Essay on Revenge In Two Literary Works - 1593 Words

Revenge as a theme is cleverly built upon throughout Hamlet; with it being the driving force behind three of the key characters in the play. Revenge is a frighteningly vicious emotion, which causes people to act blindly and without reason. In Poe’s, â€Å"The Cask of Amontillado†, Montresor enacts revenge for reasons unknown. Hamlet in contrast, has all the motive in the world to complete his task; yet he constantly hesitates. The text reveals that the need for revenge creates a stranglehold on the genuine emotions, thoughts, and actions of three characters: Hamlet, Prince of Denmark, Laertes; son of Polonius, and Fortinbras; Prince of Norway. This hold makes the characters act beyond their standard ethical positions and makes them helpless to†¦show more content†¦He is obstructed from his genuine rational moral view and if he were morally coherent, he would have seen that taking such drastic action removes himself from his genuine thoughts. In â€Å"The Caskà ¢â‚¬ , the perspective we are given on the story is limited; which allows for an open interpretation of what his true motives for revenge are. As Baraban states â€Å"Montresor elaborates a sophisticated philosophy of revenge: I must not only punish, but punish with impunity† (48) presenting the reader with a vibrant view of what he intends to do. The question one begs is, for what reason? Most readers would finish this story and assert that mentally, Montresor is insane. As Baraban states, â€Å"Poes intriguing silence about the nature of the insult that made Montresor murder Fortunato has given rise to explanations of Montresors deed through insanity. Richard M. Fletcher, for example, maintains that Montresors actions are irrational and that therefore he is mad.† (50) Montresor states at the opening of the story, â€Å"you,who so well know the nature of my soul†( are words likely said on his death bed to his confessor; being that he committed this deed fifty years prior, it would make sense that he is finally coming clean. Moreover, since he is commenting on the nature of his soul, it is plausible to assume that Montresor has been deemed crazyShow MoreRelatedRevenge Of Hamlet By William Shakespeare892 Words   |  4 PagesThe theme of Revenge has been utilized in numerous works of art throughout history, including books, plays, movies, etc. Revenge is the result of one’s desire for vengeance, however, revenge is known to be implied under high emotions of anger thus not with reason concluding with a horrible outcome. Shakespeare’s play ‘Hamlet’ is no doubt a play about a tragedy caused by revenge; Prince Hamlet’s retribution for his father, King Hamlet’s murder and Laertes vengeance for his father, Polonius’ murderRead MoreAnalysis Of Edgar Allan Poe s The Cask Of Amontillado 945 Words   |  4 PagesDenita Kumar Michael Frangos ENG 112 September 3, 2014 Revenge and Irony A friendship is based on trust, but do we truly know anyone in the way we think? In â€Å"The Cask of Amontillado† written by Edgar Allan Poe, a man named Fortunato is about to find out what kind of ‘friend’ Montresor really is. Montresor shows himself to be friendly with Fortunato, but deep down he feels nothing but hate for him. In different ways, both of these men are proud and appear upper class, yet both have faults whichRead MoreDeath theme In the play Hamlet by Shakespeare1418 Words   |  6 Pagesappearance of King Hamlets ghost. The play is set only two months after his death, which is the lead for the events following in the play. He appeared at the platform before Elsinore castle as Horatio pictures, with that fair and warlike form (Shakespeare I.i.55-56 p1326). Even the apparel suggests a killing attitude. The Ghost, the symbol of Death, reveals the truth of him being murdered by his own brother to his son, Hamlet, and asks for revenge. Because of King Hamlets death, Claudius gets the throneRead MoreLiterary Comparison Theme Essay example1528 Words   |  7 PagesLiterary Theme The Cask of Amontillado is an 1846 short story by Edgar Allan Poe, which gives an account of Montresor, a man who executes a plan of vengeance against his friend, whom he claims insulted him. As the narrator in the story, Montresor provides a vivid image of his plan to lure Fortunato to his death, which ends in the eventual live burial of Fortunato. The theme of revenge is the most prominent element of this story, which enables the reader follow the narrator’s character, thus gainingRead MoreEmily Bronte s Hamlet And Wuthering Heights 1307 Words   |  6 PagesRevenge in Hamlet and Wuthering Heights Abstract This concise paper is an analogical study. It consists of three parts; the first one defines the word revenge and explains where the theme of revenge comes from and how it has expended to other types of literary works until these days. The second part of the study, is supported by exemplifies Shakespeare’s tragedy, Hamlet. The last part of the paper, provides Emily Brontà «Ã¢â‚¬â„¢s novel, Wuthering Heights as a good example; because one of the main themesRead MoreMacbeth And Macbeth1274 Words   |  6 PagesThe purpose if this essay is to prove that the theme in the two contrasting literary works of Twilight saga: eclipse by Stephenie Meyer and Macbeth by William Shakespeare are alike. The theme of destruction being inevitable in both literary pieces are the same through the element of symbolism used to connect and foreshadow events in each piece. Although the plot for each novel differs, the twin methods of symbolism they utilize evidently leads to inevitable destruction and deserve further examinationRead MoreThe Cask Of Amontillado : William Shakespeare1450 Words   |  6 Pagesto captivate an audience with suspense and gloom. Though masters of different genres, Edgar Allen Poe and William Shakespeare both embody this unique ability. One of Poe’s work in particular resembles the beauty and darkness that is found in Shakespeare’s tragedies. In the intriguing short story â€Å"The Cask of Amontillado,† two wealthy gentlemen from an Italian, wine-loving village go off to find a barrel of expensive medium-dry sherry to share amidst a happy carnival, and the stakes rise when oneRead MoreThe Cask Of Amontillado By Edgar Allan Poe1334 Words   |  6 Pagessee coming which makes it unique and one of a kind. Throughout this fairy tale of darkness there are many literary devices used to help give the reader a better illustration of what is going on. Just like the rest of Poe’s work, it is also known for its darkness but also st ands out amongst the rest because of its popularity and shocking ending. This short story is filled with various literary devices that help the readers understand what is going on. Poe writes this tale with a grotesque style thatRead MoreWilliam Shakespeares Hamlet Essay1324 Words   |  6 PagesWilliam Shakespeare’s famously philosophical play Hamlet epitomizes the revenge tragedy; the play’s characters are forced to act vengefully only to result in a bloody, dismal ending. The most obvious instance of revenge in the play is that of Hamlet against Claudius whom corruptly becomes the king of Denmark after he murders Hamlet’s father. Spurred by the ghost of the deceased king, Hamlet sways between moods of adamancy and half-hearted uncertainty in his quest to repay his father’s life, aRead MoreEdgar Allan Poes The Cask of the Amontillado Essay1520 Words   |  7 Pagesby Edgar Allan Poe is a story of revenge on the outside, but when on the inside, it is something deeper. His stories are dark and sometimes, like in â€Å"The Cask of Amontillado,† deadly. Poe’s main focus in â€Å"The Cask of Amontillado† is revenge, but if examined more closely, the irony that is present foreshadows the end result for Fortunato. In â€Å"The Cask of Amontillado† the Montresor is planning to seek revenge on Fortunato for â€Å"the thousand injuries.† The revenge results in the live burial of Fortunato

Evaluate the extent which Trans-Atlantic interactions from...

Before the 17th century, Africans were not seen as â€Å"black†, but as â€Å"pagan†. The subtle change to racism occurred in this century as Trans-Atlantic trade developed. In the time period from 1600 to 1763, labor systems in British America changed drastically in the West Indian islands and the Southern colonies because of Trans-Atlantic trade, but they stayed similar in the Middle and New England colonies to what they were before constant trade across the Atlantic was introduced. First, there is the change resulting from the South Atlantic System. This system was made up of slaves from Africa going to the West Indies owned by Great Britain, sugar being harvested from the West Indies going to England who sold it to other countries, who then†¦show more content†¦This resulted in a labor change similar to that in the West Indies. The work necessary to grow rice and export it to England was brutal, so slaves were constantly being imported from Africa to replac e those who had died. This continual supply of slaves resulted in a black majority in 1705 which grew until 80% of the population in rice-growing areas of South Carolina was made up of Africans. In the New England and Middle colonies very little change was seen in the way labor systems were used. Though these areas benefited immensely from the South Atlantic System, they were only a place where goods were transferred from the West Indian islands and the Southern colonies to England. Combined, indentured servants and slaves made up about 30 % of the workforce in New York City and Philadelphia up until the 1750s with very little fluctuation. Almost half of the population of major sea-ports such as Boston and Philadelphia were made up of artisan families. The children of these families learned their trades through an apprenticeship to an older relative and then passed on the skills they learned. Overall, changes to the labor systems in the English West Indies and the Southern colonies were brought about by an increase in slaves, while the New England and Middle colonies kept continuity in their labor systems by not needing an overwhelming number of slaves to work their smaller farms and artisan

Generate Expressions Free Essays

Generate Expressions 1. If a coffee company purchases paper cups at a cost of x cents for a package of ten and lids at a cost of y cents per dozen, which of the following represents its material cost, in cents, of c cups of coffee? 2. If a car rental company charges $100 for each rental, a dollars per mile, and b dollars per hour, which of the following represents the total cost to rent a car for 6 hours and travel 250 miles? 100 + 250a + 6b 3. We will write a custom essay sample on Generate Expressions or any similar topic only for you Order Now In a library there are currently B bookshelves, each with 40 books. C new bookshelves are added, then 5 books are added to every bookshelf in the library. How many books have been added to the library? 45C + 5B 4. A boat drifts down a 200-mile river at a rate of 6 miles per hour for the first h hours. In terms of h, where h 30, how many miles remain to be traveled? 200-6h 5. If Sarah earns d dollars per hour for babysitting, and t dollars per hour of travel time, which of the following represents her earnings after babysitting for 4 hours and traveling one hour to the family’s house? 4d+t 6. The cost of a pair of shoes is S dollars. If the shoes go on sale for P percent off of their original price, and Joey buys them with a coupon for an additional C percent off of the sale price, then what price does Joey pay? | | | | 7. If Peter can mow the front lawn in 15 minutes less than twice the time it takes Amanda to mow the lawn, and Amanda can mow the lawn in h hours, which of the following expressions represents the time in hours it takes Peter to mow the lawn? 8h – 1| | 4| 8. Joe can ride his bike M miles in 1 hour. If he lives 3 miles from school and it takes him N minutes to get there, which of the following represents M in terms of N? 80| | N| 9. If each support cable can support p pounds, and the total weight of an elevator is m pounds, which of the following represents the number of cables required to support the elevator? m/p 10. If Kat is four years more than twice as old as Andrew, and Kat is a years old, which of the following expressions represents the age of Andrew? 11. If Rick takes 10 seconds mo re than two-thirds the time it takes Ted to run the 400 meter dash, and Rick runs the 400 meter dash in s seconds, which of the following expressions represents the time it takes Ted to run the 400 meter dash? 2. The original price of for a meal is p dollars. During lunch, however, the restaurant offers a discount of x percent. Janet also uses a coupon that offers y dollars off the discounted price. Which of the following represents the price, in dollars, that Janet paid for the meal? 13. A flagpole twelve feet tall casts a shadow two feet long. If Jill is standing next to the flagpole and casts a shadow that is x inches long, how tall is Jill, in feet? 14. A repairman charges f for the first hour of work and d dollars for each additional hour. If he earns $445 working one job, and he is there for more than one hour, which of the following expressions represents the time he spent at the job? 15. If the average (arithmetic mean) of the 3 numbers above is 3y, what is x in terms of y? y 16. An apple orchard has n trees, and each tree typically produces a apples in a season. If the orchard plants m additional trees, in terms of a, n and m, what will be the expected total yield of apples? am + an 17. If the average (arithmetic mean) of w + 2 and 3w is y and the average of 3w – 4 and w is x, what is the average of x and y? 2w – ? 8. A laptop battery, when fully charged, can power a computer for h hours. The battery takes j minutes to fully charge. If the battery charged for k minutes, and k ; j, which of the following represents the amount of time, in hours, the battery can power the computer? 19. Susan is paid m dollars per hour for the f hours she works at the local record store. If she works more than f hours a w eek, Susan is paid an additional k dollars per hour for each additional hour. If Susan works a total of h hours in a week, and h ; f, in terms of m, f, k and h, what is Susan paid for the week? m + hk – kf 20. Derek and Pete are all paid hourly for their work at the local coffee shop. Derek is paid 10 dollars per hour, which is a dollars per hour more than Pete. Derek also works 37 hours each week, which is b hours less than Pete. If Pete earns c dollars in a week, what is a in terms of b and c? 21. The average (arithmetic mean) of three numbers is 2x. If one of the numbers is y + 3, what is the average of the remaining two numbers in terms of x and y? 22. An auditorium originally has 30 chairs per row and a total of 25 rows. The auditorium undergoes renovations so that each of the rows is extended by c chairs, and an additional r rows are added. In terms of r and c, how many additional chairs have been added? (30 + c)(25 + r) – 750 23. If Lisa’s phone company charges ten cents per minute for phone calls and fifteen cents for each text message, which of the following represents the total bill (in dollars) due to the phone company if Lisa talked for m minutes and sent t texts? 0. 10m + 0. 15t 24. A taxi service charges a base fare of d dollars, and then an additional b dollars per quarter-mile. If the total fare was $11. 5, which of the following represents the total distance traveled? 25. Each box of cupcakes costs f dollars to produce and contains c cupcakes. Each cupcake is sold for d dollars. What is the profit from selling a box of cupcakes? Cd-f 26. A new hybrid car can travel t miles per gallon, and the gas tank can hold g gallons of gas. If gas costs $2 per gallon, which of the follow ing represents the cost, in dollars, required to travel one mile? 2/t 27. If Tom is seven years less than twice as old as Rick, and Rick is n years old, which of the following expressions represents the age of Tom? n – 7 28. Which of the following represents the total cost, in dollars, if Sally bought 8 apples which cost n dollars each and 6 oranges which each cost half as much as an apple? 11n 29. The original price of a CD was d dollars, but it was discounted x percent during a seasonal sale. If the sales tax of y percent was applied to the sale price, which of the following represents the price, in dollars, of the CD? | 30. Jen, Liz and Radha decided to take a road trip across the country. Jen drove a total of j miles. Liz drove 100 miles less than twice as many miles as Jen drove, and Radha drove half as many miles as Liz. In terms of j, what was the average miles each person drove? 31. Which of the following represents the total cost, in dollars, of y yards of yarn at 2 dollars per foot, and b buttons at 40 cents per button? (1 yard = 3 feet) 6y + 0. 4b 32. Which of the following represents the total cost in dollars for x hot dog buns and y hot dogs if buns cost $7 per dozen and hot dogs cost fifty cents each? 33. Which of the following represents the area of the figure shown above? (a – c – b) + 1/2(c + b)2 34. The average (arithmetic mean) of three numbers is x. If one of the numbers is 2y – 1, what is the average of the remaining two numbers in terms of x and y? S and T are consecutive even integers with T S. S is what percent of T? | | 35. A car rental company charges r dollars for the first hour and then it charges any additional hours at a rate of s dollars per hour. I f the total cost for a rental is t dollars and the rental lasts longer than one hour, which of the following expressions represents the length of the rental in hours? t – r + s| s| 36. There are x coins in a jar. If one coin is to be selected at random, the probability that a penny will be selected randomly is 2/5 and the probability that a nickel will be selected randomly is 1/4. In terms of x, how many coins are neither pennies nor nickels? 37. A swimming pool can hold y gallons at maximum capacity. If a hose can fill the pool at a rate of x gallons per second, which of the following expressions represents the time, in minutes, to fill an empty swimming pool to 90% capacity? 38. Lisa, Sally and Jessica all sold lemonade outside of their houses. Lisa sold k cups of lemonade. Sally sold five cups less than twice as many cups of lemonade as Lisa, and Jessica sold nine cups more than three times the number of cups that Sally sold. In terms of k, how many cups of lemonade did Jessica sell? 6k – 6 39. The average of 2 numbers is A. When a third number is included, the average becomes B. What is the third number in terms of A and B? 3B – 2A 40. In a six-hour flight from New York to Los Angeles, an airplane averages 200 miles per hour during the first t hours until it reaches cruising altitude. Once at the cruising altitude, the airplane travels at 545 miles per hour for the remainder of the trip. If terms of t, where t 6, how far is the flight? 545 ? 6 – 345t 41. If the steps above are followed in order, which of the following is a simplified expression for the result? -7y + 11x 42. Jacob wants to buy new school supplies. If pens cost 75 cents each and notebooks cost 2 dollars each, which of the following represents the cost, in dollars, of p pens and n notebooks? 43. The force exerted on an object is defined as the product of the mass of the object and its acceleration. The force exerted on a ball is initially f. If the mass of the ball remains the same but the acceleration decreases by a factor of three, what is the resulting force on the ball? 44. The original price of a pair of pants was p dollars but they were discounted x percent during a seasonal sale. If the sales tax of y percent was applied to the discounted price, which of the following represents the price, in dollars, of the pants? 45. A hotdog stand buys hot dogs by the carton. Each carton has p packages of hot dogs, and each package contains h hot dogs. If each carton of hot dogs costs c dollars, what is the cost per hot dog? c/ph 46. How to cite Generate Expressions, Essay examples

