Pinky

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Cry, The Beloved Country

Alan Paton

Cry, The Beloved Country, is a profound, majestic novel that depicts South Africa during the poverties years of British rule. It is a novel about a black mans country under white mans law. It is about all kinds of injustices that man inflicts on his own brothers.

Alan Paton, born in Peitermaritzburg, Natal, saw South Africa in the worst of times. Britain was the ruling power, and in a country that had belonged to the black man for centuries, where the overwhelming majority of the population was black, and where black man was the infrastructure, black was considered inferior. It was a time of racial, political, and social injustice, and it was all directed at the black man. Black was considered stupid, black was considered dirty, and unintelligent. As Alan Patons Robin Hood, Arthur Jarvis, writes in a speech in the book, We say we withhold education because the black child has not the intelligence to profit by it; we withhold opportunity to develop gifts because black man have no gifts; we justify our action by saying that it took us thousands of years to achieve our own advancement, and it would be foolish to suppose that it will take the black man any lesser time, and that therefore there is no need to hurry. We shift our ground again when a black man does acheive something remarkable, and decide that it is a Christian kindness not to let black men become remarkable. Thus, even our God becomes a confused and inconsistent creature, giving gifts and denying them employment.

Do my essay on pinky CHEAP !This alone is so well-written, so well-synchronised with the rest of the book, that it sends shivers down my spine to read it. Paton is a master of words, of nuances, of dialogue, and meaning. He will draw you into a world where it is not difficult to understand the plight of the black man in his own country, and it is even easier to become one of them, on their side, hoping for all its worth that they survive.

He adopts John Steinbecks method of dialogue, with the dash coming before the actual speech and no quote marks. It gives the novel fluidity, makes it all come together. It also lends a sort of serious sadness to the characters speeches, and it makes their words resound in silence, almost like a word spoken aloud in a lonely,deserted, desolate church, coming from nowhere and ending nowhere.

Religion is a centerpoint, as Patons main character is a Zulu pastor whose church is in a povertised, dry valley of old men and old women, of mothers and children. The men have gone away to Johannesburg, one of South Africas major cities whose central industry is gold mining. It is a city of sin and dirt, that has come, because of the white man, between the tribe and its people. Paton displays the city and its people, black and white, as corrupt, so evil that even someone innocent and whole, fresh from the grasslands, is overtaken by its filth. This is hard for a man whose innocent life revolved, in its entirety, around the principles of God, Church, and Goodness.

Stephen Kumalo, the pastor, comes to Johannesburg to seek out his sister. She went to look for her husband, who disappeared into the jaws of the city and never came back. She also is eaten, and Kumalo gives her up for lost. His son, Absalom Kumalo, goes to Johannesburg to look for his aunt, and is never seen or heard from again. Stephen, upon receiving news of his ailing sister from a kind-hearted pastor in Johannesburg, gathers up his worldly posessions and sets off in search of his lost family. He combs the streets and slums of Johannesburg and its surrounding areas with his pastor friend, following the ghosts of his sister and son from one place to another without pause. His friend, at first, seems inconspicuous and unimportant, but as the story progresses, Paton subtlely introduces Johannesburg through the eyes of one that knows of its ability to corrupt, maim, and discard. This friend drops many hints of wisdom, of profoundness, and of depth.

Kumalo finds his sister and son, but in what condition I will leave you to discover. The novel will not be the same if you know whats going to happen, not because its like that with every book, but because the surprise of its incidents is part of its enigma, and Johannesburgs horror.

This novel is so rich, so adept in describing the sorrow of mankind, the frustration, the incredible sadness of life in a torn world, that it will draw you in, capture you in a way you never believed possible, in a way you will remember long after you turn the last page.

Shazin Ali

Alan Paton wrote Cry, the Beloved Country during his tenure as the principal at the Diepkloof Reformatory for delinquent African boys. He started writing the novel in Trondheim, Norway in September of 146 and finished it in San Francisco on Christmas Eve of that same year. Concerning the state of racial affairs in South Africa, the novel tells the story of the Zulu pastor Stephen Kumalo and his search in Johannesburg for his son, who is accused of murdering the white social reformer Arthur Jarvis. Paton gave the novel to Aubrey and Marigold Burns of Fairfax, California, who sent it to several American publishers, including Charles Scribners Sons, whose editor, Maxwell Perkins, immediately agreed to its publication. According to Patons note on the 187 edition of the book, the novel was titled as such during a competition in which Paton, Aubrey and Marigold Burns each decided to write a proposed title and all three chose Cry, the Beloved Country.

Upon the publication of the novel in 148, Cry, the Beloved Country became an instant phenomenon with near unanimous praise. Soon after its publication the composer Kurt Weill adapted it into a musical, Lost in the Stars, and Paton himself worked on the screenplay for the 151 film adaptation of the novel, directed by Zoltan Korda. In 15, Miramax Films again filmed Cry, the Beloved Country, with James Earl Jones and Richard Harris in the roles of Stephen Kumalo and James Jarvis, respectively.

Undoubtedly much of the power of the novel comes from its depiction of the particular social conditions in its contemporary South Africa. The novel takes place in the time immediately before the institution of apartheid in the nation (the character Msimangu even discusses the possibility of apartheid), which occurred within a year of the novels 148 publication. Therefore, although the novel does not discuss the state of South Africa during the apartheid years, Cry, the Beloved Country is often used as a proxy for lessons concerning apartheid-era South Africa.

Even before the apartheid years, as Paton makes clear in his novel, discrimination against blacks in South Africa was significant. Blacks were forbidden from holding political office, had no viable unions, and certain positions were closed to them. The 11 Native Lands Act prevented blacks outside of the Cape Province from buying land not part of certain reserves. But apartheid was officially institutionalized in 148 with the election of the National Party and Daniel Malan as Prime Minister. The National Party enshrined apartheid into law with such legislation as the Group Areas Act, which specified that separate areas be reserved for the four main racial groups (whites, blacks, Coloreds, and Asians). The African National Congress, a group of black leaders under the leadership of Albert Luthuli and Nelson Mandela, emerged as the principal opposition to apartheid and the National Partys reforms. The African National Congress became increasingly militant, even using terrorist tactics that led to the government banning the ANC in 160.

