Madness in Hamlet free essay sample

A critical review of Shakespeares Hamlet, with specific reference to the theme of madness. (more) Madness in Hamlet free essay sample The theme of madness in Hamlet has been a widely popular topic in the discussion of the play by both critics and readers alike. Prince Hamlet, in William Shakespeare’s Hamlet, is not mad, in terms of sanity. However, he is very mad, in terms of anger, at many of the people that surround him. Hamlet is mainly mad at Gertrude her mother and, most of all Claudius. Although he is extremely angry with Claudius and his own whole situation of his father being murdered; his mother marrying his father’s murderer; and his lady friend not talking to him, Hamlet remains sane in order to carry out his plan of revenge. The madness that has appeared to grip Hamlet is an act played out by him. In order to accomplish that act of revenge on his uncle, Hamlet must have pretended to be mad so that the people of the court would not look upon him with suspicion. We will write a custom essay sample on Madness in Hamlet or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In this play the tragic hero Hamlets contemplates his own concept of moral judgment and in the process, maybe considered mad. Points that suggest that Hamlet is actually insane are scattered throughout the play but many of these are court’s impression of Hamlet. The impression of the court is a false impression because Hamlet has made the members of the court think that he is mad so that he may carry out his master plan. Hamlet is a slyer and more deceptive character than most critics give credit. All of the evidence that points to Hamlet being mad is just a cover for Hamlet in the grand scheme that he has placed together. Hamlet’s appearance of being â€Å" ungartered† (Act 2, Sc 1 . 77), as well as his strange words and phrases are just a disguise. He succeeds in his convincing of the people that he is mad because Polonius, as well as the rest of the court, speaks on his strange behavior. Hamlet’s plan could then be carried out if he was not seen as a threat to the crown. It is interesting to note other characters in the play acting mad. One is Leartes. Unlike Hamlet, Laertes has developed a different kind of madness, a madness that is controlled by revenge. When Laertes is talking to Claudius, Laertes gets so much revenge building up inside him against Hamlet that Laertes now wants to â€Å"cut his throat† Act 4, Sc 7, 125). Laertes’ behavior is caused by the sudden death of his father who was without a due ceremony, and his sister who has been driven mad, has contributed to the madness that is being built up inside Laertes. This madness grows even stronger when Claudius promises â€Å"no wind of blame† (Act 4, Sc 7, 66), when Hamlet kills Hamlet. Claudius turns Laertes into a savage beast to avenge for his father’s death, perhaps this is what Claudius has planned all along. Laertes has a form of madness that is escalating because Laertes knows that he has the capabilities and motivation to act on what he believes on. Ophelia on the other hand, had a unique form of madness unlike Hamlet’s and Laertes’ because it is a mixture of love and hate. An example of hate is when she sings about a â€Å"baker’s daughter† (Act 4, Sc. 5. 42). Ophelia is referring to the way her father used to treat her before the tragic incident of his death. A love with her madness is when she speaks about the vents on â€Å"valentine’s day (Act 4, Sc. 5. 48). When Ophelia speaks about Valentine’s Day, she is referring to the event of romance that she was denied. Ophelia’s madness is brought on by her lack of being able to demonstrate any maturity in trying to cope with her losses and in return can only inflict her madness on the court. Hamlet immediately stresses that his madness is a mask put upon him by himself when he stated, â€Å"†¦. to put an antic disposition on† (Act 1, Sc. 5. 72). This means that Hamlet was going to put on an appearance of being mad. He admitted to himself that he was not mad by saying this and that he was only going to pretend to be mad. If Hamlet openly admits his true intentions to himself, we must trust that his actions are part of his plan. Although, many things lead us to believe that Hamlet was actually mad, he says his behavior is intentional, and there is no hard evidence to prove otherwise. We can look at his actions and assume that he is mad, but the only real proof of his sanity is his own statement. Hamlet directly tells the readers that he is only pretending to be crazy. Therefore, all the evidence that points to Hamlets as being crazy is unreliable, because his actions are pretended. Hamlet gives the audience the appearance that he is hesitant to kill Claudius for many reasons. These reasons include moral issues, religious issues, and depression; yet, Hamlet waits because he chooses to do so. Hamlet gives proof of his intention to wait when he says, â€Å"The time is out of joint; O cursed spite that ever I was born to set it right† (Act 1 Sc 5. 189-190). He is saying that the time to take revenge was not immediately after the murder. Hamlet, therefore, pretends to be mad, in order to maintain safety while he waits for the right time to strike. Although Hamlet manages to convince the court that he is unstable long enough so that he may avoid being killed while formulating his plan of revenge, Claudius becomes suspicious of his behavior. Even Claudius questions Hamlet’s supposed madness. Claudius states,† Was not like madness. There is something in his soul† (Act 3, Sc1. 172). This statement proves that someone besides Hamlet realizes that he is not actually mad, but rather, there is method to his mayhem. Near the end of the play, Hamlet, again, reveals his plan of disguise. This time, however, he reveals his plan to Gertrude when he says, â€Å"That I essentially am not in madness, but mad in craft† (Act 3. Sc4. 187-188). This repetition of his plan proves that Hamlet was truly not mad but just so precise and specific in planning every detail of his elaborate scheme that he seemed mad to the people in the court. He was so â€Å"Mad in craft† that he went to the extremes in executing his plan of revenge. Hamlet was so furious with Claudius, that he engulfed himself in his plan and carried it out right down to the words he spoke and every little action he did. In conclusion, Hamlet avoids allowing everyone know that he is planning hostile actions against Claudius. Even though Claudius and Polonius suspect that Hamlet knows the truth behind the murder of King Hamlet, Hamlet is able to disguise his intentions of revenge long enough so that he may wait for the right time to strike. The only proof that Hamlet is actually insane comes in the form of his actions and speech. Now, if Hamlet specifically says that his actions and speech is just a disguise, can they be used as evidence that he is unstable? Certainly not. Hamlet’s madness was an act; a disguise to draw attention away from his vengeful plan to murder Claudius for enough time to allow Hamlet to wait for the right time to strike. Hamlet must wait for the right time to act and plan his revenge, so, what better way to reduce his threat to Claudius than to make everyone believe that he had lost his mind.

