Discussion on Criteria of an Adventure film

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Discussion on criteria of an adventure film

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his discussion attempts to validate the statement that 'In a general sense, the criteria of an adventure film is as follows there is an exciting quest and a series of perilous events or journeys; there is a romantic sub-plot; there are recognisable bad guys, and the hero is able to conquer his or her foes as well as save those around them' (Central Queensland University 00, p. 1). The filmic text Indiana Jones and the Temple of Doom (Steven Spielberg 184) will be examined, described, discussed, and explored in order to attempt to comment on the validity or otherwise of this statement.

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he 180s blockbuster Indiana Jones and The Temple of Doom (Steven Spielberg 184) (Appendix A), a film that made 'record profits at the box-office' (Dragan Antulov 000, p. 1), follows to some extent the abovementioned characteristics. This film 'plays' (Central Queensland University 001, p. 4-15) with the 'conventions of the adventure genre', contains elements of 'the colonial adventure narrative' (Central Queensland University 001, p. 4-14), and has generic affiliations with romance. Buckland supports this by stating that 'the blockbuster… addresses its audience by …a mix of genres…often combining action-adventure with … drama, romance' (cited in Neale and Smith eds. 18, p. 167). Accordingly, this discussion guides the reader through the hero's dramatic journey to India, 'a far off land' (Central Queensland University 001,

p. 4-16), his quest to retrieve the magic stone from the recognisable foes, and the perilous events that take place throughout the quest. Furthermore, the eventual conquer of the hero's foes, the return of the stone and the children to the village, and the romantic final moments between the hero and the heroine, will lead the reader to the patriarchal closure of this film.

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hilst the performance of Anything Goes in the opening scene of Indiana Jones and The Temple of Doom (Steven Spielberg 184), a film which

demonstrates 'the impurity of genre' (Central Queensland University 001, p. 4-

14), does not immediately cue the audience by its generic iconography to

indicate its 'colonial adventure narrative' (Central Queensland University 001, p. 4-14), it certainly creates an action packed opening sequence that immediately leads to a 'series of perilous events and journeys' (Central Queensland University 00, p. 1). Correspondingly, the scene is set for Indy ['white hero'] (Central Queensland University 001, p. 4-), Willie [blonde heroine], and Short Round [a child introduced to the film to make it attractive to younger audiences], to set off on their 'perilous journey', as they escape to the airport to get away from Willie's gangster ex-boyfriend. Their airplane crashing into the mountains somewhere in the Himalayas follows their escape from the gangsters. Sobchack and Sobchack (187) argue that within the sequence of events in an adventure film, 'a catastrophe will occur that will shut them [protagonists] off from contact with the larger society' (187, p. 8). Miraculously surviving the airplane crash and on their way to Delhi, the trio stumbles on a poor Indian village that has no children. Hence, the local Shaman tells the trio about the Thugee cult that has the village children captive, and has the village's magical Shankara stone. Consequently, the Shaman perceives Indy [Anglo-Saxon, male] to be the saviour, and asks Indy for his assistance in returning both the children and the stone to the village, to which Indy agrees. This is where the exciting quest that leads them to Pangkot Palace (Dragan Antulov 000, p. ), high adventure, seeming 'fortune and glory' (Steven Spielberg 184), and trouble continues for the trio.

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he 'exciting quest' (Central Queensland University 00, p. 1) to locate the sacred stone , the 'hidden treasure' (Sobchack & Sobchack 187, p. 8) and the children begins with the unlikely trio's journey through the Indian jungle to reach the palace. The trio is considered unlikely because its members are from differing socioeconomic and geographical backgrounds, and are brought together by chance. Sobchack and Sobchack argue that the 'adventure film … brings together a group of people from different stations in life and places them together in a situation of stress' (187, p. 8). Once at the palace that is

ruled by a 'child Maharaja and his Oxford educated Prime Minister Chattar Lal'

(Dragan Antulov 000, p. 1), Indy is suspicious after he is attacked in his bedroom. He therefore searches for secret tunnels that eventually lead him, Willie, and Short Round to the sacred stone, and the sacrificial cave where the exciting quest to retrieve the sacred stone, and perilous events continue to unfold.

