The Complexities Of Mephostophilis Essays - Free Essays, Term Papers

The Complexities Of Mephostophilis Essays - Free Essays, Term Papers The Complexities of Mephostophilis In Medieval cycle plays, devils were portrayed as comic characters that triumphed over their adversaries in spite of their crudeness and ineptitude. With the advent of Renaissance drama, came new ideas and characters, as playwrights took a new stance in their portrayals of evil and devils. The devils and Mephostophilis in particular, in Christopher Marlowe's play Dr. Faustus are much more complex than those in preceding medieval drama are. Mephostophilis's only goal in the play is to acquire Faustus's damned soul for Lucifer. As straightforward a goal as this might appear, its execution becomes fascinating for the audience because of Marlowe's characterization. Mephostophilis is both friend and archenemy of Faustus. He is the teller of truths and the manipulator of lies; he is a reflection of Faustus's own character and an instrument of Lucifer's diabolical quest. Mephostophilis's diversity of characteristics makes him a most interesting Renaissance character because h! e is not flat, all good or all bad, but rather a multifaceted character, which wins over Faustus and draws the audience in with his intrigue. The play opens in Faustus's study, where Faustus is contemplating his many scholastic accomplishments. Having succeeded in his studies in both the academic and theological fields, Faustus has become bored and wishes to pursue further knowledge in necromancy. He conjures up the image of a devil and so begins the relationship between Dr. Faustus and Mephostophilis. Dissatisfied with Mephostophilis's demonic appearance, Faustus commands him, "I charge thee to return and change thy shape, /Thou art too ugly to attend on me"(I.iii.25-6). Faustus is uncomfortable with the devil's original appearance; he foolishly believes that, "by fiddling with surface matters,"(ix) the basic morality of the character can be changed. "Go and return an old Franciscan friar,"(I.iii. 27) says Faustus; this form not only makes Faustus more comfortable with the devil, but a Renaissance audience would have found this transformation more attractive and palatable as well. Without a word, Mephostophi! lis leaves to obey Faustus, and Faustus takes this as a sign of the devil's submissiveness. Faustus is falsely convinced that he is in control of the situation and that Mephostophilis has appeared only to fulfill his whims and to serve as his servant. He muses to himself, "How pliant is this Mephostophilis, /Full of obedience and humility, /Such is the force of magic and my spells"(I.iii.31-3). When Mephostophilis enters as a friar, Faustus is seeing what he wishes to see. The character of Mephostophilis remains as amoral as ever, but in the guise of a harmless friar, he appears more amiable. Our initial glimpse of Mephostophilis shows the audience and Faustus his true, horrifying nature. Along with this horrifying appearance early in the play, we see his only purpose is the capture of Faustus's soul. Despite Mephostophilis's transformed outward appearance, his purpose remains as malevolent as ever. As Mephostophilis quickly gains Faustus's confidence, the audience is able to peer further into his character. Virtually elated with his magical success, Faustus is oblivious to the ominous reason Mephostophilis gives for appearing. Contrary to what Faustus believes, the incantations he performed did not conjure up a devil; Mephostophilis explains, "when we hear one rack the name of God, /Abjure the Scriptures and his saviour Christ, /We fly in hope to get his glorious soul"(I.iii.46-8). Faustus scoffs at Mephostophilis and explains that he is not afraid of the ideas of hell and damnation, for he does not believe that they exist. The notion of hell is not so meaningless to Mephostophilis, who knows the torment of hell only too well. "Think'st thou that I who saw the face of God /And tasted the eternal joys of heaven /Am not tormented with ten thousand hells /In being depr! ived of everlasting bliss?"(I.iii.76-9) he demands of Faustus. Though he desperately seeks Faustus's soul, Mephostophilis cannot hold himself back from expressing the absolute truth of hell and its agonies. Faustus has already convinced himself that he wants what Mephostophilis can offer him and he refuses to listen to this important and solitary warning. He sends him off to tell Lucifer of his proposition to give his soul in exchange for twenty-four years of power and Mephostophilis's services. As Faustus sits waiting

