Serious Game Critique Essay Example | Topics and Well Written Essays - 750 words - 3

Genuine Game Critique - Essay Example The genuine games have the ability of changing assessments of the social orders of affecting them towards accomplishing a shared objective through teaching and amusing learning. This has stimulated the need to break down one genuine game, so as to show the manner in which it has the abilities of impacting the social orders towards social, physical, and passionate changes. The examination concentrate additionally recognizes if the genuine game was fruitful, and represent the manner in which the focused on crowd reacted to the game. This paper explicitly surveys the Climate Defense, which is a safeguard games instructing the player to forestall the an unnatural weather change through the retention of carbon dioxide before working up into the environment. The game contains towers that speak to amounts of trees that can be planted to ingest the carbon dioxide discharged to the climate. The towers are developed by the player to devastate the billows of carbon dioxide, which matches along the pathway starting from the earliest stage to the environment as waves. The game presents the general effects on the player, particularly after the expansion of worldwide temperatures. It gives subtleties of the normal outcomes, as anticipated by the financial analysts and researchers after the expansion of the worldwide temperatures. Notwithstanding, the games give a chance to the player to move toward the tricky part of the outcomes by diminishing the wave-size of the discharged carbon dioxide. It likewise gives the player an elective methodology of expanding the effectiveness of vitality utilizations by diminishing the influxes of carbon dioxide, which the trees must arrangement with. Hence, the game accomplishes its objectives of disposing of the player the different ways to deal with end the issue of an Earth-wide temperature boost, particularly the basic one of planting the trees. It accomplishes its ideas be in any event, anticipating the potential effects if the circumstance isn't taken leveled out. Such forecasts incorporate the efficient perspective and logical

Subculture of Hip Hop free essay sample

Everything began with the introduction of a country. The dishonorable wrongdoings that manufacture this nation lay on the backs of a subjugated people, yesterday in chains and with laws and today in a correctional facility and inside colonization. The story is as old as our time. The main slaves were brought to the Virginia Colony in the early asses. They were essentially contractually bound slave whom would be discharged in the wake of working a concurred number of years. They came to America on an intentional premise. Before long, that model of servitude was replaces with the race-based subjugation utilized in the Caribbean.Slavery was formally sanctioned in 1641 and step by step relapsed to the severe structure that we know today. The sabotaging and persecution of those African individuals were fixed in 1 712 when William Lynch, an estate proprietor from the British West Indies, was approached to go to the Virginia Colony to give essentially a course on the most proficient method to oversee slaves. We will compose a custom article test on Subculture of Hip Hop or on the other hand any comparable theme explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page His technique, as I would like to think was the impetus that began the mental persecution that despite everything plagues the African American mind today. In his discourse he contrasted Blacks legitimately with ponies saying, Both pony and naggers is nothing but bad to the economy in the more stunning or characteristic state.Both must be broken and passed on together for methodical creation. (Lynch 1712). He felt that the most significant factor to dealing with a slave was breaking his brain, or their will to stand up to. In the discourse he gave he spread out three significant focuses that were required. 1. Breaking the mother 2. Undermining the man before the lady and posterity 3. Expelling men from family in the wake of posterity were brought into the world The breaking of the lady was the most significant as it lead to propagation of the slave attitude through posterity which guaranteed endurance of the mindset without any work done with respect to the slave proprietor. In the wake of smelling the reliance of the lady from the man it made her accomplish for the ace and not for herself. In undermining and expelling the male from the family unit, which additionally strengthened the autonomy of the mother and dread in the lady, it made the mother thus show those jobs to her kids. She showed the female youngster to be autonomous and to live for the ace and in dread for her male posterity life showed him the standards which made him mentally reliant, yet kept on keeping them genuinely solid. He even contemplated that the slaves may in the end erect along these lines of thinking.His arrangement was to crossbreed Whites with the slave ladies. By blending and making various shades of individuals this made various degrees of work. Each degree of work had various qualities which made division and caused strain among them. Lynch guaranteed that his technique would keep Blacks subjugated for tallest 300 years. 201 1 is the 29th year point from the day of his discourse and his hypothesis is as yet going solid. His thoughts are continually recreated and propagated by the ones whom it influences the most. To be deprived of your humankind and transformed into property, How can one pop when they come into the opportunity we have today?It is through making of your own reality, one where you can get away to, where you are in charge. That is the way the Hip-Hop subculture was conceived. The meaning of subculture that will use for my exploration is: a development of a characteristic culture, made out of a mix of factorials social circumstances, for example, class status, ethnic foundation, territorial and rustic or urban living arrangement, and strict alliance, however framing in their mix an utilitarian solidarity which as a coordinated effect on the taking an interest individual Gordon, 1947140) The subculture that I will investigate is the Hip-Hop subculture.Hip-Hop rose in the 1 9705 in the Bronx region of New York. Keith Wiggins an individual from Grandmaster Flash and the Furious Five has been credited with instituting the term Hip Hop in the late asss however it is increasingly perceived to have been begun by DC Africa Bumboat. Bumboat is credited with truly beginning the development and setting up it has a genuine music sort. He delineated four principle mainstays of hip bounce culture and they incorporate Mincing, Digging, break moving and spray painting composing. Acquiring is additionally included as a sub component of Digging.Hip-Hop as a subculture was built up by Black Americans, the adolescent specifically in view of their standardization. Standard music was made generally by White Americans for White Americans on subjects they could identify with. Despite the fact that Hip-Hop began as only a beat it changed into something a lot more. Jamaica conceived DC Clive Cool Here Campbell, one of the most compelling in spearheading the craft of hip jump music, brought over numerous Jamaican conventions including their custom of toasting, which laid the lupine for the real rapping on instrumentals.Toasting is off the cuff, proud verse and discourse over music. Hip Hop music got one of the essential useful outlets for Black Americans to discharge their considerations, agony, and anguish about the treacheries and abuse of Black individuals. Despite the fact that a large portion of the pioneers in Hip Hop either were not conceived in America or are second era foreigners that demonstrates that regular abuse can prompt solidarity. The way that that these people were devastated and felt insignificance is the thing that brought them accumulate and lead to the way of life today.Deep established bigotry in the United States kept the class of music smothered for some time before it was permitted to try and be played on the wireless t ransmissions. Presently, in 2011, the principle customers of results of hip jump are White Americans. Dreaming Analysis The persistent standardization of African Americans has left them in a condition of anomie, not having the option to absolutely meet the social objectives and standards of white America has caused strain and useless which inevitably lead to a sentiment of alienation.The individuals from this anomic class, having comparable seasons for estrangement, have been united and attachment has shaped which strikingly takes after mechanical solidarity. Mechanical solidarity is a social bond dependent on similarity. It is the regular persecution that makes the aggregate awareness that keeps up this bond. Obscurity is the token that is idolized. Qualities of that Blackness are standardization, neediness, and persecution. These are the most overall subjects in the general public that is made. Of course, these are likewise the fundamental topics in Hip-Hop music.The aggregate aware of this gathering is interpreted through emblematic vaccination, for example, slang and beat making and means the aggregate conduct which is the Hip-Hop culture. A subculture, for example, this one is a reaction to the hole that has been made between the automatic or standard belief system and the gathering that one has picked. These subcultures are a need to reestablish control back to the principle society. We see proof of this in the selection of Hip-Hop into the standard culture which has reduced its negligibility and carried African Americans into the control of White America once again.This shows especially in the substance of the music cap is made today versus when Hip-Hop was still underground. Hibernia Critique The Hip-Hop subculture isn't a reaction to a severe authority however a shared relationship made by an emotional inclination that as an everyday citizens they have a place togeth er. Ethnicity, a mutual language, or images isn't themselves sufficiently adequate to cause a bond so solid as to make a sub gathering. This kind of bond is to a lesser degree a relationship and even more an enrollment that depends on surface attributes, for example, apparel, awful mentalities, and taste in music, in this case.Individuals separated of this culture have not been constrained into a gathering however selected into this gathering as a result of similarity or to feel cool. This subculture can be viewed as a reaction to magnetic power. Emcees and Des, in light of their ability, high regard in the network, and shallow riches, are viewed as figures to admire. These people were in this way followed into the formation of this subculture. These two examinations Of the Hip-Hop culture has lead us me to experiences with regards to why the subculture was made, has been kept up, and is so promptly embraced by the standard today. Something that began similarly as something enjoyable to keep youthful African Americans in the clear developed into its own general public. This general public despite the fact that it began as a counterculture has discovered its way into the standard. The music that has come about, when prohibited from wireless transmissions, presently is utilized more than not in all aspects of notice, at games, and tops announcements ceaselessly. This shows the abuse set on this gathering and the positivist that came about because of it changed the world as we probably am aware it.

