Death Be Not Proud By John Donne - 1908 Words

John Donne’s poem, â€Å"Death Be Not Proud† (1633), is only one of the impressive poems in his collection: The Holy Sonnets. In â€Å"Death Be Not Proud†, Donne expresses his Anglican beliefs as he addresses death’s fraudulent image and unjustified pride. Donne’s audience is death, but his poem is also intended for its readers, who â€Å"some have called [death] / Mighty and dreadful† (1-2). He begins the poem with a calm, conversational tone, but becomes more aggressive and expositive as his poem progresses. Similar to his change in tone, he uses rhyme scheme and precise placement of punctuation to separate his arguments and evidence into sections that progressively intensify. Donne uses alliteration, listing, repetition, and capitalization to direct the readers’ focus to important areas of his poem. His use of personification, metaphor, metonymy, allusions to Anglican views, and paradox prove that death itself is merely a contradict ion. Death is not the end of life, but rather a new beginning, and humans should not fear it. Impressively, Donne’s poem is an Italian sonnet that possesses qualities of an English sonnet, which is similar to the structure of a four paragraph essay. It’s apparent that the poem is an Italian sonnet just by looking at how the rhyme scheme (A B B A A B B A C D D C A A) forms an octave and a sestet. While the qualities of an English sonnet and paragraph structure are less obvious, they are defined by Donne’s precise use of punctuation. There are four instances ofShow MoreRelatedDeath, Be Not Proud by John Donne755 Words   |  4 Pages In John Donne’s sonnet â€Å"Death, Be Not Proud† death is closely examined and Donne writes about his views on death and his belief that people should not live in fear of death, but embrace it. â€Å"Death, Be Not Proud† is a Shakespearean sonnet that consists of three quatrains and one concluding couplet, of which I individually analyzed each quatrain and the couplet to elucidate Donne’s arguments with death. Donne converses with death, and argues that death is not the universal destroyer of life. He elaboratesRead MoreDeath Be Not Proud By John Donne1329 Words   |  6 PagesThe progression of societal beliefs regarding our approach towards death is dependent upon the changing nature of both cultural and historical contexts. In Donne’s Holy Sonnet ‘Death be not proud’ he uses second person narration to address â€Å"Death† as â€Å"thou†, â€Å"thee† and â€Å"thy†, death is not considered conceptually bu t anthropomorphised as the poems fundamental pride. In ‘Death be not proud’, we see how the rumination of death is shaped by Elizabethan values. Through the subverted Petrarchan structureRead MoreDeath, Be Not Proud, By John Donne1303 Words   |  6 PagesDeath and mortality are common themes widely used throughout poetry and other numerous works of literature. As well as this, death is a common occurrence in life, and though most people refuse to accept or acknowledge it, everyone must deal with it at some point in their lifetime. Whether it be the death of a family member, friend, or the final stages of your own life you will experience death in some way. In the poems, â€Å"Death, be not proud† and â€Å"Do Not Go Gentle into That Good Night,† the speakersRead MoreJohn Donne Death Be Not Proud Analysis799 Words   |  4 PagesIs Death the Finale? Death has always been an intriguing topic in literature. Writers have been confounded by the idea of death and the unknown afterlife for centuries. Some people believe death is the end of all things because nothing can withstand it. In John Donne’s poem, â€Å"Death, be not proud,† the poet explains his personal understanding of death and its permanence. This poem is a narrative sonnet. Although this sonnet follows the rhyme scheme of an Italian sonnet (abba cddc effe gg), it alsoRead MoreAnalysis Of Death Be Not Proud By John Donne745 Words   |  3 PagesThe Holy Sonnet, â€Å"Death Be Not Proud† written by John Donne. He was the founder of metaphysical poems in the Elizabeth period and a religious figure. A Metaphysical Poetic style maybe philosophical and spiritual subjects that were approached with reason and often concluded in paradox. Metaphysical poets examined serious questions about existence of God the Holy Sonnet 10 was one of nineteen other Holy So nnets he wrote. Donne was famous for his poems of life, death, and religion. This poem was writtenRead MoreAnalysis Of Death Be Not Proud By John Donne1488 Words   |  6 PagesThroughout his poems, John Donne uses literary devices, such as imagery and diction, to discuss an overarching theme of death along with its religious implications, done most noticeably in the Holy Sonnet â€Å"Death Be Not Proud† and the lyrical poem â€Å"Hymn to God, My God, In My Sickness.† He also elaborates on the complexity of emotion, particularly in the metaphysical love poem, â€Å"The Flea.† Donne’s witty and clever style paired with his affinity for social and religious commentary allows his works toRead MoreAn Analysis Of Death, Be Not Proud By John Donne916 Words   |  4 PagesMany fear death just simply thinking about it; however, John Donne’s persona in the poem â€Å"Death, Be Not Proud† (published in 1633) interpret death as something pleasant rat her than the absolute end. â€Å"Death, Be Not Proud† is a single stanza consist of fourteen lines, aka a sonnet, which most line contain a word with the letter t (thee, thou, and thy) addressing to death. On the surface, one may think the poem is about one approaching to death with the thought of death can intimidate them as well asRead MoreAn Analysis Of Death Be Not Proud By John Donne849 Words   |  4 PagesJohn Donne automatically tells us who the speaker is addressing in his poem â€Å"Death be Not Proud†; death. The speaker uses apostrophe and addresses death, an abstract idea, as if it were a person. The poet pretends that death is capable of understanding his feelings, as he informally confronts death and belittles him, and tells death to not be arrogant because even though some have called him mighty and fearful, he is not. People call death these things and fear him so much for no reason, becauseRead MoreDefeated by Fate: Death be not Proud, by John Donne i757 Words   |  3 PagesIs death a slave to fate or is it a dreaded reality? People differ on the opinion of death, some people view death as a new beginning which should not be feared, while many people perceive death as an atrocious monster. Death be not proud, by John Donne is a poem that challenges death and the idea of its ferocity. Donne’s work is greatly influenced by the death of his countless family members, friends and spouse. Donne was not only a poet, but he was also a priest in the Church of England, so hisRead MoreThe Rising Sun and Death be not Proud by John Donne Essay2130 Words   |  9 PagesIn this essay I will mainly focus on two poems written by John Donne, The Rising Sun and Death be not proud. These poems were written during the Elizabethan era, which was an era mainly characterized by love and colonialism, on separate terms of course. These principles often influenced poets who lived during this period. Their poetry acts as testimonies of their u nderlying thoughts and desires. Furthermore, metaphysical poets deliver a more divine and profound perspective to their poetry. Within

Consider how the natural development of narrative...

Consider how the natural development of narrative techniques in George Orwell’s 1984 creates a theme of individualism verses state. What was the point in writing such an obvious theme, since a dystopia is the prime example of an imperfect world? He uses extremely well-developed techniques to demonstrate the dystopian society. Specifically, Orwell uses symbols as well as the setting to thoroughly contribute to the idea of a totalitarian state in his dystopian society; the ideas are in symbolic objects, themes, and characters. Orwell clearly suggests that are flaws in the world that he has created, and, more importantly, Orwell the possibility of the characteristics becoming reality. Symbols that Orwell uses pose as natural occurrences, but†¦show more content†¦In relation to symbolism, the setting is a used to represent the theme of a totalitarian society through the restrictions that limit expenses, luxuries, and actions in everyday life. The story takes place in Ocea nia which is a superstate to London, England and the time period being post World War II. This creates a feeling of economic depression, loss in government control and an unjustly mood. A limited setting allows for the reader to pick up on the idea of a totalitarian society or dystopia for it idolizes the suppression of freewill. There is also the uncomfortable role that questions moral right that presents itself through the idea of complete destruction in a peaceful world. Without normal abilities in a normal society, the government which Orwell writes seems so imperious. This is development of the theme of a dystopian society in and of itself because there is a direct representation of the loss of regular lifestyle since the time and place where the story is written amplifies a feeling of insecurity, mind-control and instability. The development of a theme of a dystopian society is present throughout 1984 due to Orwell’s constant use of analogies. It is necessary for the P arty to control all aspects of its world so that there is complete control. In relation to the theme,Show MoreRelatedHumanities11870 Words   |  48 Pagesbrief essay. The student is advised to consult more advanced texts to gain further understanding of how to appreciate art more fully. HUMANITIES: What is it? †¢ The term Humanities comes from the Latin word, â€Å"humanitas† †¢ It generally refers to art, literature, music, architecture, dance and the theatre—in which human subjectivity is emphasized and individual expressiveness is dramatized. HOW IMPORTANT IS HUMANITIES †¢ The fields of knowledge and study falling under humanities are dedicatedRead MoreOrganisational Theory230255 Words   |  922 PagesDuberley and Johnson’s Organizational Theory takes you on a joyful ride through the developments of one of the great enigmas of our time – How should we understand the organization? Jan Ole Similà ¤, Assistant Professor, Nord-Trà ¸ndelag University College, Norway I really enjoyed this new text and I am sure my students will enjoy it, too. It combines rigorous theoretical argument with application and consideration of how managment practice is formed and shaped by ideas and concepts. The authors have brought

