Category: Literature 5177

Literature has a lot of different aims: to entertain, to inform, and to convince. The works of Judith Sargent Murray, Samson Occom, and Phillis Wheatley are very convincing, as they try to implement their ideas in society about religion and gender.

Judith Sargent Murray is an American writer whose literary career appeared on the highest level in the 1790s. The focus of her interest was nationalism, governmental systems, the problem of equality of man and woman, and religious universalism (Murray, p. 554). Dwelling upon the topic of equality of genders we may read our souls are by nature equal to yours; the same breath of God animates, enlivens, and invigorates us (Murray, p. 558).

Samson Occom was an African-American slave he should have been uneducated, but being introduced to Christian studies, he learned to read and to write thanks to his desire to read Bible. Religion helped him to assimilate into the American population (Occom, 520). His interest in religion had changed him, he found serenity and pleasure of soul, in serving God (Occom, p. 522).

Phillis Wheatley is an African, who was sold to an American Christian family when she was 7. Being raised in a religious family she was imbued with Christian thought from her very childhood.

Comparing the voices of these three authors it is very important to understand the issues which influenced their lives. Being conducted in religious families, Wheatley and Occoms works are devoted to the Christian themes. Wheatleys works, such as To His Excellency General Washington (p. 577) and To the University of Cambridge, in New England (p. 578) are not purely religious, but the theme of God is also touched there. Occoms prose is also filled with religion as he describes his life, where religion played a big role. Murray also turned to religion, but her main consideration was sex relations, she tried to convince people that genders should be leveled and that the domination in her modern world was not so significant, moreover, it was unnecessary in her poem On the Equality of the Sexes (p.555).

The vocabulary in the works of these poets has some similarities, as the theme of God is touched in all of them. Even Murray in her poem On the Equality of the Sexes writes that
The torpid spirit mingling with its clod,
Can scarcely boast its origin from God. (Murray, p. 556).

But the language differs greatly. Occoms language is very simple, the constructions of his sentences are not overburdened with different subordinate clauses and other syntax structures. Murrays language is more complicated but at the same time, it is richer. She uses a lot of stylistic devices, such as metaphors and similes to give the reader a more vivid understanding of what she is reading about.

Considering the conditions of publications, Wheatleys works were written according to neoclassical norms, but they were not accepted. She published her works several times but the reason they were not appreciated was her belonging to the African race, she was black (Wheatley, p. 570). But was not the border for her and she managed to gain success with her poems. Murray was taken in the written society at once. Her poetical contribution to the Massachusetts Magazine was appreciated. Occom has been working all his life for the benefit of the Church. He published only two of his works, A Sermon Preached by Samson Occom and Collection of Hymns and Spiritual Songs, which appeared to be the bestsellers.

Different authors have different aims, and they want to reach these aims with the help of society that supports them and who are interested in their works.

References

1. Judith Sargent Murray in the Heath Anthology of American Literature  Concise Edition by Paul Lauter, pp. 554-560.
2. Samson Occom. in the Heath Anthology of American Literature  Concise Edition by Paul Lauter, pp. 520-526.
3. Phillis Wheatley. in the Heath Anthology of American Literature  Concise Edition by Paul Lauter, pp. 569-579.

Sutpen and his intention of building the Sutpens Hundred

Thomas Sutpen is a mysterious man, in the sense that people never really understood him and his idea of building the Sutpens hundred was borne out of the fact that he realized while he was growing up that men are not equal and humans were respected based on the materialistic things they have. He consequently made a stern decision to attain a high social status by developing a plan and design that orders personal existence in basically rigid ways (Malin 11). His decision to stay atop the social stratification system led to the construction of a plantation that he called the Sutpens hundred, which would be built on a hundred square miles of virgin land in Yoknapatawpha County, which he obtained from a Native American clan (Faulkner). The plantation was built as Sutpen sought to create a perfect world.

Sutpens hundred was built by Sutpen in order to acquire wealth and to start a family dynasty, and he would be the family patriarch. Sutpen had a design that he planned to follow dutifully in order to achieve his goals and he sought to stick to these plans, giving no room to any form of modification after the implementation of the plan. Sutpen is driven by the self-belief that with a resolute mind and dexterity, he could achieve anything (Brooks 224) and this was part of what propelled him in building the Sutpens hundred. With the help of a group of Negroes and a French architect, Sutpen started the construction of his estate, the Sutpens Hundred in 1833 (Faulkner 6).

How the building of Sutpens Hundred relate to Gods creation of the world

The land that Sutpen bought from the Native American clan was a virgin land and was empty in the sense that there was nothing of importance on it and Sutpen saw the need to create a plantation and dynasty out of the virgin land, which he called the Sutpens hundred and quite in comparison to the creation of the world, which was borne out of the essence that God saw in creating and forming a well defined world out of a shapeless and void world (Genesis 1). The similarity in the building of Sutpens hundred with the creation of the world can also be drawn from the Novel Absalom! Absalom, when Quentin watched as the serene and barren hundred square miles land was astonishingly turned into the Sutpens hundred and creating a beautiful garden in the process (Faulkner 3), and in the second chapter of Genesis, we see God planting a garden and placing the first man to maintain the garden.