Niger Delta Conflict On The Nigerian Economy Politics Essay

Niger Delta Conflict On The Nigerian Economy Politics Essay The goal of this Chapter is to give a foundation to the investigation. This incorporates the ramifications of the Niger-Delta (ND) struggle on the Nigerian economy, the beginning of absolution strategy, the target of the examination, investigate questions, philosophy just as extension and impediments to the examination. Foundation to the Study The centrality of the Niger-Delta Region to Nigerias economy is unquestionable. This is on the grounds that it delivers the oil that by and by supported the economy. Sadly, in any case, in the course of the most recent decades, it has gotten an inside for rough fights with damaging results on the Nigerian economy and socio-political strength just as the undulated impact over the worldwide. For example, government measurements have indicated that in 2005, Crude oil creation has tumbled from 2.7million barrels every day (mbpd) to 2.4mbpd along these lines demonstrating a deficiency of 0.3mbpd in raw petroleum creation. On the income side, around the same time, the anticipated income of N1.63trillion was updated descending to N1.4trillion because of setback in unrefined petroleum creation (2006 FGN Budget Speech). Correspondingly, in 2006 expected income into the Federation Account fell by N570 billion because of loss of 600,000bpd (2007 FGN Budget Speech). In 2007, the anticipated inco me was short to the tune of N796billion because of disturbance of unrefined petroleum creation in the Niger-Delta locale (2008 FGN Budget Speech). In 2008, unrefined petroleum creation was anticipated at around 2.45mbpd yet just 2.00mbpd was accomplished additionally because of disturbance of creation (2009 FGN Budget Speech). In 2009, unrefined petroleum income projection fell by 17% because of disturbance underway just as fall in raw petroleum cost at the global market (2010 FGN Budget Speech). Another pointer to the bleak idea of the Nigerian economy was the utilization of the Excess Revenue Account (ERA) from year 2006 consistently, with the exception of in some not very many cases, to enlarge the month to month dispensing of income from the Federation Account. For example, over N733.81bn and N795.41bn were pulled back from the ERA to increase spending use for the three levels of government in 2007 and 2008 individually (CBN, Annual Report, 2008). The contention has been accused on the countries awkwardness political structure; long periods of ecological contamination because of oil investigation and extraction exercises; infrastructural disregard and interest for bigger portion of income from raw petroleum deals (Omeje, 2006). Be that as it may, unmistakably, throughout the decades, government have utilized carrots and sticks approaches both to constrain and assuage the individuals of the Niger-Delta Region. While the past measures have had some huge effects in certain regards, there are repeating echoes of horror from the area. Among the past endeavors were the making of the Niger-Delta Development Board (NDDB), Oil Mineral Producing Areas Development Commission (OMPADEC), Niger-Delta Development Commission (NDDC), Derivation Principle (from 1% to 13%) and the foundation of Niger-Delta Ministry in 2008. Fisher-Thompson (2010) composing for the Bureau of International Information Programs, U.S. Division of State saw that the way to Nigerias financial advancement is soundness in the Niger River Delta, where the greater part of the countrys oil and flammable gas is delivered and where a seething militancy and harm of creation offices compromise progress for the locales 30million occupants. Along these lines perceiving the tremendous possibilities of Niger-Delta for the country everywhere, the late President YarAdua, for instance, said it is fanciful to imagine that power could be produced and transmitted on a supportable premise in Nigeria if goals of the Niger-Delta question remains truly or metaphorically in the pipelines (Adeniyi, 2010), Similarly, the Technical Committee on the Niger-Delta (TCND, 2008), noticed that President YarAdua perceived the vital significance of the Region as the principle wellspring of Nigerias outside income by making the Niger-Delta issue one of the 7-Poi nt program of the organization. Consequently, absolution was allowed to the aggressors in the Niger-Delta district of Nigeria in June 2009, by late President YarAdua to soothe the annoying militancy in the area. There is, in any case, scarcely any investigation right now that have made any helpful endeavor to break down the effect of the reprieve program on the countries unrefined petroleum creation just as income stream into the Federation Account with the exception of the spotted papers cuts and other dissipated authority records. Likewise, all things considered with most novel methodologies, the acquittal program has been welcomed with bunches of incredulity as its reasonable effect of reestablishing harmony and improved unrefined petroleum creation and stream of income into the Federation Account probably won't be accomplished. As needs be, as a topical issue in Nigeria, which suitability is addressed, it gives the inspiration and enthusiasm to examine government archives so as to give a superior image of the circumstance. Moreso, as a staff of Revenue Mobilization Allocation and Fiscal Commission (RMAFC), an office of government that is intrinsically accused of the capacity of observing income gatherings into and payment from the Federation Account, added more driving force to the subject of the examination. Thus, this examination is an endeavor to assemble official records just as different sources so as to give a fundamental effect of the absolution program on raw petroleum creation and income into Federation Account. Destinations In this examination, the mission isn't to talk about the pardon program or to harp on the oil calamity in Nigeria, yet to relate the acquittal program to a portion of the normal advantages, which are explicitly interconnected with improved raw petroleum creation and stream of oil income into the Federation Account. At the end of the day, the essential point of this exploration is to see if the acknowledgment of reprieve by the activists in the Niger-Delta has any huge effect on unrefined petroleum creation yield and stream of oil income into the Federation Account. RESEARCH QUESTIONS This exploration would especially endeavor to respond to the accompanying examination questions: Whatever degree has the allowing of acquittal as an instrument to oversee asset struggle in the Niger-Delta locale adds to improved raw petroleum creation? What is the impact of the reprieve on the progression of income into the Federation Account (Common Pool) from the oil segment? How does the acquittal program sway on the Nigerias financial federalism? System Jankowicz, (1995) has characterized technique as a deliberate and precise methodology taken towards the assortment of information with the goal that data can be acquired from those information. This exploration receives a subjective methodology, which has been portrayed as an abstract record that one creates by getting inside circumstances and including oneself in the ordinary progression of life (Gill and Johnson, 2005:89). In Strauss and Corbin (1990:17) Qualitative Research is any sort of research that produces discoveries not showed up at by methods for factual methodology or different methods for evaluation. The target of utilizing this methodology is to have the option to reach determination from the examination question with regards to whether there was an expansion in raw petroleum creation just as income stream into Federation Account because of the acquittal allowed to the aggressors. This exploration utilizes auxiliary information assortment approach. The information of unrefined petroleum creation measurements and income inflow were sourced from Nigerian National Petroleum Corporation (NNPC), Central Bank of Nigeria (CBN), Revenue Mobilization Allocation and Fiscal Commission, Federation Account Allocation Committee Files (FAAC) and National Bureau of Statistics (NBS). Regardless of, their weaknesses, the validity of information from these organizations isn't in question in light of the fact that no some other office can give such information inside and outside Nigeria without alluding to them as source. The information gathered were assessed utilizing a straightforward information review strategy which is an examination between genuine encounter and counterfactual situations. This sort of procedure is contained three strategies to be specific; with versus without, before versus after and target versus genuine. This technique is fundamentally used to break down the impacts of projects and execution (Douangboupha, 2004). This examination embraced the when method since it give the premise wherein correlation is done between unrefined petroleum creation and income stream into Federation Account when the pardon has been conceded. The before versus after technique is utilized to contrast execution of another arrangement and what was before the change. This methodology as a rule shows what occurred and not why it occurred. Be that as it may, this drew closer is reprimanded on the way that it disregards other outside components that can impact it result (Douangboupha, 2004). Extent OF THE RESEARCH The extent of this examination is to analyze unrefined petroleum and income information from January 2009 May 2010. Correspondingly, the exploration would not be keen on taking a gander at the acquittal program when all is said in done. Part Two Writing REVIEW Presentation The fundamental target of this Chapter is to basically audit writing from assortment of points of view on the causation and the executives of contention with connections to common assets prompted clashes. Survey of Literature Struggle is a disaster and obstacle to improvement (Collier and Hoeffler, 2000). Strife is an interference of advancement as no improvement venture will ever happen in a condition of contention. Obviously, this has been recognized by late President YarAdua that contention is compromising harmony, security, request and great administration and risking the economy of the country (YarAdua, 2009). Strife has been characterized by Burton (1990) as those practices of people or gatherings that go past contradiction that cause genuine injury to physical, security and future advancement of people, gatherings and countries. As