Alcohol Drinking in Germany Free Essays

Alcohol has the tendency to be a cause of death for a vast number of people. The consumption of alcohol can also have a consequence on your brain which in turn makes you tremble at the same time as loosing control over all of your senses, and it can also kill parts of your brain cells. What is more is that alcohol consumption can cause your liver to depreciate and not function appropriately. We will write a custom essay sample on Alcohol Drinking in Germany or any similar topic only for you Order Now Liver transplants are not easy to take place and they rarely take place. Even if it does take place it is hard for a person with liver transplant to survive for too long. Even though it is general knowledge that alcohol consumption has the tendency to kill people, still there are millions of people who consume great amounts of alcohol on daily basis (Martina, Gert, Eckardt and Klaus, 2003). As known to all, Germany is perhaps one of the most alcohol-drinking nations from all over Europe, ranking fifth right after Luxembourg, Hungary, Czech Republic and Ireland. Only a small percent of about five percent of the people of Germany seem to call themselves as teetotalers, which are people who   completely abstain themselves from the use of alcoholic beverages, ranking it, after Luxembourg as the European nation that has the lowest percentage of people who do not drink at all. With reference According to the World Health Organization, and as has been proved by a vast number of studies, the whole of Europe is said to have the highest amount of alcohol consumption with comparison to all of the other parts of the world rating it per capita consumption as twice as high as compared with the average of the entire world. Analysis As has been mentioned before, the most prevalent problem in the whole of Germany is said to be of alcohol consumption abd dependance on it as well. This is a statement that has been verified by Peter Lang, who is basically the head of drug prevention and abuse at the German Center for Health Education (Ryan, 2006). Basically alcohol abuse is said to be the most common as well as the largest of all social problems within Germany. As is known to all, Bildunterschrift:   Ã‚  Ã‚  Ã‚  dangerous and detrimental using up is without a doubt connected with a number of psychosomatic, communal and physical condition problems, and in addition has a considerable economic bang on the social order as a whole. In the words of Peter Lang, â€Å"It’s difficult to say what is causing this, because alcohol is more or less an accepted drug in a lot of circumstances, like for parties or other social occasions. If you compare Germany to countries like the US, there is drinking in public that is different and more accepted. Consuming alcohol during the day is really more accepted here in Germany,† (Ryan, 2006). How to cite Alcohol Drinking in Germany, Papers

Progression Module free essay sample

The progression module is a course which I would recommend for anyone. It has a numerous amount of benefits, one of the main benefits is it allows you to explore a broad range of courses at a variety of university. I feel the progression module has prepared me for university as I have discovered many courses that interest me. The progression module has also helped me understand other vital things that need to be considered when going university, such as deciding whether to live at home or away from home and all the financial implications university life holds. During the progression module I have discovered a great deal about myself and what I would like to pursue a career in. After completing the progression module I feel I now have the opportunity to access the career I want through a variety of routes. I also feel I am now much more confident in terms of writing letters, CV’s and personal statements. We will write a custom essay sample on Progression Module or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This has benefited massively because when applying for voluntary work I was much more assertive when writing my CV, I took a positive approach which I learned from the progression module and due to this approach I was given the role of volunteer in the hospital. Whilst doing a-levels students are expected to deliver presentations on subject topics. In the progression module I had to create a presentations and deliver it, I followed all the information provided from the progression module and I feel I managed to deliver my presentation effectively remaining confident and clear at all times. Another thing the progression module prepared me for was interview, following the progression modules guidelines helped me develop all the positive and necessary skills required for delivering a questionnaire. After following these guidelines I was successful in my mock interview. I remained confident at all times, I did everything possible to express the knowledge and interest I had for medicine without showing arrogance. After participating in a mock interview I was also given feedback on my performance and what I should do to do even better. The mock interview was a huge boost of motivation as all the feedback I received was positive and I was told if I go for an interview tomorrow I will be successful. Universities always look at personal statements before accepting any student for an interview. So essentially the personal statement is a vital part in the acceptance of an applicant. In unit four of the progression module I was expected to write a personal statement but obviously I was given ideas on how to structure it, what to avoid and what to definitely include. This was extremely beneficial as I now feel I am prepared for university, I have a personal statement written and all I need to do is fill in my UCAS. Overall the progression module has helped me decide what I would like to do in terms of living at home or living away from home. I have decided I am going to study at a university close to home so I can love at home. I know about all the financial implication involved when living at home and I know how to approach these implications and deal with them effectively. The progression module was very interesting and intriguing it has been a huge benefit to my future especially my career. I feel I am now much more confident when applying for university and I am also aware of all the options that are available for me to undertake. The progression module is fantastic and completing it not only helps applying for university but also benefits an individual in terms of the academic challenges they may have to face.

Impeachment Essays (976 words) - Lewinsky Scandal, Monica Lewinsky

Impeachment It is the ultimate punishment for a president: impeachment. But it is a long and complicated route to removing a political official from office and never in more than 200 years of U.S. history has it happened to a president for "treason, bribery or other high crimes and misdemeanors,'' as spelled out in the U.S. Constitution as reasons for impeachment. The Constitutional process Article II, Section 4, of the U.S. Constitution specifies the procedures to be used to remove the president, vice president or other officials from office. The rarely used procedure is complex, reflecting 18th-century formalities. The process opens in various ways through the House. In one process, the House votes on an inquiry of impeachment which would direct the Judiciary Committee to investigate the charges against the president. If a member of Congress takes the more serious step of introducing a resolution of impeachment, all other work must stop until a decision is reached. Either the president is cleared of the charges through an investigation, or the committee votes to send articles of impeachment to the full House. If the House approves articles of impeachment, a trial is conducted in the Senate, presided over by the chief justice of the Supreme Court. At the conclusion, the Senate may vote to simply remove the official from office, or to remove him or her from office and bar from holding any other federal office. Removal requires a two-thirds majority in the Senate. Could Clinton be impeached? House Judiciary Committee Chairman Henry Hyde, respected by both parties as a thoughtful lawmaker, said on CNN that impeachment could follow if Clinton were found to have urged a former White House intern to lie under oath. "If he (independent counsel Kenneth Starr) verifies the authenticity of these charges, impeachment might very well be an option,'' the Illinois Republican said. At the Capitol some of Clinton's staunchest Republican critics showed deep discomfort at the prospect of impeachment proceedings. Only Rep. Bob Barr, the Georgia Republican who has campaigned for Clinton's impeachment for months, called the allegations the "smoking gun'' and urged the House to start the process when it returns next week. But Clinton could face up to 10 years under a federal statute for obstruction of justice and conspiracy to commit crimes for persuading Monica Lewinsky to lie under oath. Only two other presidents came close to impeachment: In 1868 President Andrew Johnson was saved by one vote in the Senate after the House approved articles of impeachment against him over a dispute on the post-Civil War reconstruction of the South. In 1974 President Richard Nixon chose to resign in disgrace rather than face impeachment for his role in the cover-up of the Watergate break-in. There is substantial and credible information supporting the following eleven possible grounds for impeachment: 1. President Clinton lied under oath in his civil case when he denied a sexual affair, a sexual relationship, or sexual relations with Monica Lewinsky. 2. President Clinton lied under oath to the grand jury about his sexual relationship with Ms. Lewinsky. 3. In his civil deposition, to support his false statement about the sexual relationship, President Clinton also lied under oath about being alone with Ms. Lewinsky and about the many gifts exchanged between Ms. Lewinsky and him. 4. President Clinton lied under oath in his civil deposition about his discussions with Ms. Lewinsky concerning her involvement in the Jones case. 5. During the Jones case, the President obstructed justice and had an understanding with Ms. Lewinsky to jointly conceal the truth about their relationship by concealing gifts subpoenaed by Ms. Jones's attorneys. 6. During the Jones case, the President obstructed justice and had an understanding with Ms. Lewinsky to jointly conceal the truth of their relationship from the judicial process by a scheme that included the following means: (i) Both the President and Ms. Lewinsky understood that they would lie under oath in the Jones case about their sexual relationship; (ii) the President suggested to Ms. Lewinsky that she prepare an affidavit that, for the President's purposes, would memorialize her testimony under oath and could be used to prevent questioning of both of them about their relationship; (iii) Ms. Lewinsky signed and filed the false affidavit; (iv) the President used Ms. Lewinsky's false affidavit at his deposition in an attempt to head off questions about Ms. Lewinsky; and (v) when that failed, the President lied under oath at his civil deposition about the relationship with Ms. Lewinsky. 7. President Clinton endeavored to obstruct justice by helping Ms. Lewinsky obtain a job in New York

The End of the Diem Regime essays

The End of the Diem Regime essays The Kennedy administration was responsible for the overthrow of the Diem regime and Diems assasination.The U.S. did not have a problem with Diem, the real problem was with Diems brother Nhu.Nhu was responsible for many protests by Bhuddist monks where Mrs. Nhu would call the monks who set themselves on fire in protest barbecues. The Kennedy administration had a lot to do with the overthrow of the regime although they did not have much to do with Diems assasination. The Kennedy administration was the main influence in overthrowing the Diem regime.The State Department wanted to give Diem a chance to rid himself of Nhu and replace him with the best military and political personalities available. Ambassador Lodge said that the possibility of Diem meeting are demands are virtually nil. The only way to get rid of Nhu is to get rid of the entire Diem regime. In a cablegram from Ambassador Lodge to Secretary Rusk, Lodge said; We are launched on a course from which there is no turning back: the overthrow of the Diem government. Lodge also stated that there is no turning back because the U.S. is publicly committed to the end of the Diem regime. In a cablegram transmitted from President Kennedy to Ambassador Lodge, Kennedy said that the U.S. should not actively help the coup, but be ready to make good relations with the group that overthrows the Diem regime. In a later cablegram from the whitehouse they said that the U.S. does not wish to leave an impression that they are opposed to a new regime. When the U.S. says this they are basically telling the coup that they are backing them. Because of the Kennedy administrations responsibility in the overthrow of the Diem regime it also leads to the eventual assasination of Diem.The U.S. was not as involved with his assasination as they were with the overthrow of Diems regime. Diem was told by ...

