards the end of the piece Thompson illuminates this paranoia during his time in Circus-Circus when he's trying to leave with his attorney, "'Don't go near that elevator,' I said. 'That's jut what they want us to do…trap us in a steel box and take us down to the basement'" (Thompson 50). Through his entire search of all these possibilities, he is still concerned with getting caught and this causes a misrepresentation with what he's trying to sell to the reader. The ideals of having these possibilities are limited. One can't truly be entirely free to do things in America without consequences. During Thompson's time in Las Vegas he claims that he has found it, "'we came out here to find the American Dream, and now that we're right in the vortex you want to quit,' I grabbed his bicep and squeezed. 'You must realize,' I said, 'that we've found the main nerve'" (Thompson 47-8). Through all of his wild antics Thompson has claimed to find the American Dream and the ideals that go with it despite the fact that he has suffered from great paranoia. As Thompson goes through the actions to find his ideals of the American Dream he tends to encounter the law, not directly, but through this constant paranoia. Thompson is very un-objective in the way that he writes about his search for the American Dream. He doesn't claim to be telling the truth, but rather shows his perception in the state of mind he is in. While Thompson embraces the ideals of the American Dream, Didion represents a world that's "center was not holding" and which does not entail an American Dream.

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Joan Didion's journalistic account, Slouching Towards Bethlehem, is preceded by "The Second Coming," a poem by W.B. Yeats, where he writes of anarchy being "loosed upon the world," and that "things fall apart; the center cannot hold." The meaning of this poem differs for each reader, but he is speaking of the time when Jesus comes back to Earth. Didion uses his poem to start her representation of a society that is falling apart. She focuses on the "hippies" in San Francisco. She claims that they are devoid of any real meaning and that they are political un-realist who tends to adopt romantic idealism. At one point she talks to a man named Deadeye who is a "hippie" and does drugs but talks of his dreams in life, "'What I want to do now,' Deadeye says, 'is set up a house where a person of any age can come, spend a few days, talk over his problems…'"(Didion 5). Deadeye tells Didion of his aspirations which she ultimately dismisses by bringing up how he is going to make the money to buy the house. This leads back to the drugs he sells and her reinforcement that the generation that she is writing about is all about the romantic idealistic frame of mind. She leads you to believe that these "children" have no sense of an American Dream, yet her writing suggests otherwise; they do have goals to fulfill during their lives. Didion uses drugs as part of the downfall of how these generations, after her own, are functioning. Although drugs play a considerable role to Didion in the downfall, she blames her generation for not instilling this attribute of the ideals of the American Dream to the younger generations. She writes, "the signals between the generations are irrevocably jammed" (Didion 107). Meaning that somewhere between her generation and the generation she writes of, the communication was lost. She writes of this communication failure and the failure to stop believing

At some point between 145 and 167 we had somehow neglected to tell these children the rules of the game we happened to be playing. Maybe we had stopped believing in the rules ourselves, maybe we were having a failure of nerve about the game. Maybe there were just too few people around to do the telling. These were children who grew up cut loose from the web of cousins and great-aunts and family doctors and lifelong neighbors who had traditionally suggested and enforced the society's values (Didion 108).

Her generation has stopped "believing in the rules" and that the way to fix this "social hemorrhaging" was to start believing in the rules again and to teach these children just that. The game that they happened to be playing was the game of life. According to Didion they needed to set straight the rules for the children so that it could be passed on from them to their children, and so on. This completely takes away from the ideals of the American Dream, in which Thompson was embracing. Instead of having "possibilities" they are forced to follow rules or guidelines that are already set for them. For the ideals of the American Dream to be lost the children wouldn't be trying to set certain goals for what they want to do. The children are, "against the culture which had produced Saran-Wrap and the Vietnam War" (Didion 107). They feel as though the can make a difference by going against how the generations before them did things that produced ill effects and moving in a different direction to succeed in coming up with better results. Didion's representation of the counter-culture "hippies" of not having a dream, or an American Dream, is often times apparent, yet she omits it and looks past it to criticize the society she is living in.

