Waiting for Godot(Something to Happen)

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Waiting for Godot

(Something to Happen).

Estragon And if he doesn't come?

Vladimir We'll come back tomorrow.

Estragon And then the day after tomorrow.

Vladimir Possibly.

Estragon And so on.

Vladimir The point is--

Waiting…..Silence…..Waiting….. Waiting for what? Anything, nothing, everything, anything… something. This is Godot. Waiting for Godot is a play about everything and nothing all at the same time. As a microcosm of human existence, each element of the play can be seen as a facet of life itself. The protagonists of the work, Vladimir and Estragon are waiting for a man named Godot. Who is Godot? That is not the point. The point lies in the waiting. Godot is that which we wait for. Samuel Beckett's 150's existential commentary attempts to dramatize an element that by its very nature, lacks drama. To add to the paradox, Waiting for Godot is both empty and full. This is perhaps why critics and fellow playwrights have raved that this play has changed the way the stage is seen. It speaks like we speak, it thinks like we think and perhaps is what we are, a paradox.

Estragon Nothing to be done.

This is the line that opens the play, and is its essence throughout. The protagonists Vladimir and Estragon, two codependent vagabonds are waiting for a man whom they have never met, named Godot. On its face this situation hardly seems the stuff of great theater, but it is what these elements represent that draw upon our deepest senses. The playwright, Samuel Beckett, battled depression all his life, and rather pessimistically, saw human existence as stretches of waiting. Godot is that which we wait for. The story is not about Godot however. It is about our waiting, or rather about us trying to find meaning in our waiting. The play's premise is then life. Everything in the play represents what fills our lives. Godot is something never achieved, something never finished. We may encounter aspects of life that relate to Godot i.e. the boy. However we will never find Godot. An underlying theme is hope, and without that hope, there is no point to life. Meanwhile, we do have Godot, as do Vladimir and Estragon, and our lives continue on, full of asides and detours.

Estragon No, nothing is certain.

If life is what this play is, then the set and the characters must be features found in real life. Vladimir and Estragon are found sitting along a country road next to a tree. They encounter a master and a slave, in addition to a young boy. Who are these people? What do these things represent in life. There are of course many meanings, but a few fit with the theme better than some. The constant factor of Estragon's boots and Lucky's hat are there for comic relief, which Beckett does use to keep things from remaining too dull. However, the boots could represent material possessions in life, and how they are often more trouble than what they are worth. The hat represents confidence, power, or the power to think, such as a thinking cap. The road that the two main characters sit on is an unvarying symbol of choice, or life. Vladimir and Estragon sit on the road of life, at a point of waiting, for Godot(something to happen). The tree behind the action stands for a lot of things. For one, it represents the passage of time in the play, which is key to the theme. In between the first and second acts the tree has grown leaves, which is one factor that curtails our belief that the play takes place on consecutive nights. The tree represents a way out for the two players. They are searching for meaning of Godot, and the meaning of their waiting for Godot. The tree is a way out, by death, meaning suicide. The theory is that in death they would find the meaning of life, such as the quandary goes. Pozzo and Lucky, master and slave, are a bit harder to figure out. For one, they are a specific relationship in life that while complicated in itself, exists for the amusement of others, Vladimir and Estragon. On the other hand they represent relationships in general, and how no matter what the status of two individuals are, over time they become dependant on each other. In the second act Pozzo is blind, and Lucky is mute, thus they rely on each other. Beckett could be making a statement of world affairs and how the powerful rely on the weak just the same as weak rely on the powerful. In Lucky's duties as slave to Pozzo he has to carry many things. The list of symbols could continue to the fine minute differences between characters, to the type of speech that is used in the dialogue of the play. Just as the play is a paradox, so is the previous list, because I don't believe that the symbols matter, nor are they concrete or substantial in anyway. This was Beckett's point.

Vladimir We've nothing more to do here.

Estragon Nor anywhere else.

In considering the assignment of discussing the main points of the play, and how the absurdist method affects them, I seriously contemplated turning in a few short lines, stating

The point is there is no point, and yet, as humans we constantly look for points. As far as the absurdist method's effect, the theme itself is absurd.