Business Law Essay Example | Topics and Well Written Essays - 1500 words - 5

Business Law - Essay Example 56). The second issue arises from Robert`s customer who claimed that Robert had neglected or had carelessly left a pin in the neck of the sheep skin coat that he had bought which resulted into Grant experiencing blood poisoning and thus was admitted in the hospital for a whole week interfering with his work for a month. Accordingly, the third case in this research involves wool traders and SnoDogs clothing. In this case, the two participants had an issue with the prices. For instance, SnoDogs Clothing claimed that wool traders had changed their prices on the delivery invoice about $360 more than the initial price shown at the time of the order. Relevant Legal Principles The case study has demonstrated some examples of legal principles and they encompass an intention to develop legal relations. This is usually so if the contract is a commercial one which will demand the court to take up this purpose. Like in this case, wool traders had the intention of establishing a legal relationshi p with Robert who was a retailer. Another principle involves consideration for the contract or contracts made by each party or the participants. This legal principles emphasizes that each partner should give or promise to offer something in return for the other`s responsibilities. For instance, in the case between the wool traders and its customers including Robert; wool traders made a contract with Robert to make for them sheepskin coats and hats, while Robert was to pay for their services and products offered. In the same way, SnoDogs clothing made an order from the wool traders for ski suits. In addition, consensus is another legal principle, which demonstrates that the participants must have arrived at definite contract (Ingeborg 2012, p. 90). This is frequently illustrated as offer and approval or acceptance. In this case, one party creates a proposal and the other consents it. For example, Wool Traders got an e-mailed order from SnoDogs Clothing for 36 ski suits. SnoDogsâ€⠄¢ terms and conditions (attached to their e-mail) evidently state that â€Å"orders produce a lawful offer to buy at the price itemized by buyer at date of reception.† Wool traders send a message showing the acceptance of the order, and transcribed approval of the same. Both had a fresh duplicate of Wool Traders` terms and settings, therefore, SnoDogs took delivery of the goods. Thus, this is a good illustration that shows the legal principle of consent or consensus. Questions of fact that will need to be decided by a court, on which liability and damages may depend Damages refer to the reimbursement for harm or destruction instigated by the breach. In case breach of agreements results into loss or harm, the bruised or the affected party has, the right to take legal action for harms or damages (Stone 2005, p. 56). In case the breach is serious enough to an extent it goes back to the base of the agreement, the affected party may consider the agreement as efficiently gone or r ejected by the other party and decline to be destined by it or reject to pay. In certain circumstances, the affected person may reject the bond and claim indemnities. Therefore, there are various questions of fact that will need to be decided by a court, on which liability and damages may depend. For instance, will the court consider Robert`s loss and grant him refund despite the fact that he was late to return the goods as stated from the wool trader`s terms and conditi

Approach to Smart Transportation & Study of Intelligent Transport Dissertation

Approach to Smart Transportation & Study of Intelligent Transport System in Ireland - Dissertation Example This study looks into Intelligent Transport System, also referred to as ITS, as the inclusion of modern computers and new technologies in transportation. It deploys computer applications, electronic chips, sensors, controllers in transportation to facilitate more efficient, secure and efficient supervision of public roads and public conveyance systems. It is a smart approach to manage road networks. The benefits include improved road safety, mobility, information, productivity and air quality. â€Å"It is also known as telematics, Information Communications Technology (ICT) in transport, e-transport and Information Society Technology†. The advantage includes: †¢ Improved road safety †¢ Mobility †¢ Information †¢ Productivity and air quality The use of ITS are categorized in three parts: 1. Use by the Traveler – electronic tickets , payment for parking vehicle or payment for road usage, †smart card driver license†, †driver card for digital tachnograph†. 2. Use by Vehicles – some vehicle consist of collision avoiding system, system for managing speed, judging the location of the vehicle, judgment of assets. 3. Use by Road – monitoring of traffic, providing information, regulation of rules with the help of â€Å"Variable Message Signs (VMS)†,†inductive loops†, †microwave detectors†, â€Å"ANPR†,†DSRC† etc. ITS collects the data from all the sensors and stores it to a centralized database system. The sensors may be Vehicle Detectors, CCTV cameras, Ice monitoring system, Congestion Monitors or other sensors. Every information from the sensors in given to the â€Å"Back Office Data Processing Facility† ... Transaction of Payments: Payments at Toll booths, parking payments, ticket fare of public transportation, charge for any congestion. Management of Traffic: Proper handling of traffic. As stated, ITS uses various applications; the possible wide range of applications are: Intermodal Transportation System Intelligent Traffic Control System In -Vehicle Technologies Safety Enhancement Technologies Traveler Advisory System 1) Intermodal Transportation System: It uses more than one mode of transport. Through this system, a traveler can change his mode of transfer easily. It is integrates different modes of transport such as trucks, trains and ships to ensure smooth trade operations. It is the movement of goods (in same unit where it was first placed) from one mode to other mode of transport without handling it. 2) Intelligent Traffic Control System: Most of the current systems have pre-determined timing circuits to operate traffic signals. Such systems are inefficient, if the volume of the vehicle is large at the crossing. This system would adjust itself with the flow of traffic, thus reducing the waiting time of drivers at traffic signals. 3) In- Vehicle Technologies: It is the implementation of electronic devices, controllers, and radio transreceivers in the vehicle. The information provided is updated every minute. It gives instantaneous information to the traveler about the best route. 4) Safety Enhancement Technologies: Safety Enhancement Technologies like smart cruise enables the driver to know the location of neighboring vehicles. This avoids any type of accidents on the road. 5) Traveler Advisory System: To provide the information through variable messages and advisory radio. Intelligent Transport System in Ireland: Ireland requires an intelligent

Thomas Hobbes and John Locke in Social Contract Theory Essay

Thomas Hobbes and John Locke in Social Contract Theory - Essay Example In these two books, Locke and Hobbes’ views on the social contract can be studied. Although Locke and Hobbes differ in their arguments and perceptions of social contract, they both agree that, in the state of nature, people will be more willing to choose state protection over their liberty. This is the core of social contract theory (Morris, 1999). In the social contract theory, both Hobbes and Locke argue that the state of nature is more likely to experience chaos. However, Locke views the state of nature and natural law from a more positive perspective as compared to Hobbes. Hobbes on the other side argues that highly egoistic people, whose probability of initiating war is very high, inhabit the state of nature. The function of Hobbes and Locke’s social contract theory was to serve as a way of citizens’ rights protection. However, these two differed on the manner in which this could be conducted. While Hobbes thought that a central authority could be responsible for the protection of citizens’ rights, Locke thought that division of power was necessary so that all citizens, including those in authority are held accountable to the law in society (Mack, 2009). Hobbes and Locke similarly address the roots of civilization using their concept of the state of nature. This is a term in political philosophy, which refers to the society without the emergence of the government system. Hobbes describes the state of nature as devoid of rule of war and inhabitants live in fear of death, and in brutality. He links brutality in the state of nature to the lack of rights, including property rights. Therefore, in this state, enmity between people crops from the competition for resources, as there are no rules that determine the legitimacy of property ownership by people. However, Locke’s view on the state of nature sharply contrasts Hobbes’ view. Locke thought that a central authority is not responsible for