A sharp similarity also exists between Gods creation of the world and the building of the Sutpens hundred when Sutpen together with his French architect and the slave Negroes created the Sutpens Hundred and the void land evolved into being Sutpens Hundred (Faulkner 4), which is more like the Biblical be light. This analogy can be seen when God said Let there be light and there was light (Genesis 1:3), and he called the light day (Genesis 1:5). As Faulkner wrote of Sutpens evocative existence in Miss Rosas tone, he would abrupt (man-horse-demon) upon a scene peaceful and decorous as a schoolprize water color, faint sulphur-reek still in hair clothes and beard, with grouped behind him his band of wild niggers like beasts half tamed to walk upright like men (4). From Miss Rosas reference to the events that led to the building of the Sutpens hundred, we read how Sutpen came upon the soundless Nothing of earth like a creator of some sorts. The account of Sutpens enigmatic erection of a vast empire and plantation gives us an idea that he saw to the realization of his dreams and he called it into existence with the expression Be Sutpens Hundred (Faulkner 4). The correlation of the biblical account of the creation with Sutpens building of a dynasty tends to show an all-encompassing parallel between Sutpen and Gods creation of the world.

How the stages of Sutpens project corresponds to the seven days of Creation

The stages involved in the execution of Sutpens project draws another parallel with the seven days of creation. A relationship could be drawn when Sutpen obtained a virgin land from a Native American; the land was void and without anybody inhabiting it (Faulkner). This scenario relates to Gods creation of heaven and the earth, in which the earth was without form and void (Genesis 1:2).

Sutpen recognized the need to transform his barren land into a dynasty and a perfect plantation of some sort and he took bold steps towards achieving that dream. He knew he needed a home, money, slaves, a plantation, and a family unit which would require him having a wife. He started the material acquisition process and this led to the eventual construction of the Sutpens hundred. Just like the seven days of creation was in stages before the eventual creation of man on the sixth day, Sutpen acquired what he needed in establishing his dynasty in a step by step process before the eventual completion of the Sutpens hundred.

With money, he acquired the slaves that worked on the plantation and from there planned to build a family dynasty by having sons that he could he could truly call his heir and in doing this he was the only one making decisions and passing orders to see to the actualization of that dream. In the seven days creation of the world, God sought to transform the earth to a paradise of some sort by creating the Garden of Eden and placing Adam and Eve in the garden to till and maintain it, his main aim was to establish a Godly kingdom on earth as man was created in Gods image and likeness.

All the plants, animals, trees and every other thing that God created on the five days were placed under the control of Man that was created on the sixth day. This is quite similar to Sutpens idea of how the Sutpens Hundred would be run, the slaves and other things that were in the plantation were to be placed under the control of Sutpen and his descendants and this was not to be as disaster soon followed. The plantation he had built soon started crumbling and his children soon started dying one after the other showing the possibility of a divine curse on his family.

The reason Sutpens family was cursed

Sutpen was trying to set himself up as a God, and as a result of this, his family was cursed and this was the reason most of his children died mysteriously. Sutpen did not believe in being a mortal, he was of the opinion that he was an immortal being, far superior to his peers. Based on his perception, he tried to play God. He also did not believe in God, but rather relied on his strong personality traits (Snead).

He tried to be like God by planning to establish his own kingdom in the form of a dynasty and it is the event that leads to the realization of this wild dream that plays against him and just like the proverbial you reap what you sow adage, God pays him for all the atrocities that he had earlier committed. This was evident when in Faulkners narration that: Sutpen owed a debt not only to a creditor but to The Creditor himself (145), which is ultimately God. Due to the fact that most of Sutpens actions are immoral and subject to divine punitive measures, a higher system of justice had to take up his case which is Gods own justice (Brooks).

In building the Sutpens Hundred, Sutpen tries to stamp his authority on the people that worked on the plantation and establish a godly figure, and to a large extent he played God. He must surely face the consequences of his numerous sins, and according to the biblical generational curse, which meant that the son shall suffer for the sins of the father until the fourth generation. Sutpens family; his wives, children and all the families that participated in committing the crime either knowingly or unknowingly also pays for his sins and this played out when his children started dying mysteriously.

Conclusion

Sutpen devotes his time, energy and strong will in pursuit of his dream of establishing a dynasty. With the effective utilization of his creativity and craftiness, Sutpen achieves what ordinarily could not easily be achieved and in achieving this he played God and this act led to his downfall.

Works Cited

Brooks, Cleanth. William Faulkner : First Encounters. New Haven: Yale Univ. Press, 1994.

Faulkner, William. Absalom, Absalom! New York: Vintage Books, 1990.

Life application study bible-NIV. Carol Stream, IL: Tyndale House Publishers, 2005.

Malin, Irving William Faulkner: An Interpretation. New York: Gordian Press, 1972.

Snead, James. Figures of Division: William Faulkners Major Novels. New York: Methuen, 1986.