Although Thompson and Didion write their accounts in the same era, the perspectives are very different. Thompson shows no objectivity in his writing, while Didion writes with a large amount of objectivity. She overlooks many aspects and excludes many things from her writing. She excludes the purpose of the "hippies," the awareness of social norms, and the analyses of what the "hippies" believe. The exclusion of these things is what is at stake in Didion's writing. She builds you to believe that through all of these children lies nothing more than a romantic idealistic sense of character towards the world. Thompson on the other hand shows us through his perceptions on drugs, that what he does are the ideals of the American Dream. This is something he believes to be true and which he embraces as something valuable to him. The search for the "possibilities" that are available to any one person and to not be afraid to do anything in search for them is his message. Thompson brings the stake of how far one person will go to find exactly what they are searching for. Between the two journalistic accounts Thompson appealed more in what he embraced and how he used his writing style to contribute to his representation. Although Didion made a distinct point of the "center not holding" she often dismissed things too quickly to allow the reader to buy into her representation.

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The Crumbling

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Winning three straight NBA Titles, the Los Angeles Lakers were again picked to finish of the league in the 00-00 season. But, not according to their plans, the Lakers had a dismal first half of the season, just barely reaching the .500 mark one game before the All-Star game. The Lakers, ranking 5th, bowed out to the top seeded and eventual NBA Champions, the San Antonio Spurs, during the second round of the playoffs. These undesirable causes prevented the Lakers from winning their fourth consecutive championship.

The first disappointment arrived at the Staples Center before the season even started. The Lakers' MVP center, Shaquille (Shaq) O'Neal, underwent foot surgery towards the end of August 00. This surgery meant that he would not be available for the start of the 00-0 season. This occurrence is dreadful as it is (the Lakers went 8-14 without him), but it also meant that Shaq would not be able to be on his feet for over three months. O'Neil weighed 50 pounds going into the surgery and was not able to run or exercise; therefore, he easily gained weight and got out of shape. On his return, he played 4 minutes out of the entire game and appeared to be physically exhausted. Shaq attempted to play himself into shape, but as the season went on it was apparent that this year was not going to be like the last three. He was not the only player to experience an injury this season. Almost every Laker player sat out time due to some kind of injury. During the season, these injuries were not too critical to the Lakers' affective ness, but in the playoffs, they were detrimental to their success. For example, Rick Fox, the starting small forward, tore a tendon in his left ankle in the first round of playoffs, ending his season. His injury was a heavy blow to the team because now a younger and less experienced athlete, Devon George, had to come in and start. George surprised most critics by performing almost to the same ability as Fox, but then injured his own ankle in game two of the Spurs series, causing him to sit out two games and crippling the Lakers even further than they already were.

The second factor which crumbled the dynasty was the role players lack of contribution to the team. The staggering statistic that supports this factor is the dramatic decrease in the three point average. Over the past three years, the Lakers team three point average had been over 5 percent in the regular season and 44 percent in the playoffs. This year, the Lakers shot a horrible 8 percent in the regular season and percent in the playoffs. They could have still survived all opponents even with this dismal statistic, but Los Angeles beat themselves by not rebounding. Through their previous streak, the Lakers led the league in offensive rebounding and were ranked third on the defensive glass as an average. Again, this field of statistics took a turn for the worse and Los Angeles ranked eighth on the offensive side and tenth on the defensive side. Anybody who knows anything about basketball knows that a team must rebound and have a variety of scorers to be successful. The Lakers also failed to accomplish this goal. The duo of Shaq and Kobe Bryant combined scored 66 percent of Los Angeless total points this season. Compared to the past three seasons, scoring only 56 percent of the total points, this statistic is a disgrace because this meant that the rest of the team was not helping the pair as they had in the past.