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ncluded in a series of perilous events in Indiana Jones and The Temple of Doom (Steven Spielberg 184) are Indy, places his life in jeopardy when he descends to the floor of the cave where human sacrifices are offered to the gods. Also, Indy and Short Round are trapped in a tunnel which has a rapidly descending ceiling covered in spikes, and are rescued by Willie just in time. In addition, Indy forcibly drinks the blood of the Kaliman, and is placed at risk of 'never waking from the nightmare' (Steven Spielberg 184), whilst Willie is offered as a sacrifice to the gods, and is rescued by Indy when he wakes from the nightmare. The underground chase in the mine cars, and the climactic scene on the rope bridge are undoubtedly the most perilous amongst a number of events that place the trio in jeopardy throughout the film. Sobchack and Sobchack argue that in adventure films, 'we expect …tests of courage … endurance' (187, p. ), thus maintaining the audience's interest by providing them with courageous, dangerous, and risky acts of heroism being performed by the protagonists.

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hile Indiana Jones and The Temple of Doom (Steven Spielberg 184), is a film that does not demonstrate a strong link to the romance sub-genre, it does include a romantic sub-plot where 'boy-meets-girl, boy-loses-girl, boy-gets-girl' (Sobchack & Sobchack 187, p. 0). For instance, Indy and Willie are brought together by chance, and show no initial romantic interest in one-another. Once at the palace however, they share a brief moment of romance after Indy shares fresh fruit with a starving Willie after dinner, to which Willie replies 'maybe you could be my palace slave' (Steven Spielberg 184). They

consequently kiss, argue, part, and return to their individual rooms, thus, 'boy-loses-girl'. Moreover, in the final moments of the film when it seems that Willie is departing the village without Indy, he ropes Willie with a lasso, they embrace, they kiss, and the village people rejoice, thus, 'boy-gets-girl'. Willie maintains her subordinate position in the film, since she remains tied up by the lasso, and as Sobchack and Sobchack (187, p. 5) suggest 'changes from an impetuous, feisty... woman…to a limp, soft, clinging vine', suggesting the continuing romance between the two.

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he bad guys' (Central Queensland University 00, p. 1) are easily identifiable in the film because they look evil [facial gestures], place little value on human life [human sacrifice to the gods], are 'coloured peoples', non civilised, 'savage inhabitants' (Central Queensland University 001, p. 4-4f), who wear icons such as plumes, feathers, teeth, and bones. In addition, they eat live snakes, bugs, and 'chilled monkeys' brains' (Steven Spielberg 184), and have child slaves working in underground mines. Douglas (Central Queensland University 001, p. 4-11f), suggests that Western or European culture associates these icons with savagery and evil, thus making identification of the 'bad guys' relatively easy for the Western or European audience. Furthermore, Antulov (000, p. 4) argues that 'all the villains in the film happen to be non-white', thus, accusing Indiana Jones and the Temple of Doom (Steven Spielberg 184) of being 'racist' by today's values.

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ypical to the colonial narrative, the ideology is that the hero being the superior, dominant, Anglo Saxon male must take forceful action against the primitive, coloured, uncivilised, 'inferior and savage inhabitants' (Central Queensland University 001, p 4-4f) to conquer them. Hence, Indy is able to conquer his foes by performing many heroic, dangerous, and life-threatening stunts including the dangerous underground chase in the mine cars, cutting the rope bridge in half, and surviving the fight with Mola Ram on the rope bridge.

Indy eventually eliminates Mola Ram [principal foe] when a struggle between the two ensues on the collapsed bridge. Mola Ram falls to his death during the

struggle for the sacred stones, and is eaten by crocodiles in the river below. Mola Ram's followers are consequently eliminated when the British Colonial Troops arrive to save the day. Thus, the hero and his colonial supporters have successfully conquered their foes. Moreover, Shohat and Stam (cited in G Turner ed. 00, p. 7) argue that 'the missions of Indiana Jones' in cinema, are seen as 'winners of history… which idealized [sic] the colonial enterprise … civilizing missions … motivated by a desire to push back the frontiers of … tyranny', therefore conquering them by force.

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he archeologist Indiana Jones, seems to initially be concerned only with personal fortune and glory by retrieving the sacred stone, therefore not strictly following the conventions of adventure films in relation to saving those around him. Events within the narrative however, do lead the village children to be freed, though not directly by Indy. Whilst working in the underground mine as a slave, Short Round, a member of the heroic trio, is able to free the slave children from their chains. Therefore, as a team, the trio has 'saved those around them' (Central Queensland University 00, p. 1), by returning the stone to its rightful owners, freeing the children, and consequently 'returning the disordered world back to order', as suggested by Sobchack and Sobchack (187, p. 5).