Jack Kerouac and the Beat Generation

Jack Kerouac and the Beat Generation Introduction Jack Kerouac was responsible for spawning the literary movement that became known as the Beat Generation, a movement not only significant to literature, but one which incorporated music and visual art to chart a personal progression. Kerouac â€Å"was the leader of a literary movement and a way of life he thought was a passing fad.† The basic characteristics of â€Å"Beat† are defined in Kerouacs 1957 novel On the Road, a text which was to become a virtual gospel for the Beat Generation. As the author of this commandment, Kerouac became known as the â€Å"King of the Beats.† His reaction to this title is documented in an article printed in Playboy, â€Å"The Origins of the Beat Generation† (â€Å"Journal of Beat Poet Holmes recalls friendship, death of Jack Kerouac†). The term â€Å"beat† has a range of meanings, affording critics of â€Å"Beat† writing a rich array of ambiguities for their textual analyses. As an adjective, it was most famously defined by Allen Ginsberg, a member of Kerouacs close knit group, as â€Å"exhausted, at the bottom of the world, looking up or out, sleepless, wide-eyed, perceptive, rejected by society, on your own, streetwise,† while the word beat was originally used as a musical term by post-World War II musicians in reference to an individual or tune that was exhausted or downbeat. At the time, America herself was â€Å"beat†- the country had emerged from the 1930s disaster of economic depression only to find itself entangled in World War II, and having to deal with threats from the â€Å"reds† and the ominous propositions of McCarthyism. In one striking blow to Kerouac and other Bohemians, a definite link between smoking and lung cancer was confirmed in 1953. Kerouacs audience was a disenchanted, self righteous population, an unguided generation with no clear direction or idea of what they wanted form life and too powerless and world-weary to go out in search of the meaning of their existence. Such readers found refreshment and salvation in Kerouacs self-declared confusion, embodied most apparently in his definitive novel- On the Road. Kerouacs style, like all of the Beat writers, is defined simply and very easy to recognize. The Beat Generation â€Å"saw themselves on a quest for beauty and truth, allying themselves with mysticism. The works themselves were to be streams of consciousness written down spontaneously and not to be altered or edited† Kerouac himself simply stated, â€Å"if you change it†¦ the gig is shot.† Poets and novelists of the Beat Generation labelled Kerouac the embodiment of Beat and hailed him as leader of the movement, the â€Å"King† term is perhaps more carefully chosen than it appears, patriarchally loaded as it is. Other well-known authors of the Beat Generation include Allen Ginsberg, Lawrence Ferlinghetti, William S. Burroughs, and Ken Kesey. 1. Kerouacs â€Å"Spontaneity† and the Beats. While the title implies supreme spontaneity, Kerouac was never quite as deliberately spontaneous as his legend has insisted. His plan was to create a â€Å"giant epic in the tradition of Balzac and Proust†, but he never managed to determine a literary technique capable of welding the separate books of his Duluoz chronology into a coherent whole, â€Å"even if he tried†. Ann Charters is the voice behind much of the critical discussion of Kerouacs overwhelming legend-making aspiration, â€Å"He couldnt come up with any literary technique to help him fit all the volumes of the Duluoz Legend into one continuous tale. All he could think of was to change the names in the various books back to their original forms, hoping that this single stroke would give sufficient unity to the disparate books, magically making them fit more smoothly into their larger context as the Duluoz (Kerouac the Louse) Legend†¦[H]e wanted the books reissued in a uniform edition to make the larger design unmistakeable.† To claim that each individual novel is insufficient without integration into the larger context of the legend assumes a very conventional definition of legend. Not only is it linear and coherently chronological, it is also bound by the rules of time that govern reality. Of course there is no real reason why this should be so. Kerouacs â€Å"beats† create permanent and timeless impressions, and unending rhythms like Nature herself- the beat will go on if it is not bound by temporality or rationality, but, like a true legend, circulates and permeates the universal consciousness all the time, for all time. A legend can, after all, be many things: an unauthenticated story from ancient times; an allegorical tale of obvious exaggeration or fallacy; simple fame; an explanation accompanying an image or map- and, in music, a composition capable of relating a story- even without words. Charters criticisms fall away rapidly. Kerouacs work easily adheres to each of these versions of the term â€Å"legend†, as if he is unconsciously sensitive to the subtle multiplicity of the word, and feels obliged to fulfil the words promise. His work is carefully designed, indeed, he was preoccupied by the notion of design- the pre-styling of the free-styling- and perhaps not, then, the carefree and careless King of Beats. The assumption of wild abandon seems to arise from misunderstandings of the term â€Å"free prose.† The â€Å"free† to which Kerouac refers does not, in any way, signify a relinquishing of control. It is, however, rather like Wordsworths â€Å"spontaneous overflow of powerful feeling,† which creates an impression of experimentation but really represents a highly contrived artifice to contain the exuberance of â€Å"natural† speech. Associating Kerouacs particular diction with what he has called, â€Å"the unfulfilled linguistic intentions of the British Lake poets,† Tytell asserts that Kerouac sought a diction compatible with the natural and irrepressible flow of any â€Å"uncontrollable involuntary thoughts† that he had to release. While Kerouac clearly hoped that his â€Å"Spontaneous bop prosody† would â€Å"revolutionize American literature†, just as Joyce had revolutionized English prose, â€Å"spontaneous bop† has musical implications far more than literary ones. Kerouac and the other Beat writers listened to music as they worked, and â€Å"bop† surely applies to the jazz which accompanied their writing, more than anything; the music of Charlie Parker, Dizzy Gillespie, and Thelonius Monk. In many ways Kerouacs literary technique is structured on a model of Jazz riffs- the impulse for both being to perfect a deliberate style that does not look deliberate, something which systematically generates an impression of spontaneity. Albert Murray has defined a jazz riff as, â€Å"a brief musical phrase that is repeated, sometimes with very subtle variations, over the length of a stanza as a chordal pattern follows its normal progression†¦Riffs always seem spontaneous as if they were improvised in the heat of the performance. So much so that riffing is sometimes seen as synonymous with improvisation†¦not only are riffs as much a part of the same arrangements and orchestrations as the lead melody, but many consist of nothing more than stock phrases, quotations from the same familiar melody, or even clichà ©s that just happen to be popular at the moment.† Such is the technical â€Å"improvisation† of Kerouacs prose. Despite his declared disinterest in music, Kerouacs writing evidences a profound identification of the creation of music with that of literary works. As he states in his Paris Review interview: â€Å"As for my regular English verse, I knocked it off fast†¦ just as a musician has to get out, a jazz musician, his statement within a certain number of bars,† and later likens the writers craft to that of the hornplayer, â€Å"I formulated the theory of breath as measure, in prose and in verse, never mind what Olson, Charles Olson says, I formulated that theory in 1953 at the request of Burroughs and Ginsberg. Then theres the raciness and freedom and humour of jazz.† In Kerouacs own terms, then, the beat follows the phrasing of the jazz model. In his theory of â€Å"breath as measure† he reveals his acute attention to the sentence- elsewhere denounced- and even acknowledges the control of cadence. His contemporary critics occasionally saw musical rhythm in Kerouac: Tallman found a version of sentimental thirties music in â€Å"The Town and the City†, where melody rather than a storyline, controls the work. â€Å"On the Road,† however, demonstrates a departure into bebop, â€Å"Where the sounds become BIFF, BOFF, BLIP, BLEEP, BOP, BEEP, CLINCK, ZOWIE! Sounds break up. And are replaced by other sounds. The journey is NOW. The narrative is a humpty dumpty heap. Such is the condition of NOW.† Its impossible to avoid the philosophical and religious implications of this kind of anti-chronology. Just as music appears endless, repeatable, circular and circuitous, such is the freedom of writing unshackled to narrative. In Kerouacs novel, Big Sur, the message appears to be that since Nature is a part of the self, and to fear it is to fear oneself. The two meanings of Nature become one: â€Å"human nature† is animalistic, and this novel is cautionary to the extent that it shows the dangers of failing to acknowledge this. Kerouacs nature/Nature synthesis represents the essence of his Buddhist sympathies, and this in turn relates to the literary theme of tracing a path. It is hard not to read this author without conflating the mystical with post-modern work on impasses, such as Derridas aporia, and the sense that however far we go we can never escape our selves. It recalls the Buddhist expression, â€Å"Wherever you go, there you are.† â€Å"I am beginning to see a vast Divine Comedy of my own based on Buddha-on a dream I had that people are racing up and the Buddha mountain, is all, and inside the Cave of Reality.† The immediacy of his writing adds to the sense of guru-like mysticism in Kerouacs work: his work spills out like revelations, if not beats, we certainly get the sensation that he is â€Å"King† of something. The work responds to deconstructive literary theory because of its very currency- it has almost completely evaded the conventional segregation and hierarchy of speech and writing. â€Å"My work comprises one vast book like Prousts except that my remembrances are written on the run instead of afterwards in a sick bed.† â€Å"Criticism is forced to be perpetually lagging behind the designs and dictates of the author, whilst the works language is seen as a simple means towards a referential end. Language is thereby devalued to the status of an instrument.