The final determinant of the crumbling Los Angeles Lakers was their poor defense. The most obvious cause of the poor defense was the sluggishness of 71 Shaq. Since ONeil did not have a productive off season, he became slower and slower and could not jump as well. This condition hurt the team because they had lead the league in blocked shots, two of the three championship years. As a result, more shots had a possibility of going in rather than not getting close to the rim at all. The NBA also obtained a new rule that allowed the use of a defensive zone. Not only did this rule allow opponents to prevent the Lakers from scoring as much, but the Lakers could not defend well while using the zone. Noticing their weakness, Los Angeles stuck with a man-to-man defense. This strategy created an unfair advantage for opponents. While the Lakers were becoming exhausted by constantly running to keep up with their man, other teams were able to take more of a break on defense with a zone. This sequence allowed opponents to save their energy to score more points or tire the Lakers to the point that they were unproductive offensively.

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In conclusion, the Los Angeles Lakers failed to obtain their fourth consecutive NBA title due to many causes. From many critical injuries to poor player productivity and a weakened defense, the Lakers were obviously not the team they had been the past three seasons. Even though there were many odds against them, the Lakers were still picked to be a successful team this year. So without a doubt, the 00-0 season was labeled a disappointment for the Lakers, but with extra effort and training, they can have a successful season next year.

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LORD OF THE FLIES.

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A powerful scene in lord of the flies is the pig hunt. A group of young boys headed towards the sow with a row of piglet that slept, burrowed and squeaked. Wooden spears with fire hardened points flew towards the sow but she manages to escape with two spears sticking in her fat flank. For a moment they lose track of the sow, as it went crushing through the forest. Finally, they track her down again as it "staggers in an open space where bright flowers grew and the butterflies danced around each other and the air was hot and still". Jack stabbed the sow with his knife. "Found the throat and the hot blood spouted over his hands". He holds the head and jams the throat down on the pointed end of the stick. He speaks loudly. "This head is for the 'beast'. 'It's a gift'.

This scene helps to focus on one of the major themes of the novel which is the "loss of innocence'. The boys were once innocent 'littuns' but now they were becoming more like savages. The boys once used to go to school but now they hunt. They were becoming very brutal and violence was becoming a regular occurrence. "As the sow staggers in an open space" represents innocence, innocence that the boys did not understand. The author, William Golding implies that the 'loss of innocence' has little to do with age but relies on person's understanding of human nature.

The scene also focuses on another aspect, which is 'superstition.' the sow's head is presented to the 'beast' as a gift. It is presented to the 'beast', which does not even exist. "The lord of the flies" is seen as one of the manifestation of devil. The boys also the decaying corpse of the parachutist as the 'beast'. As in the text it reads. " First you know now, we've seen the beast" this reflects the fact that they had evil within them. Their (Jack, Maurice, Roger, Robert, Bill, and Henry) savagery is completed by primitive religious sacrifice, an attempt at propitiation.

Furthermore, another vital point about the scene is the 'settings'. The scene takes place in "an open space where bright flowers grew and the butterflies dances around each other" which represents 'heaven'. A heaven where innocents sow was sacrificed to reinforce to their superstitious thoughts. There was no reason to sacrifice a sow, which did not even harm them. It was simply a destruction of natural, environment. A death of the sow in an 'heavenly' setting represents the breakdown of humanity.

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In conclusion, I would say that the scene has a great impact on novel. It shows violence, brutality, worship to the 'beast', breakdown of law and order and the most importantly the change from innocence to 'savagery'. The question which keeps ringing in our minds is the "would the boys had survived, if they did not become savages?"

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Much Ado About Nothing

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The play "Much Ado About Nothing" is one of William Shakespeare's mature comedies. It is a light-hearted story that captures the imagination of its audience through the use of language, particularly that of wit. It concerns itself most importantly with the notion of love and relationships, especially marriage in Elizabethan society. There are many other social and personal conflicts between the various characters that will be discussed, including the view of illegitimacy during those times, the patriarchal society, as well as the personal faults of certain characters that play a part in the misunderstandings and confusion of circumstances in the play. Rather than resolving these conflicts with the ending, they are rather forgotten about and put aside, only to presumably resurface at a later stage. The play tries to end by tying up the loose ends of the various plots and give the false impression of the characters living 'happily ever after'. It is for this reason that Much Ado About Nothing does not succeed, in my opinion, in its comic ending.