An Analysis of the Citizens United vs Federal Election Commission Essay

An Analysis of the Citizens United versus Federal Election Commission Ruling in the Context of Equal Right - Essay Example By method of brief foundation, the case flourishes in 2008 when a non-benefit enterprise, Citizens United, discharged a narrative entitled â€Å"Hillary† that was made to focus on the previous Senator who was at the time competing for the assignment of the Democrats. The Supreme Court decided that electioneering correspondences fell under the defensive ambit of the First Amendment. It in this way overruled the instance of Austin v. Michigan Chamber of Commerce, which prohibited the utilization of treasury cash by partnerships to crusade possibly in support of specific up-and-comers, and the instance of McConnell v. Government Election Commission, which maintained the limitations on electioneering correspondences forced on corporate consumptions. Many had considered it an assertion of the First Amendment as ensured by the Constitution, yet a lot more felt that the Court was privileging corporate interests and was capturing the trustworthiness of the decisions. There has additio nally been a lamentable inclination to mark the individuals who bolster Citizens United as preservationists and the individuals who contradict it as increasingly dynamic. In this paper, I contend that the choice was in reality a certification of free discourse and was in certainty a festival of common freedoms. I additionally contend that the contrary result would over the long haul have progressively injurious consequences for the First Amendment. ... h originates from a corporation.† It additionally expresses that â€Å"Because discourse is a fundamental component of democracyâ€it is the way to consider authorities responsible to the peopleâ€political discourse must beat laws that would smother it by plan or inadvertence.† It at that point continued to state that organizations and individuals both reserve an option to free discourse that the legislature is dutybound to secure. Said Justice Kennedy, â€Å"Distinguishing affluent people from organizations dependent on the latter’s unique preferences of,â e.g.,â limited risk, doesn't get the job done to permit laws denying speech.† Another point that was settled on by the choice was that ruling against Citizens United would render different foundations defenseless control. The dominant part conclusion advises us that papers are companies also, and along these lines they likely could be choked from political correspondence if the Citizens case was c hosen in the contrary way. This doesn't look good for the fate of media and news coverage. To be sure, their opportunity must be energetically watched as it establishes a bedrock of our majority rule government. Adversaries of the choice, in any case, are doubtful that the insurance of free discourse is to be sure the plan of the choice †taking note of that truly, corporate interests have regularly bested open intrigue, and thinking about whether this is one more case of the tragic example. â€Å"If the boycott is struck down†, says Cohen (2009) partnerships may before long be composing huge checks to the equivalent chosen authorities whom they are requesting to give them bailouts or to expel wellbeing and-security guidelines from their manufacturing plants or to embed redid escape clauses into the assessment code.† Fears have been raised that the choice will see a development of corporate campaigning in considerably more fabulous scale than present:

15 Classic Poems for the New Year

15 Classic Poems for the New Year The diverting of the schedule starting with one year then onto the next has consistently been a period of reflection and expectation. We spend the daysâ summing up past encounters, saying goodbye to those we have lost, restoring old kinships, making arrangements and goals, and communicating our desires for what's to come. These are fit subjects for sonnets, similar to these works of art on New Year’s topics. Robert Burns, â€Å"Song-Auld Lang Syne† (1788) It is a tune that millions decide to sing each year as the clock strikes 12 PM and it is an immortal exemplary. Days of yore is both a melody and a sonnet, all things considered, tunes are verse combined with a good soundtrack, isn't that so? But then, the tune we know today isnt an incredible same thing that Robert Burns had at the top of the priority list when he composed it more than two centuries back. The song has changed and a couple of the words have been refreshed (and others have not) to meet present day tongues. For example, in the last section, Burns composed: What's more, there’s a hand, my trusty fere!And gie’s a hand o’ thine!And we’ll tak a privilege gude-willie waught, The advanced rendition likes: What's more, thers a hand, my trusty friend,And gies a hand o thine;Well tak a cup o generosity yet, It is the expression gude-willie waught that gets a great many people off guard its simple to perceive any reason why numerous individuals decide to rehash cup o benevolence yet. They do mean something very similar however, as gude-willie is Scottish modifier meaningâ good-willâ andâ waughtâ meansâ hearty drink. Tip:  A normal misguided judgment is that Sin is pronouncedâ zineâ when truly it is more likeâ sign. It meansâ sinceâ andâ auld lang syneâ refers to something like old since a long time ago. Ella Wheeler Wilcox, â€Å"The Year† (1910) On the off chance that there is a New Years Eve sonnet worth putting to memory, it is Ella Wheeler Wilcoxs The Year. This short and rhythmical sonnet summarizes all that we involvement in the death of every year and it moves off the tongue when presented. What can be said in New Year rhymes,That’s not been said a thousand times?The new years come, the old years go,We realize we dream, we dream we know.We ascend giggling with the light,We rests sobbing with the night.We embrace the world until it stings,We revile it at that point and murmur for wings.We live, we love, we charm, we wed,We wreathe our ladies, we sheet our dead.We chuckle, we sob, we trust, we fear,And that’s the weight of the year. In the event that you get the chance, read Wilcoxs â€Å"New Year: A Dialogue.† Written inâ 1909, it is a phenomenal discourse among Mortal and The New Year wherein the last thumps on the entryway with offers of encouragement, trust, achievement, wellbeing, and love. The hesitant and discouraged human is at long last baited in. It is a splendid editorial on how the new year frequently resuscitates us despite the fact that it is simply one more day on the schedule. Helen Hunt Jackson, â€Å"New Year’s Morning† (1892) Along those equivalent lines, Hellen Hunt Jacksons sonnet, New Years Morning talks about how its just a single night and that every morning can be New Years. This is an awesome bit of helpful writing that closes with: Just a night from old to new;Only a rest from night to morn.The new is nevertheless the old come true;Each dawn sees another year conceived. Alfred, Lord Tennyson, â€Å"The Death of the Old Year† (1842) Writers frequently relate the old year with drudgery and distress and the new year with trust and lifted spirits. Alfred, Lord Tennyson didn't avoid these musings and the title of his sonnet, The Death of the Old Year catches the feeling of the refrains impeccably. In this great sonnet, Tennyson spends the initial four refrains regretting the years going as though it were an old and dear companion on his passing bed. The principal refrain closes with four strong lines: Old year you should not die;You came to us so readily,You lived with us so steadily,Old year you will not bite the dust. As the refrains proceed onward, he checks as the hours progressed: ’ Tis about twelve o’clock. Shake hands, before you bite the dust. Inevitably, another face is at his entryway and the storyteller must Step from the cadaver, and let him in. Tennyson tends to the new year in â€Å"Ring Out, Wild Bells† (from In Memoriam A.H.H., 1849) also. In this sonnet, he begs the wild chimes to Ring out the distress, passing on, pride, demonstrate hatred for, and a lot increasingly tacky qualities. As he does this, he requests that the chimes ring in the great, the harmony, the respectable, and the valid. All the more New Years Poetry Passing, life, bitterness, and expectation; artists in the nineteenth and twentieth hundreds of years took these New Years topics to extraordinary boundaries as they composed. Some took a hopeful view while, for other people, it appears to have just prompted despair. As you investigate this topic, make certain to peruse these great sonnets and study a portion of the setting of the artists lives as the impact is regularly extremely significant in comprehension. William Cullen Bryant, â€Å"A Song for New Year’s Eve† (1859) - Bryant advises us that the old year isn't yet gone and that we ought to appreciate it to the latest possible time. Numerous individuals accept this as an extraordinary update for life all in all. Emily Dickinson, â€Å"One Year prior - writes what?† (#296) - The new year makes numerous individuals think back and reflect. While not explicitly about New Years Day, this splendid sonnet is uncontrollably contemplative. The artist composed it on the commemoration of her dads passing and her composing appears to be so muddled, so distressed that it moves the peruser. Regardless of your commemoration - demise, misfortune... whatever - you have likely felt equivalent to Dickinson at once. Christina Rossetti, â€Å"Old and New Year Ditties† (1862) - The Victorian writer could be very horrible and, shockingly, this sonnet from the assortment Goblin Market and Other Poems is one of her more splendid works. It is exceptionally Biblical and offers expectation and satisfaction. Likewise Recommended Francis Thompson, â€Å"New Year’s Chimes† (1897)Thomas Hardy, â€Å"The Darkling Thrush† (made December 31, 1900, distributed 1902)Thomas Hardy, â€Å"New Year’s Eve† (1906)D.H. Lawrence, â€Å"New Year’s Eve† (1917) and â€Å"New Year’s Night† (1917)John Clare, â€Å"The Old Year† (1920)