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he filmic text Indiana Jones and the Temple of Doom (Steven Spielberg 184), was used as a sample to validate the statement that in a general sense, the criteria for an adventure film is 'there is an exciting quest and a series of perilous events or journeys; there is a romantic sub-plot; there are recognisable bad guys, and the hero is able to conquer his or her foes as well as save those around them' (Central Queensland University 00, p. 1). It can be concluded from the preceding discussion that, although not strictly following the abovementioned conventions of the adventure genre, the film has nonetheless generally followed the criteria of this genre to validate the above statement.

Reference list

Antulov, D. 000, All-Reviews.com Movie/Video Review Indiana Jones and the Temple of Doom, viewed 4th April 00,

http//www.all-reviews.com/videos-4/indiana-jones-temple-doom.htm

Buckland, W. 18, A close encounter with raiders of the lost ark,??? in S Neale and M. Smith, eds. Contemporary Hollywood cinema, Routledge, London.

Central Queensland University (CQU) 001, 11055 Popular Genres Study Guide, Author, Rockhampton.

Central Queensland University (CQU) 00, 11055 Popular Genres Course Profile, Author, Rockhampton.

Indiana Jones and the Temple of Doom 184, motion picture, Paramount Pictures, directed by Steven Spielberg.

Shohat, E, & Stam, R. 00, The imperial imaginary, in ed. G Turner, The film and cultures reader, Routledge, London.

Sobchack, T. & Sobchack, V. C. (187), An introduction to film, Scott, Foresman and Company, Illinois.

APPENDIX A Indiana Jones and the Temple of Doom Video Recording.

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Finny Vs. Gene

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Gene and Finny shared different views on confidence, commitment, and friendship.

It is absolutely necessary in reading a novel to understand the characters. We must see what qualities they share and what qualities they dont. The attitudes of the characters are a key element in a novel. You must be able to truly feel who they are and what they stand for.

One thing we know is that Finny had confidence. Finny stood his ground and didnt change the person he was for anyone. He was confidant with who he was. You can see this in how he acted towards his teachers. A key example is when he wore his tie as a belt. It was something he wanted to do and he felt confidant doing it. Gene on the other hand fell into Finnys shadow more of the time. Gene never seemed to have much confidence in himself. He was always trying to change himself to be more like Finny. One thing about himself that Gene had the most confidence in was his studies. He was proud of his grades and stuck to his work.

Then we come to commitment. Once again we are brought back to Genes studies. He was readily committed to them. But Finnys commitment was a different kind. When you get down to it, Finny didnt have many commitments in life. He did what he wanted, when he wanted. He was spontaneous. So really, Finny was committed. He was committed to being free. He was committed to living life the way he wanted to where as Gene was committed to living life as he was expected to.

oinny Vs. Gene

Finally, we have friendship. This is where the irony mainly lies. Finny held Genes friendship like gold as did Gene. They were best friends and held their friendship close. Finny, though, seemed to hold it closer. Gene was more thrilled with the fact that he was actually friends with the Phineas. It was a title. Granted, Gene did care about Phineas. I truly believe that he did. But it wasnt the same way that Finny felt about Gene.

Gene and Finny shared different views. Gene and Finny also shared some that were similar. In confidence, they were different. Finny had more confidence than Gene. In commitment, Gene and Finny were committed to different things in life. Then in friendship, Gene and Finny differed much. Finnys friendship seemed to be purer than Genes. Why is it that they can be so different and have such a friendship? Weve always heard that opposites attract.

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The Dynamic Gatsby

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The Great Gatsby is a book filled with dynamic characters, written by a dynamic person. Throughout the book, the themes and situations are on many symbolic levels. The Great Gatsby is such a novel, that the hero is portrayed to the reader by a man who, with seemingly no effort, will not judge a man easily. He perceives him, takes him in, and analyzes him. This man's name is not, in fact, Gatsby, but Nick Carraway, the narrator of the story. The man who is being perceived, of course, is Jay Gatsby, our hero.

Our story, The Great Gatsby, starts out when Nick, a stock trader, moves to West Egg. West Egg is a part of Long Island where the new rich people live. New rich is a term used to describe people who have recently acquired their wealth, and have no connections in East Egg, where the people who have established their wealth live. Gatsby befriends Nick for a good reason, to meet his long lost love, Daisy, Nick's cousin and resident of East Egg. Unfortunately for Gatsby, Daisy is married to Tom, a boisterous man who has taken in a mistress and everyone in the novel knows about it.