I could not bring myself to be so bold, although I wish I could, perhaps my freshman year I would have. ( More time to make up for the grade that would have followed). Samuel Beckett himself called the play existentialist and absurd. The movement of existentialism denies meaning of any form to be attached to existence. Samuel Beckett would have said, "The play is about two men, waiting for Godot, who never comes." He denied that Godot was God. He wrote the play to point out that all these things we have in life, all our relationships and items, mean nothing. My previous statement about everything and nothing, this is what I mean. My point in wanting to hand in a paper with very little written, is that there are no correct answers as to what the themes of this play are. Mr. Beckett went to great trouble to provide no definable timeline for the action. He went to great trouble to give no definite answers to our impending questions of who each character symbolizes. Of course, one would not write a play about nothing, for nothing. One does so, to provide a blank slate. Waiting for Godot is what you bring to it. Interpretations vary as each audience member or reader varies. Every understanding of life provides a new meaning to the play. This is the essence of existentialism and the theater of the absurd provides us with the proper disconnect to make this possible.

Absurdism is a style of playwriting that through certain techniques, distances the audience from identifying with the characters, setting and plot, so they can better identify with the theme of the play. The very idea is absurd, and perhaps obscure. Waiting for Godot is steeped in Absurdism. There are very few identifying factors any typical audience member would feel for the characters of the play. The two protagonists are homeless men, sitting on an unremarkable country road, on a unremarkable mound, under an unremarkable tree. None of the characters seem to have much of a reliable memory, so there is no talk of a specific past that anyone would be able to identify with. There is only the moment to be considered and this is the narrowing of focus that Absurdism yearns to achieve. Without Absurdism Waiting for Godot would be a gobbled mess of stereotypes and social stigmas. With Absurdism Waiting for Godot is, if not a commentary of life, then a raising of questions about life. The answers are to be provided by each reader and audience member. Those answers come from personal philosophy and beliefs. Two people sitting next to each other could receive the play in two entirely different manners, with one seeing the whole thing as an affirmation of hope in God, and the other viewing it as a statement totally against the existence of God. Meaning and symbols of this play rely entirely on the credo of those watching it. Samuel Beckett wouldn't have had it any other way.

Vladimir Well? Shall we go?

Estragon Yes, let's go.

They do not move.

Everything and Nothing. Just as this paper seems to contradict itself, so does Waiting for Godot. The play is about life and how we fill the passing of time. Samuel Beckett did not portray how the audience would choose to spend their time, he just provided a blank slate for the audience to draw on. He allows specific meaning to be found within each of us. Truthfully, he could have written a tragic-comedy in fifty acts rather than two, and it would not have changed a bit. Absurdism has a profound effect on the play, for without Absurdism this play could have never existed, it is a true child of the movement. As absurd as the play was, there is an element of humanity that we find at every turn. There is truth to be found in it all, right down to the manner in which Vladimir and Estragon conversed, like two old friends finishing each other's sentences. Perhaps the one statement by the playwright I can glean from the work, is that life ends like the play ends, with nothing finished and nothing resolved

They do not move.

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An Extraordinary Mother

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What kind of woman does it take to overcome so many obstacles and raise twelve successful children? It takes a woman like Ruth McBride. In the novel The Color of Water written by James McBride, he goes on a search to find his identity by discovering about his mother, Ruth, and her past. Ruth McBride sets an example of an amazing mother, who would do anything and everything for her twelve children. Ruth McBride showed what a fabulous mother she was through her determination, her self-sacrificial ways, the tough love she gave her children. One of Ruth's most predominant qualities as a mother was her determination for her kids.

Determination is one of the many things that made Ruth such a remarkable mother. First, when her first husband, Dennis, died, he abandoned her with seven kids to raise as a single mother. She took as many jobs as necessary to support her kids and try to provide them with a decent childhood. It took a lot of courage for her to not break down or give up when she was left with a handful of kids for whom she had total responsibility. Also, she showed extreme determination to get her children a good education so they would not become nobodies. She constantly tried to get her children completely focused on school and nothing else. She pushed all of her kids to attend school because she did not want them to let the color of their skin limit their potential in life. Lastly, when her second husband, Hunter Jordan, passed away, once again he left her with a bunch of children to raise. Hunter said to Ruth, "I'll help you for the rest of my life, if you'll marry me"(47). He helped her for the rest of his life as he promised. However, this time she had twice as many kids to worry about. She was a determined single mother still raising young children, but also trying to put her older kids through college. Along with showing extreme determination, Ruth also showed her self-sacrificial ways.