The Medical Marijuana

The Medical Marijuana Legalizing Marijuana Nov 19, 2018 in Persuasive Essay Why Marijuana Have to be Legal? The benefits that will arise from the legalization of marijuana are various; however, among these are the potential economic contributions that marijuana could present to the economy. County, state and federal governments have continued to experience a shortfall in the budgets; as a result, the available resources have been apportioned to various projects on the basis of proportionate allocation according to the available funds. In the meantime, illegal trade of marijuana has resulted in billions of dollars being lost to criminal enterprises. Therefore, in an economic perspective, the legalization of marijuana should be allowed because of the potential financial benefits that will result in the form of taxes, creation of employment and increasing wealth for the local communities. It has been estimated that the funds that will be potentially derived from the legalization of marijuana will amount to billions annually. This translates to increased revenue for the governments for use in various projects and creation of employment; hence reducing the incidence of poverty.

The Tempest In Search of Prospero’s Identity in Caliban and Ariel - Literature Essay Samples

In Shakespeare’s The Tempest, Prospero exerts wrathful influence over the island and his servants Caliban and Ariel cannot help but cower in humble obedience. Ariel is indebted to Prospero for freeing him from the dreadful darkness of the â€Å"cloven pine† (I.ii.277) to which he was banished by the witch Sycorax. For Caliban, servitude is natural, for he was born devoid of self-control and consequently must fall under the authority of another. By examining the master-slave interactions in The Tempest, the reader can understand what Caliban and Ariel represent in the play. Some critics have suggested that Prospero’s dominion over the island is a gesture of colonial appropriation over the two natives of the island (Parker), yet Prospero’s remarkable metamorphosis from an abusive to a merciful master in the last scene complicates the relationship between Prospero and his two servants. Prospero’s acts of forgiving Caliban and freeing Ariel can be s een as a surrender of the qualities that made him a cruel and vengeful demi-god. Ariel and Caliban are perhaps manifestations of Prospero’s character flaws that he has failed to admit. Shakespeare attempts to unifies the roles of Prospero, Caliban, and Ariel by defining their relationship within the â€Å"great chain of being† as well as ironically portraying them as the Holy Trinity. This unifying effect presents Prospero with the difficulty of separating himself from Caliban’s and Ariel’s flaws. Prospero ultimately succeeds, however, in recognizing these flawed qualities as he restores himself to his original human state.Prospero and Caliban exhibit the same â€Å"darkness† or flaw, indicating that Caliban is perhaps an embodiment of Prospero’s concealed defects. When Caliban joins the gathering in the last act of the play, Prospero says: â€Å"This thing of darkness I / Acknowledge mine† (V.i.276-277), admitting he believes Cal iban is his slave. A colonial interpretation of the line might suggest that Caliban represents the subjugated native who is conquered by Prospero, a foreigner who espouses a haughty Eurocentric attitude (Riggs). More significantly, however, the lines reveal the role that Caliban plays in the development of Prospero’s character. By confessing to his ownership of Caliban, who is beget of the witch Sycorax, Prospero admits to his own â€Å"darkness† as he prepares to consummate his plan of reconciliation, to purge himself as well as those who have sinned against him. Prospero often exhibits Caliban-like qualities, lending credibility to the claim that Caliban is a physical manifestation of Prospero’s desires. Caliban, who sought to â€Å"violate / The honor of [Prospero’s] child† (I.ii.346-347), is the personification of appetite and negligence for the law. Similarly, while he was still the Duke of Milan, Prospero had an uncontrollable appetite for â€Å"the liberal arts†( 73) and was constantly â€Å"rapt in secret studies† (77), which turns out to be the hamartia that caused him to neglect his political responsibilities and enable Antonio to overthrow him (Holland).Caliban’s treasonous murder plot, furthermore, is metaphorically linked to Prospero’s insolence and disregard for authority. Just as Caliban plots to subvert the authority of Prospero through a â€Å"foul conspiracy† (IV.i.139), so Prospero displays a patronizing attitude toward the king. Upon sight of the â€Å"The wrongà ©d Duke of Milan, Prospero,† (V.i.107), King Alonso regrets having banished him and pleads to Prospero, â€Å"[I] do entreat / Thou pardon me my wrongs† (118-19). Yet Prospero ignores the king and instead greets Gonzalo: â€Å"First, noble friend, / Let me embrace thine age, whose honor cannot / Be measured or confined† (121-23). Instead of addressing the king in humble respect, Pr ospero flagrantly disregards the monarch who has just deigned himself in apology. Prospero’s subsequent lines, however, contradict his seemingly unforgiving demeanor; he embraces everyone with â€Å"Welcome, my friends all† (125). By juxtaposing Caliban’s disownment of his master with Prospero’s refusal to pay proper homage to his king, Shakespeare reveals the characteristic sameness between Prospero and Caliban as if to show that they were one single entity. Both commit a crime punishable by death and both escape punishment. The king takes no heed of Prospero’s offence; Prospero likewise forgives Caliban, bidding him, â€Å"As you look / To have my pardon, trim it handsomely† (293-94). This display of unsubstantiated reconciliation underscores the complexity of Prospero’s intentions in the play. Shakespeare, however, sheds light on this complexity by paralleling Prospero and Caliban. Through his coarse language, Caliban repres ents Prospero’s frustrations. Although Caliban appears to be nothing more than a vile slave, his complexity of language is comparable to that of Prospero. Caliban directs his accusations toward Prospero, claiming, â€Å"You taught me language, and my profit on’t / Is, I know how to curse. The red plague rid you / For learning me your language!† (I.ii.363-365). Caliban, who has acquired Prospero’s tongue, lashes out his frustrations in poetic verse. Caliban’s mouth has become a channel through which Prospero vents his frustrations for the injustices and pains he has endured. Caliban complains that he was his â€Å"own king† until Prospero â€Å"[stied him] / In this hard rock† and denied him â€Å"the rest o’ th’ island† (342-344). Prospero, who was denied access to his dukedom, could very well have used Caliban’s rhetoric in protest. Yet Prospero who purports to be â€Å"A prince of power† (5 4) would rather disguise his inner vulnerability. He tells Miranda, â€Å"[Antonio] whom next thyself / Of all the world I loved† (68-69). Prospero’s calloused appearance belies his true sensitivity and affliction from being betrayed by his brother, whom he loved dearly. Caliban’s irate language is therefore a representation of the discontentment that Prospero cannot express himself. He serves as the incarnation of Prospero’s own hatred and â€Å"darkness† within.The other native of the island, Ariel, exemplifies speediness and stamina that symbolize Prospero’s unflagging motivation to carry out the intricate scheme that will eventually culminate in the forgiveness his enemies. As with Caliban, Prospero assumes possession of Ariel when he addresses him â€Å"my brave spirit† (I.ii.206) or â€Å"my brave fairy.† The word â€Å"spirit,† however, could also connote â€Å"the mind and will† (OED). Ariel is a fa iry spirit who desires freedom and justice, which Prospero likewise yearns for since his banishment. Consequently, Prospero expects restitution for the injustice he received from his foul brother Antonio. Paradoxically, he also seeks freedom from anger, an emotion that has imprisoned him in solitary bitterness on the island. In this respect, Ariel represents Prospero’s â€Å"will† or â€Å"drive† to pursue his vision of achieving reconciliation. Throughout the play, Ariel carries out Prospero’s fastidious requests so perfectly that it appears as though Prospero were carrying them out himself. For the time being, Ariel is inseparable from Prospero’s existence because he personifies Prospero’s â€Å"will,† acting as an indentured servant who caters to his master’s every whim. As Prospero’s goals come to completion in the last act, his â€Å"will† dies away and Ariel â€Å"drink[s] the air before [him]† (V.i.102) and dissipates into the mist. Ariel, the personification of Prospero’s aspirations for the spiritual purity of forgiveness, no longer serves a purpose after the completion of Prospero’s plan and must therefore vanish.The roles of Prospero, Caliban, and Ariel are closely interwoven into the plot of the play. To gain a better understanding of how Shakespeare interweaves the roles of the characters, one could read The Tempest within the schema of Empedocles’ theory of elements, which assumed that the world consisted of four mystical elements— fire, earth, air, and water (IEP). Prospero is clearly the â€Å"fire† in the play since he directs his anger toward Antonio, who was â€Å"so perfidious† (I.ii.68) that he betrayed his own brother. Caliban represents the â€Å"earth† element of the play for his mind and body are as dull and unmoving as the earth itself. In fact, Prospero summons Caliban with â€Å"Thou earth, thou! Speak!