Free Essays on Shock Program

In our era of high criminal activity something had to be done to eliminate the vast over crowding of today’s prisons. A military type â€Å"boot camp† was created to alter offenders’ behavior and deter them from any future criminal activity. This program is said to provide a therapeutic environment and meet the needs of offenders that can still become law-abiding citizens. The Shock Incarceration Program meets those needs and at the same time meets its goals which are â€Å"reducing the demand for bed space in the Department of Correctional Services and treat and release selected state prisoners earlier than court-mandated minimum sentences without compromising community safety†(Nieto). The paper will discuss the program’s origination, guidelines, eligibility, screening process, and daily activities. An interview with a shock graduate will give a first hand view on the realities of the program. The New York State Shock Incarceration program was established on July 13, 1987. It was designed for young inmates who could benefit from an intense six month program of incarceration. The legislative bill states â€Å"the program would be provided to certain inmates institutionalized to the State Department of Correctional Services who are in need of substance abuse treatment and rehabilitation. The program is an alternative form of incarceration that highly stresses discipline, considerable physical work, exercise, and drug rehabilitation therapy. It would build character, gradually implant a sense of maturity and responsibility and promote a positive self image, so they can return to society as law-abiding citizens.† Four facilities were established. The first Monterey Shock Incarceration Correctional Facility (SICF) received their first inmates on September 10, 1987. Summit SICF received their first inmates on April 12, 1988, and their female component began in De cember of 1988. Moriah SICF received its first platoon on Mar... Free Essays on Shock Program Free Essays on Shock Program In our era of high criminal activity something had to be done to eliminate the vast over crowding of today’s prisons. A military type â€Å"boot camp† was created to alter offenders’ behavior and deter them from any future criminal activity. This program is said to provide a therapeutic environment and meet the needs of offenders that can still become law-abiding citizens. The Shock Incarceration Program meets those needs and at the same time meets its goals which are â€Å"reducing the demand for bed space in the Department of Correctional Services and treat and release selected state prisoners earlier than court-mandated minimum sentences without compromising community safety†(Nieto). The paper will discuss the program’s origination, guidelines, eligibility, screening process, and daily activities. An interview with a shock graduate will give a first hand view on the realities of the program. The New York State Shock Incarceration program was established on July 13, 1987. It was designed for young inmates who could benefit from an intense six month program of incarceration. The legislative bill states â€Å"the program would be provided to certain inmates institutionalized to the State Department of Correctional Services who are in need of substance abuse treatment and rehabilitation. The program is an alternative form of incarceration that highly stresses discipline, considerable physical work, exercise, and drug rehabilitation therapy. It would build character, gradually implant a sense of maturity and responsibility and promote a positive self image, so they can return to society as law-abiding citizens.† Four facilities were established. The first Monterey Shock Incarceration Correctional Facility (SICF) received their first inmates on September 10, 1987. Summit SICF received their first inmates on April 12, 1988, and their female component began in De cember of 1988. Moriah SICF received its first platoon on Mar...