The second thing that stood out about Ruth as a mother was how much of herself she sacrificed for her children. First and foremost, Ruth cut ties completely with her Jewish family and friends back in Sulfolk, Virginia to leave with Dennis and start a family. None of her children would exist on this earth if Ruth had not made the sacrifice of leaving her Jewish family behind. When Ruth boarded the bus to go to New York, he father told her something, which led to this sacrifice. "If you marry a nigger, don't ever come home again. Don't come back"(15). Secondly, she worked several jobs to try and support her twelve offspring. She exhausted herself day and night working to provide her children with food and clothes and any other necessities. Finally, Ruth faced a lot of discrimination, but stuck it out because she did not want her kids to be affected by it. As she walked down the street with her crew of biracial children, many racist comments were made towards her. She simply ignored these harsh comments because she did not want her children to think there was anything wrong with them. Although Ruth treated her kids very kindly, she also gave them tough love.

Ruth McBride severely disciplined her children, but she did it for their own good. First, when James went through his rebel period, he would come home at outlandish hours in the morning, high on drugs or alcohol. Ruth would take off her belt and beat him senseless with it, hoping it would teach him a lesson. Even though this seemed cruel to James and his siblings at the time, in the long run it taught them discipline and made them better people. Also, Ruth would scold her children if they shared their business from home with the students and teachers in school. The kids did not understand why their mother would come down so hard on them for it, but it was for their own good. Ruth did not want her children sharing information with other people outside of the family because it would just cause more problems and distract them from getting an education. One time when James asked what race he was, Ruth answered, "You're a human being, educate yourself or you'll be a nobody"(). Lastly, when James got really out of control, she sent him to spend some time with her sister-in-law Jack and her husband. She hoped this trip would straighten him out. Even though he hung out on the corner most of the time, something good did come out of it. The Chicken Man gave James a few words of wisdom that eventually set him on the path to reform. Ruth did what she had to do to get her children to make something of themselves.

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In conclusion, James McBride depicted Ruth McBride as a remarkable mother in The Color of Water. She showed her determination by working so hard to provide for her children's needs and education. Ruth made many sacrifices for her children such as leaving her Jewish roots behind to start a family with Dennis and tolerating so much prejudice for many years. She punished her children very gravely but in the long run, it made them better people. Ruth McBride was a truly extraordinary mother.

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Ephedrine

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Ephedrine is a drug that stimulates the nervous system and increases the heart rate. Ephedrine comes from an herb called Ma Huang. This drug is a popular dietary supplement in the United States and has been used for thousands of years in Chinese medicine. There are many different opinions on the dangers of ephedrine products. Some think that they are completely safe when used correctly, while others believe that ephedrine products are dangerous and will cause many problems even when used correctly. The long term effects of ephedrine products are unknown, but some are becoming clear. There have been many reports about heart attacks, strokes, and even deaths caused by ephedrine. So should ephedrine be allowed to be sold over the counter?

The ephedrine alkaloids in ephedrine act as a mild stimulant, with effects similar to caffeine. Ephedrine products can enhance energy and, when used with a healthy diet, they can lead to weight loss. Obesity is a major problem in the United States today. More and more people are overweight. The Surgeon General reports that obesity is higher then ever in adults as well as children. Ephedrine is also used as medicine against asthma, allergies, and hay fever. If ephedrine products can help these problems then it should be legal. However, recent studies show that many people are seriously injured by the use of ephedrine. Before 14 ephedrine suppliers could make wide ranging health claims about the product that have no scientific basis. Nor is their any mention of the potential for dangerous side effects. Now the FDA has authority to stop distribution of unsafe dietary supplements. But is the FDA moving fast enough? If dietary supplements are being regulated then more people will think they are safe. If people who are using the product

feel good and start to lose weight, then they will continue to use the product or use more of the product.