African Instruments free essay sample

The history of African musical instruments is rich and diverse as the people that populate the African continent. Because music Is so deeply rooted in African culture, knowing about African instruments helps you understand the continent as well as the people. Apart from Africans themselves, this knowledge Is usually restricted to ethnomusicology and historians. The roots of African-American Instruments are burled deep within the music of the African continent. The history and evolution of African-Americans instruments are as rich and complex as the history of AfricanAmericans themselves. The essence of African-American Instruments Lies In Its expression of the human experience. Although the different styles vary widely In their tone, topic and the tools used to produce them, African-American Instruments have the ability to cross all color and culture lines. Styles such as the blues, country, jazz, gospel and hip hop have spread their Influence all over the world. Drums, banjo, and shakers have been a important key to making beautiful, inspiring music. We will write a custom essay sample on African Instruments or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Drumming was an important part of many African musical and religious radiation.The drum heads at either end of the drums wooden body are made from hide, fish-skin or other membranes which are wrapped around a wooden hoop. Leather cords or thongs run the length of the drums body and are wrapped around both hoops; when you squeeze these cords under your arm, the drum heads tighten, changing the instruments pitch. Drums served as an early form of long distance communication, and were used during ceremonial and religious functions. Ceremonial functions could include dance, rituals, story-telling and communication of points of order.The traditional drumming found in Africa is actually of three different types. Firstly, a rhythm can represent an idea (or signal). Secondly it can repeat the profile of a spoken utterance or thirdly it can simply be subject to musical laws. Drum Communication were based on actual natural languages. The sounds produced are conventionalism or idiomatic signals based on speech patterns. The messages are normally very stereotyped and context-dependent. By playing the drums the slaves would send warnings such as, the king is approaching or the enemy is attacking.After the work day was over, slaves would get together and sing out affirmations, pledges and prayers that they eventually lengthened out with repetitive choruses. At first, they accompany their vocals with handmade drums, but slave owners soon grew worrisome that this may be some sort of signal being made from one set of slaves to another that would ultimately lead to a revolt so the use of drums was abolished. African Instruments By Serenading populate the African continent. Because music is so deeply rooted in African culture, the people.Apart from Africans themselves, this knowledge is usually restricted to ethnomusicology and historians. The roots of African-American instruments are buried deep within the music of the African continent. The history and evolution of Americans themselves. The essence of African-American instruments lies in its expression of the human experience. Although the different styles vary widely in their tone, topic and the tools used to produce them, African-American instruments jazz, gospel and hip hop have spread their influence all over the world.

We All Fall Down Essay Example

We All Fall Down Paper After the trashing of the Jerome household and the attack of their daughter Karen, the Jerome family knew their lives were never going to be the same. The purpose of composing a novel is to engage and entertain the responder through the use of a wide variety of forms, conventions and techniques allowing them to be drawn into completely different worlds. The novel We all fall down written by Robert Cormier and the song lyrics Cats in the cradle by Harry Chapin both present themes of redemption and fatherhood. Both composers use techniques such as effective punctuation, effective language and narrative perspectives to engage the reader. Throughout the novel We all fall down the theme of redemption is displayed through the narration of Buddy’s character. His continuous search for redemption becomes one of major concern. As one of the perpetrators in the trashing, he is always carrying a guilty conscience and the guilt of the trashing also undermines his relationship with Jane. Cormier constantly emphasises the trashing when Buddy and Jane are together causing Buddy to become evasive. â€Å"The first time Jane mentioned the word trashing, Buddy flinched; then turned away in self defence, his thoughts racing wildly as he anticipated what her next words would be. Buddy is continuously searching for redemption and asking for forgiveness, especially after Jane finds out about the invasion of her home. The use of similes and hyperbole reinforce the effect on Buddy when Jane told him she knew what he had done. â€Å"The impact of her knowledge struck him, like a giant mallet hitting a gong inside him, the vibration s echoing throughout his body. † This clearly and effectively illustrates the force of the consequences of his irresponsible act of violence in the beginning of the novel and the deception he has practised to cover up his guilt. We will write a custom essay sample on We All Fall Down specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on We All Fall Down specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on We All Fall Down specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Cormier has displayed a wide variety of conventions and features. Similarly, in Cats in the cradle, Chapin portrays the theme of redemption through the use of irony. At the beginning of the song, the son sees his dad as a role model and something he wants to become in the future. â€Å"I’m gonna be just like you dad† and by the end of the song, the father realises his son became just like him but unfortunately it’s not something to be proud of. â€Å"I said I’d like to see you if you don’t mind. He said I’d love to dad, if I can find the time. This is suggesting that the father is trying to make up for lost time but it’s too late as the tables have turned and that the son likely won’t have time for him. The novel presents a very dim view of fathers. Mr. Jerome fails to be a source of strength to his family after the trashing occurred. The invasion of his home defeats him and the result of that leaves him turning his anger in hi s daughter Jane. Mr. Jerome accused his daughter Jane of being the cause off the trashing as Harry Flowers stated that Jane gave him the key to the house. â€Å"For the first time since he arrived home, Jane’s father looked at her. Looked directly into her eyes, his own eyes flashing with-what? -anger? More than anger. She groped for the word and, to her horror, found it. Accusation. That’s what she saw in his eyes. † Cormier uses effective punctuation to show that Jane is looking for an answer. The use of one word sentences lets the reader know that she has found the answer. She feels shattered, anxious and the responder can empathise with Jane. Another example of an unsupportive father is Harry Flowers’ father. Harry doesn’t take responsibility for his own actions and relies on his father to pay his way out of his problems. His parents paid off the damages off the trashing and while doing so also paid off his son’s way out of responsibility. â€Å"When my father agreed to restitution, everybody went along, the judge and the cops The judge placed me on probation and my father paid up † Similarly, in Cats in the cradle, time changes and reverses the situation. Time has changed the attitude of the father towards his son. The first sentence of every verse shows that more time has passed therefore showing that the father isn’t on the receiving end of his son’s affection. My child arrived just the other day†, â€Å"My son turned ten just the other day†, â€Å"He came home from college just the other day†, â€Å"I’ve long since retired my son moved away†. This informs the responder that the father wasn’t there for his son overtime and when he was growing up. The emphasis on the line â€Å"When you comin home dad? † conveys the dangers of no communication and putting too much emphasis on work and money and not on spending quality time with the family. The structure of We all fall down is different from many novels. It doesn’t use chapters, but instead uses narrative perspectives and effective language to get across the themes and characters. This technique arouses curiosity and maintains the readers’ attention as it keeps them engaged and focused on what they are reading. There is a part 1 and part 2 which is a separation of some events that had happened. Part 2 is making right of what happened in part 1. The novel is told through the viewpoint of the three main characters Jane, Buddy and The Avenger. Each of them have a different perspective of the trashing and eventually these all come together. Throughout the novel Buddy’s language is colloquial slang and changes dramatically when talking about the effect alcohol has on him. His language becomes more educated and sophisticated. â€Å"Buddy discovered the marvellous methods of booze, the way it soothed and stroked, made hazy the harshness of things, made him – almost – happy. Languid, and feeling what the hell. † The use of commas engages the responder as it is a list telling the readers how happy alcohol makes him and they way it makes him feel. Cormier has used a broad range of different techniques and a unique structure to portray his themes and characters. Similarly, in Cats in the cradle, Chapin uses double narrative perspectives to present different points of view. It presents the words of the father and the words of the son who becomes just like the father, maybe worse as shown in the line â€Å"if I can find the time. † Through the texts We all fall down and Cats in the cradle both Cormier and Chapin use a wide variety of forms, conventions and ideas to draw the responder into the world of the texts. Through the use of techniques it is more evident how the themes of redemption and fatherhood apply in the texts and enables the responder to be drawn into distinctive worlds.

Frederick Douglas essays

Frederick Douglas essays In Douglass narrative, there are many instances in which he uses his experiences to enforce the view that slavery should be abolished. He also uses other slaves as examples in order to support this strong unpopular belief. Though he does not come directly out against slavery, he allows the reader to make the decision based on what he has told them. Throughout the narrative, he looks at the different perspectives of slavery, including the slaveholders point of view. The most compelling passage that sums up what Douglass had been going through is in the appendix. Here, he addresses the irony and hypocrisy of slaveholders to justify their actions. He who sells my sister, for purposes of prostitution, stands forth as the pious advocate of purity. He who proclaims it a religious duty to read the Bible denies me the right of learning to read the name of God who made me. He who is the religious advocate of marriage robs whole millions of its sacred influence, and leaves them to the ravages of wholesale pollution...Here we have religion and robbery the aliens of each other-devils dressed in angels robes, and hell presenting the semblance of paradise (Douglass 327). The passage shows the irony slavery brought to Southern culture. Douglass places the mirror directly in front of the white-South to show them that they are the evil they have been so against. The Souths view of slaves was that they were barbaric, evil, and heathens. Rather than conforming to this, Douglass shows the readers that the slaveholders were barbaric. As you can see, hypocrisy was a common virtue amongst the slaveholders and Douglass is sure to point this out in his closing statement. Throughout the South, religion is seen as the lifeline for slaveholders. Douglass takes particular notice to the Bible preaching South, but is quick to point out its flaws. The white-man declares p ...