† Barthess statement, â€Å"it is only through the function of the author as the possessor of meaning that textual reality is made obeisant to extra textual reality† is almost the antithesis of Kerouac. Kerouacs restoration program also depends on the authors willingness to disappear slightly and conduct meaning, but uniquely, Kerouac demands that the hierarchy of the â€Å"textual and extra-textual† be flattened. Not only this, but that the direction of realist discourse be inverted. As Barthes describes it, â€Å"the author is always supposed to go from signified to signifier, from passion to expression†¦the critic goes in the other direction†¦the master of meaning†¦is a divine attribute†¦from the signified towards the signifier.† Clearly Kerouac does not begin with the apparent and source its cause. He is the archetypal author, travelling from a source within himself a â€Å"passion†- towards a grand confection of layered expressive analogies. This critic is not working as an unseen evangelist of truth-in-nature, but uses nature as a space to unveil meaning, that is, to work from the â€Å"signifier† of the word, to the â€Å"signified† of the writing, like a painter signing his own name on the canvas. In fact, Kerouac is suspended between the conditions of observer and recorder. The recorders self is neither ejected nor declared in his writings, but rather encrypted- both in and as the writing. This partly explains the fascination that encrypted and marginalized author figures hold for Kerouac. His own experience of suspension and estrangement from easy linguistic categorisation, and from the body of conventional society, is unconsciously articulated in all Kerouacs writings. The very potent agency of unconscious in itself is of course another â€Å"natural† tie, binding this writer to the natural world. When, in Big Sur, he talks of the meandering river/path leading into/out of the picture, he is describing the same path into and out of meaning which he himself treads. As a fugitive of consciousness, he travels from work to signifier -in the sense of both meaning, and of the artist, the maker of meaning, and his conclusions merge meaning and its maker into a single signifier. As an author, Kerouac functions as a human conduit to bring external reality to â€Å"textual reality†- and is guided in this venture by the original source, the world outside. All this is reinforced, and microcosmically present, in Kerouacs easy fluctuation into and out of the page, int o and out of the rythm- all of which implies a certain arbitrariness of the page. This is not carelessness, but merely the flip-side of significance. It simply doesnt matter to Kerouac whether a symbol works in one direction or another, the importance is the motion- the action- itself. This is particularly evident in the repeated jazz references in â€Å"On the Road†. The musical analogy for temporal progression is made explicit as Kerouacs fundamental modus operandi. When he describes his unique philosophy of composition, â€Å"blow as deep as you want to blow,† it seems he imagines the writer as a kind of horn-player. He attaches his methodology to a rationale for his bizarre habits of punctuation, â€Å" Method. No periods separating sentence-structures already arbitrarily riddled with false colons and timid usually needless commas- but the vigorous space dash separating rhetorical breathing (as jazz musicians drawing breath between outblown phrases)† The words occurring between dashes resemble linguistic entities unaligned with the conventional subject-verb arrangement of English sentences. These linguistic configurations appear to obey a different notion of time to the â€Å"real† world, with its â€Å"real† language. Traditionally, a sentence fixes time by acting as a frame for the past-present-future sequence. The conventional sentence does not allow the motion, flash, and fluctuation of Kerouacs writing ambition. In this way, the musical analogy enables Kerouac to construct a notion of time outside of the temporal constriction of conventional literature. His work is less poetic, non-linear, and dislocated. A phrase need not refer to the outside world, for it can now begin and end with reference only to its own rhythm- a truly poetic quality, â€Å" measured pauses which are the essentials of our speech-divisions of the sounds we hear-time and how to note it down (William Carlos Williams).† So Kerouacs prose is measured with breath, and timing holds the key to its rendition. As he describes the process, â€Å"Time being of the essence in the purity of speech, sketching language is undisturbed flow from the mind of personal secret idea-wrds, blowing (as per jazz musician) on subject of image† On the Road is an attempt to solve the time/space problems Kerouac is troubled by, but his success is always qualified by what we might term psychoanalytic obstacles. However much he attempts to overrule the order of cause and effect, past and present, this author must remain subject to the government of his own past. His repeated attempts to perfect the form contradict the effort itself, of course- and this is Kerouacs paradox. The more he writes, the more he develops, and the more evident the writers evolution, the more it relates to a chronological dynamic. In the same way that labouring spontaneity foregrounds the labour, and consequently the authors hand, aspiring to defeat timeliness through constructing a series of books over years only betrays his inescapable mortality, tying him inextricably to the outside world in spite of himself. The writing brings to mind the words of art critic, Michael Fried, whose anxiety around the visually present world is everywhere present in his work, â€Å"†¦a means of evoking an experience of journeying corporeally through space as opposed to merely viewing a world present to eyesight but fundamentally out of reach.† It is clear that Kerouacs work is a melancholic writing of history i the most literal sense: his books create chimeras of invisible historical figures, and in so doing evoke their absence- an absence which inevitably feeds his unfalsifiable claims, and, unfortunately for Kerouac, the claims of unfalsifiability made against him. 2. The Beat and the Origin The life of every Beat Writer is characterized by a prolonged psychic crisis that is finally resolved by means of a sudden vision or insight James T. Jones, in his book Jack Kerouacs Dulouz Legend: The Mythic Form of an Autobiographical Fiction, argues forcefully for an Oedipal analysis of Kerouacs work. Grouping the Kerouac texts in the Freudian context, particularly the Oedipus myth, Jones reflects on ways in which Kerouacs depiction of family relationships and by extension, relationships in his personal life and as fictionalized in his prose may be explained through Freud. His look extends to the enduring relationship between Kerouac and his mother, the residual rivalry with his father, sibling rivalry with his older deceased brother Gerard, and eventually a succession of male colleagues. Big Surs alcohol-induced nervous breakdown is perceived as being induced by or symptomatic of his catastrophic attachment to his mother and obsession with the psychic tensions induced by the Oedipal family struggle. As Jones writes, Jack Dulouz , suffering from the effects of chronic alcoholism and sensing an impending nervous breakdown, seeks refuge at the oceanside cabinunfortunately, like the grove of the Eumenides in Oedipus at Colonus, it is full of reminders of both the cause of his misery and the fate that awaits him, The oedipal signifier works in two directions, then, standing outside of time. The â€Å"Origin† supplied by the grove recalls the past and anticipates the future. A visit to the canyon in which the breakdown took place, its rumbling surf and endless brook which babbles with vital noise, and the yawning canyon recall Kerouacs hometown of Lowell. We are reminded of the grotto of Our Lady of Lourdes, and the bridge across the Merrimack River there. Since Kerouac was introduced to it by his brother Gerard, the site, with its awesome mystical potency, is described with passion. The sounds seem to express, yet barely contain, the power of the place: as the river water cascades over the long weir, traffic roars in the background. All this combined with the anthropomorphically cragged vista of the grotto itself creates a sense of almost unbearably powerful otherness, an origin in nature now frighteningly alien to the human soul. Kerouacs realism in Big Sur may be summarised as the doomed ambition to structure impossible desire. The labour of the carefully constructed â€Å"Beat† pattern is present in the background, as a sort of displaced metaphor for the mental and physical effort of writing. Thus Kerouacs â€Å"Beat† takes the anti-mimetic definition of realism one step further- since writing does not have to relate to what it depicts, it will resist immediacy, but relate in specific and indirect ways to the authors private life. In many ways, Kerouacs enterprise resembles that of a visual artist at least as much as an aural or literary construction. Courbets paintings, for example, operate in a very similar way to Kerouacs works. They share this meta-symbolism, with particular interest in representing origins as water, or indeed as female genitalia- and also aspire to an impossible merging with lost roots. In Courbets art the impossible merger is one of body and work; for Kerouac it is the a rtifice of language and the unruly inevitability of the natural- taking him as close as anything ever can to his father. An erotics of the word and image is then inevitable, and Kerouac finds one fully-formulated and ready to use, in Freudian psychoanalysis. While studies on Courbet resituate sexual difference within the (male) painter-beholder, rather than between him and his representations, Jack Kerouac does something subtly different. Through its emphasis on the writing/experiencing incommensurability, Kerouac resituates sexual difference within the (male) writer/reader rather than between the artist and their work. The authorial voice is only ostensibly the source of psychoanalytic narrative- in fact the same narrative can be sourced through theoretical channels (backwards â€Å"into the page†) to the writer, and, if we believe him, to the reader too. â€Å" It grew exceedingly hot and strange†¦We were going though swamps and alongside the road at ragged intervals strange Mexicans in tattered rags walked along with machetes hanging from their rope belts, and some of them cut at the bushes. They all stopped to watch us without expression. Through the tangled bush we occasionally saw thatched huts with African-like bamboo walls, just stick huts. Strange