Visual analysis of symbol Ferrari(Based on Arnheim's concept) Essay

Visual analysis of symbol Ferrari(Based on Arnheim's concept) - Essay Example The film while on the process is nothing but a portrayal of the things that might have happened or will happen but not the actual. The film on the other hand, no matter how we say is just a portrayal of the real and not the actual is patronized by the audience in a way that they relate the things happening in the movie to real life. Arnheim relates this idea to Gestalt psychology which in simple words refers to looking at the whole rather than its parts. In the book by J. Dudley Andrews entitled Major Film Theories, Arnheim's idea on looking at the table as an unchanging rectangular table no matter how the eyes go near it is an example of the view as a whole. He said that a person as he looks at the table at one side or at another distance does not make the table's image change. It will still be the same rectangular table in the mind of the viewer. Instead of looking at it as a trapezoidal item as the position of the viewer changes, the form stays the same. That is because the person sees it as a whole and not of a specific angle or position. Understanding these things also need a clarification of the most important view that Arnheim used in the book Art and Visual Perception. He raised the point that in order for an art to be recognized as a material that is not a limited raw material, it should achieve a general pattern coherent to nature. He said that equilibrium must be achieved between the artist's ideas and the stimuli of the world. The query is not on the understandability of the object but on how the ideas can be related to people and the surrounding elements. He also warned that artists may create ambiguity once this general pattern is not achieved. In short, the possibility to attain vagueness is just at hand once there is no balance between the relevant elements of the world and the artist's ideas. Through this so called pattern, it is not hard to connect the ideas in the accepted reality to that of the artist. Motifs like rising and falling, dominance and submission, weakness and strength, harmony and discord, struggle and conformance, underlie all existence. We find them within our own mind and in our relations with other people, in the human community and in the events of nature. Perception and expression fulfills its spiritual mission only if we experience in it more than the resonance of our own feelings. It permits us to realize that the forces stirring in ourselves are only individual examples of the same forces acting throughout the universe (Art and Visual Perception, p. 434). All these ideas mentioned are present and can be seen with the Ferrari logo. The Prancing black stallion that gestures and introduces the famous name of the Italian car manufacturer in Maranello and Modena Italy is not seen as a standalone stallion, or even a yellow-filled horse symbolizing the country through the three colors green, white, and red. It represents Ferrari. The symbols mixed together create oneness through the meaning when people would utter "Ah Ferrari!" The question is not what the Stallion stands for or why there are three colors and so on. Anyone can say that Stallion is for racing and the three colors stand for the Italian flag or it can also be of another meaning. The emphasis is on the general pattern that it

How One Becomes a General Manager Assignment Example | Topics and Well Written Essays - 1250 words

How One Becomes a General Manager - Assignment Example The assignment "How One Becomes a General Manager" talks about the general manager position who needs to be extensively qualified and additionally have sufficient experience in a hotel setting. This is clearly presented by Francisco Giles, who is a hotel manager of Renaissance Dubai Hotel, studied hotel management in Switzerland. Additionally made his way up in the hotel industry as he moved around different countries working in different areas including in the sales department and the food and beverages just to mention a few. This is also reflected by Marguerite Howley, a hotel owner who learned her trade by working for some of the major hotels and professionals such Gordon Ramsey before she managed to open her own hotel. Training is very essential, and the gaining of experience from different countries is vital in making one an international general manager. Based on Paul O’Connell the general manager at Castle Hotel located in Ireland, he believes that an international mana ger would require working in different countries to gain from different cultures and different management styles. A properly qualified GM needs to be in the hotel business for at least 25 years as illustrated by Francisco Giles, who himself has been in the industry for over twenty-five years. A good manager needs to have a diverse personality and be able to deal with the diverse clients. Additionally, a good manager as the hotel industry keeps on changing it would require that a manager is always abreast with the happenings in the hotel industry.