The impact of agriculture on Post-Glacial lake sedimentation in Europe Term Paper

The impact of agriculture on Post-Glacial lake sedimentation in Europe - Term Paper Example In this study, the use of sediments from this high elevation lake in a paleoecological study provides an overview of climate change, vegetation and human influence. Early records show a domination of Pinus, and Betula pollens with deciduous Quercus and grasses or shrubs. Aquatic microfossils have indicated that wet seasons and high levels of the lake occurred in the years preceding 7800 cal yr BP. This was in the contrary to the occurrence of such climatic conditions in the lower elevation. These conditions appeared after 7800 cal yr BP. Lager disparities in the early Holocene seasonal insolation might have led to bigger snowpack and hence ensuing higher lake levels within the greater elevations. Dry conditions within high elevations began in 5700 cal yr BP accompanied by reduction in pollen in wetlands. The observed decline in mesophytes in this lake is a phenomenal also observed in other parts of Europe. This era marked the transition of mid to late Holocene. After 3700 years ago, human disturbance rapidly engulfed the Laguna de Rio Seco as evidenced by agricultural activities of herbivore grazing and pastoralism. Direct influence by humans in form of agricultural farming was extensive in the last hundred years as evidenced by Olea, Pinus and Zea mays pollen (Anderson, R., et al., 21). Introduction The production, movement and deposition of sediments within mountain ecosystems are impacted by various factors. These factors may be categorized into three groups including proximal, distal and local controls. Proximal factors are exemplified by climatic changes, glaciations, vegetation cover and relief. Distal factors are mostly dependent on altitudes and as such are affected by base levels. Finally, local controls are best portrayed by human influence such as agriculture and other human related activities. The paleoecological research and study of mountain ecosystems is vital for the documentation of effects related to climate warming. Moreover, these studies ai d in the prediction of future adverse impacts. There is the need to delink the relative impact of either climatic deviations or human disturbance from ecological shifts. A common approach is to carry out a comparison of ecological shifts before and after the growth of human activities. These ecological time zones are exemplified by glaciation and post glaciation period to the last millennia era. The later time periods have seen a gradual increase and intensified transformations in mountain ecology and ecosystems (Anderson et al., 29). A case study on impact of agriculture on post glacial sedimentation in lakes in Europe is well depicted in Sierra Nevada. This is a massive physical geographical feature which has a rich diversity in cultural heritage and biological components. Additionally, it is the highest range in Europe outside the Alps and is the biggest in size as a mountain range in southern Spain. This immense feature is located in the Andalucia region. It has had various inha bitants as early as Neolithic era or perhaps even earlier. Human exploitation on this vital area includes the eras of Chalcolithic, Argaric, Iron-Age, Romans, Goths and Christians. All the people who have inhabited this region have ensured that their activities have contributed to a change in the surrounding ecosystem particularly on sedimentation. Spanning to

Short paragraph writing Assignment Example | Topics and Well Written Essays - 250 words

Short paragraph writing - Assignment Example The current immigration laws are ineffective and unfair based on the interests of the American citizens. The laws should be amended, and the importation of qualified immigrants be suspended to give room for the absorption of the American graduates. Since there is adequate STEM graduate, it is imperative for the government to improve the compensation and allowances to attract these individuals (Hira & Stephan,  2014). The emphasis on cheaper labour from immigrants hinders the prospect of personal development as Americans face stiff competition in the workforce. For these reasons, there is a need to amend the Immigration Reform and Control Act should complicate the employment of foreigners. Notably, the US Immigration and Customs Enforcement should be keen to identify illegal workers. Additionally, the penalty policy should be increased such that it scares the employers from hiring illegal immigrants. Finally, the Immigration Act should make it difficult for foreigners to access the I-551 Alien Registration Receipt and the H-1B visa program. Hira,  R., & Stephan,  P. (2014, July 27). Bill Gates tech worker fantasy: Column. Retrieved from

A critical analysis of a patient's journey through PICU from a nursing Essay

A critical analysis of a patient's journey through PICU from a nursing perspective - Essay Example Because of the impact of being in an area like the ICU and besides the routine responsibilities, paediatric ICU nurses are required to be â€Å"continually tuned in to the immediate recognition of any disruption in the child’s condition† (Carnevale, 2007, p. 68). They are ought to coordinate with the other members of the medical team who are expected to work together to alleviate the condition of the patient as well as to deal with the family of those who are under their care (Morton, 2002). In this paper, a nurse’s point of view about the journey of a patient Baby X will be assessed while taking into account many aspects of the care. There are a number of patients in the paediatric ICU; each of which with unique cases from the others. The reason why Baby X’s case and care was chosen is mainly to apply critical analysis on how the nursing strategies directed to the patient in coordination with the medical team, its effects on the family’s involvement and the consequences of these put together have led to the improvement of his health. Specifically, the paper would focus on the episode of Baby X’s stay where he had to be tracheostomized. The analysis would consider how the medical team reached the decision; how the nursing care affected the decision and the care before and after the procedure; and the reaction of the family [especially the mother who was doubtful at first] prior to the intervention and after it had been found out that it had helped. Baby X and the rest of the triplets were born expreterm on July 27, 2009. They were only at their 26th week of gestation when they went out. Like him, most of the preterm or premature babies who are born before the 37th week of gestation (Cadwell & Turner-Maffei, 2006) are prone to many complications as they are given birth before full maturation of almost all their body parts. Baby X was admitted to the paediatric intensive care unit last December 12, 2009 for suffering an array of

The Theory Of Parallelism

The Theory Of Parallelism Mind and body is considered as a separate form of human. By giving an example for mind such as sad, euphoria, angry or happy, it is considered as mind. A mind can be explained as what we called feeling. For our body, it can do things such as cycling, hiking, writing paperwork, and talking. We cannot see how large is our mind but we can see our body. So, we can conclude that body is a physical subject while mind is a mentally subject. Based on the older philosophy theory, the mind and body is not correlated. This theory is called as parallelism. What is parallelism? Based on thefreedictionary.com, parallelism is The doctrine that to every mental change there corresponds a concomitant but causally unconnected physical alteration. (thefreedictionary.com ,2009) The meaning is every changes that happened in our mind, doesnt affect our body while the changes in our body doesnt affect our mind. These two are independent against each other. For example, if were happy, it just a stimulation o f chemical in our body that is call endorphin. It is nothing related to our thinking. However, if we are saying that the mind and body are two different and independent things, we are no better than a machine or robot. The idea of Descartes theory has formed a mind and body problem. So what is mind and body problem? The problem is how does mind and body correlated to each other? According to Descartes philosophy, mind is a thinking thing while body is an extended thing. These two is somehow related to each other. To answer this question, Decartes has formed a philosophical theory called dualism. Based on Decartess dualism, body and mind is dependent against each other. The body needs the mind to tell them how to react and what to do and the mind needs the body as an object to express our thinking. However, if we said that there are connected to each other, but where is the connection between the mind and the body? There must some connection within the mind and body. The things that we think somehow affect our body and vice versa. Decartes solution is possible for mind/body problem. What he said was mind and body are connected and irrelevant to each other, but where is the bond that connects the mind and body? Do they even exist? We cant say that our body is connected by electrons or electromagnetic waves that generate within our body because electrons and electromagnetic waves is something that we can see and know for a long time through science. The connection between mind and body must not be visible to our naked eyes. If we use the theory of electrons as our proof of the existence; a scientist can manipulate the electrons that connect through our mind and body and extract the mind and put into someones body. The body must have a special code or something special to connect with the mind. We cant just move the mind into someones body to survive. If we can do that, we can escape the fact of death. When a person is about to die, just extract the electrons and put into someones body. According to Joseph Almog, he said that ..here is the kind of mind a mind is is stable in time. Given that Decartess Meditation is a human mind, it may not turn into an angelic or divine mind.. (Joseph Almog, 2002, pg 94). Mind provides use stability. Hence, there must be a connection that binds within a mind and a body of a person, and mind and body must be complete with each other. Besides that, if mind and body arent related just as what parallelism said, we can just live in this world without a body. The body basically is an extended thing. If I ask a normal person, what they think about mind. Basically they will just tell you something like mind is a soul, mental, or a spirit. So why dont we just live in this world just by using a soul? Isnt that our body is just a little an extra feature? When were dead, our body will be assumed as a corpse, our soul will be assumed as a spirit. Based on what I said before this about spirit and corpse, if dualism is not a solution for this, we can say that were just spirit living in a corpse body. We are no better than a zombie that doesnt have any feeling and emotion towards anything. It is basically just a walking corpse. As a result for that, to be called as a human or a living being, one must be exist with a package that contains mind and body. These two things arent divisible as they two are depending on each other. Ba sed on science, there is nothing such as zombie, spirit or recreation exists. However, the scientific reporting of the reality only provided evidence based on medical research investigating birthmarks and defects. (Casimir J. Bonk,contents pg xvii) This determines how we can deeply understand what an individual with thinking and physical are connected together. Apart from that, physical (body) must exist with mind (consciousness). A person wouldnt know what pain is, if the physical part of his body does not experience any pain before. For example, if a person touches a hot stove, he/she will feel the pain by pulling his/her hand. That person can scream too as an alert to show that we are in pain. However, the pain feeling will stays in our consciousness. For the next time, even when the stove if not hot, when we are going to touch it, there is a pain feeling in our mind. Besides that, if a person did not feel any pain before, will they know what is the meaning of pain is? They might just know the theory of pain but not exact consciousness of pain. Hence, it creates a conscious between mind and body about how we feel. In conclusion, I think Decartess dualism is the solution for mind and body problem. Mind must exist with the body and body must exist with mind to stay in what we called as a human being. Without any of them, we are just a dead corpse or a spirit. Hence, I think Decartes has one of the best solutions for this problem. Citation Joseph Almog, 2002 What am I?: Descartes and the mind-body problem, Oxford University Printing Press. http://www.thefreedictionary.com/parallelism , Access 17th February 2011, Updated at year 2000 Casimir J. Bonk, 2010, Descartes Was Right! Souls Do Exist and Reincarnation Proves It: A Challenge To Rethink Dualism

Zen in the Art of Archery Essay -- essays research papers

Zen in the Art of Archery, by Eugen Herrigel describes the ritualistic arts of discipline and focus that the Zen religion focuses around. In this book, Herrigel describes many aspects of how archery is, in fact, not a sport, but an art form, and is very spiritual to those in the east. The process he describes shows how he overcame his initial inhibitions and began to look toward new ways of seeing and understanding. In the beginning of the book Herrigel tells us that he is writing about a ritual and religious practice, â€Å"whose aim consists in hitting a spiritual goal, so that fundamentally the marksman aims at himself and may even succeed in hitting himself.† (Herrigel p. 4) Through his studies, the author discovers that within the Zen ritual actions, archery in this case, there lies a deeper meaning. Herrigel explains throughout this book that it is not through the actual physical aspect of shooting arrows at targets that archery is Zen, but through the art and spiritual ity through which it is performed. It is not merely shooting an arrow to hit a target, but becoming the target yourself and then, in turn, hitting yourself spiritually. By meeting this spiritual goal, you will then meet the physical goal. The struggle then is, therefore not with the arrow or the target but within oneself. Archery, in this book, was the way that the author found his way into Zen Buddhism. One of the most important lessons that Herrigel’s master taught him was, to correctly master the art of ar...

Frameworks Childcare Unit 10

The different frameworks for children up until the age of 16 years the follow the national curriculum and the early years foundation years is the age between, from birth-5 year old and the national curriculum is ages between 5-11 years. It is mandatory for all the schools and early years settings in ofsed registered settings to follow the early year’s foundation stage. The national curriculum is broken down into four different key stages at the end stage there are SATS which are statutory assessment.The early year’s foundation stage The early year foundation stage the aim is to provide learning through play for example it is important for ever child to be equal and to be a unique child it is also important to have a relationship with the parents and for the children welfare is paramount. Review your environment to ensure that it is interesting, attractive and accessible to every child so they can learn independently.The national Curriculum The national curriculum is man datory for all schools between 5-11 years old, the compulsory national curriculum subjects are for key stages 1 and 2 which are English, maths, science, design and technology, ICT, history, geography, art and design, music and physical education these are measured for children’s progress compared to all pupils across the country.How the EYFS are used by practitioners to support learning The job of the practitioners is to develop the six areas of learning by using observations on the children. To observe them to show how much progress they have made and what learning groups they can go into for the best of there ability. It is important that the practitioners use ratios because they can keep to the routine better and provide emotional security.It is also important that practitioners use planning to meet individual needs and to view the child holistic view of the Childs development. It is important that you plan activities for the children and have a range of toys for all ages and to cover the six areas of learning stages. How the National Curriculum is used by teachers to support learning The role of the teacher is to enforce the national curriculum and ensure that all children have all the same opportunities to work to there best ability.It is important to have enough supervision and it is also important for all the children to have a key worker which would be the teacher of the class which will be there to teach the children all types of activities for example, maths, writing, physical activities, and creative activities. Also it is important that the teacher does planning, for example plan the activities that you are going to teach the children for the week which is called a short term plan and also plan for the month or the year which is called long term planning.