150 Foreign Expressions to Inspire You

150 Foreign Expressions to Inspire You 150 Foreign Expressions to Inspire You 150 Foreign Expressions to Inspire You By Mark Nichol Here’s a writing challenge for you: I’ve listed foreign expressions, mostly in Latin, that offer wisdom or otherwise encapsulate a thought-provoking idea. Select one (or more) that resonates with you and employ it as a writing prompt. Note the evocative strength of â€Å"Alis volat propiis,† or the motivating force of â€Å"Audentes fortuna juvat.† Can you taste the bitter regret of â€Å"Dis aliter visum†? What kind of cynical crime noir can you concoct around â€Å"Cherchez la femme†? You’re welcome to suggest others. (Note, however that these are all complete sentences. I have phrases set aside for another day.) 1. Abeunt studia in mores: Practices zealously pursued pass into habits. 2. Absit invidia: Let there be no envy or ill will. 3. Abusus non tollit usum: Abuse does not take away use. (Abuse is not an argument against proper use.) 4. Age quod agis: Do what you are doing. (To the business at hand.) 5. Aide-toi, le ciel t’aidera: Help yourself, and heaven will help you. 6. Alea jacta est: The die is cast. 7. Alis volat propriis: She flies with her own wings. 8. Amor vincit omnia: Love conquers all things. 9. Ars est celare artem: It is (true) art to conceal art. 10. Ars longa, vita brevis: Art is long, life is short. 11. Au pays des aveugles les borgnes sont rois: In the country of the blind, the one-eyed men are kings. 12. Audentes fortuna juvat/Fortes fortuna bravat: Fortune favors the bold/Fortune favors the brave. 13. Bis dat qui cito dat: He gives twice who gives promptly. 14. C’est autre chose: That’s a different thing. 15. C’est la guerre: That’s war. (It cannot be helped.) 16. C’est la vie: That’s life. (That’s how things happen.) 17. C’est plus qu’un crime, c’est une faute: It is worse than a crime, it is a blunder. 18. Ca va sans dire: It goes without saying. 19. Caveat lector: Let the reader beware. 20. Ce n’est que le premier pas qui coute: It is only the first step that costs. 21. Cedant arma togae: Let arms yield to the toga. (Let military power give way to civil power.) 22. Cetera desunt: The rest is missing. 23. Chacun a son gout: Everyone to his taste. 24. Che sara, sara: What will be will be. 25. Cherchez la femme: Look for the woman. 26. Corruptio optimi pessima: The corruption of the best is the worst of all. 27. Credo quia absurdum est: I believe it because it is absurd. 28. Credo ut intelligam: I believe so that I may understand. 29. Damnant quod non intelligunt: They condemn what they do not understand. 30. De gustibus non est disputandum: There is no disputing about tastes. 31. De minimis non curat lex: The law takes no account of trifles. 32. De mortuis nil nisi bonum: Of the dead (say) nothing but good. 33. Dis aliter visum: The gods decreed otherwise. 34. Docendo discimus: We learn by teaching. 35. Dulce et decorum est pro patria mori: It is sweet and seemly to die for one’s country. 36. Dum spiro, spero: While I breathe, I hope. 37. Dum vivimus vivamus: While we live, let us live. 38. Dux femina facti: A woman was leader of the exploit. 39. Ecce signum: Behold the sign. (Look at the proof.) 40. Ecrasez l’infame: Crush the infamous thing. 41. Eheu fugaces labuntur anni: Alas! The fleeting years glide on. 42. Est modus in rebus: There is a proper measure in things. 43. Ex nihilo nihil fit: From nothing, nothing is produced. 44. Ex pede Herculem/Ex ungue leonem: From the foot (we may judge the size of) Hercules, from the claw (we may judge) the lion. 45. Exceptio probat regulam de rebus non exceptis: An exception establishes the rule as to things not excepted. 46. Exitus acta probat: The outcome justifies the deed. 47. Facilis descensus Averno: The descent to Avernus is esay. (The road to evil is easy.) 48. Fas est et ab hoste doceri: It is right even to learn from an enemy. 49. Fata viam invenient: The Fates will find a way. 50. Festina lente: Make haste slowly. 51. Fiat experimentum in corpore vili: Let experiment be made on a worthless body. 52. Fiat justitia, ruat caelum: Let justice be done, though the heavens fall. 53. Fiat lux: Let there be light. 54. Finem respice: Consider the end. 55. Finis coronat opus: The end crowns the work. 56. Fluctuat nec mergitur: It is tossed by the waves but does not sink. 57. Forsan et haec olim meminisse juvabit: Perhaps this too will be a pleasure to look back on one day. 58. Fronti nulla fides: No reliance can be placed on appearance. 59. Gardez la foi: Keep faith. 60. Gaudeamus igitur: Let’s make merry. 61. Gnothi seauton: Know thyself. 62. Hoc age: Do this. (Apply yourself to what you are about.) 63. Hoc opus, hic labor est: This is the hard work, this is the toil. 64. Honi soit qui mal y pense: Shamed be he who thinks evil of it. 65. Humanum est errare: To err is human. 66. Ignorantia juris neminem excusat: Ignorance off the law excuses no one. 67. Il faut cultiver notre jardin: We must cultivate our garden. (We must tend to our own affairs.) 68. Ils ne passeront pas: They shall not pass. 69. In hoc signo vinces: By this sign you shall conquer. 70. Invenit/Pinxit: He (or she) devised/painted it. 71. Ira furor brevis est: Anger is a brief madness. 72. J’y suis, j’y reste: Here I am, here I remain. 