young girls, dark as the moon, stared from mysterious verdant doorways,† Psychoanalysis corroborates Kerouacs general preoccupation with the fantasy of origination, in the case of Big Sur, the origination as personified in the figure of the father. In this imagery from On the Road, the dark girls are linked to the moon, loaded words like â€Å"thatch† and â€Å"bush† are always used alongside â€Å"machetes† and eery expressionlessness. Reading Kerouac like a goya painting or a poem, we can easily recognise the guilty violence involved. Kerouacs unedited unconsciousness reveals his sense of alienation, as the girls who are so strange are like the moon- nature is female- irresistible, unfathomable, untouchable. The horizontal â€Å"thatch† or â€Å"low bush† of the women is disrupted by the weapons and interference of the vertical agent of the male machetes. The interference in the body of water is the same- or at least, linguistically symmetrical- to the interference on reality that the act of writing always engenders. I f female bodies and contrived spontaneity are references to the origin and the unconscious ambition to merge with the origin; then any discreet writing surface is fetishised as an oedipal object of impossible desire, always disrupted, interfered with and disfigured by the very desire that defines it. Kerouacs Freudian desire to merge with the source must disturb the way he perceives himself. In fact, it illustrates and literally reflects the way in which we, as readers, percieve ourselves in so far as we are reflections of our origins- how it is only through disturbance that we can become aware of the source. If any reflection were perfect, with no material interference, we would have no way of knowing that it was a reflection. Kerouacs tireless autobiography project is not only a non-narcissistic event, but an entirely natural one. In Hegels Aesthetics such self-portraiture is established as a primal impulse of self-identification. According to Hegel, for man to become self-conscious he must first â€Å"represent himself to himself†, and second, â€Å"man brings himself before himself by practical activity†¦this aim he achieves by altering external things whereon he impresses the seal of his inner being and in which he now finds again his own characteristics. Man does this†¦to strip the external world of its inflexible foreignness and to enjoy the shape of things only an external realization of himself.† Hegel goes on to describe a childs impulse to throw stones into a river: there is no reflection involved, none of the self-annihilating narcissism of â€Å"passive desiring seeing†, but a declared primacy of action over seeing. Kerouac is invoked by Hegels wording, â€Å"the continuity between ordinary action and the action of producing works of art is already implied by the image of the drawing of circles in the surface of the water.† These circles are inscriptions of objects on flat planes that require a certain maturity of consciousness to interpret as the effects of a (manual) cause. Here, Kerouacs dormant reference to, and defence of, his own ideal situation as a realist author is very evident. In a later paragraph from Fried the message that the self is best quietly discovered through displaced descriptive action is completely inescapable, â€Å" the effacement of the very conditions of resemblance (the breaking of the mirror-surface of the river) also means that the boys relation to the spreading circles in the water might be described in Flaubertian language as present everywhere but visible nowhere.† A sentiment repeated in Kerouacs poetry, which â€Å"breaks† the reflective power of water by introducing the contrasting element of heat and dryness, â€Å"Describe fires in riverbottom sand, and the cooking; the cooking of hot dogs spitted in whittled sticks over flames of woodfire with grease dropping in smoke to brown and blacken the salty hotdogs, and the wine, and the work on the railroad.† The desire to identify with the origin, whether through disturbing the water, impersonating the father, or labouring to represent oneself to oneself, may always end in action, but it is only ever the action of wrenching open the facture of desire. The impulse to create will always be driven by a lack, and Kerouac is most conventionally â€Å"Realist† when he recognises this. Kerouac, after all, is aiming to reorganise an imbalance of power, and to characterise a sense of the monadic â€Å"other†. Philosophically, Kerouacs work is incredibly resistant to the Other, to the point that he scarcely needs the anterior of an audience. In spite of his evident veneration of the â€Å"Natural†, the world beyond that of writing/reading is so unbearable that Fried has trouble imagining it, levelling the differences between interiors and exteriors and converting all mimetic imagery into narratives of action or narratives of material: surfaces to be read. To the extent that it is a self-sufficient sign-system (and I am arguing it is far more than this) Kerouacs work evacuates the reader and effectively â€Å"reads itself†. It fits Derridas conception of autobiography, â€Å"My written communication must†¦remain legible despite the absolute disappearance of every determined addressee†¦for it to function as writing†¦to be legible. It must be repeatable, iterable, in the absolute absence of the addressee† Again, this supported by the assertions of one anonymous online Kerouac archivist, â€Å"Almost everything he wrote was autobiographical. Like Thomas Wolfe, he saw writing as identical with introspection. The word fiction does not really describe his work. It was more like self-directed psychoanalysis, except that his outlook was more religous and tragic than psychological. His books are crowded with his friends, lightly disguised behind new names. Allen Ginsberg, for instance, appears variously as Carlo Marx, Adam Moorad, Irwin Garden, Leon Levinsky and Alvah Goldbrook. Late in his life, Kerouac even considered publishing a unified edition of all his works, with all the characters representing himself appearing under a single name, Jack Duluoz (French for Jack the Louse).† This homogenising impulse, the need to resist difference and integrate everything, drives the rhetorical case which Kerouac makes in an attempt to show that outdoor scenes are actually the same as indoor ones. It is affected spontaneity of language which Fried cites as the connection between the inner and the outer. Indoor and outdoor scenes are treated as having the same character and affect, to the extent that they have a rhythm and no inherent narrative. Kerouacs holistic ambition repeats itself on every level- here the very scene of representation is moulded by the realist theory. The internal and external scenes, like the internal and external levels of a psyche, become one, as they are united in common, necessary pain, of the disfiguring theoretical intervention. Applying psychoanalysis to Kerouac, this does look like an attempt at integrating the repressed inner and outer of the psyche, where the first might be characterised as darkness, depth, recession, primordial instinct, and the past, and the second as light, shallowness, presence, and surface agency. Farewell Sur- Didja ever tell him about water meeting water-? O go back to otter- Term-Term-Klerm Kerm-Kurn-Cow-Kow- Cash-Cach-Cluck- Clock-Gomeat sea need be deep I see you Enoch soon anarf in Old Britanny Say yes. Say yes to the sea. Say yes to chaos. Say yes to eternity. Say yes and let it all go. Go, go to the sea. To the waiting open arms of the sea. You and me you and me the sea. Yes. Let us be. There is light.† Reflections are also the assertion of the horizontal. In spite of the violence metaphorically wrought, and acknowledged by his writing, Kerouacs work is concerned with empowering the natural within the man. The vigorous negation of comfortable feminine origination in his poetry refuses to allow the implied horizontality of the original sheet of paper to be wholly superseded, and in effect suppressed, by the verticality of the outside world. Psychoanalysis works through poetry subliminally, appealing to the subconscious by encoding itself in visual puns like reflections. 3. Missed Beats – Misunderstandings and misnomers It has been claimed that, for at least one definition of the word, Kerouac was not a â€Å"Beat† at all. Mayer writes, â€Å"A â€Å"keen observer rather than a confident insider,† Kerouac never really was a member of the Beats though he was among them from the beginning and as a chronicler cast their emergence into prose. When Daniel Belgrad remarks that Kerouac â€Å"would attend parties only to sit silently in a corner, listening intently to the multiple conversations and noting them down in his memory,† he is in line with a comment by Ginsberg, â€Å"I guess [Kerouac] felt more like a private solitary Melvillean minnesinger or something.† â€Å"Subterranean Kerouac†, a biography by Ellis Amburn, develops the oedipal theme in his work, referring notably to his â€Å"dream-fear of homosexuality.† Claiming that Kerouac became a â€Å"homophobic homoerotic† by the early nineteen forties, Amburn insists that in the fifties, while an increasing misogyny came to pervade writings like Some of the Dharma, â€Å"his homophobia was increasing in direct proportion to his homoerotic activity. , † a development which might have been facilitated at least partially by Kerouacs worsening dependency on alcohol. Kerouac is known as the king or the speaker of the beat generation and his writings are probably the most widely read works for anyone studding the beat culture, but there is real evidence that he resisted the title of â€Å"King†, particularly the patriarchal overtones. Even in 1952, John Clellon Holmess book â€Å"Go† presents Kerouac as Gene Pasternak, railing against â€Å"all that free-love stuff, that liberal bohemianism, between friends.† Kerouacs 1958 novel â€Å"The Subterraneans† features a narrator whose sexual hang-ups are barely known to him. Ben Giamo has termed the narrators stance in the novel as â€Å"a curious form of approach/avoidance.† The authors avatar in â€Å"The Subterraneans†, is French Canadian. His name is â€Å"Leo Percepied† and it has been appropriated for psychoanalysis. Kurt Mayer claims that as his first name is that of Kerouacs father, and his last, literally translates asâ€Å"pierced foot,† the characters name is an obvious Oedipal reference. The characters destiny echoes Jacks, as he abandons pretentions to being middle class, and ultimately returns to his mothers house. Jack, of course, always returned to â€Å"Memà ©re†- Gabrielle Kerouac, what Mayer refers to as the â€Å"only consistent relati