After several decades, the end of apartheid was a slow one that began with the election of F.W. de Klerk as leader of the National Party and President of South Africa. De Klerk began to permit multiracial crowds to protest against apartheid and met with blacks leaders such as Bishop Desmond Tutu. Most importantly, he lifted the ban on the ANC and ordered the release of the imprisoned Nelson Mandela. By 1, the National Party and the ANC reached an agreement that pledged to institute a democratic South Africa. The ANC won political power in April of 14 during the first nonracial democratic election, with 6 percent of the vote. Under the ANC, Mandela repealed all apartheid legislation, while the South African parliament approved a new constitution in 16.

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Anaylses of Doris Lessing text

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Doris Lessing is a South African born Novelist and she has lived in Britain since the 140's. She is well known for her political views especially, her views on the anti-apartheid.

This story is situated in a foreign country and it revolves around two main characters, a Mother and a son. The story relates to the challenges that the son sets for himself, and how he has to overcome them to prove his own manhood.

The boy and his Mother set off on the first morning of their holiday. When passing a rocky beach the young boy becomes entranced by the adventures it holds, and is more interested in exploring it, than going with his mother to the over crowded beach on the other side of the bay. Although he feels obliged to stay with his mother, to make sure that she is safeguarded. This is probably due to the fact that they are a one parent family, and he has grown up looking after his mother's emotional welfare.

"The boy watched that white, naked arm, and turned his eyes, which had a frown behind them, towards the bay and back again to his mother."

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The boy stays with the mother, although he still thinks about the rocky beach. The dangers of it has captured his imagination, and like the stereotypical boy he likes anything that could be dangerous or could get him into trouble. The boy's mother feels extremely responsible for him, and is constantly looking out for him. She still looks on him as being young and innocent, and is therefor quite protective and wary of him being independent. However, she loves him enough to realise that she shouldn't smother him, but this doesn't stop her from worrying.

"He was an only child, eleven years old. She was a widow. She was determined to be neither possessive nor lacking of devotion. She went worrying off to the beach."

The next morning when they are walking passed the rocky beach, Jerry, the boy, just can't bear not to go down to investigate the dangerous bay. So he blurts out that he would like to go down and have a look at it. His mother agrees.

The writer seems to make the beach seem dangerous. The personification of the rocks makes them seem if they are bruised like a human would be if they had been repeatedly hit by the sea. This makes the sea seem as if it is out to damage the rocks. Also the use of similes

"Over a middle region where the rocks lay like discoloured monsters under the surface,"

This makes the rocks seem like they are waiting under the sea to pounce at Jerry. Most children are afraid of monsters, even though they don't exist, so it is brave of Jerry to venture into the water.

Jerry is a very lonely boy, he has no brothers or sisters to play with while on holiday.

He sees a group native boys diving off the end of a small cape, but he can't join in with them because they are older than him, and they are foreign. He longs to be part of their group and watches them for a while, waiting for a reason to go over and join in.

When one of the native boys waves and smiles at him, he jumps at this chance to go over and meet them. However when the boys realise he is foreigner strayed from the tourist beach they forget about him. Jerry is contented with the fact of just being with them.

As they begin diving, Jerry watches them in awe, and wonders if he could dive the way they do. So he tries, and the boys watch him, making way for him as he swims back towards them.

On the second attempt at diving, the foreign boys dive, them swim for a long time through an underground cave, in a rock and arrive on the other side of Jerry. A long line of rocks separate Jerry from his new foreign acquaintances. As Jerry is frantic to belong to the group, he tries to copy them.

Diving into the water and then swimming to the line of rocks which lies between him and them. He can't find the opening they swam through, and he becomes desperate to find it. He has failed, and by the time he has resurfaced, the foreign boys are attempting it again.

Jerry is so desperate to fit in, that he begins to splash around, and is just being childish, he doesn't realise this at first because he used to doing it.

"And now, in a panic of failure he yelled up, in English "Look at me! Look!" and he began splashing and kicking in the water like a foolish dog."

Eventually he understands that he has made a fool of himself, and he is embarrassed.

"Through his hot shame, feeling the pleading grin on his face like a scar that he could never remove,"

The boys carry on diving, and again he is only watching. He begins to count how long they have been under water, and they are taking a long time to resurface. He begins to get very worried when they haven't broken the water by fifty, and he is extremely frightened before they emerge from the water at one hundred and sixty. They foreign boys swim away and leave Jerry alone. He knows they are leaving to get away from him, and this upsets him.

At this point Jerry seems to need reassurance and comfort, so he swims to a place where he can see his mother. This makes him feel a little better. So he swims back to the rocks, whichare again personified as being

"the fanged and angry boulders."

By this time, Jerry has challenged himself that one day he will accomplish what the foreign boys had, and swim through the underground passage. The personification of the rocks makes it seem as if he has to fight a dragon, which would be quite a task.

By this time he has decided to return to the villa and wait for his mother. His is extremely eager for her to buy him some swimming goggles, so that he can complete his challenge.

We can tell Jerry is eager from the way he is impatient with his mother and can't wait for them, he wants them this minute. Also he snatches them out of her hand once she had bought them.

"But now, now, now! He must have them this minute, and no other time"

"As soon as she had bought the goggles, he grabbed them from her hand,"

Straight away Jerry is running to the beach to try and complete his task as soon as he has the goggles

He is very determined. He continues looking for the passage in the rocks. While he is clinging to the rock he finds the entrance, and he was ecstatic. Although when starting to enter the gap he feels things brushing up against him and his imagination runs wild, as he begins to think of giant octopuses. In other words he is scared of the unknown, as he can't see what's inside.