Fate and freedom in oedipus essays

Fate and freedom in oedipus essays For centuries, the struggle between fate and the freedom of the human will has been a point of discontent among many scholars in the area of philosophy and Greek literature. In the works of men like Homer, Euripides, and Sophocles there is an emphasis on the role of prophetic beings and the inability of humans to overcome this obstacle. People are manipulated much to the delight of the gods without any hope of staving off disaster. As seen in Sophocles timeless tragedy Oedipus Rex, the title character appears to be a victim to his own destiny, hopelessly entangled in a web woven by superior beings. I am going to argue that despite the propensity to fall into the convenient thought that human beings are simply subject to the will of something greater that there is a definite tendency to allow for acts of free will throughout Greek literature. Since I believe Oedipus is the most complete embodiment of this struggle I will focus my analysis on his character. According to Websters New Collegiate Dictionary, fate is defined as an inevitable and often adverse outcome, condition, or end. When I originally read Oedipus Rex and met the character of Oedipus for the first time I presumed that Sophocles believed strongly in the idea of fate or destiny. Oedipus appeared to be incapable of avoiding the seemingly inevitable and thus became a tragic character in my eyes after I read it. To see a great man like Oedipus fall to the depths he has reached by the end of the play is truly tragic. Many see the core of the tragedy in his unavoidable demise. But what if the demise was avoidable? What if the tragedy here is that a man is so consumed by prophecies and oracles that he alters his course of action so as to avoid destruction actually enacts ruin upon himself? These are tough questions to consider so I believe it is best to go about answering them in the most logical, rational way possible. Let me begin by pointing out ...

Amira Sbaa Mand Essays

Amira Sbaa Mand Essays Amira Sbaa Mand Essay Amira Sbaa Mand Essay Once you have read the text, answer the following questions: a)latently and analyses the main problems that you can find in this company The main problems that the company had was a loose organizational structure when the company internationalization. There was a situation where branches of Phillips were working independently as fully functional national units, with their own manufacturing, marketing and distribution system. Another problem was lots of bureaucracy and high inefficiency. The company had a huge workforce but the products were not innovative and the manufacturing costs were high . Philips products were considered by customers as behind the times. This problem came along with the panorama in which Japan new companies were emerging with flashy, competitively priced, and well-made products that would compete with Philips in the market. And the last problem that found, was that Philips, even though it used to make important breakthroughs, was not able to take commercial advantage of them, being hose innovative products copied by competitors in a really short period of time.

Close Relationships Sometimes Mask Poor Communication Essay

Close Relationships Sometimes Mask Poor Communication - Essay Example 3). One strongly believes that this phenomenon, the closeness-communication bias is significantly manifested in most close interpersonal relationships in contemporary times due to the preconceived notion that closeness is synonymous with understanding what the other person really intends to relate. In one’s personal experience, there is a feeling of complacency that closeness between spouses or friends is actually indicative of knowing what the other person needs or wants – even prior to communicating the message. However, one was surprised to find out from the study that this notion is untrue. When one searched further on the closeness-communication bias, the research study conducted by Savitsky, Keysar, Epley, Carter, and Swanson (2011) entitled â€Å"The closeness-communication bias: Increased egocentrism among friends versus strangers† and published in the Journal of Experimental Social Psychology, the findings included the element of egocentrism, defined as â€Å"the philosophy or attitude of considering oneself the center of the universe† (The Free Dictionary, 2012, p. 1). The outcome of the study indicated that â€Å"egocentrism increases when one interacts with close friends—individuals who are assumed to be similar to oneself, and f or whom one may therefore relax efforts to correct an initial, egocentric default† (Savitsky, Keysar, Epley, Carter, & Swanson, 2011, p. 272). This is a surprising revelation because at it explains, taking one’s understanding that the other person knows more about oneself contributed to the perception that the other person actually understands more than what is actually being communicated. In response, therefore, to the following questions: (1) Have you ever had a miscommunication with someone close to you simply because you assumed that they understood you? What happened? The answer is yes. A close friend was usually assigned to do powerpoint presentations in academic projects. When

Andrew Jackson's Presidency Essay Example | Topics and Well Written Essays - 1750 words

Andrew Jackson's Presidency - Essay Example The native Indian Americans faced one of their toughest times during his presidency, considering that he had embarked on a mission to dispossess the Native Americans of their land from the East of the Mississippi river to relocate them to the west, and this is a decision that he acted on most swiftly and decisively (Benson, 22). Thus, by the end of his term in presidency, he had managed to displace the natives from their motherland, to present day Oklahoma, through a forceful eviction that eventually came to be known as the ‘Trail of tear’ (Heckscher, n.p.). Secondly, Andrew Jackson’s policies were responsible for an economic meltdown in the United States and restricted economic growth for the country, since he adopted economic policies that were fundamentally flawed such as the closure of the Second Bank of the United States, eventually leading the country to a future economic crisis (Buchanan, 165). Thirdly, Andrew Jackson’s political actions were unjust, unconstitutional and created strains between the federal government and the states they presided over, thus leading to a political discontent in the country, at a time when peace was the most important thing in the country, having moved out of previous wars and conflicts that had threatened to completely tear the country apart. Therefore, in a nutshell, Andrew Jackson’s presidency was a cancer on the United States, and prevented the federal government from growing as a whole, during his time in office. Analysis of Andrew Jackson's Presidency The most memorable and horrific aspect of Andrew Jackson’s presidency was his treatment of the Native Americans. President Andrew Jackson passed the Indian Removal Act (1830), which then gave the president powers to negotiate the removal treaties with Indian nations, by transferring them from the regions they previously inhabited as their homeland, through legalizing the transfers and providing for the funding of the transfer proc ess (Buchanan, 166). This move has largely been termed by the human right commentators as amounting to ethnic cleansing, through dispossessing the native Indians of their motherland in the East of Mississippi, and transferring them forcefully to the western side; the present day Oklahoma (Andrew Jackson, n.p.). While the passage of the Removal Act was meant to be a channel through which peaceful treaties would be entered into, between the Indian Nations and the federal government, Andrew Jackson resulted to the forceful eviction of the Natives, after it became clear that they were not willing to give up their ancestral lands (Cole, 72). The forceful eviction was extremely dehumanizing, especially since President Andrew Jackson Sent 7,000-armed troops specifically to remove the Cherokee tribe, which had proved to be a bit more resistant in signing a transfer treaty that would displace them from their motherland (Benson, 27). This move was extremely bad, considering that the only reas on President Jackson implemented the forceful transfer of the Natives, was to have the white settlers expand their farms, so that their cotton farming and slave economy would continue to flourish, at the expense of the comfort of the Natives, who were not seen to contribute much

Behavioural Perspective of leadership Essay Example | Topics and Well Written Essays - 1000 words

Behavioural Perspective of leadership - Essay Example A majority of such leadership theories have focused on the study of characteristics of the leaders and the manner in which they behave. The impact of leadership behavior on organizational performance has been studied extensively since the past four decades, by practitioners and academics alike (Cannella and Rowe, 1995; Giambatista, 2004). This is mainly because of the widespread belief, that the leadership behavior displayed by the leaders in organizations is regarded, by some researchers as crucial to achievement of organizational goals and in motivating the employees to enhance productivity (Berson et al., 2001; Zacharatos et al., 2000). The behavioral leadership theory evolved during the Second World War, focuses mainly on the human relationships along with, organizational performance and productivity. This theory proposed that the behavior of the leaders has a significant influence on organizational performance and the effectiveness of the workers. Two most important studies with regard to leadership behavior include the study conducted at Ohio State University and the University of Michigan during the 1940s and 1950s. These studies highlighted two distinct categories of leadership behavior based on their individual leadership styles namely: the people-oriented leadership behavior and the task-oriented leadership behavior (Leadership in Organizational Settings, Pp. 287). The former category / cluster focuses on the employee tasks and the methods used to achieve the same, while the latter, focuses on the personal needs and requirements of the employees / workers, and the need for enhancing their interpersonal relationships. The people centered leadership style emphasizes on the people by listening to the suggestions of the employees, grant them personal favors, support them whenever needed and treat them with equality while the task oriented

Brazilian Racial Politics Essay Example for Free

Brazilian Racial Politics Essay The reading provided, extracted from Orpheus and Power by Michael George Hanchard, critiques the Race vs. Class Paradigm that is widespread in the Brazilian society. By weaving together some works of the more renowned analysts and sociologists of the topic, he highlights two main things: firstly, the salient points of their claims and secondly, the faults in their arguments. By comparing and contrasting two schools of thought on the issue, Class-based and Structuralist, he points out certain weaknesses and the glaring irreconcilability of such thought when applied to the trends in Brazilian economic society. The subject of Race and Class and their contributions into creating a society wherein oppression has been structured into policy has fueled many debates, much of them still ongoing. While there has not been any theoretical consensus reached, a characteristic that is always attendant in the field of academia, there is however, a fortunate by-product in that it has broadened the body of current knowledge to embrace other topics into the discussion such as modes of production and social inequality. It is also interesting to note that the post-World War II era, as represented by the works of Oliver Cox and Stanley Greenberg, show the minimum agreement between scholars that race, at the very least, plays cuts an integral figure in structuring the oppressive social inequality. This makes for a broader, richer and more interesting scholarly debate. Hanchard begins the comparison with a discussion on Economic Determinism and the study of the Negro population in Brazilian society through the written work of one Florestan Fernandes, Democracia Racial. Fernandes describes the relationship between the â€Å"White elites† and the â€Å"Negroes† in Brazilian society as a situation where the former â€Å"limit themselves to treating the Negro with tolerance, maintaining the old ceremonial politeness in inter-racial relationships and excluding from this tolerance any true egalitarian feeling or content. † (Hanchard 32) By articulating the â€Å"hegemonic position† of the White population over the Black one, he more than hinted at the absence of racial democracy in Brazilian society. Fernandes’ analyzed the racial interaction of the society a pivotal time in economic Brazilian history. The importance of his written work may largely be attributed the perfect timing of it. His deconstructions and analysis of Brazilian society then, through interviews and the gathering of empirical data, did much to further the study of Brazilian racial relations. Moreover, his role and significant importance to the field is further underscored by the fact that he was the first to analyze the linkage between race and class in the context of Brazilian socio-economic development. He claimed that the Brazilian Blacks were â€Å"exploited both during and after slavery by uncaring whites†. However, in a turn-about, he concludes that the Afro-Brazilian is â€Å"dysfunctional, suffering from anomie, hopelessness and immorality† and lacked a sense of discipline and responsibility that made them pale in comparison to Italian immigrants for competition in the labour markets. Hanchard, however, took issue with this particular conclusion and rebutted by emphasing the failure of Fernandes’ missed or misappreciated the important fact that the intervention of big landowners and government officials played a crucial role in creating a marketplace that preferred Southern European immigrants. In essence, Fernandes’ approach fails is that his discussion of the Negro social movement was confined to issues of racial inequality where race itself was autonomous and not an economic variable nor indicator. George Reid Andrews, by using an approach offered by Greenberg, refutes Fernandes’ claims and forwards his own. Andrews’ approach fares better than the previously discussed one of Fernandes’ to the extent that he explored the â€Å"collusion between the state government and landowners to foster economic development† by subsidizing European immigration creating a rocky playing field where the Blacks were the destined losers. He then claims that although slavery played the role of a detrimental catalyst in Brazilian socio-economic development, it is but one of many factors to the displacement of Afro-Brazilian workers. He considered state intervention more critical in that policy itself structured the economic oppression by the doling out of development funds in a very preferential treatment to European immigrant workers. Thus, he introduced a very important aspect into the debates; that of the material dimension of race and how it structures state policies. At this junction, the theoretical wars began to include a different perspective: Structuralist. As the third generation of race relations, this school of thought rebuts and debunks the racial democracy myth proposed by their predecessors. Carlos Hasenblag and Nelson Do Valle Silva are two of the most prominent figures in this approach that does not treat race and class as being on opposing ends of the same spectrum but rather they situated racial inequality at the very heart of socio-economic relations and the development and trends of the labour market. Harchand, however, critically points out that although there was a discussion of racial inequality, there was virtually no explanation offered how such inequality id politically constructed or even contested. â€Å"Despite the conceptual differences between the Reductionists and Structuralists, the tendencies seemed to concur about one crucial dimension of Brazilian race relations; a dimension that seemed to distinguish Afro-Brazilians from their US counterparts: a lack of collective awareness of themselves as a subordinated racial group. † (Hanchard 41) By analyzing the theories at hand, one thing is clear: the need for a better-tailored conceptual framework to be used as a guide for racially equal policy making. DISCUSSION QUESTIONS: 1. In an effort to stop the mentality of finger-pointing to the dominant white, what has the different Afro-Brazilian social movements done, or at least attempted to bring about, in order to correct the racial inequality with regard to economic policy and labour markets? 2. What are some concrete state policies, like the Black Economic Empowerment Movement of South Africa, that can correct this historical injustice?