Throughout the novel, Nick acts as Gatsby's confidant. A confidant is a person present when a hero needs someone to listen to his plight. We get to know Gatsby, even though he is bad because of the illegal liquor bootlegging operation he runs. We get to know Gatsby because we like the confidant. If Nick, the confidant, is Gatsby's friend, then Gatsby will be our friend as well. This is true of all relationships that deal with Nick. For the most part, we will feel the same way towards a character as Nick does.

The novel ends in explosion and uproar. Nick, knowing Gatsby's passion for Daisy, gets the two together for tea. They rekindle their lost love for each other, and, for a long time, they concealed their love for each other from Tom, Daisy's husband. But, at a party, their love for each other found to be obvious, Tom realized it and became furious. Tom uses Gatsby's lifestyle of bootlegging to convince Daisy that she should stay away from Gatsby and come back to her husband. The story ends when Tom is partially responsible for the bullet in Gatsby's head. In the final chapter, Nick reflects his opinions of Gatsby and the world around him that made him what he was.

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Close-Up

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Imagine a world where studying marine biology meant taking a trip under the ocean, a foreign language class took place in that country, and you could take a Magic School Bus into the human body to learn about anatomy. This world would make things come alive and tingle your senses to the point of no return. We could delve into topics and get a better sense of what we are learning. This is exactly the kind of learning I am talking about when I mention the Close-Up program.

The first night we got into Washington, D.C. we were given a night on the town to explore and figure out our nations capital by ourselves. We toured the Lincoln Memorial where we learned that the monument isn't just a big statue of Lincoln. There are huge inscriptions along the walls. History is not only in facts and numbers and dates. It's in experience the people those making it had and trying to feel those same emotions for yourself.

In government class we discuss a broad range of issues as you very well may know. During Close-Up we had this same opportunity to debate. The discussions at Close-Up, however, provided for a nice change of pace from our regular talks and gave us a wider range of opinions on the issues. This fact can most evidently be attributed to the wide diversity in students attending the week-long seminar. In my group alone we had students all the way from Maine to the coast of California. We got more perspective

on how other people in the nation feel on issues rather than just our sprawling little communities point of view. Although we talked about a lot of issues and court cases that we had went over in class, we also discussed a range of topics that were new to us. We talked about international affairs and new legislation.

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During the week we had a topical seminar where we got to pick seminar we wanted to go to. The seminar I decided on attending was called the Patriot Act. This of course is the slew of legislation focused on terrorists. Most of this legislation I found to be quite funny, but I found the punch-line to come at the end of the bills. One bill proposed that it was alright to perform searches and seizures in areas where no warrant has been issued. Another proposed the examination of high school student's essays to learn if they plan any attacks. Another said we should make it legal in times of crisis to lock up any and all foreign persons visiting our nation. Another said we should suspend terrorists suspects right to habeus corpus while another said we should give them mandatory time in jail. Note that this last bill said nothing about terrorists suspects being convicted of anything, just that they are suspected and should be punished.

As I read through these bills pointing out the inhumanity and insanity of whoever wrote these bills I started thinking to myself. Since when is our court guilty until proven innocent, since when do we not cherish the freedom of expression during the learning process in our schools, since when do we not treat everyone fairly under the law. I soon found out that the bills were not laughing matter. Everyone one of the proposed bills I just mentioned had already passed Congress.

During the seminar I found people who strongly supported these bills. During this trip I was able to attain a heightened sense of the importance of debate in our government. Although I strongly disagreed with the other side, the question arises, "What if there were no opposing forces?" We would have a government with no controversy and only one person or a small group of people would make the decisions. These decisions can be viewed as either good or bad on whether they coincide with your beliefs and ideas or not. Debate causes you to confront another idea on an issue it causes you to defend why you believe what you do and eventually helps you explain to yourself why you want certain things. Debate is good for America. It gives everyone a say. Close-Up gives you this better handle on government by showing you how difficult, slow, childish, ugly, and wonderful our government really is and I would suggest to anyone to go on it, if only for the sight-seeing.

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Metaphysical analysis nocturnal poets

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Metaphysical poetry is a writing form concerned with things beyond the physical world. Poems of this variety are deep meditations on subjects such as love, spirituality, human experience and emotion. Two metaphysical poems I am comparing and contrasting are John Donne's 'A nocturnall upon S. Lucies day' and Andrew Marvell's 'To his Coy Mistress'. Very typically of this genre both poems are about love although in its different forms. Through analysis of these works in my opinion, 'A nocturnall upon S. Lucies Day' is the better poem. Although initially I found it much more challenging to interpret and understand than the other, its complexity and tragedy made it more appealing and intriguing to me.