Manufacturing Logistics Essay Example | Topics and Well Written Essays - 3500 words

Manufacturing Logistics - Essay Example According to West Midlands Regional Assembly (2007), the West Midlands Region is home to more than 5 million people – a major market for buying and selling goods and services and at the heart of the nation’s strategic road and rail network and its Freight Strategy has considered key regional trends and issues for each of the modes of freight transport: Road, Rail, Air, Pipelines and Inland Waterways. The factory of Aston Enterprises is strategically located to take advantage of the transport networking in the region. Manufacturing Logistics Merriam-Webster Dictionary defines ‘logistics‘ as the aspect of military science dealing with the procurement, maintenance, and transportation of military material, facilities, and personnel. In the business context manufacturing logistics is concerned with receiving, inspecting, storing, maintaining and transporting or disposing and the host of other activities which includes controls, reporting and other support service s. According to the Council of Supply Chain Management Professionals (CSCMP), logistics management can be defined as, "that part of supply chain management that plans, implements, and controls the efficient, effective forward and reverse flow and storage of goods, services and related information between the point of origin and the point of consumption in order to meet customers' requirements." Uncertainties in the supply chain needs to be resolved on priority basis in the logistics perspective to maintain the flow of production and clear the obstacles in the distribution of the products. Li, L. & Schulze, L. (2011) state, â€Å"Along the logistics network, uncertainty can appear anywhere. At the beginning of the network, even the most reliable supplier could have a late delivery. In the middle, a new machine could fail to work; even it’s just been purchased†. Warehousing Material flow and scalability largely depends upon the design of the warehouses, headroom availabl e, overhead crane facilities, entry and exit gateways, etc. Total control of a warehouse should ensure faster traceability, accuracy in identification, easy cargo movement and on-line planning. Handling equipment and storage facilities should be utilized safely, efficiently and optimally. The control of material flow starts with goods reception, storage (include handling for the purpose of storage and delivery) and dispatch. The module of Warehouse Management System should be integrated with the other modules to lend complete support facilities to the warehouse processes and operations with paperless mobile working procedures to ensure cost efficiency, avoidance of congestion and timely delivery. Synchronization of yard management with reference to timings, space, etc. in respect of loading and loading in trucks and trailers and the functions of gate keeping with the warehousing processes is very important in the overall system for effective control of material flow. Tarca, N., Vatu iu, T. & Tarca, I. (2010, p. 351) state â€Å"Logistics planning may include, in addition to transport activities, storage and loading optimizations related to goods or products: stacking, optimizing product placement in relation to the storage†. Material flow in the domestic and international warehouses of the company should be defined with reference to the different interfaces in the system, order management and historical data. Agarwal, G. & Vijayvargy, L. (2011) states â€Å"