Queer Theory Reading of a Picture of Dorian Gray

Queer Theory Reading of a Picture of Dorian Gray Aestheticism dictates that life should be lived by an ideal of beauty and a movement embodied by the phrase of art for arts sake. There is perhaps no greater advocate of such beliefs as Oscar Wilde, and the characteristics of aestheticism run through much of his work, both plays and stories, particularly in the character of the dandy. It would be difficult to analyse any of Wildes work without considering his own personal life and consequently, almost impossible to analyse his use of aesthetics without tackling the elements of homoeroticism. Living in a society largely intolerant to homosexuality, Wilde was obviously restricted to some extent with regard to what he could write about explicitly and as a result secrecy becomes an important influence over Wildes work. This makes for an extremely interesting relationship between aestheticism and homoeroticism, and it is this relationship that will form the main focus of this essay. What are the forms and techniques that Wilde uses to aestheticise homosexuality, and why? And how by doing this his literary works reveal aspects of his own life and sexuality, ultimately creating the figure of Wilde the aesthete, dandy, and campy witticist who has become a public icon forhomosexual men in Britain and America. It will focus primarily on The Picture of Dorian Gray, The Importance of Being Earnest and The Happy Prince and Other Stories. The Portrait of Mr. W.H portrays Shakespeare as being a slave to beauty – that is the condition of the artist! This concept of theartist as worshipper of beauty is a recurring characteristic of Wildes literature and will be dealt with later in this chapter. Firstly, itis necessary to look at the ideal of beauty that Wilde presents as worthy of worship. There is an overwhelming resemblance between Wildes portrayal ofbeauty and the concept of beauty in the Greek era. As Summers observesin his book Gay Fictions: Studies in a Male Homosexual Literary Tradition, both The Portrait of Dorian Gray and The Portrait of Mr.W.H focus heavily on portraits of androgynous young men bothstories allude to famous homosexual artists and lovers in history andthey both assume a significant connection between homosexual Eros andart. Same-sex desire is referenced heavily throughout Greek literature, for example, during the sixth century, the poet Sappho wrote numerous homoerotic verses concerning young women, with the term lesbian derived from the name of her island home of Lesbos. Platoalso referred to same-sex desires and relations, even forming his own theory on the pre-determined nature of different sexualities. In words taken from The Portrait of Mr. W.H, the ideal of beauty is a beauty that seemed to combine the charm of both sexes, and to have we dded, as the Sonnets tell us, the grace of Adonis and the loveliness ofHelen. Wilde uses this Greek ideal of beauty as a means of adding authority to his allusions to homoeroticism, to make the content of the two aforementioned works more acceptable to a Victorian audience. Itis important to note that there is a marked difference of public attitude towards homosexuality and homoeroticism between Greek and Victorian society. Donald Hall observes that during the Greek eraadult male sexuality, had much more to do with power status and social positioning than it did with any expression of identity-determining desire for the same or other sex. Wildes ideal of beauty also overlaps with the Greek concept of the muse. The Portrait of Dorian Gray presents us with Dorian, the muse topainter Basil Hallward, and The Portrait of Mr. W.H provides us withan insight into the life of one of the most famous muses of all, the young man who Shakespeare addressed many of his sonnets to Who was he whose physical beauty was such that it became the very corner-stone of Shakespeares art; the very source of Shakespeares inspiration; the very incarnation of Shakespeares dreams. The muse, defined as asource of inspiration especially for a creative artist succeeds in objectifying the subject, transforming a human presence into aesthetic fodder to fuel the creative mind, as well as something far superior tothe person beholding the muse. With regard to The Picture of Dorian Gray, Summers suggests that, the implied link between homosexual Erosand creativity is clear in Dorians effect on Basils art. Dorians beauty and the ideal that he represents ca use Basil to see the world afresh and inspire him to his greatest work as an artist. This is where the idea of worshipping beauty comes into play. TheHappy Prince, for example, is distinctly removed from everyday lifeand is admired from afar in a quite literal sense. However, Dorian isperhaps the best illustration of Wildes fascination with the worshipof beauty. The novel suggests that to other young men Dorian seemedto be of the company of those whom Dante describes as having sought toâ€Å"make themselves perfect by the worship of beauty.† Like Gautier, hewas one for whom the visible world existed. At the same time,Dorian is presented to us as the worshipped, with regard to hisrelationship with Basil Hallward. The experience of the muse in the manner of Basil and Shakespeare (asportrayed by Wilde) seems to present something of a double-edged sword,producing feelings of such passion that joy and despair becomeintertwined. The narrator of The Portrait of Mr. W.H suggests thatShakespeares muse was a particular young man whose personality forsome reason seems to have filled the soul of Shakespeare with terriblejoy and no less terrible despair. In a similar vein, Basil hasominous feelings on meeting Dorian for the first time, I knew that Ihad come face to face with someone whose mere personality was sofascinating that, if I allowed it to do so, it would absorb my wholenature, my whole soul, my very art itself. The effect of beauty canbe seen as both gift and curse – in the same way that Wilde perhapsregarded homosexuality in Victorian society. The importance that Wilde places on the worship of beauty is closelyrelated to his strong beliefs in aestheticism. The distance that Wildeseeks to construct between the observer and the object of beauty can beread as a mechanism of aestheticism whereby he aims to eliminate anyattachment to moral and wider societal concerns. The following chapterwill analyse the relation of aesthetics to Wildes literary works, andhow far he is able to separate the appreciation of art from moralvalues. Mary Blanchard, in Oscar Wildes America suggests that the personaof the invert or male homosexual was an emerging concept during the1880s, and the connections between aesthetic style and a homosexualsubculture cannot be overlooked. And with other critics referring toWilde as the high priest of aestheticism, its clear that Oscar is noexception to this rule. He lived a hedonistic lifestyle, flitting as asocial butterfly from one experience of art and beauty to the next. InVictorian times the male dandy soon became a symbol of this aestheticage, with no finer literary examples than Dorian and Lord Henry of ThePortrait of Dorian Gray, and Algernon and Jack of The Importance ofBeing Earnest. Lord Henry declares that pleasure is the only thingworth having a theory about and it is this preoccupation withmaterial things and surface-level emotions that characterises thedandy, a choice of style over substance. As a result Dorian becomesfascinated with acquiring commodities such as perfumes, je wels andmusic. Wilde dedicates pages of description to this search forsensations that would be at once new and possess that element ofstrangeness that is so essential to romance. The concept of dandyism is closely linked to that of Victoriandecadence. Goldfarb, in his essay on Late Victorian Decadenceprovides us with a useful definition of decadence, highlighting itsresemblance to aestheticism – the value to be gained from experienceof all sorts and from indulgence in a life of sensation. Because ofthis emphasis, decadent literature is animated by the exploration ofimmoral and evil experiences; never does it preach morality, nor doesit strongly insist upon ethical responsibilities. This separationbetween decadence and morality is also a characteristic common toaestheticism. Glick studies the concepts of dandyism at length in her essay onThe Dialectics of Dandyism, identifying an opposition betweencritical thought on dandyism and arguing that two different modelslocate dandyism at the opposite poles of modernity, simultaneouslypositioning the queer subject as a privileged emblem of the modern andas a dissident in revolt against society. Therefore, on the one handthe reader can accept the dandy as person who embraces the aestheticsof culture and celebrates beauty – as a preoccupation with surfacetrends to conceive of gay identity solely or primarily in terms ofartifice, aesthetics, commodity fetishism and style. Or, beneath thesurface, we can read a protest against the commodification of modernlife and a rejection of common values and aspirations. Goldfarb note asimilar contempt for modern society in the movement of decadence, aself-conscious contempt for social conventions such as truth andmarriage, by an acceptance of Beauty as a basis for life. Bothaestheticism and decadence seek to remove beauty from the confines ofmodern society and use it to their own ends in a self-created sensualand fantastical lifestyle. Wildes use of aestheticism can be read as an attempt to showhomosexuality as a sign of refined culture, as a means to his desiredend where such a topic becomes more acceptable. In the same way thatWilde alludes to the Greek ideal of beauty to disguise what couldotherwise be seen as a direct and possibly offensive portrayal ofhomosexual desire, by adhering to the rules of aestheticism Wilde isable to divert attention from any moral attack on his writing. Themovement of aestheticism shuns any notion that art can be connectedwith morality and passionately encourages individual freedom and socialtheatricality. Ironically, whilst it can largely be seen as arebellion against Victorian sensibilities, it is simultaneously amethod of retaining a covert nature to the expression of homoeroticdesire. In the case of Basil Hallward, he finds art an outlet for suchdesires, there is nothing that Art cannot express. Through Dorian,Basil is able to discover a new manner in art, an entirely new mode of style not just when he is painting Dorian, but when he is merelypresent. It allows him a new way of looking at life, having realisedthe power of homoeroticism In presenting homosexuality through the lens of aestheticism andconsequently presenting it as a refined culture with close links to theidealised and romantic image of the Greek age, Wilde also separates thelifestyle of the homosexual man from the classes of heterosexualsociety. As Elisa Glick suggests in her essay on the dialectics ofdandyism, Wilde depicts Dorians seemingly endless appetite forexotic, luxury objects as the exterior manifestation of his innerintellectual and artistic superiority. This presents Doriansdesires and those of other aetheticism advocates as elitist andultimately superior to other classes. Through the use of aestheticism,it can be argued that Wilde attempts to give homoeroticism the power totranscend class. By describing such episodes in this romantic andfantastical manner, he places homosexuality in a highly refined classof its own, in a position out of reach from the realities of theworking class and bourgeoisie. To take this concept one step further, Wilde can also be seen toreject the realities of common society entirely, as an aesthetepreferring to lose himself in sensual experiences and ultimatelydreaming of an escape from reality to a place where such experience canbe fully realised. Glick goes on to note that Dorians acquisition ofluxuries and curios not only seems to affirm his â€Å"aristocratic†distinction, but also aims to build a self-created world byaestheticizing experience itself. Gray yearns not so much for theenjoyment provided by an individual object, but for the aestheticpleasure provided by its reincarnation of part of his collection.Indeed, Dorian does become obsessed with creating his own desiredversion of reality, in which worshipping beauty and living by thesenses is the priority. Having embarked on this aesthetic journey-largely instigated by Lord Henry –Dorians passion to adhere to theseideals becomes clear, It was the creation of such worlds as these th atseemed to Dorian Gray to be the true object, or amongst the trueobjects of life. Early in the novel Wilde even goes so far as toassociate reality directly with the lower classes and as therefore,something ranked below the aspirations and lifestyle of those likeDorian; in this extract no sooner is Dorian overcome by fascinationwith Lord Henry than he is brought down to earth by the entrance of aservant: Dorian Gray never took his gaze off him, but sat like one under aspell, smiles chasing each other over his lips, and wonder growinggrave in his darkening eyes. At last, liveried in the costume of the age, Reality entered the roomin the shape of a servant to tell the Duchess that her carriage waswaiting. By personifying Reality Wilde presents it as something that can bedefeated, beaten by those who have enough desire and strength of mindto do so. In the same way Wilde often capitalises and personifiesArt to add character to the subject and emphasise his position onthat subject. Although in one respect this separation of the dandy or aesthetefrom reality may seem to alienate him from others in society, thecontent of Wildes narration does not necessarily isolate him from amoral standpoint. It is interesting to note that we are given verylittle information on the uglier types of experience that Dorianseeks. As readers, we understand the influences and transition thatthe protagonist is going through as his soul darkens, but we are noteducated in the exact nature of the experiences. This allows lessopportunity for concentrating on the moral aspects of his lifestylechoices, and more opportunity for pondering on the nature ofaestheticism; we focus more on the influences on Dorian and theconsequences, rather than on judging his actions and decisions. Whenone delves deeper to find a moral standpoint on Wildes part, it isdifficult to do so, and consequently, easier to assume that the absenceof analysis in this area suggests ambiguity on his part. Summer seeks to find an answer to this moral ambiguity in the worldof Oscar Wilde himself, and in relation to The Portrait of Dorian Grayfound that Wilde summarised the moral as â€Å"all excess, as well as allrenunciation, brings its own punishment. The painter, Basil Hallward,worshipping physical beauty far too much, as most painters do, dies bythe hand of one in whose soul he has created a monstrous and absurdvanity. Dorian Gray, having led a life of mere sensation and pleasure,tries to kill conscience, and at that moment kills himself. Thiscomment of Wildes confirms the notion that becoming a slave to beautyis a condition of art, illustrated by the tone of the inevitable thataccompanies the phrase as most painters do, an observation that wecan easily transfer to the experience of other artists as well. Wildegoes on to explain that Lord Henry Wotton seeks to be merely thespectator of life. He finds that those who reject the battle are moredeeply wounded than those who take part i n it. In this respect bothBasil and Henry are ultimately doomed, thus suggesting no clear moralpath that the reader need follow for salvation. Moral ambivalenceoccurs frequently as a result of the narrators attitude; the narratoris sympathetic towards whichever character he is describing, and inparticular, often seems just as seduced by the strong and influentialcharacter of Lord Henry as Dorian is. With this in mind, Summersconcludes that notwithstanding the retributive ending of the book, theFaustian dream of an escape from human limitation and moral stricturesultimately triumphs