Jerry realises that before he can accomplish his task he must condition his breathing. And so he spends the rest of the day training his lungs. When finally the sun started getting low Jerry rushed to the villa

The next day Jerry doesn't ask permission to go down to the rocky beach, because he doesn't want to tell his mother what he is doing because she will get worried. Also he wants to do this challenge by himself, to prove the point that he is independent.

He spends all day practising, and when he goes to the villa that night his mother reminds him that he only has four days left on holiday. On the day before they left Jerry had to do it. Tension is growing because he has limited time.

It came to the morning when Jerry would try.

He swam in the water and then attempted to swim through the tunnel. When Jerry begins swimming through the tunnel he loses his count, this shows signs of strain, trying to dive through the tunnel.

The physical description of the way the tunnel is and how Jerry moves along it, show us the sheer pressure and strain he is under.

Jerry can't see anything but blood when he surfaces from the water, because his nose is bleeding. The fact that he believes his eyes have burst shows that he must have realised he was under a lot of strain.

It also takes quite a lot to make the nose bleed, so he must have been straining extremely hard to get through the tunnel.

The story ends my Jerry's mother enquiring if he is alright, because he is looking pale. She sees the bang on his head.

Jerry lies about how he banged his head, and doesn't mention the tunnel. He does this because what has taken place is very private to him, and he believes his mother shouldn't be involved, so he doesn't make a fuss.

The title of the story is very significant, because the story is about the rite of passage of a young boy called Jerry. Through the tunnel suggest the adventures he went to, to pass through the tunnel, but it also is the rite of passage from a boy to a man from the challenge.Please note that this sample paper on Anaylses of Doris Lessing text 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 Anaylses of Doris Lessing text, we are here to assist you. Your persuasive essay on Anaylses of Doris Lessing text will be written from scratch, so you do not have to worry about its originality.

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Comparative essay on the elements of fiction between "One Hundred Years of Solitude" and "The Secret Miracle"

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Both set in the midst of South American culture, 'One Hundred Years of Solitude' by Garcia Marquez and 'Ficciones' by Jorge Luis Borges, attempt to illustrate the nature that is humanity. While on the whole both stories are presented differently, similar factors were used to emit a similar feeling from the reader. With focus on the last few chapters on 'One Hundred Years of Solitude' and on one short story in Ficciones, "The Secret Miracle", a more concise explanation can illustrate the different approaches the authors may have made in using the death of two central characters in either novel to conclude the book/short story.

Chapter 18-0 in One Hundred concludes the novel to the very last happenings in the town of Macondo and to the death and downfall of the Buendia family, the town's founding family. The last of the family line, Aureliano II finally fulfills his life-long pursuit of deciphering the parchments that was left by the gypsy, Melquiades, after he finds his child being eaten by the ants. In The Secret, the last few days of Jaromir Hladik is recounted after he is sentenced to death for charges no one really knew. As he spends his last few days, he asks God to grant him just one wish before he dies; and that is to give him just enough time to finish his last, and what he considers would be his greatest novel. The sense of imminent death is present in both these pieces, as the reader knew right from the beginning that these two characters were going to die. However, parallels can also be seen in the irony that comes with their deaths. Almost at the very instant they fulfill both their goals, they die.

This sense of irony put forth by both authors emphasize the ongoing theme that time is almost irrelevant in both novels. "(Aureliano II) saw the epigraph of the parchments perfectly placed in the order of man's time and space The first of the line is tied to a tree and the last being eaten by the ants….Melquiades had not put events in the order of a man's conventional time, but had concentrated a century of daily episodes in such a way that they coexisted in one instant." In the final pages of One Hundred, as Aureliano II is deciphering the parchments, he discovers that time in a sense has collapsed so that the entire history of his family and the town occurs in a simultaneous instant. While the book is written chronologically, there have been hints of overlapping stored throughout the book. AS if time is also occurring in circles and in spirals as you read it in linear form. Garcia illustrates this by constantly mentioning the ghost of past characters; which, together with the foreshadowing and description of the present happenings, bring the past the present and the future together. In The Secret, Borges plays with time in such a way that the reader does not fully understand just how long the piece takes place by. While throughout the short story mentioning dates uses definite time, it is in the very last instant, as Hladik is writing his novel, that time is played with. It is said that Hladik asks for an entire year from God in order to finish his work, however, no one really knew whether it was in fact a whole year that the time has stopped, because the time HAS in fact stopped. There was no way of measuring. A the end of the story, the reader is told that in fact, only a minute of conventional time has passed. This gives a sense of "time is what you make it to be" that Borges is trying to put forth.

The use of symbols is abundant in both pieces in helping the reader understand the incidents that are happening in the novel/short story. In the final prophetic scene of One Hundred, mirrors were once again mentioned (Macondo is decried as being a "city of mirrors" throughout the story). This is interesting because it is said that as Aureliano read about himself reading about himself and feels "as if he were looking into a speaking mirror". This indirectly ties in to the idea of infinity that is also presented in The Secret wherein Hladik writes a story within the story that the reader is reading within a book. This loop often lends to the idea of labyrinths, a theme that is prolific in a lot of Borges' work. It lends the element of pieces looping back upon them and upon reality, almost to undermine reason and put forth a sense of exaggeration. A technique that helps the reader not only question whether what is happening in the novel is possible but also question existence itself. Labyrinths are said to symbolize a long a difficult path, which is not far from the journeys that these two characters in each piece has taken, only ending in tragedy. Other symbols that were used in One Hundred during these last few chapters were the tornado that engulfs he town of Macondo, perhaps symbolizing the spirality of time; also the ants, not far from the bee that is used by Borges to symbolize death and professional advancement (to Hladik as a writer) in The Secret.