73. Jacta alea est: The die is cast. 74. La reine/le roi le vuit: The queen (or the king) wills it. 75. La reine/le roi s’avisera: The queen (or king) will consider. 76. Lasciate ogni speranza, voi ch’entrate: Abandon hope, all ye who enter. 77. Le coeur a ses raisons que la raison ne connait point: The heart has its reasons that reason knows nothing of. 78. Magna est veritas et praevalebit: Truth is mighty and will prevail. 79. Medio tutissimus ibis: You will go most safely by the middle course. 80. Morituri te salutamus: We who about to die salute you. 81. Mutato nomine de te fabula narratur: With the name changed, the story applies to you. 82. Natura non facit saltum: Nature makes no leap. 83. Naturam expellas furca, tamen usque recurret: You may drive Nature out with a pitchfork, but she will keep coming back. 84. Ne cede malis: Yield not to misfortune. 85. Nemo me impune lacessit: No one attacks me with impunity. 86. Nil desperandum: Never despair. 87. Non omnia possumus omnes: We can’t all do all things. 88. Non omnis moriar: I shall not wholly die. 89. Non sum qualis eram: I am not what I used to be. 90. Nosce te ipsum: Know thyself. 91. Nous avons change tout cela: We have changed all that. 92. Nous verrons ce que nous verrons: We shall see what we shall see. 93. Oderint dum metuant: Let them hate, so long as they fear. 94. Odi et amo: I hate and I love. 95. Omne ignotum pro magnifico: The unknown tends to be exaggerated in importance or difficulty. 96. Omnia mutantur, nos et mutamur in illis: All things are changing, and we are changing with them. 97. Omnia vincit amor: Love conquers all. 98. Ora pro nobis: Pray for us. 99. Ou sont les neiges d’antan?: Where are the snows of yesteryear? 100. Panta rhei: All things are in flux. 101. Parturient montes, nascetur ridiculus mus: The mountains are in labor, and a ridiculous mouse will be brought forth. 102. Pereant qui ante nos nostra dixerunt: May they perish who have expressed our bright ideas before us. 103. Pereunt et imputantur: The hours pass away and are reckoned on our account. 104. Place aux dames: Make room for the ladies. 105. Plus ca change, plus c’est la meme chose (sometimes abbreviated to just â€Å"Plus ca change . . .): The more things change, the more they stay the same. 106. Poeta nascitur, on fit: A poet is born, not made. 107. Primum non nocere: The first thing is to do no harm. 108. Qui facit per alium facit per se: He who does through another does through himself. 109. Qui s’excuse s’accuse: He who excuses himself accuses himself. 110. Qui va la?: Who goes there? 111. Quis custodiet ipsos custodes: Who will keep the keepers? 112. Quo vadis?: Where are you going? 113. Quos deus vult perdere prius dementat: Those whom a god wishes to destroy he first drives mad. 114. Quot homines, tot sententiae: There are as many opinions as there are men. 115. Rem acu tetigisti: You have touched the point with a needle. 116. Requiescat in pace: Rest in peace. 117. Respice finem: Consider the outcome. 118. Resurgam: I shall rise again. 119. Revenons a nos moutons: Let us return to our sheep. (Let us return to our subject.) 120. Salus populi suprema lex esto: Let the welfare of the people be the supreme law. 121. Se non e vero, e ben trovato: Even if it is not true, it is well conceived. 122. Si jeunesse savait, si vieillesse pouvait!: If youth only knew, if age only could! 123. Si monumentum requiris, circumspice: If you seek his monument, look around. 124. Si vis pacem, para bellum: If you wish peace, prepare for war. 125. Sic itur ad astra: Thus one goes to the stars (Such is the way to immortality.) 126. Sic semper tyrannis: Thus ever to tyrants. 127. Sic transit gloria mundi: So passes away the glory of the world. 128. Silent leges inter arma: The laws are silent in the midst of arms. 129. Similia similibus curantur: Like is cured by like. 130. Similis simili gaudet: Like takes pleasure in like. 131. Siste viator: Stop, traveler. 132. Solvitur ambulando: It is solved by walking. (The problem is solved by a practical experiment.) 133. Sunt lacrimae rerum: There are tears for things. 134. Tempora mutantur, nos et mutamur in illis: The times are changing, and we are changing with them. 135. Tempus fugit: Time flies. 136. Timeo Danaos et dona ferentes: I fear the Greeks even when they bring gifts. 137. Tout comprende c’est tout pardonner: To understand all is to forgive all. 138. Tout est perdu fors l’honneur: All is lost save honor. 139. Truditur dies die: The day is pushed forth by day. (One day hurries on another.) 140. Tuebor: I will defend. 141. Ua mau ke ea o ka aina i ka pono: The life of the land is perpetuated in righteousness. 142. Vada retro me, Satana: Get behind me, Satan. 143. Vae victis: Woe to the vanquished. 144. Varium et mutabile semper femina: Woman is ever a fickle and changeable thing. 145. Verbum sat sapienti est: A word to the wise is sufficient. 146. Vincit omnia veritas: Truth conquers all things. 147. Vive la difference: Long live the difference (between the sexes). 148. Vogue la galere: Let the galley be kept rowing. (Keep on, whatever may happen.) 149. Voila tout: That’s all. 150. Vox populi vox Dei: The voice of the people is the voice of God. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Expressions category, check our popular posts, or choose a related post below:English Grammar 101: All You Need to Know44 Resume Writing Tips7 Proofreading Steps