Ray Bradbury A Biography

Ray Bradbury A Biography Ray Douglas BRADBURY (1920-2012) Ray Bradbury was born on August 22, 1920, in Waukegan, Illinois. His father, Leonard Spaulding Bradbury, whose distant ancestor Mary Bradbury was among those tried for witchcraft in Salem, was a lineman with the Waukegan Bureau of Power and Light; his mother, Esther Marie (nà ©e Moberg) Bradbury, emigrated as a child from Sweden. When he was three years old, his mother took him to his first film, The Hunchback of Notre Dame (1923), and he was frightened and entranced by Lon Chaney in this film and, later, in The Phantom of the Opera (1925). As a child, Bradbury passed through a series of enthusiasms, from monsters to circuses to dinosaurs and eventually to the planet Mars. His development through childhood was aided by an older brother and by an aunt, Neva Bradbury, a costume designer, who introduced him to the theater and to the stories of Edgar Allan Poe. In 1932, Bradburys family moved to Arizona, where they had previously spent some time in the mid-1920s, largely because of his fathers need to find work. In 1934 the family left behind both Arizona and Waukegan, settling in Los Angeles, which became Bradburys permanent home. He attended Los Angeles High School and joined the Science Fiction Society (he had earlier begun reading Hugo Gernsbacks Amazing Stories, which, he said, made him fall in love with the future). After graduation, Bradbury worked for several months in a theater group sponsored by the actor Laraine Day, and for several years he was a newsboy in downtown Los Angeles. He took these jobs to support his writing, an avocation that he hoped would soon become a vocation. Bradburys poor eyesight prevented him from serving in the U.S. Army during World War II, which left him free to launch his writing career. During the early 1940s he began to publish his stories in such pulp magazines as Weird Tales and Amazing Stories, but by the late 1940s his work was appearing in such mass-market magazines as Colliers, The Saturday Evening Post, The New Yorker, Harpers Magazine, and Mademoiselle. Because these magazines paid well, he was able, on September 27, 1947, to marry Marguerite Susan McClure, a former English teacher at the University of California in Los Angeles. During the 1950s, Bradbury continued to write for the pulp and mass-market magazines, and he routinely collected his stories for publication in books. During the mid-1950s, he traveled to Ireland in connection with a screenplay of Moby Dick that he wrote with John Huston. Upon his return to the United States, Bradbury composed a large number of television scripts for such shows as Alfred Hitchcock Presents, Suspense, and The Twilight Zone. During the late 1950s and early 1960s, Bradburys stories and novels focused mostly on his Midwestern childhood-for example, Dandelion Wine and Something Wicked This Way Comes, the latter his favorite book. During the 1960s and 1970s, Bradburys output of fiction decreased, and his ideas found outlets in such forms as plays, poems, and essays. He also became involved in several projects, such as A Journey Through United States History, the exhibit that occupied the upper floor of the United States Pavilion for the New York Worlds Fair in the mid-1960 s. Because of this displays success, the Walt Disney organization hired him to help develop the themes for Spaceship Earth, an important part of Epcot Center at Disney World in Florida. Bradbury also helped design a twenty-first-century city near Tokyo. He continued to diversify his activities during the 1980s and 1990s by collaborative and consultative work, and he also found time to return to his first love, the short story, and to write four novels. He collaborated with Jimmy Webb by composing lyrics for a musical version of Dandelion Wine, which was not successful, though critics praised the Bradbury novel that provided the inspiration for this production. These excursions into other fields were part of his expressed plan to work in every writing medium, but his successes continued to be in the traditional forms of the novel and short story. He published two detective novels, Death Is a Lonely Business and A Graveyard for Lunatics, and a roman à   clef, Green Shadows, White Whale. He also wrote many short stories, some of them in his customary fields of science fiction, fantasy, and horror, but many dealing with extraordinary characters in ordinary life. Components of what might be called dream were available in Ray Bradburys works from the earliest starting point of his written work vacation. His own particular recognition of sci-fi from a dream in writing is that sci-fi could happen. This suggests, obviously, that dream couldnt occur. In any case, in this day and age, where change happens at such fast rate, no one would dare to state overbearingly that any thought is unequipped for that acknowledgment. In this manner, regardless of whether a work of writing is dream turns out to be progressively a matter of the writers aim or a matter quantifiable by target criteria. This is particularly valid for a writer, for example, Bradbury, who by his own affirmation composes both sci-fi and dream. Bradburys own image of imagination evidently came to birth in the realm of the fair. His creative energy was supported with festival symbolism, both through the lessons of his Aunt Neva and his own encounters. At whatever point a voyaging bazaar or festival came through Waukegan in the 1920s and mid-1930s, Bradbury and his more youthful sibling were constantly present pulled in until the last bit of cotton confection was sold. Young Bradbury was influenced profoundly by the scene managed such shows, and the festival got to be for him a kind of intuitive touchstone for an entire arrangement of states of mind and pictures which developed later in his works. Therefore, the tercentenary world can be considered as a clearinghouse for Bradburys creative energy. He places where he goes for his special signs when he is writing a story of disgust, fear-causing, feeling for former times, fantasy, or some mix of the three. It in his easy enough to point to carnival imagery in his horror tales of the 1940s. The opening lines of The Jar (1944), for example, take the reader immediately to a carnival sideshow. Many of his horror tales contain witches, skeletons, dwarfs, magicians, and carnival freaks. Even The Big Black and White Game (1945 ), his first straight tale, emits a breath of fantasy by the use of images throughout the story. In the 1940s Bradbury primed his fantasy sensibilities by creating a family of slightly offbeat witches who are latter-day remnants of what (they claim) was a long and noble line of highly effective magicians. Horror tales were not invited to enable his readers to elude, but rather to cause them to suffer so that they might be cleansed. However, the fantasy stories, on the other hand, sanction the readers spirits to expand rather than to contract, as is the effect in the horror tales. The basement of his effort seems to lie in the engendered mood, and, lost in this mood, the readers can elude to a Secondary World. This facility to engender a Secondary World of fantasy J. R. R. Tolkien calls sub creation and claims it is the most potent and most proximately pristine form of art. The first story of Bradburys in which the element of fantasy most out- weighed that of horror was Jack-in- the- Box (1947). Bradbury clearly demonstrates his ability to fantasize, or sub creates. The author is transporting his readers to a self-contained Secondary World, which he gives the inner consistency of reality, to quote Tolkien again. That is, the author makes his Secondary World, for the time being, the only world there is. Fantasies which would be of this type are works such as Tolkiens Lord of the Rings trilogy, James Stephens Crock of Gold, James Branch Cabells Jurgen, George