I do not think that ephedrine should be illegal. If people want to use the drug there will still be ways to get it and misuse it. For example, marijuana is illegal and people know it is illegal, but they can still get it anywhere. And because it is illegal it is more fun to use and abuse. Making ephedrine illegal may not increase the problem, but I do not think it will help stop ephedrine misuse. If it is taken off store shelves, people will still find ways to get it. I think that ephedrine should have more regulations on it. Instead of being able to walk into a store and pick it up, it should be behind a pharmacy counter. This would reduce the chance of minors being able to obtain ephedrine. Another way to decrease the misuse of ephedrine is to only allow ephedrine to be obtained by a doctor's prescription. Ephedrine is not for everyone, so if a doctor determines that your body can not handle the effects of ephedrine, then you can not obtain it. The dangers of ephedrine are becoming clearer to everyone in the world. I think people need to be more educated on the effects and possible dangers ephedrine can have. This way if people know what could happen to them, then they will be less likely to use the drug.

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In summary, ephedrine is a dangerous drug that needs to have more regulation on its availability and use. People need to know that ephedrine is not for everyone and can have stronger effects on different people. The use of ephedrine is increasing and so is the death rate, so the regulations on ephedrine today are obviously not working. Ephedrine use can be decreased by placing a few more regulations on it.

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Violence on TV

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Ellen Goodman's essay "How to Zap Violence," is an essay about a device called the V-chip. The V-chip is supposed to help parents alter television shows that prove to be too violent for their children to watch. Bill Clinton promises "new technologies can put you back in the drive's seat in your life"(458). The new idea is very appealing to parents who are concerned with the type of messages that come from their television.

Goodman states that Ed Donnerstein as not a "cultural coroner"(457). He feels that you can't understand the dilemma with violence by doing a mere "body count" or a "bullet count"(457). The problem is more complex that just counting the bodies. It is true that not all the violence on television is equally damaging to young viewers. So the question is, what kinds of programs are harmful to young children and what types are of children are harmed.

On twenty-three channels, researchers analyzed ,6 television programs that contain harmful violence. Researchers, within these television programs, recognized three threats; "Learning to behave violently, becoming more desensitized to the harmful consequences of violence, and becoming more fearful of being attacked"(458). About seventy-three percent of the programs contain violence that's unpunished. A lot of the programs that contain gunfights, the victims are not shown severely injured. Fifty-eight percent of the programs contain images of the victims showing no pain. About 16 percent of the television programs display the aftermath of the act of violence. This part of Goodman's essay is what I feel is the strong point. I have seen programs that contain violence and the perpetrator is unpunished. In movies like, "The Rock" there is a particular car chase where random cars are hit and public property is damaged. Of course the story makes sense to an adult but young children would get the wrong impression. Children are too young to comprehend a movie's plot so they really should not be watching adult movies but that's the reason for the V-chip.

Goodman feels most violent programs that seem to be harmless are probably the most harmful to children. For instance, children's programs that include violence are most likely to make it humorous. An example of a children's program that contains such elements is the classic, "GI Joes" cartoon series. The whole plot of the cartoon is about war, but the characters are drawn and portrayed in a harmless manner. The guns are drawn simple and shoot laser beams instead of bullets. The "bad guys" never die and somehow they always survive once the "good guys" beat them. As my dad once said, " There is nothing funny about war" I feel the same way given the knowledge I have about war and it's consequences. Overall the cartoon series can prove to be extremely misleading to youngsters especially in this day and age.

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Given the fact that harmless children's shows can contain misleading imagery, what about the programs that try to portray antiviolent themes? With no surprise, the percent of antiviolent themes is about 4 percent. Perhaps the programmers are afraid if the shows contain too much antiviolent themes, no one will watch them. For the producers, programmers and anyone else in the entertainment field argues with the intention of their programs are merely showing a creative imagination and are not destructive to American society. In her last paragraph, Goodman explains the V-chip is a violence block, but wonders what will get rid of the creative block. I'm sure the parents who are monitoring what their children are watching can answer to the question. The parents are the ones who decide what is creative and what is violent. I don't know the details of the new V-chip device but it would prove to be most useful if the device had an interactive interface. Depending on the parent's choice, the level of violence could be altered to their liking.