† (313). Caliban’s baseness and immorality as a creature of the earth is representative of mankind’s intrinsic â€Å"darkness.† This â€Å"darkness† is the inner vice that Prospero finally acknowledges at the end of the play. Ariel obviously serves as the â€Å"air† element of the play. He lacks any form of autonomy, and his existence appears almost dependent on the tasks assigned to him by Prospero. At the literal level, the tempest that Ariel summons at the beginning of the play illustrates the â€Å"water† element of the play. More importantly, water suggests a catharsis or cleansing action, which serves to heal the emotional wounds from a tragic occurrence (Janko). As Prospero â€Å"abjures† his â€Å"airy charm† (V.i.51-54) and admits to his â€Å"darkness† (276), his eyes shed â€Å"fellowly drops† (64), forming the very tears that complete the cleansing action. Prospero’s forgivi ng of Caliban, Alonso, and Antonio and his freeing of Ariel serve to purge any resentment as well as to quell Prospero’s anger. Prospero’s island has become a witch’s brew that blends the elements of Prospero, Caliban, and Ariel and concocts a plot that culminates in a cathartic conclusion. The three characters almost appear to be one inseparable entity, each complementing the other in the workings of the plot.The natural hierarchy and order of the world is disrupted as Prospero incorporates elements of both Ariel and Caliban into his character. Lovejoy claims that Elizabethans pictured the order of the universe as a â€Å"great chain of being† that places Gods and kings at the top while relegating lowborn humans and inanimate objects to the bottom of the hierarchy (King). Shakespeare makes it evident in the first lines of the play that the natural order of the world has been disrupted. As the tempest unrelentingly tosses and heaves the ship, the pas sengers fall into havoc as the boatswain cries out, â€Å"What care these roarers for the name of the king? To the cabin! Silence! Trouble us not!† (I.i.16-18). The social hierarchy here is reversed because the kings and nobles are receiving orders from the seamen. This disorder is the consequence of Prospero’s use of magic. Because Ariel’s magical actions are Prospero’s own bidding, Prospero assumes a God-like role, a position far beyond the scope of human faculty. After he casts off his magical robes and â€Å"drown[s] his book† (V.i.57), the order of the universe is restored. Prospero regains his humanity and takes his rightful place as Duke of Milan. While Prospero’s use of Ariel may be considered white magic, Prospero also makes use of a darker kind of magic. By absorbing the magic of Sycorax, the former keeper of the island, he was able assume complete dominion over the island. Prospero uses this black magic to imprison Ari el as well as to torture Caliban, sending spirits to â€Å"mow and chatter at [him], / And after bite [him]† (II.ii.9-10). Prospero stole this black magic, which is associated with the island, from Caliban, the son of Sycorax, preventing him from taking control of the island, which is rightfully his. Regardless of whether he uses white or dark magic, Prospero causes a disruption of natural order by wielding power not suited for humans. He â€Å"steals† Ariel’s and Caliban’s magic and by doing so, sucks away their essence and vitality. By absorbing the magical elements of Ariel and Caliban, he assumes their shape and character and thus disrupts â€Å"the great chain of being.†Shakespeare has already made an effort to unify Caliban and Ariel with the character of Prospero, but he takes an extra step to create an ironic portrayal of Prospero, Caliban, and Ariel as the Holy Trinity. Prospero, taking on the role of God, gives grace and forgives the sinners Alonso and Antonio. Caliban, who was born of the devil through a witch, is a sharp ironic contrast to Christ who was born of God through a virgin mother. Caliban’s cry of pain â€Å"Do not torment me!† (II.ii.55) echoes Christ’s cry on the cross: â€Å"Eli, Eli, lema sabachthani† (Matthew 27:46), which means â€Å"My God, my God, why hast thou forsaken me?† (USCCB). Ariel clearly represents the Holy Spirit. Prospero calls Ariel â€Å"My brave spirit† (I.ii.206), so Ariel is the spirit of Prospero just as the Holy Spirit is the spirit of God. In contrast to the Holy Spirit who represents wisdom, understanding, right judgment, and courage, Ariel is merely a one-dimensional entity desiring nothing but freedom. In The Tempest, Shakespeare creates a false Trinity, one that is wicked and inharmonious. The severance of this unholy triumvirate when Prospero, Caliban, and Ariel go their separate ways correlates with Prospero’s dismissal of all of Caliban’s and Ariel’s characteristics that he has previously adopted.How then could Prospero possibly embody both Caliban and Ariel, who are blatant foils of each other? In the play, Prospero often exhibits a contradictory nature, suggesting that Prospero could perhaps exhibit qualities of Caliban and Ariel simultaneously. At the beginning of the play, the cruel Prospero castigates the faithful Ariel who wants to be freed early: â€Å"Before the time be out? No more!† (I.ii.246). The audience then witnesses Prospero’s transmogrification from an abusive and fiendish master to a benevolent and compassionate one. He asks Ariel to perform a few other tasks and â€Å"after two days / [he] will discharge [Ariel]† (299-300). It makes little sense for Prospero to chastise Ariel with over fifty lines only to end with an expression of benevolence requires of Ariel only two more days of servitude.In search of his identity, Prospero n avigates between the characters of Caliban and Ariel but ultimately finds freedom by reverting to his human self: â€Å"Now my charms are all o’erthrown, / And what strength I have’s mine own, / Which is most faint† (Epilogue, 1-2). At the end of the play, Prospero surrenders his power and no longer identifies with either Caliban or Ariel. The bond between Prospero and the two native inhabitants of the island begins to fade away as Prospero speaks the epilogue, humbling himself before the audience and admitting his own vulnerability. Now that he has removed his magical garments and stripped himself of any attachment to island, his humanity stands in full nakedness before the audience. He no longer chooses to cloak his weaknesses through his associations with Caliban and Ariel, but instead entreats the audience for clemency so that he may be freed from his faults. Works Citedâ€Å"Empedocles.† The Internet Encyclopedia of Philosophy. Ed. James Fies er. 2001 Janko, Richard. â€Å"Catharis.† Introduction to Aristotle’s Poetics. 1987 King, Don. â€Å"Significant Ideas of the 17th Century.† Montreat College. 26 Dec. 2002. â€Å"Matthew 27.† New American Bible. USCCB. 9 Dec. 2002 Parker, Patricia. Officer Hours. 6 Mar. 2003.Riggs, David. â€Å"The Tempest.† Stanford University Introduction to the Humanities, Stanford. 5 Feb. 2003.Shakespeare, William. The Tempest. Ed. Peter Holland. New York: Penguin, 1999.â€Å"Spirit.† Oxford English Dictionary. Online Ed. 2003 .

Social Determinism And Its Power Over People s Perception...

Often people find themselves captivated by the small, fabricated details in a story and that tends to make it difficult to decipher the actual meaning behind the story. In Tim O’Brien’s â€Å"How to Tell a True War Story,† this is the case as he demonstrates the influence of storytellers’ tone and the mood they create on people’s understanding of a moral in a story. By the same token, in Malcom Gladwell’s â€Å"Power of Context† and Karen Ho’s â€Å"Biographies of Hegemony,† the two authors explain the ideology of social determinism and its power over people’s perception of the truth. The power of inducements play a big role in the way people are able to understand reality. The complexity of the truth can often alter the way people perceive things because there are so many different meanings that people interpret from the context of stories and situations. 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Collapse of Enron - 4178 Words

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The Declaration Of Independence Is The Founding Document...