The two writers of these poems existed in a similar period of writing. Donne was a successful priest and wrote about spirituality as well as human love. 'A nocturnall upon S. Lucies day' was not in line with the tones and themes of many of his other poems but rather was one of the few of his known works to cover the topic of grieving for a lover and the tragedy of how he finds himself, in sadness yet at a joyous festival, which ironically is celebrating darkness, "…the yeares midnight…" Marvell on the other hand was highly educated but had less of a religious influence in his life than other metaphysical poets and certainly Donne, which shows in his writing. This may be a reason he writes mainly about human love and in this poem about the freedom and love that should be experienced in youth. More religiously orientated poets may be less inclined to do this, especially to encourage the joy of passion.

The structure of Marvell's work is reasonably simply. The rhyming pattern is in couplets and is kept consistent for the length of the poem. There are four obvious feet per line and it also stays very constant in rhythm making it easier to read. There are three unseparated stanzas with a different number of lines in each. Each stanza has a certain tone and theme in what is essentially an argument in the form of poetry. In the first the man states, using lush and impressive language, the grandeur of the potential love he could have with his mistress and how his feelings for her will simply grow if he is rejected. The second expresses how they cannot experience this when they are old or dead and it talks much of mortality while the third rolls up the spirit of the entire poem which is 'Carpe Diem', seize the day. It uses many phrases beginning with 'Let us…", as the man is especially trying to encourage the woman to engage in sex with him as well as passion and love saying

"Let us roll in all our strength, and all

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Our sweetness, up into one Ball"

In contrast to this, Donne's poem has a more complex structure with five stanzas. There are nine lines in each, the first, second and final four being iambic pentameters while the third and fourth have four feet and the fifth has only three. The rhyming pattern is in couplets with the exception of the fifth line which rhymes with the sixth and seventh. Again each stanza is generally focussed on something a little different but importantly the first and last images are similar, talking of the festival, the happiness of others who can enjoy their love and his misery.

One of the many clever conceits in Marvell's 'To his Coy Mistress' is a flattering compliment comparing the mistress to himself, the narrative voice. He says of her

"Thou by the Indian Ganges side

Should'st Rubies find…"

using the reference to an exotic river and rich jewels. While he comments that

"…I by the Tide

Of Humber would complain…" ,

the Humber being a commercial waterway on the east coast of Britain which is farmore dull and ordinary than the Ganges. Many other amusing conceits follow including the man's feelings described as his "…vegetable Love…" relating to its growth and him remarking that

"The Grave's a fine and private place,

But none I think do there embrace."

Along with many other serious images 'A nocturnall…' presents it repeated mentions of the dead lover being a sun, and one that is greater than the one we know. The man speaks of his sun

"…nor will my Sunne renew.

You lovers, for whose sake, the lesser Sunne…"

The tone of Donne's poem is sombre and tragic from the beginning. Although he begins commenting on the St Lucy's festival of light, it is also the longest period of darkness of the year, "Tis the yeares midnight…" In the opening stanza he describes the crowd at the festival

"…yet all these seem to laugh,

Compar'd with me, who am their Epitaph."

This reference to a message on a tombstone is unquestionably differing to the mood of Marvell's work which has references to lush, exotic and refined things of the world. Throughout the entire poem we hear of the unresolvable despair and grief that the man is experiencing. 'To his Coy Mistress' is simply an argument both serious and light. The way the writer is talking to his mistress is encouraging passion from her, her coyness and perhaps even frigidity is certainly apparent. The tone changes throughout but overall it is encouraging and persuasive.

Through analysing the two poems which had many contrasts despite being on the same very general subject of love I decided that I preferred 'A nocturnall upon S. Lucies day' by John Donne for varied reasons. It was less 'obvious' to me than the other as a reader and that made it more intriguing. It was interesting and more difficult to interpret and to find meaning in as well as including a more complex structure. The short and witty conceits in 'To his Coy Mistress' and charming attitude of the narrative voice gave it appeal as well as its lightness compared to the other but I found a liking in the more serious, complex poem of the two.

Please note that this sample paper on Metaphysical analysis nocturnal poets 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 Metaphysical analysis nocturnal poets, we are here to assist you. Your cheap custom college paper on Metaphysical analysis nocturnal poets will be written from scratch, so you do not have to worry about its originality.