Macdonalds Lilith and Phantasies, James Thurbers Thirteen Clocks, and of course, many fairy tales, medieval romances, and stories written for children. In this kind of fantasy, the author must convince his readers that what is happening is what is supposed to be happening, even if the laws which prevail are contrary to those which functions in the normal world. Bradbury has written and Tolkien calls them nearly pure fantasies. There are at least two with an Oriental mood and setting, both published in 1953, T he Golden Kite, the Silver Wind and The Flying Machine. Death and the Maiden (1960) are definitely another of these, and Perhaps We Are Going Away (1962) might also be called pure fantasy. Aside from these few, the remainder of Bradburys fantasy pieces can be assisted. Here the Primary World with all of its rules and laws is considered the norm, and the fantasy involves some kind of intrusion by creatures or ideas which ordinarily would be confined to a Secondary World. Most often there are no real intrusion and no green monsters pouring down from the sky but merely a temporary distortion of the physical principles governing our known world or a shift in perspective which allows the reader and/or the characters to view their world through something other than a plain grass. In a rather ingenious statement in 1968 during an interview with Mary Hall, quoted earlier, Bradbury described the nature of his fantasy writing. I wrote a love story recently, he said, with just a little twist on reality. Almost without fail Bradbury cannot resist the use of a little twist to keep his stories from being straightforward narrative accounts of events as they might appear to the average person. Examples of these milder fantasies would be Shoreline at Sunset (1959), Come into My Cellar (1960), Forever Voyage (1960), and A Miracle of Rare Device (1962). But sometimes the little twist becomes much stronger. A hole is torn in the fabric, and something unauthorized gains temporary entry to upset the normal order of things. A classic example would be Charles Williams The Place of the Lion. Bradburys best example and probably the finest work of fantasy he has yet done would be his novel Something Wicked This Way Comes, published in 1962. In this work, the invaders from the Sec ondary World are the autumn people, who function in darkness and are the what Evil is made. By this writing, Bradbury has left behind the summer of nostalgia and has entered the autumn of fantasy. The novel is a good example of the fusion of fantasy, horror, and nostalgia which he manages so well. Nostalgia seems to function best for him in summer, horror, and fantasy in the fall. His Aunt Neva instilled in him an awe of and fascination with autumn. The October Country is the title he chose for an anthology of his early horror tales, many of which are set in the fall, and The Autumn People is the title of another of his anthologies. Bradbury was born in summer, August 22, but close enough to fall so that its evidence could be subtly felt. He has said that, if he had his choice, he would have been born in October.6 The setting for Something Wicked This Way Comes is October, just before Halloween, in the same Green Town, Illinois, which was the background for Dandelion Wine. Two boys, Will Halloway and Jim Nightshade, and Wills father is the chief character. From the eyes of the boys, Bradbury allows his imagination to create a nightmare mood which he sustains throughout the book. Through Mr. Halloway, he expresses his own philosophy. Although the story takes place in the same town which is the setting for the nostalgic Dandelion Wine, and involves two adolescent boys, there the resemblance stops. The mood in the second book is distinctly autumn, even without the actual fact of its being October. There is a conflict here, a threat to be dealt with; for the autumn people who have come to Green Town threaten to engulf it with terror. Mr. Halloway describes them: For these beings, fall is the ever normal season, the only weather, there be no choice beyond. Where do they come from? The dust. Where d o they go? The grave. Does blood stir their veins? No: the night wind. What ticks in their head? The worm. What speaks from their mouth? The toad. What sees from their eye? The snake. What hears with their ear? The abyss between the stars. They sift the human storm for souls, eat the flesh of reason, fill tombs with sinners. They frenzy forth. In gusts, they beetle-scurry, creep, thread, filter, motion, make all moons sullen, and surely cloud all clear- run waters. The spider web hears them, trembles breaks. Such are the autumn people. Beware of them. The autumn people are represented here by a small traveling carnival which comes to town in the middle of Halloween night and sets up its dark tents outside the town. Cooger and Darks Carnival it is, and right away the boys recognize that it is more than it seems on the surface. The hall of mirrors lures people in and shows them reflections of a part of themselves that they once were and can no longer be, so they are plunged into achin g despair. The carousel behaves normally during the day, but at night it runs at supernormal speed, and whoever rides it adds years to his life within minutes or turns from a man into a squalling babe. The Dust Witch travels around in a balloon searching for Good people to destroy, for the aim of the autumn people is to slowly leach out the forces of Good from everyone in the town so that evil can claim its own. Only the two boys and a quiet, scholarly, middle-aged janitor stand in their way. The theme running through the book is that evil is a shadow: good is a reality. Evil cannot subsist except when people let theyre good become not an active form, not a pumping in their veins, but just a recollection, an intention. As Bradbury, has denoted in other stories and articles, he feels that the potential for evil subsists like cancer germs, dormant in all of us, and unless we keep our good in fit condition by actively utilizing it, it will lose its power over all, all person. It is a c onception, a way of doing, a kineticism toward light or dark, a cell between the will to put a cessation to and the will to but for. The more times such selection takes care of toward the Good, the more to do with the man we say that thing is becoming. We must look for ways to have knowledge of and support the Good in ourselves, the will toward the light. The conception of the rejuvenating powers of love is perhaps most resplendently expressed in the story A Medicine for Melancholy (1959). The story is virtually a parable. A puerile girl in eighteenth-century London is gradually evanescing from her concerned parents. No medic is able to diagnose her illness, and determinately in desperation, they take her, bed and all, and put her outside the front door so that the passersby can endeavor their hand at identifying what is erroneous with her. An adolescent Dustman looks into her ocular perceivers and kens what is erroneous she requires love. He suggests that she be left out all night beneath the moon, and during the night he visits her and effects a remedy. In the morning, the roses have returned to her cheeks and she and her family dance in celebration. The same situation occurred in Dandelion Vine when Doug virtually died of pyrexia and was remedied by two bottles of air left in the night by the local junkman. The conception, or moral, if that is a better word, expressed in these two stories seems to be at least implicit in the majority of Bradburys stories from the tardy 1950s until the present. He did not cease to be an edifier when he ceased composed science fiction, but he did place a moratorium upon the more evangelistic kind of moralizing which he was practicing in the tardy 1940s and early 1950s. Now, at last, his own sense of values seems to have become planarly at one with his art.