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Drafted by Thomas Jefferson, the Declaration of is Independence

Basketball Game Descriptive Essay - 1025 Words

As my alarm clock startled me from sweet dreams, I grinned realizing game day had come upon us. I leapt out of bed in excitement as I skipped to the bathroom. I filled the bathroom with â€Å"Today’s Hits† on Pandora, sprang in the shower, and danced while scrubbing my hair. After showering, I brushed my teeth, gave the mirror a cheesy smile, and headed to my room. I slipped into my Crestwood Girls Basketball long sleeve and a pair of jeans. I combed through my hair and decided to let it air dry. I gulped down my breakfast in three bites, grabbed my book bag, and zoomed out the door. After an exhilarating start to the day, I anticipated tonight’s basketball game would bring more delight to that wonderful day. â€Å"Good luck tonight, Shannon,† my†¦show more content†¦locker and trotted towards my school locker to get my books for first hour. â€Å"Hi Shannon!† Ellie screamed from down the hall. â€Å"Good morning, Ellie! HAPPY GAMEDAY!!† I shouted from the other end of the hall. In the seventeen hours of not seeing each other, Ellie and I hugged like the reunion of a mother and her daughter after a year of college. â€Å"I will see you fourth hour in Spanish,† I shrieked to Ellie over my shoulder, dashing to my first hour class. â€Å"Our favorite class of the day,† she sarcastically uttered under her breath. I parked myself in my chair as the clock struck eight fifteen a.m. â€Å"Ooofuda, made it just in time,† I whispered, skeptically looking around the room to see if anyone noticed my superwoman powers. First hour zoomed by in the blink of an eye. Each hour after that went slower than the last. I stared at the clock as each hour ticked-tocked ever so slowly. I cocked my head back and forth as I watched the hands of the clock move at a snail pace. I slugged to every class. My tolerance level shortened every hour until sixth, seventh, and eighth hour. As the end of the day approached, I lost focus, only thinking of the game that would happen in a short few hours. Eighth hour arrived and I watched as each minute occurred slower than the last. As the final minute came to a countdown, three†¦.two†¦one†¦. â€Å"Now remember kids to finish---,† I did not hear a word my teacherShow MoreRelatedThe Harlem Globetrotters, An Exhibition Basketball Team1490 Words   |  6 PagesSearching for the perfect topic in any essay is always tough. So when I began to think about a research topic, I had no idea what to write about. I started to think about all the things that I love doing and have a passion for such as, hunting, fishing, and sports. Although with this research paper I wanted to pick something that is intriguing to me, but I don’t know a whole lot about. When it comes to hunting and fishing, I’ m pretty well informed. 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A Game of Thrones Chapter Twenty-nine Free Essays