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Analysis of TS Eliot's "The Journey of the Magi".

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A cold coming we had of it,

Just the worst time of the year

For the journey, and such a long journey

The ways deep and the weather sharp,

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The very dead of winter.

And the camels galled, sore-footed, refractory,

Lying down in the melting snow.

There were times we regretted

The summer palaces on slopes, the terraces,

And the silken girls bringing sherbet.

Then the camel men cursing and grumbling

And running away, and wanting their liquor and women,

And the night-fires going out, and the lack of shelters,

And the cities hostile and the towns unfriendly

And the villages dirty and charging high prices

A hard time we had of it.

At the end we preferred to travel all night,

Sleeping in snatches,

With the voices singing in our ears, saying

That this was all folly.

Then at dawn we came down to a temperate valley,

Wet, below the snow line, smelling of vegetation;

With a running stream and a water-mill beating the darkness,

And three trees on the low sky,

And an old white horse galloped away in the meadow.

Then we came to a tavern with vine-leaves over the lintel,

Six hands at an open door dicing for pieces of silver,

And feet kicking the empty wine-skins,

But there was no information, and so we continued

And arrived at evening, not a moment too soon

Finding the place; it was (you may say) satisfactory.

All this was a long time ago, I remember,

And I would do it again, but set down

This set down

This were we led all that way for

Birth or Death? There was a Birth, certainly,

We had evidence and no doubt. I had seen birth and death,

But had thought they were different; this Birth was

Hard and bitter agony for us, like Death, our death,

We returned to our places, these Kingdoms,

But no longer at ease here, in the old dispensation,

With an alien people clutching their gods.

I should be glad of another death.

The Journey of the Magi is possibly one of the easier Eliot poems to interpret, if aspects of his personal life are considered, as it is essentially a poem about Eliots own journey from atheism to faith. Written around the time of his baptism and acceptance into the Anglican Church, in 17, the poem describes the journey of the three wise men from the East towards Christ, and symbolically, towards Christianity.

This narrative poem, while not employing a typical poetic tendency of rhyme, has a relatively steady pattern of around four beats in a line, in an almost comforting style, similar to the way verbal stories are told, and handed down. Also given this style and the religious topic of the poem, it becomes quite reminiscent of the way in which the Bible is written.

The narrative of the poem follows the journey of the three wise men, from the perspective of one of them, to Bethlehem to pay homage to the newborn Jesus Christ. As they journey on their way towards the saviour they begin to learn that the world around them has become full of corruption, with very little good left in either the world or humanity. Slowly, after time, the wise men realize that a death from this materialistic world is the only way to be born into the Kingdom of paradise - heaven.

This poem touches mainly on the theme of a journey as I've said, it speaks of not only the physical journey of the magi to Jesus, the magi's spiritual journey to the worship of Christianity, but also the journey from innocence to realisation about the world and finally to redemption.

This last theme can be seen most readily in the three-stanza structure of the poem. The first stanza is about innocence. Both spiritually and mentally innocent, the Magi have no perception of the adversity that a journey to praise baby Jesus will involve. To their alarm, in this stanza they begin to see the state that their world is in, corrupt and hostile, with little good apparent.

This leads into the second stanza, which develops the magi's realisations about the world and it's corruption. Despite this, they still have high expectations of a grand birth of their saviour, and when they arrive at His birth, it is apparent that they did not expect an event so humble.

The third stanza deals with the magi's redemption. The wise man, whose perspective the poem is told from reflects on the events of the journey that have passed. The magus is contemplating, and finally comes to an understanding of the paradox that one must die; leave this world in order to be born into true paradise.

This structure, which follows quite a traditional style of a classical journey, strengthens Eliots story of the spiritual and physical passage of the Magi.

There are quite a few major images that appear throughout this poem that bear quite a significance to the meanings found in the poem.

The first five lines are taken from Lancelot Andrewes Nativity Sermon, of 16, which was used by Eliot as a second, quoted voice to begin the poetic drama. These lines must be understood as being read to, or by the magi, and so causes the magus to recall his journey. The use of these lines from this sermon are particularly pertinent to Eliot, as at the time when he wrote this poem, he was very interested, and strongly influenced by Andrewes, one of the bishops and scholars responsible for the development of the King James translation of the Bible.