The well-known short story writer Gabriel Jose Garcia Marquez was born on March 6, 1928, in Aracataca, Colombia. He had written a collection of short stories and A Very Old Man with Enormous Wings is a very famous one among them. It is considered a supernatural story with a realistic touch. The main character of this story is an old man. The peculiarity of this man is that he had wings. In a real-world one can see an old man but when he appeared with wings, people say he is not an ordinary man but an angel. Not only by the creation of this old man with wings one can say that this story is a magical realism but the other elements like the strange visions, the appearance of women spider, the crab etc make this story a fantastic one. In a real-life it seems to be an odd one but through this story the writer shows each and every element a realistic one and makes the reader believe it as a real one. In the story one can view that the young girl who goes against her parents being changed to a spider. It is accessible only in an unrealistic world and the old man appeared in this story as an angel who creates some marvelous situation in a family of Pelayo and Elisenda but at the end of the story they understood this old man. Here the writer brings the old man both as an ordinary man and at the same time as an angel. Here in this story the realistic and fantastic pictures are merged together and the readers have no doubt whether it is real or unreal.

Isaac Bashevis Singers Gimpel the Fool is a fantastic story. It is the story of an innocent baker, his disloyal wife, and the devil. The fool in this story is a means for revelation. Gimpel, the fool of Frampol, happens to be a forecaster, and his disloyal wife is distorted into a woman of knowledge. Gimpel is a fool but the writer presents him as an honest man. In real life, presence of God and devil are not there but here in this story writer creates all these backgrounds.

The old man in the story A very old man with enormous wings is an aged decayed angel and his arrival, appearance and actions are somewhat dissimilar to the angel and it results from the unexpected response of the people to the angel. The story weaves in the religion and treats the religious authorities in a great way. The clergyman and priest consider the angel as a messenger of god and speak to him in the Latin language with the comment that Latin is the language of God. The Parish priest had his first suspicion of an impostor when he saw that he did not understand the language of God or know how to greet His ministers. (Gabriel Garcia Marquezs book, p. 5). This shows the weak knowledge of priests and clergies about the Biblical studies as most of the original documents are written in Greek. Most often the readers think that religious heads are highly experts in spiritual and Biblical matters but in this story they have no deep knowledge about the biblical subjects, even the language of God. Thus the events and characters are highly controversial and it ridicules the religion in a strange way. The story even presents the current situation of family life, their attitudes to heavenly message through the two persons, namely, Pelayo and Elisenda. They have the Bible in their house but they do not pay any attention to its importance and they treat it as inconvenient or a useless thing. These situations in the story are highly controversial and thus the story treats the religion and the religious authorities in a bad way.

The story Gimpel the fool presents a totally different situation from the first and the protagonist of the story tries to maintain his faith in God and life. Though Gimpel struggles a lot with the villagers and even from his wife he tries his level best to maintain his faith in God. He considers God will give a helping hand to solve his problems in life and thus continues to worship God. Here in this story, Gimpel is the living symbol of the people who bear all the sufferings and remain unaccompanied. Thus the event in the story treats the religion and the religious authorities in a better way so as to show the significance of faith in God and its benefits in life as Gimpel gets consolation and peace through his prayer.

Works Cited

Gabriel Garcia Marquezs book A Very Old Man with Enormous Wings.1928. 5. (Provided by customer)

Introduction

The moral concept of Les Miserables corresponds to Hugos view of life as a continuous alternation of light and darkness. Hugo raises the theme of crime as one of the terrible vices faced by the characters. Is it possible to justify a crime that is entirely in the throes of feelings? Probably not, but Jean Valjean shows the opposite: burdened by hunger and poverty, he steals bread for his sister and pays for it with hard labor. On the other hand, the policeman Javert is unburdened by suffering and serves an authority whose power he cannot doubt. Hugo confronts the two characters, each of whom has experienced an inner moral catastrophe and made his own choice.

The Worldview of Valjean vs. Javert

Jean Valjean chooses crime so that his family can survive the famine. His act speaks of him as a man of strong perceptions about truth and duty. Penal servitude changes Valjean, and he no longer sees the good in people. But the convicts blind embitterment transforms under the influence of Bishop Myriel into a conscious rejection of reality as it is and a desire to improve life (Hugo, 2021). The Bishop treats Valjean with kindness and preaches the same attitude to people. The Bishops perceptions changed his attitude toward people, and Valjean saw the light again. Bishop Myriel shows the former convict that the world can change.

Jean Valjean lives under a false name and tries to help people. Valjean is tormented by a choice when justice finds an innocent man, for his fate is at stake. But he cannot lie and hide because of the moral principles taught to him by the Bishop. He goes to court and voluntarily puts himself in the hands of the law. Valjean remains locked up alone again; he meets fate with a smile. Valjean could have checked his perceptions and wondered why he was sacrificing himself for another person. He would have wondered again what would have happened if he had not stolen bread for his sister. But even after introspection, he would not have acted differently because the Bishop had taught him to be honest and kind.

Police Inspector Javert is the antagonist of good and human qualities. Javert personifies a powerful opponent who embodies the law of the state. Javert strives for power and justice, and he always sees crime as a bad deed. He sees the world only in terms of the law, so he cannot discern nobility in crime. The reader only sees a glimmer of good in Javert: Valjeans accidental rescue from the Cockerel Hour gang. He does this to catch Valjean himself later, and even now, Javert follows his perceptions without checking them.