Sansa Sansa rode to the Hand’s tourney with Septa Mordane and Jeyne Poole, in a litter with curtains of yellow silk so fine she could see right through them. They turned the whole world gold. Beyond the city walls, a hundred pavilions had been raised beside the river, and the common folk came out in the thousands to watch the games. We will write a custom essay sample on A Game of Thrones Chapter Twenty-nine or any similar topic only for you Order Now The splendor of it all took Sansa’s breath away; the shining armor, the great chargers caparisoned in silver and gold, the shouts of the crowd, the banners snapping in the wind . . . and the knights themselves, the knights most of all. â€Å"It is better than the songs,† she whispered when they found the places that her father had promised her, among the high lords and ladies. Sansa was dressed beautifully that day, in a green gown that brought out the auburn of her hair, and she knew they were looking at her and smiling. They watched the heroes of a hundred songs ride forth, each more fabulous than the last. The seven knights of the Kingsguard took the field, all but Jaime Lannister in scaled armor the color of milk, their cloaks as white as freshfallen snow. Ser Jaime wore the white cloak as well, but beneath it he was shining gold from head to foot, with a lion’s-head helm and a golden sword. Ser Gregor Clegane, the Mountain That Rides, thundered past them like an avalanche. Sansa remembered Lord Yohn Royce, who had guested at Winterfell two years before. â€Å"His armor is bronze, thousands and thousands of years old, engraved with magic runes that ward him against harm,† she whispered to Jeyne. Septa Mordane pointed out Lord Jason Mallister, in indigo chased with silver, the wings of an eagle on his helm. He had cut down three of Rhaegar’s bannermen on the Trident. The girls giggled over the warrior priest Thoros of Myr, with his flapping red robes and shaven head, until the septa told them that he had once scaled the walls of Pyke with a flaming sword in hand. Other riders Sansa did not know; hedge knights from the Fingers and Highgarden and the mountains of Dorne, unsung freeriders and new-made squires, the younger sons of high lords and the heirs of lesser houses. Younger men, most had done no great deeds as yet, but Sansa and Jeyne agreed that one day the Seven Kingdoms would resound to the sound of their names. Ser Balon Swann. Lord Bryce Caron of the Marches. Bronze Yohn’s heir, Ser Andar Royce, and his younger brother Ser Robar, their silvered steel plate filigreed in bronze with the same ancient runes that warded their father. The twins Ser Horas and Ser Hobber, whose shields displayed the grape cluster sigil of the Redwynes, burgundy on blue. Patrek Mallister, Lord Jason’s son. Six Freys of the Crossing: Ser Jared, Ser Hosteen, Ser Danwell, Ser Emmon, Ser Theo, Ser Perwyn, sons and grandsons of old Lord Walder Frey, and his bastard son Martyn Rivers as well. Jeyne Poole confessed herself frightened by the look of Jalabhar Xho, an exile prince from the Summer Isles who wore a cape of green and scarlet feathers over skin as dark as night, but when she saw young Lord Beric Dondarrion, with his hair like red gold and his black shield slashed by lightning, she pronounced herself willing to marry him on the instant. The Hound entered the lists as well, and so too the king’s brother, handsome Lord Renly of Storm’s End. Jory, Alyn, and Harwin rode for Winterfell and the north. â€Å"Jory looks a beggar among these others,† Septa Mordane sniffed when he appeared. Sansa could only agree. Jory’s armor was blue-grey plate without device or ornament, and a thin grey cloak hung from his shoulders like a soiled rag. Yet he acquitted himself well, unhorsing Horas Redwyne in his first joust and one of the Freys in his second. In his third match, he rode three passes at a freerider named Lothor Brune whose armor was as drab as his own. Neither man lost his seat, but Brune’s lance was steadier and his blows better placed, and the king gave him the victory. Alyn and Harwin fared less well; Harwin was unhorsed in his first tilt by Ser Meryn of the Kingsguard, while Alyn fell to Ser Balon Swann. The jousting went all day and into the dusk, the hooves of the great warhorses pounding down the lists until the field was a ragged wasteland of torn earth. A dozen times Jeyne and Sansa cried out in unison as riders crashed together, lances exploding into splinters while the commons screamed for their favorites. Jeyne covered her eyes whenever a man fell, like a frightened little girl, but Sansa was made of sterner stuff. A great lady knew how to behave at tournaments. Even Septa Mordane noted her composure and nodded in approval. The Kingslayer rode brilliantly. He overthrew Ser Andar Royce and the Marcher Lord Bryce Caron as easily as if he were riding at rings, and then took a hard-fought match from white-haired Barristan Selmy, who had won his first two tilts against men thirty and forty years his junior. Sandor Clegane and his immense brother, Ser Gregor the Mountain, seemed unstoppable as well, riding down one foe after the next in ferocious style. The most terrifying moment of the day came during Ser Gregor’s second joust, when his lance rode up and struck a young knight from the Vale under the gorget with such force that it drove through his throat, killing him instantly. The youth fell not ten feet from where Sansa was seated. The point of Ser Gregor’s lance had snapped off in his neck, and his life’s blood flowed out in slow pulses, each weaker than the one before. His armor was shiny new; a bright streak of fire ran down his outstretched arm, as the steel caught the light. Then the sun went behind a cloud, and it was gone. His cloak was blue, the color of the sky on a clear summer’s day, trimmed with a border of crescent moons, but as his blood seeped into it, the cloth darkened and the moons turned red, one by one. Jeyne Poole wept so hysterically that Septa Mordane finally took her off to regain her composure, but Sansa sat with her hands folded in her lap, watching with a strange fascination. She had never seen a man die before. She ought to be crying too, she thought, but the tears would not come. Perhaps she had used up all her tears for Lady and Bran. It would be different if it had been Jory or Ser Rodrik or Father, she told herself. The young knight in the blue cloak was nothing to her, some stranger from the Vale of Arryn whose name she had forgotten as soon as she heard it. And now the world would forget his name too, Sansa realized; there would be no songs sung for him. That was sad. After they carried off the body, a boy with a spade ran onto the field and shoveled dirt over the spot where he had fallen, to cover up the blood. Then the jousts resumed. Ser Balon Swann also fell to Gregor, and Lord Renly to the Hound. Renly was unhorsed so violently that he seemed to fly backward off his charger, legs in the air. His head hit the ground with an audible crack that made the crowd gasp, but it was just the golden antler on his helm. One of the tines had snapped off beneath him. When Lord Renly climbed to his feet, the commons cheered wildly, for King Robert’s handsome young brother was a great favorite. He handed the broken tine to his conqueror with a gracious bow. The Hound snorted and tossed the broken antler into the crowd, where the commons began to punch and claw over the little bit of gold, until Lord Renly walked out among them and restored the peace. By then Septa Mordane had returned, alone. Jeyne had been feeling ill, she explained; she had helped her back to the castle. Sansa had almost forgotten about Jeyne. Later a hedge knight in a checkered cloak disgraced himself by killing Beric Dondarrion’s horse, and was declared forfeit. Lord Beric shifted his saddle to a new mount, only to be knocked right off it by Thoros of Myr. Ser Aron Santagar and Lothor Brune tilted thrice without result; Ser Aron fell afterward to Lord Jason Mallister, and Brune to Yohn Royce’s younger son, Robar. In the end it came down to four; the Hound and his monstrous brother Gregor, Jaime Lannister the Kingslayer, and Ser Loras Tyrell, the youth they called the Knight of Flowers. Ser Loras was the youngest son of Mace Tyrell, the Lord of Highgarden and Warden of the South. At sixteen, he was the youngest rider on the field, yet he had unhorsed three knights of the Kingsguard that morning in his first three jousts. Sansa had never seen anyone so beautiful. His plate was intricately fashioned and enameled as a bouquet of a thousand different flowers, and his snow-white stallion was draped in a blanket of red and white roses. After each victory, Ser Loras would remove his helm and ride slowly round the fence, and finally pluck a single white rose from the blanket and toss it to some fair maiden in the crowd. His last match of the day was against the younger Royce. Ser Robar’s ancestral runes proved small protection as Ser Loras split his shield and drove him from his saddle to crash with an awful clangor in the dirt. Robar lay moaning as the victor made his circuit of the field. Finally they called for a litter and carried him off to his tent, dazed and unmoving. Sansa never saw it. Her eyes were only for Ser Loras. When the white horse stopped in front of her, she thought her heart would burst. To the other maidens he had given white roses, but the one he plucked for her was red. â€Å"Sweet lady,† he said, â€Å"no victory is half so beautiful as you.† Sansa took the flower timidly, struck dumb by his gallantry. His hair was a mass of lazy brown curls, his eyes like liquid gold. She inhaled the sweet fragrance of the rose and sat clutching it long after Ser Loras had ridden off. When Sansa finally looked up, a man was standing over her, staring. He was short, with a pointed beard and a silver streak in his hair, almost as old as her father. â€Å"You must be one of her daughters,† he said to her. He had grey-green eyes that did not smile when his mouth did. â€Å"You have the Tully look.† â€Å"I’m Sansa Stark,† she said, ill at ease. The man wore a heavy cloak with a fur collar, fastened with a silver mockingbird, and he had the effortless manner of a high lord, but she did not know him. â€Å"I have not had the honor, my lord.† Septa Mordane quickly took a hand. â€Å"Sweet child, this is Lord Petyr Baelish, of the king’s small council.† â€Å"Your mother was my queen of beauty once,† the man said quietly. His breath smelled of mint. â€Å"You have her hair.† His fingers brushed against her cheek as he stroked one auburn lock. Quite abruptly he turned and walked away. By then, the moon was well up and the crowd was tired, so the king decreed that the last three matches would be fought the next morning, before the melee. While the commons began their walk home, talking of the day’s jousts and the matches to come on the morrow, the court moved to the riverside to begin the feast. Six monstrous huge aurochs had been roasting for hours, turning slowly on wooden spits while kitchen boys basted them with butter and herbs until the meat crackled and spit. Tables and benches had been raised outside the pavilions, piled high with sweetgrass and strawberries and fresh-baked bread. Sansa and Septa Mordane were given places of high honor, to the left of the raised dais where the king himself sat beside his queen. When Prince Joffrey seated himself to her right, she felt her throat tighten. He had not spoken a word to her since the awful thing had happened, and she had not dared to speak to him. At first she thought she hated him for what they’d done to Lady, but after Sansa had wept her eyes dry, she told herself that it had not been Joffrey’s doing, not truly. The queen had done it; she was the one to hate, her and Arya. Nothing bad would have happened except for Arya. She could not hate Joffrey tonight. He was too beautiful to hate. He wore a deep blue doublet studded with a double row of golden lion’s heads, and around his brow a slim coronet made of gold and sapphires. His hair was as bright as the metal. Sansa looked at him and trembled, afraid that he might ignore her or, worse, turn hateful again and send her weeping from the table. Instead Joffrey smiled and kissed her hand, handsome and gallant as any prince in the songs, and said, â€Å"Ser Loras has a keen eye for beauty, sweet lady.