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An omniscient power (God in The Secret and Melquiades in One Hundred) is presented in both pieces by the authors, which, can be interpreted as introduction to the idea that things are predetermined; that what happens to us is beyond our control. Both Marquez and Borges attaches supernatural power to act as the pre-determiner of the pieces on the whole. God is asked for by Hladik to grant wishes, which as one would recall is what Melquiades also did in the beginning of the novel, granting Jose Arcadio whims. This gives both pieces a pessimistic view that man has no free will and that all actions are predetermined, however, it also emphasizes the dark nature of human existence. While this is not so much indicated in The Secret, an introduction to the character's religion, "…his blood was Jewish," briefly focuses on the incident of the holocaust and in a way lends to the dark nature of the story, especially since he was not even sure of the reasons to why he was arrested except of maybe his religion.

One prevalent aspect in both novels is the use of magic realism. Although realism and magic seem to be at first opposites, they can, however be combined and both are necessary in order to convey Borges' and Marquez's conception of the world. Magic realism conveys the idea that reality is incorporated with superstition, religion and supernatural beings. Many Latin American authors share this approach and in a way help shapes the piece. The act of reading is interpretation. With the input of several imaginative factors, it helps raise questions to the readers' mind. With this understanding that reading is subjective to a reader's interpretation, stories/novels can be created with tight structures with numerous meanings. And this leads to question what is real and what is not, forcing the reader to look at their own life.

Not only do all of these affect the final outcome of the pieces, it can also affect the way we, as readers, view our own lives. Both authors keep with the themes that they are familiar with in order to create two separate worlds with similar aspects. While it is difficult to not to look at literary pieces with the notion that they all have one predetermined meaning, it is not difficult to see the factors that make up whatever one interprets the meaning to be. One walks away from both these pieces with a sense of awe, perhaps because of the intricate worlds that these authors have created through irony, foreshadow, imagery, etc. But one really has to savor the ingenuity of the presentations of both these pieces and to ponder the questions they raise, which ultimately is what a novel/short story should achievePlease note that this sample paper on Comparative essay on the elements of fiction between "One Hundred Years of Solitude" and "The Secret Miracle" 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 Comparative essay on the elements of fiction between "One Hundred Years of Solitude" and "The Secret Miracle", we are here to assist you. Your persuasive essay on Comparative essay on the elements of fiction between "One Hundred Years of Solitude" and "The Secret Miracle" will be written from scratch, so you do not have to worry about its originality.

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Theatrical Performance/Play Review: Dinner with Friends by Donald Margulies

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Theatrical Performance/Play Review: Dinner with Friends by Donald Margulies

"Inevitable Evolution."

It takes a lot of effort to "prune" a certain work of art. Some passions, no matter how grand…or how beautiful they are, simply fade away. It is also inevitable for man to lose his appetite even for the most scrumptious dish. One's craving does not last forever. These thoughts are not too scary—but what if everything…even Love… must always come to an end?

Dinner with Friends by Donald Margulies is a subtle drama about love, commitment and friendship in the course of failure and divorce. It has a thought-provoking story that revolves around the unfathomable ideals of marriage; of the so-called "inevitable evolution" that married couples go through, and of the beauty of companionship during times of uncertainties and that rickety phase of existence that most people, inescapably, undergo.

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The play presents to us four significant characters: Beth, Tom, Karen and Gabe. All four depicts explicit and interesting characteristics, each having a divergent mind-set or a certain forte that one may associate himself/herself into. The four entities live through a special bond that is embellished with both wonders and nightmares. Gabe and Karen are your 'seemingly happy' couple who share the same flair for cooking. Both are international food writers now living in their Connecticut abode after spending some time polishing their craft in Italy. Consciously or unconsciously (after twelve years of married life) they begin to sense a tinge of ennui and monotony in their relationship as they re-examine their rapport (and compare it with what their friends are having). Beth and Tom, meanwhile, epitomizes the 'malcontent pair'—who, after twelve years of living, loving and struggling together, decides to put some things to an end. Marriage has somewhat given them chains instead of wings to keep them soaring and dashing around with ardor for each other. Gabe and Karen are sorry for both. Beth and Tom is such a part of their lives…and seeing them crumble apart creates a profound and such a disquieting impact on them.

The first scene contains the part wherein Beth unveils the truth about her and Tom to her friends (Karen and Gabe). The characters' tones are melancholic and shaken, although there are always the insertion of a comic relief in between blubbers and seriousness (courtesy of Gabe—the naïve yet shrewd guy). Beth discloses Tom's weaknesses and deficiencies as a husband while her two friends are trying to find ways to comfort and reassure her dying conviction. Certain images are used in this scene such as the lemon apple cake (which will also be apparent in the latter parts of the play). The writer sees the image as somewhat a 'diversion' from the nightmare. Its sweetness may have the ephemeral power to combat bitterness in one's heart, but after consuming it, the power just burns off and so does the evanescent glow it brings to the one having it.

The play presents two faces and the many phases of marriage. In the second part of the drama, we are given a flashback of events—now we see the younger versions of our four vital characters. It is summer: Gabe and Karen are on their honeymooning phase while Tom and Beth are just on their getting-to-know-each-other chapter.

The third part is a fast-forward. This time, Beth and Tom are already moving on with their lives. Beth is seeing someone named David and Tom is still with Nancy (the travel agent). This scene consists of dragging yet insightful conversations that covers on conflicting points-of-view with regards to the true meaning of marriage. Tom is trying to convince Gabe that what he is going through is utterly normal. "Married couples all go through wretchedness…" There will come a point that you would just want to chuck it all and start over again, Tom said.

Basically, the writer sees this play as an eye-opener. Dinner with Friends brings to our realization the great responsibility that comes with settling down. Some couples do look good in the outside, yet one does not really know what couples are like when they are alone. Unsurprisingly, there is that "inevitable evolution". This is, as the assessor perceives it, is the most resounding phrase in the play. It awakens one's senses about the vulnerability of marriage, and the silent discord a couple has got to deal with when it comes to reviving a once overflowing passion. Indirectly, the play suggests the need for constant reinvention… the importance of sex, imagination and most importantly communication. It has a subtle way of presenting reality, of disclosing both the good and the bad side of that dream that goes after the phrase "until death doth part." And it also displays a great deal of inspirational camaraderie and the worth of sensitivity among friends.