Crossover Fashion Essay -- essays research papers

Men’s Fashion for Women and Vice Versa Civilizations as ancient as Jericho and as widespread as the Roman Empire have used clothing and jewelry as a form of nonverbal communication to indicate specific occupation, rank, gender, class, wealth, and group affiliation. These same material goods are used today for similar modes of communication. While some modern societies like the Taliban in Afghanistan make such distinctions with utmost conformity (the Taliban of Afghanistan) others like America have proven to be more dynamic. This dynamic nature can be seen in the emergence of crossover fashion within the last 80 years which has correlated with the changing role and social status of women in society. The effect of the gradual increase of power for women during the Industrial Revolution could be seen in the increase of crossover fashion. As a result, crossover fashion is dominate and socially acceptable in today’s society. From the 1700’s through the Industrial Revolution, regulating fashion was deemed as a way of preserving social and gender distinctions that were firmly established in the predominantly patriarchal society. During the 1850’s, the Victorian Era, there were strict guidelines on how people could behave and dress, and behaviors that they had to conform to their everyday lives. The rules were so strict that there were codes for how certain inanimate objects should be displayed; for example, table covers had to be long enough to cover the table’s legs because soci...

Chapter 16 The Goblet of Fire

I don't believe it!† Ron said, in a stunned voice, as the Hogwarts students filed back up the steps behind the party from Durmstrang. â€Å"Krum, Harry! Viktor Krum!† â€Å"For heaven's sake, Ron, he's only a Quidditch player,† said Hermione. â€Å"Only a Quidditch player?† Ron said, looking at her as though he couldn't believe his ears. â€Å"Hermione – he's one of the best Seekers in the world! I had no idea he was still at school!† As they recrossed the entrance hall with the rest of the Hogwarts students heading for the Great Hall, Harry saw Lee Jordan jumping up and down on the soles of his feet to get a better look at the back of Krum's head. Several sixth-year girls were frantically searching their pockets as they walked – â€Å"Oh I don't believe it, I haven't got a single quill on me -â€Å" â€Å"D'you think he'd sign my hat in lipstick?† â€Å"Really,† Hermione said loftily as they passed the girls, now squabbling over the lipstick. â€Å"I'm getting his autograph if I can,† said Ron. â€Å"You haven't got a quill, have you, Harry?† â€Å"Nope, they're upstairs in my bag,† said Harry. They walked over to the Gryffindor table and sat down. Ron took care to sit on the side facing the doorway, because Krum and his fellow Durmstrang students were still gathered around it, apparently unsure about where they should sit. The students from Beauxbatons had chosen seats at the Ravenclaw table. They were looking around the Great Hall with glum expressions on their faces. Three of them were still clutching scarves and shawls around their heads. â€Å"It's not that cold,† said Hermione defensively. â€Å"Why didn't they bring cloaks?† â€Å"Over here! Come and sit over here!† Ron hissed. â€Å"Over here! Hermione, budge up, make a space -â€Å" â€Å"What?† â€Å"Too late,† said Ron bitterly. Viktor Krum and his fellow Durmstrang students had settled themselves at the Slytherin table. Harry could see Malfoy, Crabbe, and Goyle looking very smug about this. As he watched, Malfoy bent forward to speak to Krum. â€Å"Yeah, that's right, smarm up to him, Malfoy,† said Ron scathingly. â€Å"I bet Krum can see right through him, though†¦bet he gets people fawning over him all the time†¦.Where d'you reckon they're going to sleep? We could offer him a space in our dormitory, Harry†¦I wouldn't mind giving him my bed, I could kip on a camp bed.† Hermione snorted. â€Å"They look a lot happier than the Beauxbatons lot,† said Harry. The Durmstrang students were pulling off their heavy furs and looking up at the starry black ceiling with expressions of interest; a couple of them were picking up the golden plates and goblets and examining them, apparently impressed. Up at the staff table, Filch, the caretaker, was adding chairs. He was wearing his moldy old tailcoat in honor of the occasion. Harry was surprised to see that he added four chairs, two on either side of Dumbledore's. â€Å"But there are only two extra people,† Harry said. â€Å"Why's Filch putting out four chairs, who else is coming?† â€Å"Eh?† said Ron vaguely. He was still staring avidly at Krum. When all the students had entered the Hall and settled down at their House tables, the staff entered, filing up to the top table and taking their seats. Last in line were Professor Dumbledore, Professor Karkaroff, and Madame Maxime. When their headmistress appeared, the pupils from Beauxbatons leapt to their feet. A few of the Hogwarts students laughed. The Beauxbatons party appeared quite unembarrassed, however, and did not resume their seats until Madame Maxime had sat down on Dumbledore's left-hand side. Dumbledore remained standing, and a silence fell over the Great Hall. â€Å"Good evening, ladies and gentlemen, ghosts and – most particularly – guests,† said Dumbledore, beaming around at the foreign students. â€Å"I have great pleasure in welcoming you all to Hogwarts. I hope and trust that your stay here will be both comfortable and enjoyable.† One of the Beauxbatons girls still clutching a muffler around her head gave what was unmistakably a derisive laugh. â€Å"No one's making you stay!† Hermione whispered, bristling at her. â€Å"The tournament will be officially opened at the end of the feast,† said Dumbledore. â€Å"I now invite you all to eat, drink, and make yourselves at home!† He sat down, and Harry saw Karkaroff lean forward at once and engage him in conversation. The plates in front of them filled with food as usual. The house-elves in the kitchen seemed to have pulled out all the stops; there was a greater variety of dishes in front of them than Harry had ever seen, including several that were definitely foreign. â€Å"What's that?† said Ron, pointing at a large dish of some sort of shellfish stew that stood beside a large steak-and-kidney pudding. â€Å"Bouillabaisse,† said Hermione. â€Å"Bless you,† said Ron. â€Å"It's French,† said Hermione, â€Å"I had it on holiday summer before last. It's very nice.† â€Å"I'll take your word for it,† said Ron, helping himself to black pudding. The Great Hall seemed somehow much more crowded than usual, even though there were barely twenty additional students there; perhaps it was because their differently colored uniforms stood out so clearly against the black of the Hogwarts' robes. Now that they had removed their furs, the Durmstrang students were revealed to be wearing robes of a deep bloodred. Hagrid sidled into the Hall through a door behind the staff table twenty minutes after the start of the feast. He slid into his seat at the end and waved at Harry, Ron, and Hermione with a very heavily bandaged hand. â€Å"Skrewts doing all right, Hagrid?† Harry called. â€Å"Thrivin',† Hagrid called back happily. â€Å"Yeah, I'll just bet they are,† said Ron quietly. â€Å"Looks like they've finally found a food they like, doesn't it? Hagrid's fingers.† At that moment, a voice said, â€Å"Excuse me, are you wanting ze bouillabaisse?† It was the girl from Beauxbatons who had laughed during Dumbledore's speech. She had finally removed her muffler. A long sheet of silvery-blonde hair fell almost to her waist. She had large, deep blue eyes, and very white, even teeth. Ron went purple. He stared up at her, opened his mouth to reply, but nothing came out except a faint gurgling noise. â€Å"Yeah, have it,† said Harry, pushing the dish toward the girl. â€Å"You ‘ave finished wiz it?† â€Å"Yeah,† Ron said breathlessly. â€Å"Yeah, it was excellent.† The girl picked up the dish and carried it carefully off to the Ravenclaw table. Ron was still goggling at the girl as though he had never seen one before. Harry started to laugh. The sound seemed to jog Ron back to his senses. â€Å"She's a veela!† he said hoarsely to Harry. â€Å"Of course she isn't!† said Hermione tartly. â€Å"I don't see anyone else gaping at her like an idiot!† But she wasn't entirely right about that. As the girl crossed the Hall, many boys' heads turned, and some of them seemed to have become temporarily speechless, just like Ron. â€Å"I'm telling you, that's not a normal girl!† said Ron, leaning sideways so he could keep a clear view of her. â€Å"They don't make them like that at Hogwarts!† â€Å"They make them okay at Hogwarts,† said Harry without thinking. Cho happened to be sitting only a few places away from the girl with the silvery hair. â€Å"When you've both put your eyes back in,† said Hermione briskly, â€Å"you'll be able to see who's just arrived.† She was pointing up at the staff table. The two remaining empty seats had just been filled. Ludo Bagman was now sitting on Professor Karkaroff's other side, while Mr. Crouch, Percy's boss, was next to Madame Maxime. â€Å"What are they doing here?† said Harry in surprise. â€Å"They organized the Triwizard Tournament, didn't they?† said Hermione. â€Å"I suppose they wanted to be here to see it start.† When the second course arrived they noticed a number of unfamiliar desserts too. Ron examined an odd sort of pale blancmange closely, then moved it carefully a few inches to his right, so that it would be clearly visible from the Ravenclaw table. The girl who looked like a veela appeared to have eaten enough, however, and did not come over to get it. Once the golden plates had been wiped clean, Dumbledore stood up again. A pleasant sort of tension seemed to fill the Hall now. Harry felt a slight thrill of excitement, wondering what was coming. Several seats down from them, Fred and George were leaning forward, staring at Dumbledore with great concentration. â€Å"The moment has come,† said Dumbledore, smiling around at the sea of upturned faces. â€Å"The Triwizard Tournament is about to start. I would like to say a few words of explanation before we bring in the casket -â€Å" â€Å"The what?† Harry muttered. Ron shrugged. â€Å"- just to clarify the procedure that we will be following this year. But first, let me introduce, for those who do not know them, Mr. Bartemius Crouch, Head of the Department of International Magical Cooperation† – there was a smattering of polite applause – â€Å"and Mr. Ludo Bagman, Head of the Department of Magical Games and Sports.† There was a much louder round of applause for Bagman than for Crouch, perhaps because of his fame as a Beater, or simply because he looked so much more likable. He acknowledged it with a jovial wave of his hand. Bartemius Crouch did not smile or wave when his name was announced. Remembering him in his neat suit at the Quidditch World Cup, Harry thought he looked strange in wizard's robes. His toothbrush mustache and severe parting looked very odd next to Dumbledore's long white hair and beard. â€Å"Mr. Bagman and Mr. Crouch have worked tirelessly over the last few months on the arrangements for the Triwizard Tournament,† Dumbledore continued, â€Å"and they will be joining myself, Professor Karkaroff, and Madame Maxime on the panel that will judge the champions' efforts.† At the mention of the word â€Å"champions,† the attentiveness of the listening students seemed to sharpen. Perhaps Dumbledore had noticed their sudden stillness, for he smiled as he said, â€Å"The casket, then, if you please, Mr. Filch.† Filch, who had been lurking unnoticed in a far corner of the Hall, now approached Dumbledore carrying a great wooden chest encrusted with jewels. It looked extremely old. A murmur of excited interest rose from the watching students; Dennis Creevey actually stood on his chair to see it properly, but, being so tiny, his head hardly rose above anyone else's. â€Å"The instructions for the tasks the champions will face this year have already been examined by Mr. Crouch and Mr. Bagman,† said Dumbledore as Filch placed the chest carefully on the table before him, â€Å"and they have made the necessary arrangements for each challenge. There will be three tasks, spaced throughout the school year, and they will test the champions in many different ways.. their magical prowess – their daring – their powers of deduction – and, of course, their ability to cope with danger.† At this last word, the Hall was filled with a silence so absolute that nobody seemed to be breathing. â€Å"As you know, three champions compete in the tournament,† Dumbledore went on calmly, â€Å"one from each of the participating schools. They will be marked on how well they perform each of the Tournament tasks and the champion with the highest total after task three will win the Triwizard Cup. The champions will be chosen by an impartial selector: the Goblet of Fire.† Dumbledore now took out his wand and tapped three times upon the top of the casket. The lid creaked slowly open. Dumbledore reached inside it and pulled out a large, roughly hewn wooden cup. It would have been entirely unremarkable had it not been full to the brim with dancing blue-white flames. Dumbledore closed the casket and placed the goblet carefully on top of it, where it would be clearly visible to everyone in the Hall. â€Å"Anybody wishing to submit themselves as champion must write their name and school clearly upon a slip of parchment and drop it into the goblet,† said Dumbledore. â€Å"Aspiring champions have twenty-four hours in which to put their names forward. Tomorrow night, Halloween, the goblet will return the names of the three it has judged most worthy to represent their schools. The goblet will be placed in the entrance hall tonight, where it will be freely accessible to all those wishing to compete. â€Å"To ensure that no underage student yields to temptation,† said Dumbledore, â€Å"I will be drawing an Age Line around the Goblet of Fire once it has been placed in the entrance hall. Nobody under the age of seventeen will be able to cross this line. â€Å"Finally, I wish to impress upon any of you wishing to compete that this tournament is not to be entered into lightly. Once a champion has been selected by the Goblet of Fire, he or she is obliged to see the tournament through to the end. The placing of your name in the goblet constitutes a binding, magical contract. There can be no change of heart once you have become a champion. Please be very sure, therefore, that you are wholeheartedly prepared to play before you drop your name into the goblet. Now, I think it is time for bed. Good night to you all.