† â€Å"He was too kind,† she demurred, trying to remain modest and calm, though her heart was singing. â€Å"Ser Loras is a true knight. Do you think he will win tomorrow, my lord?† â€Å"No,† Joffrey said. â€Å"My dog will do for him, or perhaps my uncle Jaime. And in a few years, when I am old enough to enter the lists, I shall do for them all.† He raised his hand to summon a servant with a flagon of iced summerwine, and poured her a cup. She looked anxiously at Septa Mordane, until Joffrey leaned over and filled the septa’s cup as well, so she nodded and thanked him graciously and said not another word. The servants kept the cups filled all night, yet afterward Sansa could not recall ever tasting the wine. She needed no wine. She was drunk on the magic of the night, giddy with glamour, swept away by beauties she had dreamt of all her life and never dared hope to know. Singers sat before the king’s pavilion, filling the dusk with music. A juggler kept a cascade of burning clubs spinning through the air. The king’s own fool, the pie-faced simpleton called Moon Boy, danced about on stilts, all in motley, making mock of everyone with such deft cruelty that Sansa wondered if he was simple after all. Even Septa Mordane was helpless before him; when he sang his little song about the High Septon, she laughed so hard she spilled wine on herself. And Joffrey was the soul of courtesy. He talked to Sansa all night, showering her with compliments, making her laugh, sharing little bits of court gossip, explaining Moon Boy’s japes. Sansa was so captivated that she quite forgot all her courtesies and ignored Septa Mordane, seated to her left. All the while the courses came and went. A thick soup of barley and venison. Salads of sweetgrass and spinach and plums, sprinkled with crushed nuts. Snails in honey and garlic. Sansa had never eaten snails before; Joffrey showed her how to get the snail out of the shell, and fed her the first sweet morsel himself. Then came trout fresh from the river, baked in clay; her prince helped her crack open the hard casing to expose the flaky white flesh within. And when the meat course was brought out, he served her himself, slicing a queen’s portion from the joint, smiling as he laid it on her plate. She could see from the way he moved that his right arm was still troubling him, yet he uttered not a word of complaint. Later came sweetbreads and pigeon pie and baked apples fragrant with cinnamon and lemon cakes frosted in sugar, but by then Sansa was so stuffed that she could not manage more than two little lemon cakes, as much as she loved them. She was wondering whether she might attempt a third when the king began to shout. King Robert had grown louder with each course. From time to time Sansa could hear him laughing or roaring a command over the music and the clangor of plates and cutlery, but they were too far away for her to make out his words. Now everybody heard him. â€Å"No,† he thundered in a voice that drowned out all other speech. Sansa was shocked to see the king on his feet, red of face, reeling. He had a goblet of wine in one hand, and he was drunk as a man could be. â€Å"You do not tell me what to do, woman,† he screamed at Queen Cersei. â€Å"I am king here, do you understand? I rule here, and if I say that I will fight tomorrow, I will fight!† Everyone was staring. Sansa saw Ser Barristan, and the king’s brother Renly, and the short man who had talked to her so oddly and touched her hair, but no one made a move to interfere. The queen’s face was a mask, so bloodless that it might have been sculpted from snow. She rose from the table, gathered her skirts around her, and stormed off in silence, servants trailing behind. Jaime Lannister put a hand on the king’s shoulder, but the king shoved him away hard. Lannister stumbled and fell. The king guffawed. â€Å"The great knight. I can still knock you in the dirt. Remember that, Kingslayer.† He slapped his chest with the jeweled goblet, splashing wine all over his satin tunic. â€Å"Give me my hammer and not a man in the realm can stand before me!† Jaime Lannister rose and brushed himself off. â€Å"As you say, Your Grace.† His voice was stiff. Lord Renly came forward, smiling. â€Å"You’ve spilled your wine, Robert. Let me bring you a fresh goblet.† Sansa started as Joffrey laid his hand on her arm. â€Å"It grows late,† the prince said. He had a queer look on his face, as if he were not seeing her at all. â€Å"Do you need an escort back to the castle?† â€Å"No,† Sansa began. She looked for Septa Mordane, and was startled to find her with her head on the table, snoring soft and ladylike snores. â€Å"I mean to say . . . yes, thank you, that would be most kind. I am tired, and the way is so dark. I should be glad for some protection.† Joffrey called out, â€Å"Dog!† Sandor Clegane seemed to take form out of the night, so quickly did he appear. He had exchanged his armor for a red woolen tunic with a leather dog’s head sewn on the front. The light of the torches made his burned face shine a dull red. â€Å"Yes, Your Grace?† he said. â€Å"Take my betrothed back to the castle, and see that no harm befalls her,† the prince told him brusquely. And without even a word of farewell, Joffrey strode off, leaving her there. Sansa could feel the Hound watching her. â€Å"Did you think Joff was going to take you himself?† He laughed. He had a laugh like the snarling of dogs in a pit. â€Å"Small chance of that.† He pulled her unresisting to her feet. â€Å"Come, you’re not the only one needs sleep. I’ve drunk too much, and I may need to kill my brother tomorrow.† He laughed again. Suddenly terrified, Sansa pushed at Septa Mordane’s shoulder, hoping to wake her, but she only snored the louder. King Robert had stumbled off and half the benches were suddenly empty. The feast was over, and the beautiful dream had ended with it. The Hound snatched up a torch to light their way. Sansa followed close beside him. The ground was rocky and uneven; the flickering light made it seem to shift and move beneath her. She kept her eyes lowered, watching where she placed her feet. They walked among the pavilions, each with its banner and its armor hung outside, the silence weighing heavier with every step. Sansa could not bear the sight of him, he frightened her so, yet she had been raised in all the ways of courtesy. A true lady would not notice his face, she told herself. â€Å"You rode gallantly today, Ser Sandor,† she made herself say. Sandor Clegane snarled at her. â€Å"Spare me your empty little compliments, girl . . . and your ser’s. I am no knight. I spit on them and their vows. My brother is a knight. Did you see him ride today?† â€Å"Yes,† Sansa whispered, trembling. â€Å"He was . . . â€Å"Gallant?† the Hound finished. He was mocking her, she realized. â€Å"No one could withstand him,† she managed at last, proud of herself. It was no lie. Sandor Clegane stopped suddenly in the middle of a dark and empty field. She had no choice but to stop beside him. â€Å"Some septa trained you well. You’re like one of those birds from the Summer Isles, aren’t you? A pretty little talking bird, repeating all the pretty little words they taught you to recite.† â€Å"That’s unkind.† Sansa could feel her heart fluttering in her chest. â€Å"You’re frightening me. I want to go now.† â€Å"No one could withstand him,† the Hound rasped. â€Å"That’s truth enough. No one could ever withstand Gregor. That boy today, his second joust, oh, that was a pretty bit of business. You saw that, did you? Fool boy, he had no business riding in this company. No money, no squire, no one to help him with that armor. That gorget wasn’t fastened proper. You think Gregor didn’t notice that? You think Ser Gregor’s lance rode up by chance, do you? Pretty little talking girl, you believe that, you’re empty-headed as a bird for true. Gregor’s lance goes where Gregor wants it to go. Look at me. Look at me!† Sandor Clegane put a huge hand under her chin and forced her face up. He squatted in front of her, and moved the torch close. â€Å"There’s a pretty for you. Take a good long stare. You know you want to. I’ve watched you turning away all the way down the kingsroad. Piss on that. Take your look.† His fingers held her jaw as hard as an iron trap. His eyes watched hers. Drunken eyes, sullen with anger. She had to look. The right side of his face was gaunt, with sharp cheekbones and a grey eye beneath a heavy brow. His nose was large and hooked, his hair thin, dark. He wore it long and brushed it sideways, because no hair grew on the other side of that face. The left side of his face was a ruin. His ear had been burned away; there was nothing left but a hole. His eye was still good, but all around it was a twisted mass of scar, slick black flesh hard as leather, pocked with craters and fissured by deep cracks that gleamed red and wet when he moved. Down by his jaw, you could see a hint of bone where the flesh had been seared away. Sansa began to cry. He let go of her then, and snuffed out the torch in the dirt. â€Å"No pretty words for that, girl? No little compliment the septa taught you?† When there was no answer, he continued. â€Å"Most of them, they think it was some battle. A siege, a burning tower, an enemy with a torch. One fool asked if it was dragonsbreath.† His laugh was softer this time, but just as bitter. â€Å"I’ll tell you what it was, girl,† he said, a voice from the night, a shadow leaning so close now that she could smell the sour stench of wine on his breath. â€Å"I was younger than you, six, maybe seven. A woodcarver set up shop in the village under my father’s keep, and to buy favor he sent us gifts. The old man made marvelous toys. I don’t remember what I got, but it was Gregor’s gift I wanted. A wooden knight, all painted up, every joint pegged separate and fixed with strings, so you could make him fight. Gregor is five years older tha n me, the toy was nothing to him, he was already a squire, near six foot tall and muscled like an ox. So I took his knight, but there was no joy to it, I tell you. I was scared all the while, and true enough, he found me. There was a brazier in the room. Gregor never said a word, just picked me up under his arm and shoved the side of my face down in the burning coals and held me there while I screamed and screamed. You saw how strong he is. Even then, it took three grown men to drag him off me. The septons preach about the seven hells. What do they know? Only a man who’s been burned knows what hell is truly like. â€Å"My father told everyone my bedding had caught fire, and our maester gave me ointments. Ointments! Gregor got his ointments too. Four years later, they anointed him with the seven oils and he recited his knightly vows and Rhaegar Targaryen tapped him on the shoulder and said, ‘Arise, Ser Gregor.’ â€Å" The rasping voice trailed off. He squatted silently before her, a hulking black shape shrouded in the night, hidden from her eyes. Sansa could hear his ragged breathing. She was sad for him, she realized. Somehow, the fear had gone away. The silence went on and on, so long that she began to grow afraid once more, but she was afraid for him now, not for herself. She found his massive shoulder with her hand. â€Å"He was no true knight,† she whispered to him. The Hound threw back his head and roared. Sansa stumbled back, away from him, but he caught her arm. â€Å"No,† he growled at her, â€Å"no, little bird, he was no true knight.† The rest of the way into the city, Sandor Clegane said not a word. He led her to where the carts were waiting, told a driver to take them back to the Red Keep, and climbed in after her. They rode in silence through the King’s Gate and up torchlit city streets. He opened the postern door and led her into the castle, his burned face twitching and his eyes brooding, and he was one step behind her as they climbed the tower stairs. He took her safe all the way to the corridor outside her bedchamber. â€Å"Thank you, my lord,† Sansa said meekly. The Hound caught her by the arm and leaned close. â€Å"The things I told you tonight,† he said, his voice sounding even rougher than usual. â€Å"If you ever tell Joffrey . . . your sister, your father . . . any of them . . . â€Å" â€Å"I won’t,† Sansa whispered. â€Å"I promise.† It was not enough. â€Å"If you ever tell anyone,† he finished, â€Å"I’ll kill you.† How to cite A Game of Thrones Chapter Twenty-nine, Essay examples