Technicalities [Negative and Positive Points]

Dinner with Friends, with its Pulitzer-prize winning content, is direly convincing. The simple plot is enhanced with a quaint setting that suggests a typical ambiance. The William J. Shaw Theatre offers a medium-sized space that seems to be very challenging to maximize. The props used were pleasant, quite realistic even to the smallest details. To the left of the stage was the patio, which was enhanced by minimal yet apt lights. The conversations usually happen in the living room/dining room, which were situated in the middle portion of the stage. The colors used vary in accordance to the change in season/ weather, thus giving the audience the fitting emotion/intensity in each scene.

A small bedroom and an even smaller bar were located at the right wing of the stage. One can sense the very careful picking of materials to balance the different textures of the elements. Musical scoring was very minimal, and so the actors' clear diction/projection (and of course, the content of what they are saying) were made more noticeable. Sound effects were good, except for the car engine sound, which reverberated more of like a lawnmower. Costumes and make-ups were natural; typifying four average individuals/professionals. Apparently, the whole arrangement creates an intimate and snug connection between the spectators and the cast. Most flaws are quite easy to disregard if one indulges himself/herself in the substance or the message of the plot.

° ° ° ° ° ° ° °

Dinner with Friends is surely a treat for mature individuals. It is a play that is "loaded with wit, compassion and consummate skill"—and with a straightforward plot that may even alter or affect one's perception. It is inevitable to wonder why is it entitled such when the plot actually revolves around "the compromises of middle age and the cost of breaking apart—and of staying together". Why "Dinner with Friends"? This was the first question that popped in the critic's head. And after some time of pondering, the writer sensed how truly significant the title is to the plot. And how even that slice of lemon apple thingy creates a philosophical impact to the keen audience. Dinner with Friends suggests that comforting scene amidst a draining day. It somehow knocks on the people's senses, telling us that despite an ostensibly saddening event in our lives, it is always consoling to find ourselves in the middle of a heart to heart conversation with those people who see both the good and the evil in us. Some people may desert us, an obsession or maybe a loved may predictably abandon us, but still, there are always those little good things that await us at the end of a bleak day, like a cheery and warm dinner. Dinner with Friends makes us appreciate the goodness of having friends, the goodness of being true and optimistic even after a typhoon, the goodness of digesting even the harshest realities of existence…of maturing and developing into better individuals. This play gives us a deeper understanding… it opens our doors for that "inevitable evolution"… and most of all it opens our hearts for a deeper meaning of love.

Michelle J. NepomucenoPlease note that this sample paper on Theatrical Performance/Play Review: Dinner with Friends by Donald Margulies 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 Theatrical Performance/Play Review: Dinner with Friends by Donald Margulies, we are here to assist you. Your persuasive essay on Theatrical Performance/Play Review: Dinner with Friends by Donald Margulies will be written from scratch, so you do not have to worry about its originality.

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Rhetorical vs. rational agument

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PLAY

Stage Set three men are sitting at home trying to decide where they should to go out for coffee and two of them begin an active discussion about where they want to go.

Sam is a stylish, bubbly, handsome person who is clear speaking (often a little loud) and articulate, and talks with his hands. He is confident, honest, interesting and provocative.

Adam is a serious, quiet, analytical person, a little overweight, pale and speaks in monotone, lacks charisma, is not very articulate and is more composed.

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Dale is a friend of Sam and Adam and is often in the position of deciding the winner of the verbal sparing matches in which his friends engage.

Sam (starts in eagerly and with excitement) We should go to Tim Hortons.

Adam (thoughtfully) Why dont we go to Starbucks?

Sam I see Tim Hortons trucks everywhere. Its got to be better. The coffee has a special taste to it, unlike any other - it tastes well… Canadian. Every ice rink in the country has a Tim Hortons; it's a cornerstone of our Heritage. Wouldnt you just love to have a hot chocolate or medium coffee with one cream and one sugar coupled with a Dutchie, an Apple Fritter or a box of Timbits? Cant you just taste them melting on your tongue?

Adam (serious) Starbucks understands what it takes to brew the best pot of coffee. Starbucks uses fresh, cold water heated to just off the boil. Therefore, the water they us to make coffee tastes clean and fresh and is perfect for extracting the coffees full range of flavors. Starbucks thinks of coffee as fresh produce and they keep it away from oxygen, light, heat, and moisture. Starbucks grinds beans each time they brew which preserves the freshness. Conversely, Tim Hortons brews coffee from out of a can that is already ground and therefore coffee is less fresh.

Sam (gestures emphatically and raises his voice) Birkenstock wearing, label munching, granola, psuedo hippies with nothing better to do than drink fair trade, shade grown, enviro blah-blah, American blended coffee. Tim Hortons is accessible to everyone, you can wear what you want and not have to keep up an image. There are no yuppies drinking expensive coffee. Starbucks makes itself exclusive by overpricing its coffee. (nods repeatedly to Dale and Adam)

Adam (with arms folded and legs crossed) The coffee quality at Starbucks is appealing to a target market of discerning customers that are educated about coffee. Starbucks is exclusive because the coffee buyers have been traveling for over 0years to find the top 1% of the best coffee the world has available. Stabucks experts taste over 150,000 cups of coffee per year - all in an effort to guarantee an exceptional taste experience. Starbucks states that the recipe for a great cup of coffee proportion, grind, water and freshness. They use right proportion of coffee to water - two tablespoons of ground coffee for each six fluid ounces of water. Unlike Tim Hortons, Starbucks coffee is made specifically for you, its not a generic liquid, its fresher and therefore tastes better and paying more for it is warranted.