Javerts perception of the world changed after Jean Valjean saved him from the young revolutionaries. For the first time, Javert felt kindness, and his worldview was turned upside down. He realized that goodness could be above the law and changed his mind (Hugo, 2021). He stopped pursuing Valjean and even helped him, but he could not bear the moral suffering. He dies jumping into the Seine because a rethinking of his perception realized that he had committed crimes worse than stealing bread. It probably becomes the last moment of introspection in perceiving the world and realizing that not all laws are righteous.

Conclusion

Hugo reveals in Les Misérables the gravity of moral choices, emphasizing crime as a righteous act if circumstances warrant it. There is goodness in Jean Valjean that compels one to commit a crime. Bishop Myriel changed his view of the world and set him on a righteous path. Valjean was again sent to penal servitude, but he was aware that he could not commit a moral crime. Javert is an antipode that combines evil and inhuman. He is a brilliant detective who is incapable of tolerating any offense. However, Valjean changes his picture of the world, and unable to bear the realization, Javert dies.

Reference

Hugo, V. (2021). Les Misérables. (Hapgood, I. F. Trans.). Thomas Y. Crowell & Co. The Project Gutenberg, Web.

Many different works have been written about the images of Satan since this character is ambiguous. So, the British poet John Milton sees him in his way and the Russian writer Mikhail Bulgakov in a slightly different light. Milton reflects on the reason for the disobedience of the first couple of people who violated the only prohibition of the Creator of all things and were expelled from Eden. Enlightened by the Holy Spirit, the poet calls the culprit of the fall of Adam and Eve: this is Satan, who appeared to them in the form of a Serpent. Woland is a character in the novel The Master and Margarita who heads the world of otherworldly forces. Woland is the devil, Satan, the prince of darkness, the spirit of evil, and the lord of shadows. Each author sees it as generally similar, but still, there are differences in details.

Indeed, the image of the Devil in Miltons epic, contrary to his biblical interpretation, looks so majestic and attractive that all the other characters of the poem are lost and fade next to him. The incredible passion of the image of Satan, his unshakable spirit, love, and willpower may seem inspiring to both critics and readers. Margaritas actions and the weakness of the Master in the work of Mikhail Bulgakov did not allow them to be transported into the light. Bulgakov writes: But what can be done, the one who loves must share the fate of the who is loved. (347). Still, for their willingness to sacrifice themselves for the sake of a loved one and true art, Woland grants them eternal rest in his kingdom of darkness.

Concerning Satans female characters in both works, it can be seen that it also differs from the image of the Devil himself. Woland supports Margarita, but still, he sets a condition that she must pass some tests to be near her beloved. In Paradise Lost, Satan looks crueler to Eve as he encourages her to commit a deadly sin, knowing that a terrible punishment will follow. The poet dresses the Prince of Darkness in a snake, showing him evil and vindictive, pleasing the church, but at the same time, he also emphasizes the majesty of his figure. Milton writes: Whereof he soon aware, each perturbation smoothed with outward calm, Artificer of fraud. (119). Eve is morally tormented, and Margarita is in physical pain. And it can be concluded that the attitude of Woland is ultimately more favorable than that of the Evil Spirit.

In conclusion, even though Satan is a priori an opposing hero, some authors still attribute humane actions to him. Using the example of two works by different authors, one can see that Satan undoubtedly brings suffering and pain to people, yet he can reunite separated lovers and teach people to be human. Both works carry deep meaning and are primarily focused on the image of Satan. It is challenging to call Woland the personification of absolute evil because he is characterized by mercy and just deeds in the novel. In Miltons work, Satan is a classic example of the devil.

Works Cited

Bulgakov, Mikhail. The Master and Margarita. Vintage, 1996.

Milton, John. Paradise Lost. Penguin Classics, 2003.

The poem Pool Players Seven at the Golden Shovel discloses a bright and fashionable presentation of the main characters of the poem, namely the street boys whose fate depends upon their luck. In that regard, the poem is also a protest against the goodness of life, which came out of fashion and it is, therefore, cool to be bad and to ignore the rules established by the old-fashioned society. These seven pool players are not afraid to risk and to face extreme situations; they are reluctant to have a predictable life and want the chance to capture their existence. Here the notion of luck is rather ironical or even satirical, especially when relying on the last line of the verse running, We soon die (Brooks 2413). The street boys philosophy implies the principle to get the maximum of life as it is too short to be subjected to the limitation of society. Their misleading behavior is a kind of a call to society overwhelmed with unnecessary ethical and moral issues. As it was mentioned before, the author does not intend to approve this life but to criticize it. She highlights the bad experience those boys have and the way they treat life thus showing that such an experience will lead to a disaster. At the end of the poem, the pool players found themselves in a trap that is impossible to stay away but still, the boy seems to be ready to die to avoid the moral trap. They are ready to sacrifice their lives to follow this stylish behavior. Hence, the badness is the way of life, the mode that must be observed; it serves as a model for emulation.