Another image that Eliot uses is that of the 'cities hostile' in line 14. These cities are the places that remind the travellers, by their hostile and violent contrast, of the places of contentment that they have left in search of spiritual fulfilment, such as the "the summer palaces on slopes, the terraces, and the silken girls bringing sherbet."

Many of the major images used in this poem refer to significant Christian events. The main images that allude to the biblical events include the arrival into a "temperate valley"(line 1), and the "three trees on the low sky" (line 5). The early morning descent into a temperate valley evokes ideas about three significant events the nativity and the ideas of the dawning of a new era, the empty tomb of Easter, and the image of (as stated in the "Confrontation with Christianity" review) the 'Second Coming and the return of Christ from the East, dispelling darkness as the Sun of Righteousness'.

The Magi's dawn arrival is also symbolic of the new life, attained through their penance, and their actions of searching for Christ.

"The three trees" appear to refer to the three crosses of the crucifixion, while the line "six hands at an open door dicing for pieces of silver" recalls both the Roman soldiers gambling over Jesus robes and the price of Judas betrayal.

One of the more ambiguous, and therefore one of the most discussed images of the poem is the image of the old white horse (line 5). While some hold to the suggestion that the white horse represents Christ's purity (by the colour), and the militaristic and conquering Christ of the biblical book of Revelation, some feel that the horse is symbolic of the death of paganism under the arrival of Christianity. However, it is also felt by some that as the description of the horse has included 'old', it could perhaps represent the death of the 'old dispensation', that is, the old way of life, that would come with Christ's birth.

While Eliot does not use many obvious poetic techniques, he does greatly employ the use of sound in his work. The most observable sound techniques he uses in this poem are assonance and repetition, which create smooth and gentle lines, which all flow quietly together. One example of assonance is in line the summer palaces on slopes, the terraces, / And the silken girls bring sherbet, with the assonance appearing in the repeated 's' sound. This use of assonance and repetition creating a flowing and moving work, works with the structure of the poem as a journey, reinforcing the idea of continuity.

The third stanza contains the best example of use of repetition, and through this creates a significant, and quite noticeably different part of the poem leading to the Magus realizing the moral of the story and the journey.

And I would do it again, but set down

This set down

This were we led all that way for

Birth or Death? There was a Birth, certainly,

We had evidence and no doubt. I had seen birth and death,

But had thought they were different; this Birth was

Hard and bitter agony for us, like Death, our death (-)

The repetition of the words 'set down', 'birth' and 'death' emphasizes the presence and meaning of these words, and how they apply on the whole to the Magi's journey. These lines bring the whole journey into perspective spiritually, and reveal the greater message of the poem, that with the birth of Christ came a death of the old ways of life, and also shows the magi's understanding of the paradox of having to die to be born into eternal life. This paradox is one that runs through the whole poem, appearing most notably in one of the earlier discussed images of the three trees on the horizon, symbolizing that even before Christ was born, images reflecting his death and the significance of this, were apparent.

This poem is quite representative of not only Eliot's work in general, but also of his changing attitudes in his life. In most of Eliot's early poetry, the explored themes are typically ones of criticism of and disillusionment with humanity and the way in which people live, an example of this criticism being 'The Waste Land'. While 'The Journey of the Magi' still shares Eliot's cynicism about the corruption and deceit in the world, it offers some hope for the future, through the confidence in the fact that after this corrupt mortal world, we will arrive somewhere better in Heaven. This confidence can be seen mainly in the last few lines

We returned to our places, these Kingdoms,

But no longer at ease here, in the old dispensation,

With an alien people clutching their gods.

I should be glad of another death.

Show that with the birth of Christ, and the birth of the new world and the new way of life, among the old ways of life, the greed and corruption, the magi no longer feel content with this world, and are looking forward to that day when they die of this existence, and are reborn into eternal life.

This poem reflects the changes that Eliot was going though in his personal life, also. In the early 10's, Eliot began visiting churches to admire their beauty, later visiting them for the sae of peace, contemplation and spiritual refreshment. According to Peter Ackroyd (the author of one of the foremost Eliot biographies), Eliot had a sense of tradition and an instinct for order within himself and found the church and faith gave him this security within a life of frustrations and struggles.

Ackroyd stated that, He was aware of what he called the void in all human affairs--the disorder, meaninglessness, and futility which he found in his own experience; it was inexplicable intellectually . . . and could only be understood or endured by means of a larger faith." Eliots faith continued to grow and in 17, he was baptized in the Anglican-Catholic church. Journey of the Magi, was the first in a series of poems Eliot wrote reflecting his religious growth, and was published shortly after his baptism. It has been suggested that this poem reflects Eliots state of mind in transition between his old and new faiths, and tells one part of Eliots story in that it reflects his being ill-at-ease in the old dispensation after his conversion.