Sam Why doesnt Starbucks doesnt have the summer camps for kids like Tim Hortons,

Are they are only interested in pocketing the money they make and have it returned to their America investors? Small towns start with Tim Hortons, not with a Starbucks. Cities have Starbucks. Tim Hortons has more sense of community. Starbucks is only about making money. Tim Hortons is more interested in the community and children and future generation. Thousands of kids get to participate in camping adventures theyll never forget. Don't you want to support a franchise that is less focused on profits and provides for a Childrens foundation that is committed to providing a camp for children from economically disadvantaged homes?

Adam Starbucks contributes to the community, they make a financial contribution every September for every volunteer that contributes to a specific charity - this September, for instance, and the charity is the 00 Terry Fox Run. Also, Starbucks provides environmentally friendly spent coffee grounds for free for members of the community to put on their gardens, which reduces the amount of waste going into the landfill. They are educating people how to enhance the nutrition of the soil. Starbucks also participates in origin country community projects and purchases sustainable coffees and they contribute to the people and places that produce the coffee.

Sam Tim Hortons is still the better choice, you dont have to wait in line for some modern day Gen X hippie to pay $.58 for a tall double shot, non fat latte how pretentious is that? Theyre just appealing to trendy yuppies buying overpriced coffee, while Tim Hortons appeals to a wide variety of hardworking Canadians who want to get value for the money with the selection that Tim Hortons provides.

Dale laughs aloud. Adam winces.

Adam Starbucks is dedicated to providing the worlds finest coffee and they are selling an experience - Starbucks has worked hard to create atmosphere, quality seating area, nice mood lighting and changing the posters to reflect the season, for instance they have a poster of a coffee and a beautiful glazed harvest muffin that makes you think of fall. The quality of the coffee is superior to Tim Hortons and the environment and surroundings are designed to enhance your perception and each drink is designed and made for you personally.

Sam (leans in persuasively) Yeah, speaking of the food at Starbucks, do you really want baked goods that are trucked in from a warehouse in Vancouver or do you want fresh baked goods that have been made on the premises like at Tim Hortons?

Adam stutters as he appears unsure how to respond.

Sam Adam! (looking at Adam intently) look, our society comes down to dollars and cents. Just think about it! Why are big box stores like Wall-mart and Superstore so successful? They provide the same products as independently owned stores do for less money - and that's what we are talking about here.

Dale Okay guys, I think its time we got out of here - Im all for saving money, Im Canadian, I like to support kids in need and Id like a fresh baked Timbit.

COMMENTARY

Sam is rhetorically strong as he is confident, good looking, humorous. With his open hand and palm gestures he gives the impression of being honest. Sam is interesting and raises his voice and becomes emphatic with large gesturing with his arms and hands, which gives him more audience appeal. He ends arguments with loaded questions for which Adam has no response. However, Sam is rationally weak since he does not use serious facts or many relevant issues to validate why Tim Hortons is better than Starbucks. Although compelling, Sams arguments about Tim Hortons having more of a sense of community than Starbacks were a little disorganized and upon close examination a little confusing. He doesnt really at any point offer any good reasons for his conclusions about Tim Hortons, and tends to rant and is inflammatory with his euphemisms and stereotypes.

Adam is rationally strong because he makes good arguments and his conversations are largely fact based and logical and organized. Adams premises provide good reasons to believe that Starbucks coffee is better the Tim Hortons coffee. For instance, his comparison to the different methods that the two companies use to grind coffee. Adams arguments about the issue and the truth. Adam has good rational strength because he has good reasons to believe what he had to say. However, he is rhetorically weak in that he is humorless, lacks charisma, and does not engage his audience with his voice or his body language. He is very closed with his arms folded and legs crossed. Compared to Sam and he is almost inhibited. Overall, Adam is not very appealing.

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The world of the spy, the greatest danger is to have human feelings, the spy who came in from the cold

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The novel 'The Spy Who Came In From the Cold' shows us what it is like to live without humanity. It shows us an upside-down world, in which people are disposable, morals inapplicable and love becomes the biggest danger of all. It tells the story of a spy, Leamas, who found the humanity that was buried inside him, and learned to live and to love. It also shows a conflicting story of a man, Mundt, who lives his entire life without any sense of morality or humanity. Mundt is a man who lives the life of a spy.

The life of a spy is very different to the life of ordinary people. They live in a world where the rules and laws of ordinary life do not apply. "Intelligence work has one moral law it is justified by results" (page 1). Simplicity and focus are the key elements to being a successful spy. Their world needs to be reduced to black and white. As such, spies cannot afford to display nor have those emotions associated with normal humanity. Any display of compassion is a complication that may get them killed.

In this sense, the spy is forced to live a life 'out in the cold,' detached and distanced from others. They need the safety such distance brings to them. Being a spy is a dangerous occupation, and lives are constantly put at risk. Agents need to be focused at all times - they cannot afford to have distractions. If a colleague is killed, there is no time for grief and no room for revenge. They feel that, to call upon an old and overused saying, 'the show must go on'. Above all there is no room for compassion. With compassion comes the ability to see and value humanity; the ability to see humanity in the enemy and not just a cause for which they are fighting. There is a need for distance between spies and the rest of the world, parallel but very separate. If they do not, they become emotionally vulnerable, and vulnerable people get caught. This is a prominent theme of the book "The Spy Who Came In From The Cold".

In the novel, Leamas is a good spy, he gets results, but he has a fatal flaw that is present from early on in the novel; he possesses humanity - it is just very well obscured behind a well constructed, yet slowly crumbling wall. One of the first glimpses we get of Leamas' well hidden humanity is when he is conversing with Control about Riemeck. Control questions him about the emotions he experienced due to the loss of his last agent.