over the condemnation of excess and therebysubverts the apparent moralism. To summarise, he argues that theFaustian dream is rendered more appealingly than the superimposedlesson of dangers of narcissism. However, if we accept Summersreading, it still remains impossible to read the novel withoutquestioning the relationship between aestheticism and morality.Whether we believe Wilde to subvert or strengthen common moral values,their presence within the narration is undeniable and invites furtherthought from the reader. To conclude this chapter on aestheticism, we can see that Wildesliterature aestheticism and homosexuality exist co dependently. Thisobviously has an effect on the publics reading of his works, and howreadily and comfortably they associate these two aspects. As Summerssuggests it is interesting to note that The Picture of Dorian Gray wasamong the first novels in the language to feature (though blurred andinexactly) a homosexual subculture Summers wrote that homosexualreaders would certainly have responded to the books undercurrent ofgay feeling, and may have found the very name â€Å"Dorian† suggestive ofGreek homosexuality, since it was Dorian tribesmen who allegedlyintroduced homosexuality into Greece as part of their militaryregimen. In contrast, Mary Blanchard notes a negative consequenceconcerning heterosexual readers during the Victorian era – Allyingaesthetic style with the masculine self provoked attacks from someVictorian men unsure of their own gender orientati on. This raisesthe issue of how a heterosexual readership can be seen to react to theundertone of homosexuality, and how a readers interpretation canchange when fuelled by more knowledge of Oscar Wildes personal life.Before looking at the effect of the writer on what is ultimately afictional narrator, this essay will look at the importance of secrecyin the life of the homosexual man. Todays society is obviously more accepting of Wildes sexuality andits effect on his art, Summers illustrates this point by suggestingthat Wildes demise meant that he ultimately functioned as Saint Oscar,the homosexual martyr. But of course it was not until some timeafter the late nineteenth century that Wilde was fully appreciated by awider audience. Miller and Adams in Sexualities in Victorian Britainobserve that the Victorians were notorious as the great enemies ofsexuality: indeed in Freuds representative account, sexualitysometimes seems to be whatever it was that the middle-class Victorianmind attempted to hide, evade, repress, deny. In this respect thehomosexual man had a double secrecy to adhere to – that of sexuality,as well as homosexuality. In Victorian society there was very much aclear-cut idea of what was natural and unnatural, of what was normaland abnormal. Consequently, Wilde set himself up as a figure to beattacked by the press as unnatural and abnormal the V ictorian presspublicized in wildly inflammatory ways Wildes eccentric dress,effeminate, and haughty demeanour, all held up as important signifiersof his unnatural sexuality and the threat he posed to â€Å"normal,†middle-class values. Being such an extravagant and extrovertedcharacter, Wildes sexuality was not particularly covert and eventuallyprovided Victorian society with a case by which to lay down the law asto what was acceptable in terms of sexuality. As Ed Cohen suggests inhis essay, Writing Gone Wild: Homoerotic Desire in the Closet ofRepresentation, the court proceedings against Wilde provided aperfect opportunity to define publicly the authorized and legal limitswithin which a man could â€Å"naturally† enjoy the pleasures of his bodywith another man. Despite the fact that it was Wildes indiscrete homosexual behaviourand demeanour that led to his downfall, aspects of secrecy featureheavily in his literary works and certain narrative techniques aid tothe covert nature in which homoeroticism is often presented. To recap,by relating same-sex friendships to aestheticism and ideals of beauty,Wilde is able to divert attention from aspects of homosexuality thatwould be otherwise be interpreted as immoral by Victorian society.Also, Wilde omits any direct reference or description of same-sexphysical relations and hardly even alludes to such activities. Thecontent of the narration and emphasis on aestheticism means that ahomoerotic reading of Dorian Gray is not immediately obvious – at leastnot to a heterosexual readership. Therefore, homosexual love becomesthe love that cannot be spoken of and is fundamentally secretive. The secret language of homosexuality is particularly evident in TheImportance of Being Earnest, a play riddled with code words alluding tohomosexual behaviour. Karl Beckson argues that the title of the playis not only a pun on the name of Earnest, but is also a representationof same-sex love since the term Urning (a variant of the more commonlyused Uranian) referred to same-sex desire in fin-de-siecle London.Beckson also argues that Wildes use of the term bunburying as ameans for Algernon to escape responsibility also has Uranianimplications. With the action of bunburying being such a focal pointof The Importance of Being Earnest, this reading of the play suggest aserious preoccupation with the secret world of the homosexual. It isalso interesting to note that an unnamed critic in Time suggests thatâ€Å"Bunburying was shorthand for a visit to a fashionable London malewhorehouse† (2 February 1979, 73), an opinion reaffirmed by JoelFineman in 1980. Understandably, after the suc cess of play thephrase bunburying became a commonly used term as same-sex slang.John Franceschina notes other code words used in the play as musical,effeminate, and aunty, all of them Victorian expressions for same-sexactivity. Yet, again Wilde diverts attention from a moral reading bywriting in a style that is based on farce and euphemism, a style thatrejects an immediate analytical reading. In her essay Dialectics of Dandyism, Elisa Glick observes theissue of secrecy within both modern and Victorian society and suggeststhat modern gay identity is pervaded by the trope of the secret.She pays particular interest to the dichotomy of appearance and whatlies beneath, in her words the opposition between outward appearanceand inner essence. This split between appearance and essence of apersons character and desires is central to Wildes portrayal ofhomosexuality, as illustrated by the character of Dorian Gray. Dorianis a contradiction of appearance and essence, with the portrait beingan omnipresent reminder of this. And to return to The Importance ofBeing Earnest, the very act of bunburying on Algernon Moncrieffs partsuggests a web of deceit where appearances are never compatible withreality. One might think that such a heavy reliance on secrecy might lead tosome resentment by those forced to hide their sexuality from anintolerant society, but in the case of Wildes dandies, this does notseem to be the case. In fact, such characters appear to activelyembrace a world of secrecy. If we equate Dorians portrait withhomosexuality, then we can read his response to the secrecy that isforced upon him as something of a guilty pleasure pride ofindividualism that is half fascination of sin, and smiling with secretpleasure at the misshapen shadow that had to bear the burden thatshould have been his own. This seems to suggest that throughsecrecy, a homosexual man can avoid all the negative consequences thatwould be thrust upon him by an offended Victorian society. Glickobserves that it the portrait is not just related to the secret worldof Dorian, but that it also functions on a wider scale, Wilde makes itclear that the portrait does not exhibit a single secret; rather it isthe site f or a circulation of secrecy in which all these characters –Basil, Dorian, and Lord Henry – are implicated. The portraittherefore, becomes a symbol of the secrecy of the homosexual man, whichis simultaneously associated with issues of aestheticism. Glick goeson to suggest that Basil expresses the sense of homosexuality as bothknown and unknowable – the double bind of gay identity – when hedeclares, â€Å"I have come to love secrecy. It seems to be the one thingthat can make modern life mysterious or marvellous to us. Thecommonest thing is delightful if only one hides it. But just how realistically can homosexuality exist by these secretcodes of conduct? Just as Wilde suffers at the hands of an intolerantsociety, so does Dorian Gray struggle to live a life of doubleidentity. By the end of the novel it becomes clear that he issuspended between two worlds, with no lasting way of marrying the two.To return to the essay of Elisa Glick, Dorian must die when he stabsthe portrait because he can only exist in the relation between thepublic and the private, a relation that Wilde literalizes in theportrait and its subject. Right from the outset of The Picture ofDorian Gray we are presented with the concept of that part of anartists inspiration that remains secret and personal to them.Therefore, the portrait of Dorian Gray does not merely conceal thesecrets of Dorian, but also the secrets of the painter of the subject -the portrait is a â€Å"mysterious form† because its outward appearanceconceals its inner essence. – it reveals the essence of both painterand painted. The secret desire hidden within the painting is broughtto our attention by Henrys shallow comment that the painting looksnothing like Basil; the fact that his retort misses the point entirelymerely succeeds in enhancing our understanding that there is much moreof Basils desires and passion in the painting than is immediatelyobvious from its surface attributes. Interestingly, this revelationcontradicts the concept of appreciating art purely for its appearanceand with no relation to moral values. In many cases living by thesenses reveals much about the person, and experiences cannot be soeasily detached from emotion and personal feeling. For example, whenDorian falls in love with Sibyl Vane, Henry observes that out of itssecret hiding place had crept his Soul, and Desire had come to meet iton the way. Within the stereotypical lifestyles of the aesthetes,inner feeling will inevitably show its face and with it, bring at leasta fleeting ponder on moral values. Having analysed The Importance of Being Earnest and The Picture ofDorian Gray with regard to elements of secrecy, both positive andnegative consequences of such an influence on homosexual lifestyle areapparent. But it is the story of The Happy Prince that puts Wildesfinal and definitive seal of opinion on the issue of secrecy. Once theswallow has sacrificed his life for the statue of the Prince, the twoTown Councillors far from understand the relationship between theswallow and prince, becoming preoccupied with the trivial matter of whoshould be the subject of the next statue. However, there is ultimatelya happy ending with the swallow and Prince receiving recognition andacceptance from God, for in my garden of Paradise this little birdshall sing for evermore, and in my city of gold the Happy Prince shallpraise me. The relationship between Prince and Swallow does havehomoerotic undertones, with the Swallow often read as the dandycharacter, in this case fascinated by the beauty of the statue. Thehomoerotic aspect of the tale culminates in a kiss between the two,but you must kiss me on the lips, for I love you. If we are toaccept a homoerotic reading of The Happy Prince then accordingly wecan read the ending as Wilde voicing his opinion of homosexuality asnatural and literally giving such a lifestyle the blessing of God. InThe Portrait of Dorian Gray, Wilde uses a similar technique whereby hepresents the character who can most easily be classified as homosexual,as the very character who is the most morally sensitive. However, a homoerotic reading of The Happy Prince, indeed of anyof Wildes literary works, relies on and is substantially influenced byour knowledge of Oscar Wildes personal life. This brings us to thefinal chapter of this dissertation, a chapter that will analyse therelationship between the writer and the narrator, and the effect ofthis relationship on aesthetic and homoerotic readings of Wildesfiction. Chapter 5 -Wilde the storyteller So far we have looked mainly at The Importance of Being Earnest andThe Picture of Dorian Gray and we have touched upon the fact that it isoften difficult to read such works without considering the personallife of Oscar Wilde. A Victorian audience would have held someknowledge of Wilde, considering that he was an extremely sociablecharacter with social critiques often published in Reviews of thetime. And of course, his two years imprisonment would have beenwidely publicised and consequently common knowledge. There is no doubtthat it was around this time that heterosexual readers would havestruggled to accept the links that Wilde makes between aestheticism andhomosexuality, fearing a similar fate merely for sharing thecharacteristics of aestheticism. Reading in the twenty-first centurywe now have the privilege of even further information on Wildesprivate life. The nineteenth century novel largely focused on the third person,omnipresent narrator, and in doing so inevitably drew attention to thepersona of the narrator and subsequently to the author himself. Wildeis no exception to this rule and it is difficult not to see his owncharacter or what we believe to be his own character shinethrough. As suggested in the previous chapter, it is not just thecondition of the artist to worship beauty, but also to allow his owncharacter and desires to become a part of his art. In the case of ThePortrait of Dorian Gray, our knowledge of Wilde as a dandy and aesthetecolours our interpretation of characters such as Lord Henry andDorian. Knowing what we do about Wildes extravagant social life andturbulent relationship with the press, lines such as You dont wantpeople to talk of you as something vile and degraded spoken to Dorianby Basil, begin to take on more significant meaning. With this quotein mind, it is possible to read between the lines and observ e a feelingin Wilde that he wishes somehow, outside of his literature not to belooked upon as vile and degraded. This desire for acceptance isoffset by the more typical tongue in cheek wit of Wilde, the use ofwhich diverts attention from serious emotions. This type of humour canbe seen in Dorians retort to Basil on hearing gossip, I love scandalsabout other people, but scandals about myself dont interest me. Theyhave not got the charm of novelty. It seems that Wilde isdeliberately poking fun at himself and joining in with the popularridicule that was present in Victorian society about the life of theaesthetic gentleman. Many cartoons and caricatures were in circulationat the time that sought to make fun of the extravagances of theaesthetic lifestyle. Numerous satirical works were also released,worth particular mention is Robert Hitchens Green Carnation, asatirical novel on decadence influenced by the authors beliefs inaestheticism as unconventional and exhibitionist. The Importance ofBeing Earnest also has a farcical tone throughout, which often servesto allow the reader to question Wildes authority, whilst also allyingthe comments of certain characters with Oscar himself. For example, aline of Gwendolen appears to point directly at Wildes personal life,And certainly once a man begins to neglect his domestic duties hebecomes painfully effeminate, does he not? And I dont like that. Itmakes men so very attractive. However, many critics would argue that the very definition of fictiondictates that the reader should accept that there need not necessarilybe a connection between narrator and author. In the same way that anactor does not need to have experienced a similar history and lifestyleto the character they play, so too should we allow the writer to assumedifferent characters. This very point crops up in the story of ThePortrait of Mr W.H whereby the narrator argues that To say that only awoman can portray the passions of a woman, and that therefore no boycan play Rosalind, is to rob the