Through this poem, it is clear that Eliot wants the reader to learn the same lesson that the Magi, and indeed Eliot himself, have, that happiness and paradise can never be achieved on this deceitful, violent and hostile earthly world. To transcend the corrupt mortal world, we must first leave behind our old belief system and embrace the idea of rebirth into the holy Kingdom, and become 'glad of another death'.

Please note that this sample paper on Analysis of TS Eliot's "The Journey of the Magi". 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 Analysis of TS Eliot's "The Journey of the Magi"., we are here to assist you. Your cheap research papers on Analysis of TS Eliot's "The Journey of the Magi". will be written from scratch, so you do not have to worry about its originality.

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Analyzation of three major occurrences in John Steinbeck's novel "The Pearl"

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Because Kino finds the pearl in the aptly titled book The Pearl by John Steinbeck, three major occurrences result. Kino's entire life, which has been affected by the hardships of poverty, is suddenly, seemingly transformed when he discovers a monstrous pearl within the folds of a clam at the bottom of the ocean. Kino's finding leaves the townspeople deeply desiring his new treasure, leaves the doctor of the city wishing he had agreed to help Coyotito and his scorpion bite, and leaves Kino himself imagining the vast possibilities of a brand new life sprung from the pearl itself.

Firstly, Kino himself dreams of a new life. He wants to give proper schooling to Coyotito, wear fine clothing, properly marry the mother of his child, and live a rich and prosperous life. Kino also dreams of owning a rifle, a definite luxury in his small town. Kino seems to become a bit obsessed over the pearl, as described in paragraph three. These dreams lead Kino to become extremely determined to sell the pearl, which is the main reason Kino decides to go to town to the pearl buyers to become rich off the pearl.

Secondly, the doctor of La Paz, the city where Kino and his family reside, wants to help Kino's baby, Coyotito, after previously denying him help. When Kino finds the pearl and the doctor gains knowledge of this the doctor rushes as fast as he can to Kino's residence. Because of Kino's discovery, the doctor decides to 'help' the baby, and then demands payment. The doctor demanding payment is what furthers Kino's wish to sell the pearl. Kino then goes to the town pearl buyers, expecting to get a huge amount of money from them for his treasure. Kino is severely angered when he is cheated and the pearl buyers offer him hardly any money at all. Because of this deviation, Kino, much to Juana's dismay, then decides to sell his pearl at the capital, which is fairly far away. The night that Kino gets cheated by the pearl buyers and decides to journey to sell the pearl, Juana attempts to throw the pearl into the sea to rid the family of what she calls the pearl's 'evilness'. However, Kino catches Juana and beats her for trying to toss away his beloved pearl. This leads directly into the events described in paragraph three.

Thirdly, the townspeople desire Kino's newly discovered treasure. They have never seen a pearl so large and spellbinding. Kino knows that the townspeople want his pearl, and this knowledge leads him to become almost paranoid and obsessed over the pearl. No one does steal the pearl, but some townspeople do try. The night Kino beats Juana he hears noises and, upon an investigation, he ends up killing a man outside his home and finding his precious boat destroyed. Someone then sets flame to his house. Having killed a person and having his house burned to the ground, Kino, along with Juana and Coyotito, flee the next day. They are tracked by people from the village and one night, as Juana and Coyotito hide, Kino attacks the three trackers. Unfortunately, one of the tracker's guns is shot in the direction of Juana and Coyotito, and Coyotito is killed. Despaired, Kino and Juana return home, only to throw the pearl back into the sea, ridding themselves of any further evils.

All in all, this book is a fine example of cause and effect. Virtually every event in the story leads to another event, and then another, and so on. The townspeople desiring the pearl, the doctor slyly giving aid to Coyotito, and Kino being strongly influenced by the power of the pearl are all major events that, in the end, lead to the death of Kino's son.

Please note that this sample paper on Analyzation of three major occurrences in John Steinbeck's novel "The Pearl" 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 Analyzation of three major occurrences in John Steinbeck's novel "The Pearl", we are here to assist you. Your cheap custom college paper on Analyzation of three major occurrences in John Steinbeck's novel "The Pearl" will be written from scratch, so you do not have to worry about its originality.

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