Research paper for Peggy Lee Example | Topics and Well Written Essays - 750 words

For Peggy Lee - Research Paper Example Her career in music started in 1935 when she sang for the first with a local band and continued on in such a way till 1941 (Strom 10). It was in 1941 when her first song was recorded which was followed by several more recording of songs (Strom 18). She entered the film business and in a few movies, one being Lady and the Tramp in 1955. In 1995, she was presented with the Grammy’s Lifetime Achievement Award and was included in the Songwriters Hall of Fame in 1999. She died at the age of eighty one years in January, 2002. 2. She was born in a small city called Jamestown, situated in North Dakota (Strom 6). It was in this city where she first performed on the radio and a hotel where she was first noticed by Benny Goodman which led to her first official recording. She spent her last days and died in Los Angeles in California. 3. Peggy Lee did not learn music in a traditional way, but, rather, it came to her naturally. She sang in high school, her Church’s choir and even len t her voice for some local bands. 4. She only sang, there has been no mention of her ever playing any instrument. 5. She was amongst the first few to recognize the rock and roll genre in the field of music. She is also said to be a great influence on some of the world’s greatest singers such as Paul McCartney, Madonna, Bette Midler, etc. 6. No information found. 7. She started off performing with local bands but followed with solo acts. However, she did accompany another singer from time to time. 8. She was particularly known for how her voice turned soft, and even cool whilst singing songs (Unknown), which remained her signature for all her work, for her â€Å"delicately husky and reserved style† (Peggy Lee). 9. During the early 1980s, Peggy Lee came up with an idea of a Broadway stage show called â€Å"Peg† which was based on her own life. However, it did not appeal to the audience and, so, was closed down (Larkin). She is the only woman to have her songs in t he Top Ten hits during the 1940s, 1950s as well as 1960s. She also tried out sculpting and painting, and reproduced the hands of famous men like Albert Schweitzer (Hemming and Hajdu). 10. Her first husband Dave Barbour was the guitarist of Goodman’s band of whom she was a member, too. They divorced but were close till he died. The other three husbands were also from the music/film industry. She also worked with Sonny Burke, Mike Renzi, and Keith Ingham Octet amongst many others (Clarke). 11. She wrote music for films that she even acted in as well as those for her album. Her work was quite diverse and included poetry, chamber pop, jazz as well as art songs. 12. Peggy Lee was a composer, a singer, songwriter as well as an actress. 13. It was in March 1943 when she got married to David Barbour (Strom 29). In November of the same year, her first child Nicki Lee Babour was born (Strom 30). However, she divorced him in 1952 and married the actor Brad Dexter in 1953. Again, these t wo got divorced and she married another actor Dewey Martin three years later, in 1956. This marriage was also not to last for long and the two got divorced in 1958. Her fourth marriage was to Jack Del Rio in 1964 but they signed up for a divorce a bare year later. 14. Her most famous song is her version of â€Å"Fever† by the lyricists Eddie Cooley and John Davenport, originally written for Little Willie John. She added a few lines on her own which are not considered to be part of the original song and excluded some which she thought to be too