The poem discloses that violence and cultural deviation will certainly empower the boy with control and authority that gives them the possibility to manipulate other people and to subject them to their own rules. Perceiving the sweetness of badness that gives certain freedom also attracts them so that they are long to behave inappropriately again. The coolness, hence also lies in the absence of constraints and prohibitions where badness becomes an inherent part of their character. Their coolness of alienation responds by dropping out, drinking, debauching, dying. It is a wasteful aggression against the self, this fragile wall of bravado that the poet mourns (Melhern 129)

Aggressive emotions are also another way to defend themselves thus disguising their disadvantages. In this respect, badness is a kind of mask that would protect themselves from those who are morally stronger than you are. In a desperate quest for the new life deprived of the dictated rules, a malign attitude to other people serves to be the sheet from the alien environment. The badness is the only means they know to resist the constraints of life, which is explained by the lack of awareness and upbringing, or even an excessive upbringing. Hence, bad behavior is the method to set free from the extreme control of their parents. In the poem, we see the lines that manifest an outright protest against the overall manipulation of parents: We strike straight (Brooks 2413). This is the protest against the adults manipulation thus trying to protect themselves from the good impact of the senior generation.

The badness is also the call to the danger of the city and the corruptness of humanity. The pool players have nothing to do but encounter these difficulties in the way they are capable to do that. We Strike Straight (Brooks 2413) is also the logo against the dander of the streets. The teenagers rebellion is here justified, as they do not see another way than to face the reality. Their bad behavior reveals the hidden fear concerning the future; at the same time, the boys are too cool to show that. The boys negative attitude to life is also a kind of the authors request to care more about the future of the American youth that is on the edge of regression and calamity. Brooks shows that they are too proud to ask for help and instead, their behavior is the answer for the indifference of the parents. The specific form of the poem where we is always at the end of each line is a silent scream that the boys intend to cry out. It does not necessarily express the identity of behavior. On the contrary, it is a call to stop ruining American society. The badness is not the initial position; it is the outcome of the social instability and reluctance to search for alternative solutions. In that way, the pool players bad fun implies the longing for dramatic changes in social and cultural life.

The line Jazz June (Brooks 2413) does not express some notions of sexuality or gender issues. On the contrary, the jazz here implies its primary notion of music. In that regard, jazz dictates the swagger way of life leading to relief from the imposed obligations and rules. Instead, the youngsters live according to the rhythm of the music. For teenagers, life is too short to waste it for school; it is much more interesting to yield to other temptations and to get the most pleasure from it. It is not in vain that the author mentions jazz in the poem; it is acknowledged that jazz was forbidden music that symbolized the rebellious spirit of the national minorities who fought for human rights and freedoms. The poem, thus, interprets the rebellious spirit of the street minorities who strive to changes and to self-expression where the expression of badness is the most effective instrument. They represent a separate class of the American society who are not afraid to be different; furthermore, they hate to work the better, as they consider it useless. Brooks calls for the elimination of deviations to the frustration of the youth.

Jazz could also mean having a good time or enjoying time in summer, the period, which is free of school. In this poem, it also constitutes that the players ignorance allows him to avoid the hardships of life. However, Brooks attaches here a more profound meaning; it is a kind of warning to those boys who do not express the desire to obey. Therefore, she sharply opposes this line to the last one, We Die soon (Brooks 2414).

The poem Pool Players Seven at the Golden Shovel is a rather laconic and, at the same time, in-depth representation of the life of the American youth that is spoilt by the luxuries of life. The desires of the young people to trespass the edges of permissible are predetermined by the lack of awareness and education leading to cultural and social deviation. It also represents the urban youth violence that is reluctant to learn another principle of self-expression. Therefore, Brooks poem is a call to action for the American society and to the necessary measures that should be taken by it.

Works Cited

Brooks, Gwendolyn. We Real Cool. The Norton Anthology of American Literature. Ed. Jerome Klinkowitz and Patricia B. Wallace. 7^th ed. Vol E. New York: W. W. Norton & Company, 2007. 2413-2414. Print

Melhern, D. H. Gwendolyn Brookd: Poetry and Heroic Voice. US: University Press of Kentucky, 1988.

Anne Fadimans The Spirit Catches You and You Fall Down manages to evoke a critical issue in contemporary society. Through a humorous twist, the story presents what happens when two different cultures collide. Fadiman strives to communicate the depth of the issue in a series of themes associated with how the characters perceive the world, presenting an element of contrasting ideas in one society. The themes of kinship and nationalism help narrate how different cultures perceive their surroundings and highlight the potential origin of cultural conflict.

Kinship is a dominant theme in the story as it highlights how different characters perceive the family institution within different cultures. The first instance is on the entire narrative, which depicts the strength within Lias family in the Hmong culture. Cultural differences in the narrative form the basis of kinship. For instance, Lia suffers from brain damage and has been under her familys care for 26 years. This highlights how the Hmong culture upholds kinship and would not leave their kin at the hands of strangers, as is American culture. If the same case happens, the affected kin is committed to an institution in America. It highlights how people from different cultures care for their loved ones, with Lia often cared for by her family who bathes her, adorn her in nice clothes, and celebrate her birthday every year. In American care homes, these patients are subjected to a difficult life with little to no family members visiting them regularly. In most cases, neglect worsens a patients condition, which is not the case for Lia because she is loved.

The Hmong culture also puts a strong emphasis on the family from its composition and clans. For instance, a family can be as large as nine children per family, different from the American culture, which was reserved for up to two children. This highlights how children in the Hmong culture are cherished and appreciated. During the mid-eighties, when the refugees fled Laos for greener pastures in the United States, leaving behind older family members was the most difficult thing, illustrating that they appreciated every family member regardless of their age. However, seniors would be confined in senior homes with very limited family time in America. The clan also plays an important role in signifying kinship. For instance, Foua and Nao Kao only accepted Fadiman and Ying since Yings husband was from the Lee clan, illustrating that trust had to be based on ties to specific clans and how one perceived this clan.