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"'We have to live without sympathy, don't we? That's impossible of course… one can't be out in the cold all the time; one has to come in from the cold… d'you see what I mean?' Leamus saw. He saw the long road outside Rotterdam, the long straight road beside the dunes, and the stream of refugees moving along it; saw the little aeroplane miles away, the procession stop and look towards it; and the plane coming in, nearly over the dunes; saw the chaos, the meaningless hell, as the bombs hit the road. 'I can't talk like this, Control.'" (Page 18)

The vivid image Leamas is recalling shows the reader the horrors that he has witnessed during his service, and that he hasn't been able to completely shut them out. He has been able to shield their impact from himself, but it is still there, churning beneath the surface. Leamas tells Control that he can't talk about what he felt when Riemeck was killed. He has no way of expressing his feelings because he has hidden them for so long that he is almost incapable of vocalising and expressing emotion. This also shows us how fragile the wall between his emotions and his consciousness is at this point.

An example of Leamus' inability to be completely detached is the trust that he placed in Control and the organisation. He was forced to have this exceptional amount of trust and respect, both in the cause that they were fighting for and the organisation itself; because it was for this cause that he was sacrificing his emotions and humanity. Leamas placed complete and blind trust in Control in particular. This trust provided a permanent link to his humanity as well as the reason for his detachment. Leamas was adamant that there was no involvement between Mundt and the British because Leamas didn't want to believe that Control could have gone behind his back with something that involved him so much; to preserve his trust and detachment, he could not believe it.

Liz was what made the wall that Leamas had carefully erected to keep him safe come down completely. She was what he needed, to lose faith in the system that he had trusted for too long and gain faith in himself and his humanity. But in doing so, it was the downfall for Leamas, and in turn, Liz. Leamas was reluctant to get involved with Liz in any capacity at all, friend or lover; he was not looking for the connection. But Liz found him, and she was prepared to offer him something that had never been offered to him before, unconditional love and kindness.

"He knew what it was then that Liz had given him; the thing that he would have to go back and find… it was the caring about little things… It was this respect for triviality which he had never been allowed to possess; whether it was bread for the seagulls or love, whatever it was he would go back and find it; he would make Liz find it for him." (Page 1)

Liz showed Leamas that there was more to living then being a Spy. She made his world complicated, and he loved her for it. But it was a frightening thing for him. He had lived almost his entire life with armour, and now the armour was gone and he was open to attack; and it was hard for him to accept this new way of living.

"Sometimes he thought of Liz. He would direct his mind towards her briefly like the shutter of a camera, recall for a moment the soft-hard touch of her long body, then put her from his memory. Leamus was not a man accustomed to living on dreams." (Page 4)

Despise all his best efforts Leamas' wall came down and he fell in love with Liz. But Leamas' humanity proved too dangerous, it proved to be his downfall and he could not have his life with Liz. 'In the world of the spy, the greatest danger is to have human feelings'. As Liz lay dying, shot at Mundt's orders Leamas made a choice; he could come out of the cold, or die with the person who showed him how to come out of the cold. Liz was what brought Leamas out of the cold. But it was too soon, he was not yet safely away from his spy world and he sacrificed himself for the warmth of humanity. As such, he failed as a spy.

Mundt and Leamas fought for the same side, they were both in constant danger, but they ended up in completely different places. Leamas got his work done and he was good at what he did, but he was never a successful spy. This is because he always had humanity; he obscured and buried it but it was always there. Mundt was by far the most successful spy, but at a great cost. Unlike Leamas, there is no evidence that Mundt experiences any human feelings; he is cold and composed at all times, not connecting to anything or anyone. There is no fear against committing to feelings as he has no need for them. For Mundt the end always justifies the means because the only thing he respects is his own life; he will go to any length to protect himself and get the job done. Mundt succeeds in having no morality; Leamas fails. But the life of a successful spy does not lead to a happy existence, Mundt sacrificed himself completely for the cause and never knew what life could be; he only ever knew one existence, the spy. Leamas may have failed at being a good spy, but he discovered life which makes him a far superior man.

Leamas failed to be a successful spy; he allowed his protective wall to be eroded, and his underlying humanity to be revealed. He was never destined to be a spy of the same calibre as Mundt; as unlike Mundt, Leamas' humanity was an ever present threat. The greatest danger to a spy is to have human feelings; the greatest danger to anyone else is to live without them. Liz showed Leamas this, allowing him to become a complete human being, and to come out of the cold.

Please note that this sample paper on the world of the spy, the greatest danger is to have human feelings, the spy who came in from the cold 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 the world of the spy, the greatest danger is to have human feelings, the spy who came in from the cold, we are here to assist you. Your cheap research papers on the world of the spy, the greatest danger is to have human feelings, the spy who came in from the cold will be written from scratch, so you do not have to worry about its originality.