Homeopathy degree-Anatomy & Physiology module- Written assessment Essay

Homeopathy degree-Anatomy & Physiology module- Written assessment - Essay Example 33). However, some plausible risk factors which should be looked at before diagnosis are genetics and aging. A patient with the disease might have inherited it from their mothers. The malady has been suggested to result from changes in chromosomes or genes. Therefore the patient’s history on this malady should be well established based on the medical pedigree, (Cooke & Trickey 2002, pp. 50). The disease is commonly experienced by women aged around 25 to 35 years old as well as women in postmenopausal age. Post menopausal women are characterized by high levels of aromatase and the hormone progesterone resistance. However, it should not be a surprise if it is reported in young girl of age 11, (Garcia-Velasco & Rizk 2010, p. 19). Some of the complications which might be realized apart from infertility related to scars formed in the process of endometriosis and due to release of cytokines and other chemical agents which interfere with reproduction are chronic pelvic pains and endometriomas (large cysts). All these defects might be related to treatment procedure such as hormone treatment which might result in release of the said chemicals and some medical implants done during surgery which may block gastrointestinal tracts. Generally the referred red flags are the age, severity of the disease, genetics and probably the reoccurrence of the disease as a complication. (Storck 2 011, p. 1) Hormone treatment: Hormone treatment is done to improve symptoms such as painful menstruations, painful intercourse and painful pelvic by suppressing endometriosis. The drugs administered t break the cycle of incentive and bleeding includes progesterone pills or injections, gonadotropin and danazol (Stops the production of estrogen by the ovaries), contraceptive pills (prescribed for mild endometriosis in young women), and mirena coil (reduces the amount of blood flow during menstruation), (Tulandi & Redwine 2004, p. 31). Surgery can be pelvic