I understand Goodman's point completely, but I cannot help to think about other countries and their problem with violence. For example Japan is the first country I think of. Japan is known for the graphic images shown through the animation. Imported cartoons from Japan cause controversy in America because it may influence the children in the wrong way. But why is it that Japan does not have a problem with violence on television? Japan's crime rate is low and anime cartoons continue to break boundaries on all levels. The themes in Japanese animation vary from children's shows to adult pornography. The whole topic baffles me in a way I believe I'll never acquire an understanding of these two completely different worlds, Japan and the U.S.

So the V-chip seems to prove a good purpose. The question is, how will it work and how much will it cost? It's obvious from the facts that a change has to be made for the young viewers out there being exposed to misleading imagery. But nothing can take the place of good old fashion parenting by teaching the kids the difference between right and wrong. I think that's where most of the problems occur. Too many parents rely or blame the television programs for the violent images. I feel some responsibility should be taken by the parents themselves.

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The Crazy Horse Electric Game

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Final Project

The Crazy Horse Electric Game could be a box office hit. This book could be a great movie because young people can relate to a lot of the situations, it has a lot of morals built in to the book, and it is overall just a great story.

One of the reasons this book will be a great movie is because it deals with a lot of issues that teenagers are dealing with today. This book talks about sports in the beginning and how parents can put a lot of pressure on their kids to be good. A lot of kids today dont play sports because its fun, but because they would disappoint their parents if they didnt. It also shows a kid that goes from being great at sports and being very popular to a kid that has a speech impediment and cant walk without a cane. It shows how kids can get really down about themselves when a few things go wrong and look for the easiest way out. Like when Willie takes acid to get away from his problems.

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This story has a lot of morals. It shows what drinking can do to you, like when Lacey beat his son. The consequence is now his son is brain damaged. It also shows what can happen if you are a prostitute. Angel got beat up by Lacey because of it. This book does not ever say any of these things are acceptable.

It is also just a great book. It tells the story of a kid who has it all in the beginning and in a split second looses everything he ever knew. It tells of how he had to cope with his situation and how he found his way back to what he once new. I dont think kids see him running away as a answer to all his problems, because him leaving might have solved a few in his self-exploration but he made more problems then he solved by leaving. These three reasons are why I think this would be a really great movie!!!

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Crime and punishment

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"Hello me, it's me again!"

Crime and Punishment is a story about two men. The two men live inside one body however, and sometimes share emotions. Rodion is that one man, in one instance is compassionate any caring, and in the next he is the ruthless Nihilist that everyone hates. There are many reasons to have this duality in the story. It serves as a conflict that can be built upon. It is a struggle between both men throughout the story to see which can overwhelm the other. The Nihilist controls most of the actions of Rodion, but glimpses of the compassionate man behind the Nihilist are portrayed in just the right occasions. Evil is constantly fighting against the good inside Rodion's mind throughout his contemplation of the murder, and after the guilt begins to take over. If Rodion was completely Nihilist, he would not regret what he was doing, and there would be no story. However, if he was completely compassionate, he would have had no reason to commit the murders. This duality is vital to complete the story, and have it make sense. The compassionate side serves as the tool to keep hope for Rodion as he travels from murder, to guilt, to his final confession.

"Let my life go, if only my dear ones may be happy!" (6) This is the first compassionate comment made by Rodion in the novel. The overwhelming imagery up until this point is negative, and supremely Nihilistic. There is good inside Rodion, he cares for his family, he truly wants them to be happy. This is a necessity because if he had never said anything positive about his family, it would seem that he has already gone too far, and is totally enveloped into his philosophy.

Throughout the whole situation with Marmeledov being ran over in the street; Rodion shows feelings of needing to help take care of him. It is important to see him, "induce someone to run for a doctor..." (14) It is easier for Rodion to be friendly with his family, but this portrays him as an overall compassionate person; who is capable of loving, and caring for everyone, not just his close family.

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Marmelodov is an old friend of Rodion's and he felt that he owed him for this friendship. When Marmeledov finally dies Rodion says he must "repay my debt to my old friend" (14) Twenty Rubles, all the money Rodion's mother and sister had given him is the debt he repaid to the Marmeledov family. Rodion even tells Katerina that if she ever needs his help in the future, that he will be there for them. This is important for Rodion to do, because he is in poverty much like the Marmeledov family, but he still finds the heart to give them all his money. This foreshadows how Sonia, who is "such a joe to him" (14) could have been part of his motive to help the family out. Sonia suffers much like Katerina, trying to support the family; and it is good that Rodion can relate to it.