There were many social discrepancies during the time in which "Much Ado About Nothing" was written. Illegitimacy was a one of them. Illegitimate children or 'bastards' were looked down upon by society to a certain extent. They were seen as symbols of the inconstancy of women, a fate that their mother had brought upon them. Don John is Don Pedro's (the king's) bastard half brother, a fact mentioned in a derogatory way throughout the play. Benedick describes him as " John the Bastard" (act4 sc1 ln18) when he suspects Don John of mischief in the matter of Hero's chastity, an altogether not very complimentary title.

Beatrice too is a fatherless daughter, someone wild and uncontrollable who can think for herself and make her own decisions, as she has no father to obey and to answer to. In both of these cases, the two characters are presented as somewhat deviating from the norms of that society Don John is a self confessed "plain-dealing villain" (act1 sc ln1), who meddles in others affairs for no inherent personal gain, and Beatrice is a non-conforming woman, totally free spirited and strong-willed in all aspects, particularly against the institution of marriage.

Love is represented in its many facets, that of its strengths and weaknesses, it's humiliations, contradictions, and, ultimately, its supposed triumphs.

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Hero and Claudio have a physical love based on appearance. The whole marriage depends not on Hero, but on Leonato her father. Love is presented here as more of a business deal, a means of financial security as Claudio makes sure that Hero is Leonato's only heir " Hath Leonato a son, my lord?" (act1 sc1 ln 10) asks Claudio to Don Pedro. It is clear that he has an eye on his future wealth and that his concern is his social position. Hero and Claudio play the love game by the rules set up by society at that time. Hero is constantly obeying her father in view of marriage as was seen in that patriarchal society, as Antonio says of her " Well niece, I trust you will be ruled by your father." (act sc1 ln 7) and Beatrice mockingly remarks "Yes, faith; it is my cousin's duty to make curtsy and say, 'Father, as it please you.'" (act1 sc1 ln 8) Women in those days were controlled, to some extent, by their fathers (or husbands), as their virtue was highly valued to find a suitable match, thereby needing to be protected. Claudio asks her father's permission to marry her and enlists the help of his friends to win Hero for himself. How can Hero possibly truly love Claudio, as she is being forced into this marriage by the conventions of the day and by what her father considers a profitable match? How can Claudio truly love Hero when he has only known her for such a short while and seems more concerned with the amount of money that she has, than anything else? Their love seems to be an arranged and profitable business deal, with Claudio being more in love with the image that he perceives Hero to be, rather than with the actual person herself.

There is also a disruption of the natural course of love within the play by a villainous Don John. When Don John accuses Hero of being unfaithful, Claudio fails to jump to her defence. Instead he says "If I see anything tonight why I should not marry her tomorrow, in the congregation where I should wed, there will I shame her." (act sc ln88) stupidly believing Don John again, after he has already caused trouble. This presents a monstrous side to Claudio's personality. He is not content to just cancel the wedding, he feels it necessary to shame Hero at her own wedding. The reader gets the uneasy feeling that Claudio is wholly unworthy of the sweet, innocent and passive Hero.

Beatrice and Benedick have a more intellectual 'love'. Their antagonism grows into romance, but a romance that has been set up with lies told by other characters, to dupe the two of them into falling in love. This matchmaking of Beatrice and Benedick that defies the notions of the 'love at first sight' romantic idealism that is prevalent throughout the relationship of Hero and Claudio.

The love between Beatrice and Benedick is based on shaky foundations and so cannot be true affection. The fact that both of them are so against the idea of marriage at the beginning of "Much Ado About Nothing" is another cause for concern. Both of them swear that they will never marry Beatrice when she says " I had rather hear my dog bark at a crow than a man swear he loves me" (act1 sc1 ln5) and the way she describes marriage as a dance that is lively, then serious then starts to decay with sorrow (act sc1 ln48), insinuating that marriage is negative, sad and brief in its happiness. Benedick too says " I will live a bachelor" (act1 sc1 ln17) and that "I love none" (act1 sc1 ln0). Beatrice and Benedick both have a more cynical, practical view of love. They supposedly choose not to play the traditionalist game of love (of wooing), although unconsciously they are enlisting in the help of Don Pedro, Leonato and Hero, amongst others, who chart the course of their romance through trickery.