Holding different family values may lead an individual to different perceptions of people from different cultures. For instance, Fadiman reiterations that family obligations are the most common sources of pressure on an individual in terms of demand is met with criticism from Vangay, who mentions that no one is for themselves (Fadiman 247). According to this statement, one can note that a Hmong individual appreciates being surrounded by their loved ones and put very little interest in the pressure this number may have on their economic lifestyle. Moreover, Vangay notes that the perception is only limited to Americans and not the Hmong people, further presenting cultural differences.

As the narrative unfolds, the author evokes a theme of nationalism riddled with other sub-themes. For instance, power plays a central role in categorizing people into specific groups, such as the Hmong refugees, in which the Lees are part of with very limited to no power. In Laos, these people were free to do what they wanted, including fully appreciating their culture and living wherever they wanted. However, once they move into the United States, they notice they have limited say in many issues, including their freedom. This forces them to depend on other people for sustenance because available options do not address their major concerns. For instance, very few jobs meet their skills, and since there are many refugees, job competition is tough.

Another instance of nationalism is evident in how the refugees perceive the laws in America. They agree that these laws are tougher than they were in Laos. The American penal system is labeled as strict and unforgiving for anyone and most certainly stricter on refugees. Interestingly, these laws make their way into the Lee household when they learn that they are no longer the ultimate decision-makers for their children. For instance, an American doctor said that once the police are called, and court orders are obtained, beliefs are replaced with power (Fadiman 84). This meant that the American culture granted more power to doctors instead of parents, something that came as a shock for Lias parents since they always determined the right choices for their children. However, being limited with some laws suggests that they are mere puppets in Americas penal system.

The cultural conflict was a rapid social change with the heightened immigration, which introduced new cultures to an already established American culture. Varying observations on several aspects of society, including kinship and nationalism, further promoted cultural conflict, perhaps driving fear and guilt among the refugees. The Spirit Catches You and You Fall Down communicates this message in a touching narrative of family, struggle, and social stratification. Therefore, the story highlights that cultural difference is a good thing and should be appreciated within the society.

Work cited

Fadiman, Anne. The Spirit Catches You and You Fall Down: A Hmong Child, Her American Doctors, and the Collision of Two Cultures. Farrar, Straus, and Giroux, 2012.

Introduction

The contest between men and women has always been one of the main struggles in the world. Both, men and women want to take dominant positions in the society. The times were changing and the influence was also different in different times. Matriarchy and patriarchy were present in the world history during different time periods. The question of dominance remains actual till now. Some years ago men occupied dominant positions: women stayed at home, cooked, cleaned and provided the other house work. Modern woman wants to be independent: she wants to work and to support financially herself. Women became more powerful and now they are eager to control mens actions and behavior, as well as some men still manage to remain the support and governors for women.

Discussion

Two literary works, Lysistrata by Aristophanes and The Taming of the Shrew by William Shakespeare, show opposite influences, male and female. These both works are aimed to show the power of dominance of one sex under the other without using power, just by variety of mind and vividness of imagination. To achieve something is faster and better by using your intellectual possibilities than trying to provide power.

Lysistrata by Aristophanes tells us the story about Lysistrata and her coward plan of how to put to end Peloponnesian War. Her main accomplices were all women of Greece who had to refuse their men in sexual relations till the peace between Athens and Sparta would not have been signed. Men are suffering without their wives, they try to persuade them to return, but wives decision is firm. Men had to yield to womens demands and to sign peace. (Aristophanes 2007) The play shows the womens power, which they did not notice before and which can make men to behave as women want.

The other play, The Taming of the Shrew by William Shakespeare, is the presentation of the versa situation, when husband makes his new wife to obey him without extra words by fraud. The situation was the following, Lucentino wants to marry beautiful Bianca, but her father will agree on this marriage only when he marries his elder daughter, Katherine. The problem is Katherines ill-temper: no one wants to take her as a wife. One brave man, Petruccio, wants to marry any woman with big portion. Lucentino persuades Petruccio to marry Katherine and he agrees. His plan was rather risky, but he gain success and made his wife obey him.

Petruccio is late for his own wedding. He does not allow Katherine to eat and sleep for several days, giving his arguments, that his love is too big, to allow her to eat that cheap food and to sleep on that uncomfortable bed. The final scene is the culmination of the play. On the banquet, devoted to Hortensios wedding, three husbands decide to show their power under their wives. After having called then to come, two wives refused and only Petruccios Katherine has come obediently. (Shakespeare 2004)

These plays have the same theme: how to make opposite sex to obey the decisions which have already been taken. The influential sexes are different. The methods which are used have both common and different natures. Petruccio and Lysistrata use the strategies which remove life-necessary issues. Petruccio does not allow his wife to sleep and eat and al last she has to obey, as the natural need in food and good sleep is the main peoples necessities. Lysistrata and other women refuse their husbands in sex, saying that they want to return their husbands back for ever. The strategy also appears to be winning. The man suffer from erection and they are ready to explode any time (Aristophanes 2007).