The history of Rodion's personality is important also. When Pulcheria, Avdotya and Dmitri are discussing Rodion's demeanor, they bring up the fact of his dual personality. Avdotya, his sister, and Dmitri who is a long time friend and fellow student of his only know one part of Rodion's personality, the Nihilistic side. Avdoyta even asks Dmitri, "You mean he is capable of love?" (171)

Dmitri knows a lot about Rodion, but not as much as Rodion's own mother. She remembers when he was compassionate and loving, and this shows when Pulcheria says, "You may both be wrong about Rodya." (17) This is important that there is a view of both opinions of the personality of Rodion. Rodion can carry on as a compassionate person one moment, and suddenly turn Nihilistic. Dmitri and Avdotya only know the Nihilistic piece of Rodion, while Pulcheria knows the loving piece.

Once Rodion has told Sonia he is the murderer the question of Rodion's love of Sonia is no longer there. Rodion has spent so much time in isolation, that he has to spring out to someone he can trust, and someone he loves. When he is around Sonia he gets, "A feeling long unfamiliar to him."() Sonia had the ability to show him compassion and caring, which allowed her to break through the barrier of Rodion's superman/Nihilistic philosophy. This is a pivotal change in the story, which brings on the resolution and eventually admittance of Rodion's love for Sonia.

Rodion's decision to admit his guilt to the police is a direct result of his conversation with Sonia about redemption. His last visit with his mother foreshadows the relationship that he had, and hopes to still have even after he leaves for prison. He tells her that he has "always loved you"[Mother] (404). Rodion's mother has not seen him in a long time, so she may not have felt his compassionate side from the articles he had wrote. Rodion is sure that he wont see his mother for a long time, maybe ever again, he wants her to know that he still has a compassionate side intact

Rodion's compassion comes full circle by the end of the story. His loves for Sonia takes over fully and he is now reduced to the fact that he must suffer. This realization is eased by the fact that Sonia knows he loves her, and is willing to suffer with him,"she knew he had not doubt that he loved her beyond everything" (4) This love will bring him and Sonia through the suffering and bring him to a new life; without this love, there is nothing but doubt for Rodion.

The first clue to Rodion's philosophy (A twisted version of Hegel and Nietche's ideas) can be found when the narrator speaks of the, "sort of haughty pride and reserve about him." (4)

This explains why Rodion feels alone and isolated; he is according to himself, above and beyond all men around him. This foreshadows to his reasoning for the murders. The victims were merely insects to Rodion, he is in the fact "the man".

Leading up to the actual murder Rodion is thinking of more and more justifications for the murders. When he says that the life of the pawnbroker is, "No more than the life of a louse..." (54) Rodion firmly believes that in killing the pawnbroker is getting rid of someone that is useless to society, and that it is getting rid of someone nobody cares about. This is in coordination with the Hegel and Neitche philosophies, but it also ads in a twist, so that he can justify the murders. This is a clue to why he feels guilt later, if he had thought it through more; he wouldnt have went through with the murders.

Rodions twisted philosophy is drawn from other people's opinions. When him and Luzhin are talking about ideas, and how certain acts are permissible Rodion asks, "But why do you worry about it?...It's in accordance with your theory..." It is obvious to see that Rodion takes the extreme of Luzhin's statements. It is important to see that it is not only Hegel and Neitche that Rodion gets his Nihilistic ideas from. His dual personality, is fueled by his firm belief in these twisted philosophies.

When Rodion continues to build on his "theory" that justifies the murders, he begins to feel more strength. His confidences helps him so much that "he is becoming a new man..."(51)

This foreshadows to statements made by Svridigailov later, when he states that Rodion is becoming more like him; void of any compassion. It is good that the narrator states that if Rodion continues on this Nihilistic path, he will lose all of his compassionate side.