Fahrenheit 451 by Ray Bradbury :: Ray Bradburys Fahrenheit 451

Montag, Beatty and the rest of the firemen expected it to be just another burning. They did not expect an unidentified woman to commit suicide along with burning her books. As the firemen attempted to save the woman, she told them to â€Å"go on.† Within a moment, â€Å"The woman on the porch reached out with contempt to them all and struck the kitchen match against the railing.† On the way back to the firehouse, the men didn’t speak or look at each other. While Beatty began showing the knowledge he has gained from books, which along with the death, firemen begin to show that they are thinking and showing emotions. While listening to Beatty, Blackstone passes the turn to the firehouse, while Montag is amazed at his intelligence. After meeting the exiles, the war has begun, and a bomb was dropped in the city, killing everyone. Before they begin they’re adventure back towards the city, Granger decides to start a fire and cook some beacon. While eating, Granger mentions the Phoenix, and explains how society is related to the Phoenix; â€Å"He must have been the first cousin to man. But every time he burnt himself up he sprung out of the ashes, he got himself born all over again. And it looks like we’re doing the same thing over and over.† After arriving to Montag’s home, Beatty instructs Montag to burn his own books as his punishment. Instead, Montag burns the television sets and the bed, in spite of Millie’s pleasures. When Beatty discovers the hidden book in Montag’s jacket and the earpiece, he tells Montag he and Faber will be arrested. In fear, Montag turns the flame thrower on Beatty, making him a â€Å"shrieking blaze, a jumping, sprawling gibbering manikin no longer human or known.† After burning the mechanical dog, Montag reassures himself that Beatty wanted to die. Montage burns his first house, showing his pleasure and joy in his job. â€Å"It was a pleasure to burn. It was a special pleasure to see things eaten and blacken and change.† By the end of the novel, Montag watches the sun as he floats down the river. Montag decides that he must never burn again; â€Å"The sun burnt everyday. It burnt time. The world rushed in a circle and turned on its axis and time was busy burning the years and the people away, without any help from him.