Queer Theory Reading of a Picture of Dorian Gray Queer Theory Reading of a Picture of Dorian Gray Aestheticism dictates that life should be lived by an ideal of beauty and a movement embodied by the phrase of art for arts sake. There is perhaps no greater advocate of such beliefs as Oscar Wilde, and the characteristics of aestheticism run through much of his work, both plays and stories, particularly in the character of the dandy. It would be difficult to analyse any of Wildes work without considering his own personal life and consequently, almost impossible to analyse his use of aesthetics without tackling the elements of homoeroticism. Living in a society largely intolerant to homosexuality, Wilde was obviously restricted to some extent with regard to what he could write about explicitly and as a result secrecy becomes an important influence over Wildes work. This makes for an extremely interesting relationship between aestheticism and homoeroticism, and it is this relationship that will form the main focus of this essay. What are the forms and techniques that Wilde uses to aestheticise homosexuality, and why? And how by doing this his literary works reveal aspects of his own life and sexuality, ultimately creating the figure of Wilde the aesthete, dandy, and campy witticist who has become a public icon forhomosexual men in Britain and America. It will focus primarily on The Picture of Dorian Gray, The Importance of Being Earnest and The Happy Prince and Other Stories. The Portrait of Mr. W.H portrays Shakespeare as being a slave to beauty – that is the condition of the artist! This concept of theartist as worshipper of beauty is a recurring characteristic of Wildes literature and will be dealt with later in this chapter. Firstly, itis necessary to look at the ideal of beauty that Wilde presents as worthy of worship. There is an overwhelming resemblance between Wildes portrayal ofbeauty and the concept of beauty in the Greek era. As Summers observesin his book Gay Fictions: Studies in a Male Homosexual Literary Tradition, both The Portrait of Dorian Gray and The Portrait of Mr.W.H focus heavily on portraits of androgynous young men bothstories allude to famous homosexual artists and lovers in history andthey both assume a significant connection between homosexual Eros andart. Same-sex desire is referenced heavily throughout Greek literature, for example, during the sixth century, the poet Sappho wrote numerous homoerotic verses concerning young women, with the term lesbian derived from the name of her island home of Lesbos. Platoalso referred to same-sex desires and relations, even forming his own theory on the pre-determined nature of different sexualities. In words taken from The Portrait of Mr. W.H, the ideal of beauty is a beauty that seemed to combine the charm of both sexes, and to have we dded, as the Sonnets tell us, the grace of Adonis and the loveliness ofHelen. Wilde uses this Greek ideal of beauty as a means of adding authority to his allusions to homoeroticism, to make the content of the two aforementioned works more acceptable to a Victorian audience. Itis important to note that there is a marked difference of public attitude towards homosexuality and homoeroticism between Greek and Victorian society. Donald Hall observes that during the Greek eraadult male sexuality, had much more to do with power status and social positioning than it did with any expression of identity-determining desire for the same or other sex. Wildes ideal of beauty also overlaps with the Greek concept of the muse. The Portrait of Dorian Gray presents us with Dorian, the muse topainter Basil Hallward, and The Portrait of Mr. W.H provides us withan insight into the life of one of the most famous muses of all, the young man who Shakespeare addressed many of his sonnets to Who was he whose physical beauty was such that it became the very corner-stone of Shakespeares art; the very source of Shakespeares inspiration; the very incarnation of Shakespeares dreams. The muse, defined as asource of inspiration especially for a creative artist succeeds in objectifying the subject, transforming a human presence into aesthetic fodder to fuel the creative mind, as well as something far superior tothe person beholding the muse. With regard to The Picture of Dorian Gray, Summers suggests that, the implied link between homosexual Erosand creativity is clear in Dorians effect on Basils art. Dorians beauty and the ideal that he represents ca use Basil to see the world afresh and inspire him to his greatest work as an artist. This is where the idea of worshipping beauty comes into play. TheHappy Prince, for example, is distinctly removed from everyday lifeand is admired from afar in a quite literal sense. However, Dorian isperhaps the best illustration of Wildes fascination with the worshipof beauty. The novel suggests that to other young men Dorian seemedto be of the company of those whom Dante describes as having sought toâ€Å"make themselves perfect by the worship of beauty.† Like Gautier, hewas one for whom the visible world existed. At the same time,Dorian is presented to us as the worshipped, with regard to hisrelationship with Basil Hallward. The experience of the muse in the manner of Basil and Shakespeare (asportrayed by Wilde) seems to present something of a double-edged sword,producing feelings of such passion that joy and despair becomeintertwined. The narrator of The Portrait of Mr. W.H suggests thatShakespeares muse was a particular young man whose personality forsome reason seems to have filled the soul of Shakespeare with terriblejoy and no less terrible despair. In a similar vein, Basil hasominous feelings on meeting Dorian for the first time, I knew that Ihad come face to face with someone whose mere personality was sofascinating that, if I allowed it to do so, it would absorb my wholenature, my whole soul, my very art itself. The effect of beauty canbe seen as both gift and curse – in the same way that Wilde perhapsregarded homosexuality in Victorian society. The importance that Wilde places on the worship of beauty is closelyrelated to his strong beliefs in aestheticism. The distance that Wildeseeks to construct between the observer and the object of beauty can beread as a mechanism of aestheticism whereby he aims to eliminate anyattachment to moral and wider societal concerns. The following chapterwill analyse the relation of aesthetics to Wildes literary works, andhow far he is able to separate the appreciation of art from moralvalues. Mary Blanchard, in Oscar Wildes America suggests that the personaof the invert or male homosexual was an emerging concept during the1880s, and the connections between aesthetic style and a homosexualsubculture cannot be overlooked. And with other critics referring toWilde as the high priest of aestheticism, its clear that Oscar is noexception to this rule. He lived a hedonistic lifestyle, flitting as asocial butterfly from one experience of art and beauty to the next. InVictorian times the male dandy soon became a symbol of this aestheticage, with no finer literary examples than Dorian and Lord Henry of ThePortrait of Dorian Gray, and Algernon and Jack of The Importance ofBeing Earnest. Lord Henry declares that pleasure is the only thingworth having a theory about and it is this preoccupation withmaterial things and surface-level emotions that characterises thedandy, a choice of style over substance. As a result Dorian becomesfascinated with acquiring commodities such as perfumes, je wels andmusic. Wilde dedicates pages of description to this search forsensations that would be at once new and possess that element ofstrangeness that is so essential to romance. The concept of dandyism is closely linked to that of Victoriandecadence. Goldfarb, in his essay on Late Victorian Decadenceprovides us with a useful definition of decadence, highlighting itsresemblance to aestheticism – the value to be gained from experienceof all sorts and from indulgence in a life of sensation. Because ofthis emphasis, decadent literature is animated by the exploration ofimmoral and evil experiences; never does it preach morality, nor doesit strongly insist upon ethical responsibilities. This separationbetween decadence and morality is also a characteristic common toaestheticism. Glick studies the concepts of dandyism at length in her essay onThe Dialectics of Dandyism, identifying an opposition betweencritical thought on dandyism and arguing that two different modelslocate dandyism at the opposite poles of modernity, simultaneouslypositioning the queer subject as a privileged emblem of the modern andas a dissident in revolt against society. Therefore, on the one handthe reader can accept the dandy as person who embraces the aestheticsof culture and celebrates beauty – as a preoccupation with surfacetrends to conceive of gay identity solely or primarily in terms ofartifice, aesthetics, commodity fetishism and style. Or, beneath thesurface, we can read a protest against the commodification of modernlife and a rejection of common values and aspirations. Goldfarb note asimilar contempt for modern society in the movement of decadence, aself-conscious contempt for social conventions such as truth andmarriage, by an acceptance of Beauty as a basis for life. Bothaestheticism and decadence seek to remove beauty from the confines ofmodern society and use it to their own ends in a self-created sensualand fantastical lifestyle. Wildes use of aestheticism can be read as an attempt to showhomosexuality as a sign of refined culture, as a means to his desiredend where such a topic becomes more acceptable. In the same way thatWilde alludes to the Greek ideal of beauty to disguise what couldotherwise be seen as a direct and possibly offensive portrayal ofhomosexual desire, by adhering to the rules of aestheticism Wilde isable to divert attention from any moral attack on his writing. Themovement of aestheticism shuns any notion that art can be connectedwith morality and passionately encourages individual freedom and socialtheatricality. Ironically, whilst it can largely be seen as arebellion against Victorian sensibilities, it is simultaneously amethod of retaining a covert nature to the expression of homoeroticdesire. In the case of Basil Hallward, he finds art an outlet for suchdesires, there is nothing that Art cannot express. Through Dorian,Basil is able to discover a new manner in art, an entirely new mode of style not just when he is painting Dorian, but when he is merelypresent. It allows him a new way of looking at life, having realisedthe power of homoeroticism In presenting homosexuality through the lens of aestheticism andconsequently presenting it as a refined culture with close links to theidealised and romantic image of the Greek age, Wilde also separates thelifestyle of the homosexual man from the classes of heterosexualsociety. As Elisa Glick suggests in her essay on the dialectics ofdandyism, Wilde depicts Dorians seemingly endless appetite forexotic, luxury objects as the exterior manifestation of his innerintellectual and artistic superiority. This presents Doriansdesires and those of other aetheticism advocates as elitist andultimately superior to other classes. Through the use of aestheticism,it can be argued that Wilde attempts to give homoeroticism the power totranscend class. By describing such episodes in this romantic andfantastical manner, he places homosexuality in a highly refined classof its own, in a position out of reach from the realities of theworking class and bourgeoisie. To take this concept one step further, Wilde can also be seen toreject the realities of common society entirely, as an aesthetepreferring to lose himself in sensual experiences and ultimatelydreaming of an escape from reality to a place where such experience canbe fully realised. Glick goes on to note that Dorians acquisition ofluxuries and curios not only seems to affirm his â€Å"aristocratic†distinction, but also aims to build a self-created world byaestheticizing experience itself. Gray yearns not so much for theenjoyment provided by an individual object, but for the aestheticpleasure provided by its reincarnation of part of his collection.Indeed, Dorian does become obsessed with creating his own desiredversion of reality, in which worshipping beauty and living by thesenses is the priority. Having embarked on this aesthetic journey-largely instigated by Lord Henry –Dorians passion to adhere to theseideals becomes clear, It was the creation of such worlds as these th atseemed to Dorian Gray to be the true object, or amongst the trueobjects of life. Early in the novel Wilde even goes so far as toassociate reality directly with the lower classes and as therefore,something ranked below the aspirations and lifestyle of those likeDorian; in this extract no sooner is Dorian overcome by fascinationwith Lord Henry than he is brought down to earth by the entrance of aservant: Dorian Gray never took his gaze off him, but sat like one under aspell, smiles chasing each other over his lips, and wonder growinggrave in his darkening eyes. At last, liveried in the costume of the age, Reality entered the roomin the shape of a servant to tell the Duchess that her carriage waswaiting. By personifying Reality Wilde presents it as something that can bedefeated, beaten by those who have enough desire and strength of mindto do so. In the same way Wilde often capitalises and personifiesArt to add character to the subject and emphasise his position onthat subject. Although in one respect this separation of the dandy or aesthetefrom reality may seem to alienate him from others in society, thecontent of Wildes narration does not necessarily isolate him from amoral standpoint. It is interesting to note that we are given verylittle information on the uglier types of experience that Dorianseeks. As readers, we understand the influences and transition thatthe protagonist is going through as his soul darkens, but we are noteducated in the exact nature of the experiences. This allows lessopportunity for concentrating on the moral aspects of his lifestylechoices, and more opportunity for pondering on the nature ofaestheticism; we focus more on the influences on Dorian and theconsequences, rather than on judging his actions and decisions. Whenone delves deeper to find a moral standpoint on Wildes part, it isdifficult to do so, and consequently, easier to assume that the absenceof analysis in this area suggests ambiguity on his part. Summer seeks to find an answer to this moral ambiguity in the worldof Oscar Wilde himself, and in relation to The Portrait of Dorian Grayfound that Wilde summarised the moral as â€Å"all excess, as well as allrenunciation, brings its own punishment. The painter, Basil Hallward,worshipping physical beauty far too much, as most painters do, dies bythe hand of one in whose soul he has created a monstrous and absurdvanity. Dorian Gray, having led a life of mere sensation and pleasure,tries to kill conscience, and at that moment kills himself. Thiscomment of Wildes confirms the notion that becoming a slave to beautyis a condition of art, illustrated by the tone of the inevitable thataccompanies the phrase as most painters do, an observation that wecan easily transfer to the experience of other artists as well. Wildegoes on to explain that Lord Henry Wotton seeks to be merely thespectator of life. He finds that those who reject the battle are moredeeply wounded than those who take part i n it. In this respect bothBasil and Henry are ultimately doomed, thus suggesting no clear moralpath that the reader need follow for salvation. Moral ambivalenceoccurs frequently as a result of the narrators attitude; the narratoris sympathetic towards whichever character he is describing, and inparticular, often seems just as seduced by the strong and influentialcharacter of Lord Henry as Dorian is. With this in mind, Summersconcludes that notwithstanding the retributive ending of the book, theFaustian dream of an escape from human limitation and moral stricturesultimately triumphs