When Rodion and Porfiry talk about the article written about philosophies. Rodion gives away vital information about his reasoning behind the murders. Rodion believes that if an extraordinary people, such as him have the "inner right to...overstep...certain obstacles...for the practible fulfillment of his idea." (06) This idea stems from the philosophy of Hegel and Nietche, but once again is twisted to Rodion's benefit. This is an interesting part in the book because had Rodion not made such an in depth explanation of his Nihilistic views, Porfiry might not have suspected him as quickly. In Porfiry's eyes, someone that believes in such extreme views, is not capable of love, or compassion.

When Rodion comes to the conclusion that his guilt has won; he goes to the one person who has been there for him, and he knows he can trust. When she discovers he is the murderer, his evil personality breaks in when he says, "I've only killed a louse, Sonia, a useless, loathsome, harmful creature." (7) Rodion must realize that, even though the pawnbroker was evil, it is still immoral, and a crime to murder her. It is crucial for him to realize that he has not suffered completely enough to be redeemed. The final step must be taken, he must confess to the police.

Throughout the whole story, negative and positive thoughts swirl around in Rodion's mind. When the compassionate side seems to have its day, the Nihilistic side barges in and takes over. Svridrigailov backs up this assertion when he states. "There was something in common with us, eh?" (7) As Rodion is in the Nihilistic point of view for the majority of the story, Svridigailov would only see this about Rodion. As Rodion trusts in his philosophy more and more, he loses more and more of his compassionate side. This is an important part of the story, because it gives conflict; but it is good that Sonia was there to help him redeem himself. Rodion's love for Sonia brings him to the suffering he must face to finally be healed, and free of punishment.

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"One Art"

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In One Art by Elizabeth Bishop, the speakers attitude in the last stanza relates to the other stanzas in verse form and language. The speaker uses these devices to convey her attitude about losing objects.

The verse form in One Art is villanelle. The poem has five stanzas of three lines until the last, which is four lines. In the first three stanzas, the poem is told in second person. Lose something every day. seems to command one to practice the art of losing things. In the last three stanzas, first person is used, and the speaker relates how she lost her mothers watch and other life incidents. However, the speaker addresses her beloved you, and then in the last line, herself.

Language in One Art is simple, yet many literary devices are used. The last line repeated, to the effect of The art of losing isnt hard to master suggests that the speaker is trying to convince herself that losing things is not hard and she should not worry. Also, the speaker uses hyperboles when describing in the fifth stanza that she lost two cities...some realms I owned. Since she could not own, much less lose a realm, the speaker seems to be comparing the realm to a large loss in her life. Finally, the statement in the final quatrain Even losing you begins the irony in that stanza. The speaker remarks that losing this person is not too hard to master. The shift in attitude by adding the word too shows that the speaker has an ironic tone for herself in her loss or perhaps her husband or someone else close to her.

Language and verse form show in One Art how the losses increase in importance as the poem progresses, with the losses in lines 1-15 being mostly trivial or not very important to the great loss in lines 16-1 or a beloved person. Elizabeth Bishop suggests then that mastering the art of losing objects, such as car keys, does not prepare one for the loss of a person, which adds more irony to the title. There must be more than one art to losing, if losing a person is a separate suffering.

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Identifying the speaker in "One Art" is a difficult task. Evidence would point out that the speaker is none other than the poet, Elizabeth Bishop. Bishop has endured many losses throughout her life and many of the specific lines in the poem refer to things she herself experienced. "I lost two cities, lovely ones" (Bishop 54) is in fact a true statement about Bishop. Because her father died when she was eight months old and her mother was committed to a mental asylum she was sent to live with her grandparents in Nova Scotia. ("Elizabeth Bishop"). When she was 6 years old her other grandparents took her from Nova Scotia to live with them in Worcester, Massachusetts. She then left Worchester to live with her aunt Maud and uncle George at eight years old.

Bishop continues to bring out more personal references in the final stanza when she makes a personal note to a specific person. "Even losing you..." (Bishop 54). This reference is possibly to her close personal friend Lota de Macedo Soares, who died of an overdose in Bishop's house while Bishop slept. ("Bishop")

Bishop created the poem "One Art" as a rare biography poem, but at the same time, as a poem that would fit the lives of many individuals. She touches on all aspects of losing that people face in the world from simple objects, important objects, places, and finally other people. "One Art" represents the struggle a person must go through to overcome such events and the daily reassurance necessary to not allow these losses to be considered a disaster.

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

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