The both plays finish with the win of convincing side. Both men and women have the power to convince. The desire and a high level of intellectual abilities are the main factors which cam make person do what you need.

There are a lot of ways to make people obey. Different people choose different methods. There is one methodology to do this. People should pay attention to persons character and the level of his/her independence. Independence plays one of the main roles in the situation. Considering the plays, the conclusion may be maid that Katherine and men who went for war were dependent. Dependence may be different: emotional or physical. Katherine suffered physical dependence more, while men in Lysistrata suffered both emotional and physical dependence.

Summary

In sum, the both plays, Lysistrata by Aristophanes and The Taming of the Shrew by William Shakespeare, have similar and different features. They are similar in the theme  the convincing of person of opposite sex to obey. The difference is in the ways of this conviction and the sex influential parts. The theme of dependence and independence is touched. To the point, there are no absolutely independent people, we are all dependant. People often do not notice this dependence or they may want to hide it by persuading in verse, but it is a lie, which is easy to check.

Works Cited

Aristophanes. Lysistrata. Theater 61 Press, 2007.

Shakespeare, William. The Taming of the Shrew. Plain Label Books, 2004.

Sylvia Plaths poem Daddy and Joyce Carol Oates short story Where are you going, Where are you been? Question the typical womans role in society. Daddy explores the authors relationship with her father, using analogies to emphasize his power over her. Where are you going? Where are you been? portrays the main characters world as being highly dependent on men and their decisions. Hence, a reoccurring theme of both literary pieces is a gender power imbalance and the influence of patriarchal values on womens lives.

The morbid description of men in the pieces aids in portraying them as unresponsive, careless, and at the same time extremely powerful compared to the female characters. In Daddy, Sylvia Plath compares her father to a shoe, a restricting object that did not let her breathe or Achoo (Plath, 1992, p.1). Already the analogy introduces a negative male trait that has evidently limited her freedom. Moreover, the word Daddy itself creates a power gap between the father figure and the child addressing him; yet assuming the author is not a child, this word is specifically used to infantilize the speaker.

Joyce Carol Oates demonstrates a different form of power imbalance through the description of Connies father. He is barely present for any of the conflicts and events in the story: he didnt bother talking to them (Oates, 1991, p.1). The fathers of her friends appear only to drive them around while staying sleepy and pleased (Oates, 1991, p.2). Although minimal effort is made to take part in their families lives and show interest in their loved ones, the mens absence is normalized and ignored. Furthermore, the female characters are highly dependent on their husbands and fathers to complete daily tasks, demonstrating the influence of a patriarchal society on a womans life.

The grandness of the father in Daddy is further emphasized through the child-like language and no set rhyme scheme, which ultimately lowers the maturity level, and, therefore, the credibility of the female speaker. The poem contains many instances of repetition, starting from the first line, while the rhyming throughout the piece does not follow a specific pattern. In the end, this writing style offered a sense of reading a nursery rhyme, which once again signifies a contrast between the speaker and her father. Although no description of the daughter is offered, the style of the poem, as well as the mentioned feelings of limited freedom, suggest a miserable life to which the patriarchal values have evidently contributed.

Connies visual portrayals, along with her characterization, are reflections of a patriarchal society, as she becomes ideal for reckless and manipulative relationships with men. More than that, her adolescent life is solely based on boys and romance. The values that society prioritizes are adopted by the character to the point where her only interests in life are related to pleasing and communicating with boys. Connie repeatedly chooses her male acquaintances over female friends, as it seems far more mature that way. At the same time, mentally, she remains a young girl trapped under restricting social constructs.

The influence of patriarchal values on womens lives is clear from the multiple war analogies in Plaths Daddy. The speaker compares her relationship with her father to one between a Jewish person and a Nazi during the Second World War (Plath, 1992, p.2). Furthermore, she provides details: Not God but a swastika, your Luftwaffe, and brute heart to accentuate the image of her father as a fascist (Plath, 1992, p.2). Evidently, the speaker feels trapped, dominated, and restricted in her freedom. In that way, the child-like writing style, along with the harsh analogies for a father, aids in exploring the negative effect a power imbalance can have on a person. Still, the speaker notes that Every woman adores a Fascist, signifying that not only is the violence normalized, but it has also been taught to be loved and appreciated by women (Plath, 1992, p.2). The power imbalance negatively influences the daughters mental state, but the generally acceptable reaction to such relationships remains neutral.

Finally, another aspect of the theme is explored through the manipulative ways a male figure contributes to Connie leaving her childhood behind in Where are you going, Where are you been? As the adolescent spent her teenage years engaging in various interactions with boys, even her final step into adulthood was exploited by presumably a much older Arnold Friend. The story accentuates all of the main negative points of living in a male-dominated world. Having no responsible father figure and, therefore, standards for a good man, Connie is then faced with violence and possibly sexual exploitation from the mysterious Arnold Friend. The stories devastating ending illustrates the consequences of young girls growing up in a world with powerful and manipulative people.