Beatrice knows her place in this patriarchal society. She realises that she is seen as disagreeable as it has been pointed out to her many times by Leonato who says " thou wilt never get thee a husband if thou be so shrewd of thy tongue" (act sc1 ln15) implying that she is an uncontrollable woman who talks too much and by Benedick who refers to her earlier in the play as " Lady Disdain" (act1 sc1 ln 85) implying that she is both scornful and contemptuous. Rather than challenge her place in this male-dominated society, Beatrice realises that she cannot go against Claudio, a man, in defending Hero's honour with her wit and so uses Benedick's love for her as an excuse to get him to "Kill Claudio" (act4 sc1 ln 76). The fact that Benedick is willing to kill his friend for a woman does prove that Beatrice does yield some power over a man and shows us that women weren't totally dominated by men during those times. She uses his love unfairly as a means to gain her own revenge.

At the end of the play there are many attempted resolutions of the discord between the characters and rifts in the plot so that an overall feeling of harmony and contentment is produced. On the surface Claudio and Hero are happily married, as are Beatrice and Benedick, a double marriage that reinforces the idea of everlasting happiness. Don John has been arrested for his mischievous plots to mar the marriages and everyone is content and in good spirits.

On closer inspection we notice the holes in this ending. Firstly the blame for all this unhappiness and potential disaster is placed squarely on Don John's shoulders. It is acceptable for the characters to presume this, as he is an illegitimate son and so it is up to standard in thinking that he would be at fault (as their opinion surrounding his birth is already not very high.). Yes Don John may have planted the seeds of destruction, but it is through the faults of the characters, particularly Claudio's eavesdropping on Don John, his gullibility in believing Don John again that Hero is unchaste, and his jealous insecurities and lack of trust for Hero that contribute greatly to the misunderstandings.

Secondly, Hero, unrealistically forgives Claudio immediately for slandering her at her own wedding, by instantly marrying him. We greet this marriage scene with protest, not acclaim as there is strong evidence that Hero has been unjustly treated by the person who supposedly loves her. She is once again subservient to the males in her life, nothing more than a product of the society in which she lives.

Thirdly, Beatrice and Benedick, now married, have both become hypocrites, first swearing off the idea of love and now succumbing to a love that is not their own, but a product of their imagination, brought about by other people's deception. Even though they profess to be in love, there are signs that it won't end happily. They still fight with each other, both hoping to get the last word. Beatrice tries to win the argument by saying "...I yield upon great persuasion, and partly to save your life, for I was told you were in a consumption" (act5 sc4 ln5), when she speaks of agreeing to marry Benedick. It is Benedick, however that gets the last word. He says "Peace! I will stop your mouth" (act5 sc4 ln 7) as he kisses her, silencing her from voicing her own opinion. The reader gets the uneasy feeling that they will be at each other's throats again before long.

It is interesting to note that at the end of the play, both of the characters considered most unacceptable according to that society (by having no father) are the only ones who have conformed or been controlled Don John by the institution of the law and Beatrice by the institution of marriage. To consider the idea of marriage in the same context as that of a prison is to paint the bleakest of pictures about Beatrice's future happiness.

Interestingly enough, the play ends with a dance, something jovial and celebratory that falls in line with the concept of a happy ending. However, underlying this merry dancing is the idea of strict order. The dances of those days had very particular, restricted movements into which the dancers had to comply in order to be able to take part. This is symbolic of the fact that there is no place in this society for those, such as Beatrice unless they conform to the 'steps of the social dance'. At the end of 'Much Ado About Nothing', circumstances and feelings are forgotten about and cast aside for the moment instead of being resolved. In any situation, these unresolved conflicts are bound to resurface later and cause greater anxiety and insecurities between the characters marriages, challenging the fairytale reassurance that "alls well that ends well".

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