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Beloved

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It is the ultimate gesture of a loving mother. It is the outrageous claim of a slave(Morrison 187). These are the words that Toni Morrison used to describe the actions of the central character within the novel, Beloved. That character, Sethe, is presented as a former slave woman who chooses to kill her baby girl rather than allowing her to be exposed to the physically, emotionally, and spiritually oppressive horrors of a life spent in slavery. Sethes action is wrong She has killed her child. Sethes motivation is not so clearly defined. By killing her Beloved child, has Sethe acted out of true love or selfish pride? The fact that Sethes act is irrational can easily be decided upon. Does Sethe kill her baby girl because she wants to save the baby from slavery or does Sethe end her daughters life because of a selfish refusal to reenter a life of slavery? By examining the complexities of Sethes character it can be said that she is a woman who chooses to love her children but not herself. Sethe kills her baby because, in Sethes mind, her children are the only good and pure part of who she is and must be protected from the cruelty of slavery(Morrison 51). In this respect, her act is that of love for her children. The selfishness of Sethes act lies in her refusal to accept personal responsibility for her babys death. Sethes motivation is that she displays her love by mercifully sparing her daughter from a horrific life, yet Sethe refuses to acknowledge that her show of mercy is also murder. Throughout Beloved, Sethes character consistently displays the double nature of her actions. Not long after Sethes reunion with Paul D. she describes her reaction to School Teachers arrival Oh, no. I wasnt going back there[Sweet Home]. I went to jail instead(Morrison 4). Sethes words suggest that she has made a moral stand by her refusal to allow herself and her children to be dragged back into the evil of slavery. From the beginning, it is clear that Sethe believes that her actions were morally justified. The peculiarity of her statement lies in her slip of the horrifying fact that her moral stand was based upon the murder of her child. By not even approaching the subject of her daughters death, it is also made clear that Sethe has detached herself from the act. Even when Paul D. learns of what Sethe has done and confronts her with it, Sethe still skirts the reality of her past. Sethe describes her reasoning to Paul D., ... So when I got here, even before they let me get out of bed, I stitched her a little something from a piece of cloth Baby Suggs had. Well, all Im saying is thats a selfish pleasure I never had before. I couldnt let all that go back to where it was, and I couldnt let her or any of em live under School Teacher. That was out(16). Sethes love for her children is never-ending, yet she still shifts the burden of responsibility away from herself. She acknowledges that it was a selfish pleasure to make something for her daughter, yet Sethe refuses to admit any selfishness in her act of murder. She is frustrated with Paul D. confronting her Sethe knew that the circle she was making around the room would remain one. That she could never close in, pin it down for anybody who had to ask. If they didnt get it right off-- she could never explain. Because the truth was simple, not a long-drawn-out record of flowered shifts, tree cages, selfishness, ankle ropes and wells. It was simple. She was squatting in the garden and when she saw them coming and recognized schoolteachers hat, she heard wings. Little hummingbirds stuck their needle beaks right through her head cloth into her hair and beat their wings. And if she thought anything, it was No. No. Nono. Nonono. Simple. She just flew. Collected every bit of life she had made, all the parts of her that were precious and fine and beautiful, and dragged them thought the veil, out, away, over there where no one could hurt them(16). Sethes frustration is a product of her different way of reasoning. She views her children as an extension of her life that needed to be protected, at any cost. Sethes concept of loving and protecting her children becomes synonymous with her killing Beloved and attempting to kill the rest. Sethe can see no wrong here. Placing her children outside the horror of slavery, even if it meant taking their lives, was in her mind a justified act of love, nothing more. Ironically, it is Paul D. who reveals the contradictions that Sethe refuses to see in her own logic This here Sethe talked about love like any other woman; talked about baby clothes like any other woman, but what she meant could cleave the bone. This here Sethe talked about safety with a handsaw. This here Sethe didnt know where the world stopped and she began. Suddenly he saw what Stamp Paid wanted him to see more important than what Sethe had done was what she had claimed. It scared him(164). Paul D.s character suggests that although the killing act might have been committed out of a irrational, hysterical, loving mothers need to protect her children, Sethes claim that she was and is justified in those actions can not be accepted. Paul D. recognizes what Sethe can not. When Paul D. calls into question her thinking, Sethe still refuses to see her own role in what has come to pass What you did was wrong, Sethe. I should have gone on back there? Taken my babies back there? There could have been a way. Some other way. What way? You got two feet, Sethe, not four... (165) Sethes problem is rooted in her inability to recognize the boundaries between herself and her children. Paul D. stabs at the heart of this problem by suggesting that Sethe had overstepped her boundaries by killing her child. The concept that Sethe equates her life and self-worth with her connection to her children is most graphically illustrated in her mad ravings to the reincarnation of Beloved. Sethe details a defense for killing her baby to the woman she believes is her reincarnated, murdered daughter. Within this defense, Sethe explains in the greatest detail her reasoning for cutting her childs throat. Sethe pronounces that the worst thing in life was that anybody white could take your whole self for anything that came to mind. Not just work, kill, or maim you, but dirty you. Dirty you so bad you couldnt like yourself anymore. Dirty you so bad you forgot who you were and couldnt think it up. And though she and others lived through and got over it, she could never let it happen to her own. The best thing she was, was her children. whites might dirty her all right, but not her best thing, her beautiful, magical best thing-- the part of her that was clean.(51) Sethes words suggest that the only part of herself that she cares for is her children. Indeed, the only reason that she killed her daughter is because Sethe refused to let School Teacher or any other white person dirty her children as Sethe herself had been dirtied. Sethes nobility is apparent. She loves her children to much to let them be tarnished by slavery. Unfortunately, Sethes nobility is tainted by the fact that she can not recognize absurdity of the murderous act she has committed. Even in her shameful defense, Sethe is proud. Sethes undaunted pride is illustrated by her words, And no one, nobody on this earth, would list her daughters characteristics on the animal side of the paper. No. Oh no. Maybe Baby Suggs could worry about it, live with the likelihood of it; Sethe refused- and refused still(51). Toni Morrison, in an effort to describe the motivation and pride of Sethes character, made the statement, To kill my children is preferable to having them die (Morrison 187). Saving her children from slavery and the promise of spiritual and emotional death that such an institution imposes is the rational of love that Sethes character clings to. The truth that Sethes character selfishly avoids is the actual physical death that she has inflicted upon her child. understanding why a woman would kill any child, let alone her own baby, is at best an enigma. Sethes character is no exception. Sethes motivation does not fit into a simple schematic. Sethe is presented as a woman who loves her children so much that she is willing to kill them rather than allow them to be broken by an evil institution. Love is, then, Sethes primary motivation for killing her baby. However, Sethes love for her children does not preclude her responsibility for Beloveds death. Indeed, Sethes selfish fault lies in the fact that she has shifted the locus of responsibility from herself to the institution that has spawned her. Ultimately, it is Sethe who is responsible for her childs death, not slavery. Sethe kills her daughter to demonstrate her love. Sethe exhibits her selfish pride by repudiating her own guilt. Does Sethe realize her fault? Perhaps. When presented the notion that Sethe, and not her children, is her own best thing, her reply takes the form of a question, Me? Me?(7). Morrison leaves the reader with the sense that Sethe might realize that she has loved her children too much, and herself not enough.

Please note that this sample paper on Beloved 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 Beloved, we are here to assist you. Your persuasive essay on Beloved will be written from scratch, so you do not have to worry about its originality.

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