View Buddhism Essay Example for Free

View Buddhism Essay The academically inclined often choose to view Buddhism as an outgrowth of environment or preexisting religions, but Dhammanda (2002) observes that this does not accord it recognition as an intellectual approach to reality. As such, Buddhism is the evolved result of religious and philosophical development derived from a pragmatic form of introspection which yields an emphasis on mental development that evokes the intellectual stance of the scientific method. Verhoeven (2001) notes that, because modern science is regarded as difficult to reconcile with the religious orthodoxy of Western culture, the growing Western interest in Buddhism is largely predicated on its potency as an â€Å"alternative altar† that may seek to fulfill the need to acquire a religious code that can reside comfortably alongside post-Darwinian science. Watson (2001) remarks that exponential progress in the fundamentals of cognitive science have resulted in an increased reception towards the Buddhist tradition, which is preoccupied with the varying modes of human experience. Part of this sudden appeal comes from Buddhism’s remarkable empiricization of psychology and philosophy, which asserts that the emotional well-being of man is contingent upon his ability to realign his perspective on experience and use this realignment to bring about positive change. But the other more crucial component to this sudden appeal is that Western science has begun to reconsider the traditional mind/body binary which situates consciousness within the brain and the body as anatomic extensions of consciousness. As Watson (2001) notes, â€Å"the mind is not just a program in the brain, but [†¦] its processes are distributed throughout the body.† However, Verhoeven (2001) cautions that we should be careful not to equate the resonance between Buddhism and Western science with absolute paradigmatic compatibility. While â€Å"adapting new and unfamiliar Buddhist conceptions to †¦ Western thought† may enrich the field of science, he warns that this also â€Å"threatens to dilute [Buddhism’s] impact and distort its content.† Still, Watson (2001) reasons that Buddhist’s real potential to enrich science is not its quasi-logical structure, but its attempt to propose an epistemology that is not rooted in dualism. â€Å"†¦Its purpose is †¦ to relate to an embodied way of being.† To this end, Buddhism endorses an engagement with the world that is based on process and agency rather than on products and essences. As such, Buddhism’s greatest boon is its potential to confer centuries of results in the domain of first-person experience to further the sophistication of the West’s third-person research. This receptive approach extends beyond enabling the flexibility of fundamental notions of reasons and into the theoretical framework which governs the production of art. Conventional generalizations regarding Eastern and Western art propose that, where Western art give emphasis to form and verisimilitude, Oriental art places an emphasis on abstraction and the representation of the spirit. Under such a dichotomy, the philosophical orientation of Western art is geared towards the imposition of meaning over reality, whereas Eastern art either yields to the primacy of forms, or chooses to receive it as a source of interpretation rather than a tool for representation. Lieberman (1997) proposes that aesthetics in Western art is used to establish a link between the emotions of the artist and the audience. The Western artist accomplishes this by working within the intersection in which form and content operate to produce meaning to create mood. As such, verisimilitude to real forms is not merely a question of creating â€Å"aesthetically pleasing reproduction[s],† but expressing a personal reaction to them. He then contrasts this with Zen Buddhist art, noting that it forgoes verisimilitude in favor of using the simplest possible means to express the â€Å"the inherent nature of the aesthetic object.† As such, regardless of aesthetic peculiarity, any form may inspire painting, be expressed through verse or utilized in music, rather than insisting on dogmatic notions of what can be utilized or expressed in them. (Lieberman, 1997) Lieberman (1997) quips, â€Å"The job of the artist is to suggest the essence, the eternal qualities of the object, which is †¦ a work of natural art before the artist arrives on the scene.† Achieving this goal comes from comprehension of the aesthetic object’s inner nature, what Lieberman terms to be â€Å"its Buddha nature,† and essentially promoting an inquisitive engagement with aesthetic forms not unlike the scientific endeavor. The fashion by which Buddhism enriches civilizations lie in, not merely its ability to open up the modes we engage in science and art through inquisitiveness and receptiveness, but in the fact that these cultural gains are extensions of an entire philosophy which promotes the thinking power of human beings. As Dhammanada (2002) observes, it effectively frees them from the dogmatic approach to life resulting in fanaticism and myopic thinking and â€Å"produces the feeling of self-reliance by teaching that the whole destiny of humanity lay in their own hands, and that they themselves possess the faculty of developing their own energy and insight in order to reach the highest goal.†   REFERENCES Dhammanada, K. S. (2002) What Buddhists Believe. Kuala Lumpur, Malaysia: Buddhist Missionary Society Malaysia. Lieberman, F. (1997) Zen Buddhism and Its Relationship to Elements of Eastern and Western Arts. Retrieved May 16, 2008 from: http://arts.ucsc.edu/faculty/lieberman/zen.html Verhoeven, M. J. (2001, June) Buddhism and Science: Probing the Boundaries of Faith and Reason. Religion East and West, Issue 1. Pp. 77-97 Watson, G. (2001, January) Buddhism Meets Western Science: A dialogue on the mind and consciousness. Religion and the Brain, Issue 19.

Essay on the Use of Profanity by William Shakespeare :: Biography Biographies Essays

Use of Profanity by Shakespeare      Ã‚  Ã‚   The evolution of written profanity began roughly in the sixteenth century, and continues to change with each generation that it sees.   Profanity is recognized in many Shakespearean works, and has continually evolved into the profane language used today.   Some cuss words have somehow maintained their original meanings throughout hundreds of years, while many others have completely changed meaning or simply fallen out of use.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   William Shakespeare, though it is not widely taught, was not a very clean writer.   In fact, he was somewhat of a potty mouth.   His works encompassed a lot of things that some people wish he had not.   "That includes a fair helping of sex, violence, crime, horror, politics, religion, anti-authoritarianism, anti-semitism, racism, xenophobia, sexism, jealousy, profanity, satire, and controversy of all kinds" (Macrone 6).   In his time, religious and moral curses were more offensive than biological curses.   Most all original (before being censored) Shakespearean works contain very offensive profanity, mostly religious, which is probably one of many reasons that his works were and are so popular.   "Shakespeare pushed a lot of buttons in his day- which is one reason he was so phenomenally popular.   Despite what they tell you, people like having their buttons pushed" (Macrone 6).   Because his works contained so many of these profane words or phrases, they were censored to protect the innocent minds of the teenagers who are required to read them, and also because they were blasphemous and offensive.   Almost all of the profanity was removed, and that that was not had just reason for being there. Some of the Bard's censored oaths are;      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   "God's blessing on your beard"   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Love's Labors Lost, II.i.203      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   This was a very rude curse because a man's facial hair was a point of pride for him. and "to play with someone's beard" was to insult him.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   "God's body"   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   1 Henry IV,II.i.26   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Swearing by Christ's body, (or any part thereof,) was off limits in civil discourse.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   "God's Bod(y)kins, man"   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Hamlet, II.ii.529         Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The word bod(y)kin means "little body" or "dear body," but adding the cute little suffix does not make this curse any more acceptable.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   "By God's [blest] mother!"   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   2 Henry VI, II.i;   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   3 Henry VI, III.ii;   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Henry VIII, V.i      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Swearing by the virgin was almost as rude as swearing by her son, especially when addressing a catholic cathedral as Gloucester did in 2 Henry VI, II.