over the condemnation of excess and therebysubverts the apparent moralism. To summarise, he argues that theFaustian dream is rendered more appealingly than the superimposedlesson of dangers of narcissism. However, if we accept Summersreading, it still remains impossible to read the novel withoutquestioning the relationship between aestheticism and morality.Whether we believe Wilde to subvert or strengthen common moral values,their presence within the narration is undeniable and invites furtherthought from the reader. To conclude this chapter on aestheticism, we can see that Wildesliterature aestheticism and homosexuality exist co dependently. Thisobviously has an effect on the publics reading of his works, and howreadily and comfortably they associate these two aspects. As Summerssuggests it is interesting to note that The Picture of Dorian Gray wasamong the first novels in the language to feature (though blurred andinexactly) a homosexual subculture Summers wrote that homosexualreaders would certainly have responded to the books undercurrent ofgay feeling, and may have found the very name â€Å"Dorian† suggestive ofGreek homosexuality, since it was Dorian tribesmen who allegedlyintroduced homosexuality into Greece as part of their militaryregimen. In contrast, Mary Blanchard notes a negative consequenceconcerning heterosexual readers during the Victorian era – Allyingaesthetic style with the masculine self provoked attacks from someVictorian men unsure of their own gender orientati on. This raisesthe issue of how a heterosexual readership can be seen to react to theundertone of homosexuality, and how a readers interpretation canchange when fuelled by more knowledge of Oscar Wildes personal life.Before looking at the effect of the writer on what is ultimately afictional narrator, this essay will look at the importance of secrecyin the life of the homosexual man. Todays society is obviously more accepting of Wildes sexuality andits effect on his art, Summers illustrates this point by suggestingthat Wildes demise meant that he ultimately functioned as Saint Oscar,the homosexual martyr. But of course it was not until some timeafter the late nineteenth century that Wilde was fully appreciated by awider audience. Miller and Adams in Sexualities in Victorian Britainobserve that the Victorians were notorious as the great enemies ofsexuality: indeed in Freuds representative account, sexualitysometimes seems to be whatever it was that the middle-class Victorianmind attempted to hide, evade, repress, deny. In this respect thehomosexual man had a double secrecy to adhere to – that of sexuality,as well as homosexuality. In Victorian society there was very much aclear-cut idea of what was natural and unnatural, of what was normaland abnormal. Consequently, Wilde set himself up as a figure to beattacked by the press as unnatural and abnormal the V ictorian presspublicized in wildly inflammatory ways Wildes eccentric dress,effeminate, and haughty demeanour, all held up as important signifiersof his unnatural sexuality and the threat he posed to â€Å"normal,†middle-class values. Being such an extravagant and extrovertedcharacter, Wildes sexuality was not particularly covert and eventuallyprovided Victorian society with a case by which to lay down the law asto what was acceptable in terms of sexuality. As Ed Cohen suggests inhis essay, Writing Gone Wild: Homoerotic Desire in the Closet ofRepresentation, the court proceedings against Wilde provided aperfect opportunity to define publicly the authorized and legal limitswithin which a man could â€Å"naturally† enjoy the pleasures of his bodywith another man. Despite the fact that it was Wildes indiscrete homosexual behaviourand demeanour that led to his downfall, aspects of secrecy featureheavily in his literary works and certain narrative techniques aid tothe covert nature in which homoeroticism is often presented. To recap,by relating same-sex friendships to aestheticism and ideals of beauty,Wilde is able to divert attention from aspects of homosexuality thatwould be otherwise be interpreted as immoral by Victorian society.Also, Wilde omits any direct reference or description of same-sexphysical relations and hardly even alludes to such activities. Thecontent of the narration and emphasis on aestheticism means that ahomoerotic reading of Dorian Gray is not immediately obvious – at leastnot to a heterosexual readership. Therefore, homosexual love becomesthe love that cannot be spoken of and is fundamentally secretive. The secret language of homosexuality is particularly evident in TheImportance of Being Earnest, a play riddled with code words alluding tohomosexual behaviour. Karl Beckson argues that the title of the playis not only a pun on the name of Earnest, but is also a representationof same-sex love since the term Urning (a variant of the more commonlyused Uranian) referred to same-sex desire in fin-de-siecle London.Beckson also argues that Wildes use of the term bunburying as ameans for Algernon to escape responsibility also has Uranianimplications. With the action of bunburying being such a focal pointof The Importance of Being Earnest, this reading of the play suggest aserious preoccupation with the secret world of the homosexual. It isalso interesting to note that an unnamed critic in Time suggests thatâ€Å"Bunburying was shorthand for a visit to a fashionable London malewhorehouse† (2 February 1979, 73), an opinion reaffirmed by JoelFineman in 1980. Understandably, after the suc cess of play thephrase bunburying became a commonly used term as same-sex slang.John Franceschina notes other code words used in the play as musical,effeminate, and aunty, all of them Victorian expressions for same-sexactivity. Yet, again Wilde diverts attention from a moral reading bywriting in a style that is based on farce and euphemism, a style thatrejects an immediate analytical reading. In her essay Dialectics of Dandyism, Elisa Glick observes theissue of secrecy within both modern and Victorian society and suggeststhat modern gay identity is pervaded by the trope of the secret.She pays particular interest to the dichotomy of appearance and whatlies beneath, in her words the opposition between outward appearanceand inner essence. This split between appearance and essence of apersons character and desires is central to Wildes portrayal ofhomosexuality, as illustrated by the character of Dorian Gray. Dorianis a contradiction of appearance and essence, with the portrait beingan omnipresent reminder of this. And to return to The Importance ofBeing Earnest, the very act of bunburying on Algernon Moncrieffs partsuggests a web of deceit where appearances are never compatible withreality. One might think that such a heavy reliance on secrecy might lead tosome resentment by those forced to hide their sexuality from anintolerant society, but in the case of Wildes dandies, this does notseem to be the case. In fact, such characters appear to activelyembrace a world of secrecy. If we equate Dorians portrait withhomosexuality, then we can read his response to the secrecy that isforced upon him as something of a guilty pleasure pride ofindividualism that is half fascination of sin, and smiling with secretpleasure at the misshapen shadow that had to bear the burden thatshould have been his own. This seems to suggest that throughsecrecy, a homosexual man can avoid all the negative consequences thatwould be thrust upon him by an offended Victorian society. Glickobserves that it the portrait is not just related to the secret worldof Dorian, but that it also functions on a wider scale, Wilde makes itclear that the portrait does not exhibit a single secret; rather it isthe site f or a circulation of secrecy in which all these characters –Basil, Dorian, and Lord Henry – are implicated. The portraittherefore, becomes a symbol of the secrecy of the homosexual man, whichis simultaneously associated with issues of aestheticism. Glick goeson to suggest that Basil expresses the sense of homosexuality as bothknown and unknowable – the double bind of gay identity – when hedeclares, â€Å"I have come to love secrecy. It seems to be the one thingthat can make modern life mysterious or marvellous to us. Thecommonest thing is delightful if only one hides it. But just how realistically can homosexuality exist by these secretcodes of conduct? Just as Wilde suffers at the hands of an intolerantsociety, so does Dorian Gray struggle to live a life of doubleidentity. By the end of the novel it becomes clear that he issuspended between two worlds, with no lasting way of marrying the two.To return to the essay of Elisa Glick, Dorian must die when he stabsthe portrait because he can only exist in the relation between thepublic and the private, a relation that Wilde literalizes in theportrait and its subject. Right from the outset of The Picture ofDorian Gray we are presented with the concept of that part of anartists inspiration that remains secret and personal to them.Therefore, the portrait of Dorian Gray does not merely conceal thesecrets of Dorian, but also the secrets of the painter of the subject -the portrait is a â€Å"mysterious form† because its outward appearanceconceals its inner essence. – it reveals the essence of both painterand painted. The secret desire hidden within the painting is broughtto our attention by Henrys shallow comment that the painting looksnothing like Basil; the fact that his retort misses the point entirelymerely succeeds in enhancing our understanding that there is much moreof Basils desires and passion in the painting than is immediatelyobvious from its surface attributes. Interestingly, this revelationcontradicts the concept of appreciating art purely for its appearanceand with no relation to moral values. In many cases living by thesenses reveals much about the person, and experiences cannot be soeasily detached from emotion and personal feeling. For example, whenDorian falls in love with Sibyl Vane, Henry observes that out of itssecret hiding place had crept his Soul, and Desire had come to meet iton the way. Within the stereotypical lifestyles of the aesthetes,inner feeling will inevitably show its face and with it, bring at leasta fleeting ponder on moral values. Having analysed The Importance of Being Earnest and The Picture ofDorian Gray with regard to elements of secrecy, both positive andnegative consequences of such an influence on homosexual lifestyle areapparent. But it is the story of The Happy Prince that puts Wildesfinal and definitive seal of opinion on the issue of secrecy. Once theswallow has sacrificed his life for the statue of the Prince, the twoTown Councillors far from understand the relationship between theswallow and prince, becoming preoccupied with the trivial matter of whoshould be the subject of the next statue. However, there is ultimatelya happy ending with the swallow and Prince receiving recognition andacceptance from God, for in my garden of Paradise this little birdshall sing for evermore, and in my city of gold the Happy Prince shallpraise me. The relationship between Prince and Swallow does havehomoerotic undertones, with the Swallow often read as the dandycharacter, in this case fascinated by the beauty of the statue. Thehomoerotic aspect of the tale culminates in a kiss between the two,but you must kiss me on the lips, for I love you. If we are toaccept a homoerotic reading of The Happy Prince then accordingly wecan read the ending as Wilde voicing his opinion of homosexuality asnatural and literally giving such a lifestyle the blessing of God. InThe Portrait of Dorian Gray, Wilde uses a similar technique whereby hepresents the character who can most easily be classified as homosexual,as the very character who is the most morally sensitive. However, a homoerotic reading of The Happy Prince, indeed of anyof Wildes literary works, relies on and is substantially influenced byour knowledge of Oscar Wildes personal life. This brings us to thefinal chapter of this dissertation, a chapter that will analyse therelationship between the writer and the narrator, and the effect ofthis relationship on aesthetic and homoerotic readings of Wildesfiction. Chapter 5 -Wilde the storyteller So far we have looked mainly at The Importance of Being Earnest andThe Picture of Dorian Gray and we have touched upon the fact that it isoften difficult to read such works without considering the personallife of Oscar Wilde. A Victorian audience would have held someknowledge of Wilde, considering that he was an extremely sociablecharacter with social critiques often published in Reviews of thetime. And of course, his two years imprisonment would have beenwidely publicised and consequently common knowledge. There is no doubtthat it was around this time that heterosexual readers would havestruggled to accept the links that Wilde makes between aestheticism andhomosexuality, fearing a similar fate merely for sharing thecharacteristics of aestheticism. Reading in the twenty-first centurywe now have the privilege of even further information on Wildesprivate life. The nineteenth century novel largely focused on the third person,omnipresent narrator, and in doing so inevitably drew attention to thepersona of the narrator and subsequently to the author himself. Wildeis no exception to this rule and it is difficult not to see his owncharacter or what we believe to be his own character shinethrough. As suggested in the previous chapter, it is not just thecondition of the artist to worship beauty, but also to allow his owncharacter and desires to become a part of his art. In the case of ThePortrait of Dorian Gray, our knowledge of Wilde as a dandy and aesthetecolours our interpretation of characters such as Lord Henry andDorian. Knowing what we do about Wildes extravagant social life andturbulent relationship with the press, lines such as You dont wantpeople to talk of you as something vile and degraded spoken to Dorianby Basil, begin to take on more significant meaning. With this quotein mind, it is possible to read between the lines and observ e a feelingin Wilde that he wishes somehow, outside of his literature not to belooked upon as vile and degraded. This desire for acceptance isoffset by the more typical tongue in cheek wit of Wilde, the use ofwhich diverts attention from serious emotions. This type of humour canbe seen in Dorians retort to Basil on hearing gossip, I love scandalsabout other people, but scandals about myself dont interest me. Theyhave not got the charm of novelty. It seems that Wilde isdeliberately poking fun at himself and joining in with the popularridicule that was present in Victorian society about the life of theaesthetic gentleman. Many cartoons and caricatures were in circulationat the time that sought to make fun of the extravagances of theaesthetic lifestyle. Numerous satirical works were also released,worth particular mention is Robert Hitchens Green Carnation, asatirical novel on decadence influenced by the authors beliefs inaestheticism as unconventional and exhibitionist. The Importance ofBeing Earnest also has a farcical tone throughout, which often servesto allow the reader to question Wildes authority, whilst also allyingthe comments of certain characters with Oscar himself. For example, aline of Gwendolen appears to point directly at Wildes personal life,And certainly once a man begins to neglect his domestic duties hebecomes painfully effeminate, does he not? And I dont like that. Itmakes men so very attractive. However, many critics would argue that the very definition of fictiondictates that the reader should accept that there need not necessarilybe a connection between narrator and author. In the same way that anactor does not need to have experienced a similar history and lifestyleto the character they play, so too should we allow the writer to assumedifferent characters. This very point crops up in the story of ThePortrait of Mr W.H whereby the narrator argues that To say that only awoman can portray the passions of a woman, and that therefore no boycan play Rosalind, is to rob the