In that way, the two literary pieces demonstrate the theme of power imbalance rooted in gender inequality and the influence of such issues on womens mental and physical states. The poem Daddy explores a confined relationship between a father and a daughter, as the speaker depicts the fathers evil nature through analogies and war references. On the other hand, Where are you going? Where are you been? reveals a dark story about a young girl becoming a victim of the manipulative patriarchal motives of society. In both pieces, the authors reflect on the social trends of their historical era and emphasize the importance of change.

References

Oates, J. C. (1991). Where are you going, where have you been? The Ontario Review, Inc.

Plath, S. (1992). Daddy. HarperCollins Publishers Inc.

The novel The Confessions of Nat Turner was written by an outstanding American writer William Styron. The most eloquent fact about this book is that it was awarded the Pulitzer Prize in 1967, but it would be just to state, that the response of the audience to the novel appeared to be very controversial. The book received equal amount of praise and reproach. However, this mixed reaction to the novel is not the evidence of its imperfection, on the contrary, the book, that provokes a whirl of emotions in response, is a masterpiece that, certainly, deserves attention.

The significance of the novel may be proved, first of all, by the historical event it is based on, because it is difficult to underestimate the importance of the slave rebellion, which occurred in Southampton County, Virginia on August 22, 1831. The uniqueness of the rebellion was in the fact that it was the first and the only successful slave revolt in that region. It was organized by an extraordinary 31-year-old man, who managed to inspire about seventy slaves to start their struggle against slavery (Greenberg xi). Actually, the revolt was very short, it lasted little more than one day, during which the rebels managed to kill about sixty white people. However, the whole country, not only Southampton County, was devastated, infuriated, and scared by the violent and desperate action of the slaves. Though all the participants, including Nathaniel Turner, were caught and hung, their deed made an important influence on American society. William Styron chose this rebellion on order to continue Turners mission of making society face the essence of slavery and racism.

The book under consideration consists of the Introduction and four parts. In the Introduction the author presents an extract from The Confession of Nat Turner, a historical document, written by T.R. Gray after the capture of the rebellions leader. Gray presents Nat Turner as a gloomy fanatic, trying to convince the audience that the rebellion was the only incident, which would never occur again (xiv). This point of view was intentionally presented by Styron, who tried to refute it in the subsequent chapters. The chapters uncover the essence of the rebellion and gradually create the complex portrait of the protagonist. The zest of the plot of the novel is in the time-trick used by the author. In the first chapter, he describes the sad outcome of the rebellion, when Nat Turned is already caught and is waiting for his punishment in a solitary cell. Then the action starts to unwind backward, in the form of the protagonists recollections, and in the final chapter, the actual rebellion is described. Thus, the story is told in the first person and is presented in the form of reminiscences. Styron gives the right to Turner to speak for himself. We think that the author made the right choice of the manner of presentation, as this type of narration creates a realistic atmosphere as if the reader were able to hear the real story of the man. The narration initiates the reader into the historical situation and personal tragedy of the protagonist.

Nevertheless, it should be mentioned that the author was greatly criticized for the choice of the type of narration. The first reproach was that he had no right to speak on behalf of Nat Turner, because Styron himself was white, and, what is more, his relatives were slave-owners. Thus, Styron was accused of being unjust and hypocritical. However, it should be taken into account that the writer lived in the region, where the rebellion occurred, and he had great respect for Nat Turner. Besides, the critics accused the writer of inaccuracy in the depiction of historical situations and events. In fact, it should be taken into account, that Styron had no intention to write a history book, he created a work of fiction, and he wanted to concentrate his attention on the character of Nathaniel Turner. Probably, Styron was inspired by the following idea of Bernard Berenson: History should not be so much an account of illusions, because men act according to their illusions, and myths, much more than on the guidance of facts (12). The author himself said that he had intended to write less a historic novel in conventional terms than a meditation on history (Styron ix). What is more, there are no genuine documents about Nathaniel Turner, this is why the authors ideas cannot be treated as liberties, he did not distort the reality, he created a work of fiction.

The most impressive thing about the novel is the character of the protagonist. He may be treated as a lunatic or a prophet; it is up to the reader to decide because the author gives neither confirmation nor refutation of the nature of Turners visions. However, there is no denying the fact that the character of the rebellions leader is very complex. The author presents the development of his personality and explains the reasons for his hatred for the white because Turner had been deluded and betrayed. Nevertheless, the man constantly doubts the rightness of his actions, finally forming his concept of freedom. This concept of freedom is one of the merits of Styrons novel. He presents freedom as the thing that is not desired by slaves, people who are deprived of it. For Styron, freedom is synonymic to knowledge. An intelligent and unique man, Nathaniel Turner was a real prophet of his time.

Drawing a conclusion, it should be stated that William Styron wrote a complex and controversial novel. He did his best to create an impressive and thought-provoking character of Nat Turner. There is no use trying to compare the real historical situation and the character of the novel, the reader should read between the lines and see the nature of slavery and injustice, the most awful things of that time.

Works Cited

Folks, Nancy Summers. The World is Our Home: Society and Culture in Contemporary Southern Writing. Lexington: University Press of Kentucky, 2000.

Greenberg, Kenneth S. Nat Turner: A Slave Rebellion in History and Memory. NY: Oxford University Press US, 2004.

Styron, William. The Confessions of Nat Turner. New York: Random House, Inc., 1967.