Morality in Ethan Frome Essay

In The Morality of Inertia, Lionel Trilling argues that Ethan Frome’s inability to make his own ethical decisions ultimately makes his ‘smash-up’ a tragic event caused by the inactivity of morality. The nonexistence of this moral inertia is the explanation, for Trilling, for the outcome of Frome; the lack of moral responsibility in any of the main characters from the beginning of their lives paralyzes their decision making process– they simply exist and do what is their duty. Trilling’s aspect that Frome was a morally inadequate man is a valid fact affirmed by Edith Wharton’s provided background of him; the idea that he was unable to make choices and is only capable of enduring can be proven inaccurate with his Frome’s actions throughout the story. The notion that Ethan Frome is incapable of making ethical decisions based on his background can also be countered with his background and actions. Trilling uses Frome’s â€Å"duties as a husband† and son as support for his claim that â€Å"[c]hoice is incompatible with [Ethan’s existence]† (from Morality of Inertia). However, the reader is exposed to Ethan’s ability to recognize choices, and decisions not to act on them, throughout the story. Frome acknowledges his dilemma of running away with Mattie or staying with Zeena, but is inefficient in seeing past the initial consequences of each choice and exploring other possibilities of escape besides the basic. Ethan’s central decision in the book, to commit suicide with Mattie, is made with free will; although it is Mattie’s idea, Ethan agrees and takes the reins in the front of the sled. Although Ethan Frome is a broken man perpetually frozen in a bleak Starkfield, one cannot disregard his inaction when he is presented and acknowledges choices. He constantly contemplates expressing his love for Mattie, looking for â€Å"the all-expressive word,† but fails to, even when alone with her, making â€Å"free choice† a moot point (Ethan Frome; from Morality of Inertia). Morality is not caused by inertia in Ethan’s case but personal authorization– Ethan’s decision to commit suicide proves this point; the act proves that he was capable of confessing his love to Mattie, but failed to up to that moment. Although Frome can be held responsible for his moral inactivity, he can be considered a morally inadequate man in his present state. His inadequacy, however, was not a constant in life or a sudden occurrence– it snowballed from his youth and finally solidified through the ‘smash-up’. His earlier experiences in a university and the joy it brought him was quickly interrupted after a year by his sickly parents. The unfortunate circumstance forces Ethan Frome to move back to the depressing Starkfield he had just escaped. His parents’ illnesses bring along Zenobia, who would be another future, unseen oppression along with Starkfield. For years, Ethan lives in depressing conditions that decline as time goes on. The chance to finally leave them behind, however, comes in Mattie, Zenobia’s cousin and maid. Ethan’s inability to act on this chance of escape finally seals his fate when Mattie is paralyzed and he is critically injured. Although jinxed with unfortunate circumstances, Ethan Frome’s life could have been bettered if one small step or action was taken by him for himself with the intention to create personal joy or pleasure. The importance of taking steps in life betterment can be seen in Ethan Frome. Although one may lack a history of â€Å"making moral decisions,† the human instinct to do so is always there (from Morality of Inertia). Ethan Frome was able to rationalize and recognize choices inside of his head; it was his inability to act on any one until his attempted suicide that created his depressing circumstances. The irony of his only decision with Mattie being one of the most deciding ones in his life underscores the fact that if he had taken this initiative before this instance, his life might have taken a different track. This was not a forced or accidental occurrence; Ethan Frome was in fact an unfortunate individual in undesirable circumstances, but with a free will and mind developed enough to make