† â€Å"An Age Line!† Fred Weasley said, his eyes glinting, as they all made their way across the Hall to the doors into the entrance hall. â€Å"Well, that should be fooled by an Aging Potion, shouldn't it? And once your name's in that goblet, you're laughing – it can't tell whether you're seventeen or not!† â€Å"But I don't think anyone under seventeen will stand a chance,† said Hermione, â€Å"we just haven't learned enough†¦Ã¢â‚¬  â€Å"Speak for yourself,† said George shortly. â€Å"You'll try and get in, won't you, Harry?† Harry thought briefly of Dumbledore's insistence that nobody under seventeen should submit their name, but then the wonderful picture of himself winning the Triwizard Tournament filled his mind again†¦.He wondered how angry Dumbledore would be if someone younger than seventeen did find a way to get over the Age Line. â€Å"Where is he?† said Ron, who wasn't listening to a word of this conversation, but looking through the crowd to see what had become of Krum. â€Å"Dumbledore didn't say where the Durmstrang people are sleeping, did he?† But this query was answered almost instantly; they were level with the Slytherin table now, and Karkaroff had just bustled up to his students. â€Å"Back to the ship, then,† he was saying. â€Å"Viktor, how are you feeling? Did you eat enough? Should I send for some mulled wine from the kitchens?† Harry saw Krum shake his head as he pulled his furs back on. â€Å"Professor, Ivood like some vine,† said one of the other Durmstrang boys hopefully. â€Å"I wasn't offering it to you, Poliakoff,† snapped Karkaroff, his warmly paternal air vanishing in an instant. â€Å"I notice you have dribbled food all down the front of your robes again, disgusting boy -â€Å" Karkaroff turned and led his students toward the doors, reaching them at exactly the same moment as Harry, Ron, and Hermione. Harry stopped to let him walk through first. â€Å"Thank you,† said Karkaroff carelessly, glancing at him. And then Karkaroff froze. He turned his head back to Harry and stared at him as though he couldn't believe his eyes. Behind their headmaster, the students from Durmstrang came to a halt too. Karkaroff's eyes moved slowly up Harry's face and fixed upon his scar. The Durmstrang students were staring curiously at Harry too. Out of the corner of his eye, Harry saw comprehension dawn on a few of their faces. The boy with food all down his front nudged the girl next to him and pointed openly at Harry's forehead. â€Å"Yeah, that's Harry Potter,† said a growling voice from behind them. Professor Karkaroff spun around. Mad-Eye Moody was standing there, leaning heavily on his staff, his magical eye glaring unblinkingly at the Durmstrang headmaster. The color drained from Karkaroff's face as Harry watched. A terrible look of mingled fury and fear came over him. â€Å"You!† he said, staring at Moody as though unsure he was really seeing him. â€Å"Me,† said Moody grimly. â€Å"And unless you've got anything to say to Potter, Karkaroff, you might want to move. You're blocking the doorway.† It was true; half the students in the Hall were now waiting behind them, looking over one another's shoulders to see what was causing the holdup. Without another word, Professor Karkaroff swept his students away with him. Moody watched him until he was out of sight, his magical eye fixed upon his back, a look of intense dislike upon his mutilated face. As the next day was Saturday, most students would normally have breakfasted late. Harry, Ron, and Hermione, however, were not alone in rising much earlier than they usually did on weekends. When they went down into the entrance hall, they saw about twenty people milling around it, some of them eating toast, all examining the Goblet of Fire. It had been placed in the center of the hall on the stool that normally bore the Sorting Hat. A thin golden line had been traced on the floor, forming a circle ten feet around it in every direction. â€Å"Anyone put their name in yet?† Ron asked a third-year girl eagerly. â€Å"All the Durmstrang lot,† she replied. â€Å"But I haven't seen anyone from Hogwarts yet.† â€Å"Bet some of them put it in last night after we'd all gone to bed,† said Harry. â€Å"I would've if it had been me†¦wouldn't have wanted everyone watching. What if the goblet just gobbed you right back out again?† Someone laughed behind Harry. Turning, he saw Fred, George, and Lee Jordan hurrying down the staircase, all three of them looking extremely excited. â€Å"Done it,† Fred said in a triumphant whisper to Harry, Ron, and Hermione. â€Å"Just taken it.† â€Å"What?† said Ron. â€Å"The Aging Potion, dung brains,† said Fred. â€Å"One drop each,† said George, rubbing his hands together with glee. â€Å"We only need to be a few months older.† â€Å"We're going to split the thousand Galleons between the three of us if one of us wins,† said Lee, grinning broadly. â€Å"I'm not sure this is going to work, you know,† said Hermione warningly. â€Å"I'm sure Dumbledore will have thought of this.† Fred, George, and Lee ignored her. â€Å"Ready?† Fred said to the other two, quivering with excitement. â€Å"C'mon, then – I'll go first -â€Å" Harry watched, fascinated, as Fred pulled a slip of parchment out of his pocket bearing the words Fred Weasley – Hogwarts. Fred walked right up to the edge of the line and stood there, rocking on his toes like a diver preparing for a fifty-foot drop. Then, with the eyes of every person in the entrance hall upon him, he took a great breath and stepped over the line. For a split second Harry thought it had worked – George certainly thought so, for he let out a yell of triumph and leapt after Fred – but next moment, there was a loud sizzling sound, and both twins were hurled out of the golden circle as though they had been thrown by an invisible shot-putter. They landed painfully, ten feet away on the cold stone floor, and to add insult to injury, there was a loud popping noise, and both of them sprouted identical long white beards. The entrance hall rang with laughter. Even Fred and George joined in, once they had gotten to their feet and taken a good look at each other's beards. â€Å"I did warn you,† said a deep, amused voice, and everyone turned to see Professor Dumbledore coming out of the Great Hall. He surveyed Fred and George, his eyes twinkling. â€Å"I suggest you both go up to Madam Pomfrey. She is already tending to Miss Fawcett, of Ravenclaw, and Mr. Summers, of Hufflepuff, both of whom decided to age themselves up a little too. Though I must say, neither of their beards is anything like as fine as yours.† Fred and George set off for the hospital wing, accompanied by Lee, who was howling with laughter, and Harry, Ron, and Hermione, also chortling, went in to breakfast. The decorations in the Great Hall had changed this morning. As it was Halloween, a cloud of live bats was fluttering around the enchanted ceiling, while hundreds of carved pumpkins leered from every corner. Harry led the way over to Dean and Seamus, who were discussing those Hogwarts students of seventeen or over who might be entering. â€Å"There's a rumor going around that Warrington got up early and put his name in,† Dean told Harry. â€Å"That big bloke from Slytherin who looks like a sloth.† Harry, who had played Quidditch against Warrington, shook his head in disgust. â€Å"We can't have a Slytherin champion!† â€Å"And all the Hufflepuffs are talking about Diggory,† said Seamus contemptuously. â€Å"But I wouldn't have thought he'd have wanted to risk his good looks.† â€Å"Listen!† said Hermione suddenly. People were cheering out in the entrance hall. They all swiveled around in their seats and saw Angelina Johnson coming into the Hall, grinning in an embarrassed sort of way. A tall black girl who played Chaser on the Gryffindor Quidditch team, Angelina came over to them, sat down, and said, â€Å"Well, I've done it! Just put my name in!† â€Å"You're kidding!† said Ron, looking impressed. â€Å"Are you seventeen, then?† asked Harry. â€Å"Course she is, can't see a beard, can you?† said Ron. â€Å"I had my birthday last week,† said Angelina. â€Å"Well, I'm glad someone from Gryffindor's entering,† said Hermione. â€Å"I really hope you get it, Angelina!† â€Å"Thanks, Hermione,† said Angelina, smiling at her. Yeah, better you than Pretty-Boy Diggory, said Seamus, causing several Hufflepuffs passing their table to scowl heavily at him. â€Å"What're we going to do today, then?† Ron asked Harry and Hermione when they had finished breakfast and were leaving the Great Hall. â€Å"We haven't been down to visit Hagrid yet,† said Harry. â€Å"Okay,† said Ron, â€Å"just as long as he doesn't ask us to donate a few fingers to the skrewts.† A look of great excitement suddenly dawned on Hermione's face. â€Å"I've just realized – I haven't asked Hagrid to join S.P.E.W. yet!† she said brightly. â€Å"Wait for me, will you, while I nip upstairs and get the badges?† â€Å"What is it with her?† said Ron, exasperated, as Hermione ran away up the marble staircase. â€Å"Hey, Ron,† said Harry suddenly. â€Å"It's your friend†¦Ã¢â‚¬  The students from Beauxbatons were coming through the front doors from the grounds, among them, the veela-girl. Those gathered around the Goblet of Fire stood back to let them pass, watching eagerly. Madame Maxime entered the hall behind her students and organized them into a line. One by one, the Beauxbatons students stepped across the Age Line and dropped their slips of parchment into the blue-white flames. As each name entered the fire, it turned briefly red and emitted sparks. â€Å"What d'you reckon'll happen to the ones who aren't chosen?† Ron muttered to Harry as the veela-girl dropped her parchment into the Goblet of Fire. â€Å"Reckon they'll go back to school, or hang around to watch the tournament?† â€Å"Dunno,† said Harry. â€Å"Hang around, I suppose†¦.Madame Maxime's staying to judge, isn't she?† When all the Beauxbatons students had submitted their names, Madame Maxime led them back out of the hall and out onto the grounds again. â€Å"Where are they sleeping, then?† said Ron, moving toward the front doors and staring after them. A loud rattling noise behind them announced Hermione's reappearance with the box of S. P. E.W. badges. â€Å"Oh good, hurry up,† said Ron, and he jumped down the stone steps, keeping his eyes on the back of the veela-girl, who was now halfway across the lawn with Madame Maxime. As they neared Hagrid's cabin on the edge of the Forbidden Forest, the mystery of the Beauxbatons' sleeping quarters was solved. The gigantic powder-blue carriage in which they had arrived had been parked two hundred yards from Hagrid's front door, and the students were climbing back inside it. The elephantine flying horses that had pulled the carriage were now grazing in a makeshift paddock alongside it. Harry knocked on Hagrid's door, and Fang's booming barks answered instantly. â€Å"‘Bout time!† said Hagrid, when he'd flung open the door. â€Å"Thought you lot'd forgotten where I live!† â€Å"We've been really busy, Hag -† Hermione started to say, but then she stopped dead, looking up at Hagrid, apparently lost for words. Hagrid was wearing his best (and very horrible) hairy brown suit, plus a checked yellow-and-orange tie. This wasn't the worst of it, though; he had evidently tried to tame his hair, using large quantities of what appeared to be axle grease. It was now slicked down into two bunches – perhaps he had tried a ponytail like Bill's, but found he had too much hair. The look didn't really suit Hagrid at all. For a moment, Hermione goggled at him, then, obviously deciding not to comment, she said, â€Å"Erm – where are the skrewts.† â€Å"Out by the pumpkin patch,† said Hagrid happily. â€Å"They're gettin' massive, mus' be nearly three foot long now. On'y trouble is, they've started killin' each other.† â€Å"Oh no, really?† said Hermione, shooting a repressive look at Ron, who, staring at Hagrid's odd hairstyle, had just opened his mouth to say something about it. â€Å"Yeah,† said Hagrid sadly. â€Å"S' okay, though, I've got 'em in separate boxes now. Still got abou' twenty.† â€Å"Well, that's lucky,† said Ron. Hagrid missed the sarcasm. Hagrid's cabin comprised a single room, in one corner of which was a gigantic bed covered in a patchwork quilt. A similarly enormous wooden table and chairs stood in front of the fire beneath the quantity of cured hams and dead birds hanging from the ceiling. They sat down at the table while Hagrid started to make tea, and were soon immersed in yet more discussion of the Triwizard Tournament. Hagrid seemed quite as excited about it as they were. â€Å"You wait,† he said, grinning. â€Å"You jus' wait. Yer going ter see some stuff yeh've never seen before. Firs' task†¦ah, but I'm not supposed ter say.† â€Å"Go on, Hagrid!† Harry, Ron, and Hermione urged him, but he just shook his head, grinning. â€Å"I don' want ter spoil it fer yeh,† said Hagrid. â€Å"But it's gonna be spectacular, I'll tell yeh that. Them champions're going ter have their work cut out. Never thought I'd live ter see the Triwizard Tournament played again!† They ended up having lunch with Hagrid, though they didn't eat much – Hagrid had made what he said was a beef casserole, but after Hermione unearthed a large talon in hers, she, Harry, and Ron rather lost their appetites. However, they enjoyed themselves trying to make Hagrid tell them what the tasks in the tournament were going to be, speculating which of the entrants were likely to be selected as champions, and wondering whether Fred and George were beardless yet. A light rain had started to fall by midafternoon; it was very cozy sitting by the fire, listening to the gentle patter of the drops on the window, watching Hagrid darning his socks and arguing with Hermione about house-elves – for he flatly refused to join S.P.E.W. when she showed him her badges. â€Å"It'd be doin' 'em an unkindness, Hermione,† he said gravely, threading a massive bone needle with thick yellow yarn. â€Å"It's in their nature ter look after humans, that's what they like, see? Yeh'd be makin' 'em unhappy ter take away their work, an' insutin' 'em if yeh tried ter pay 'em.† â€Å"But Harry set Dobby free, and he was over the moon about it!† said Hermione. â€Å"And we heard he's asking for wages now!† â€Å"Yeah, well, yeh get weirdos in every breed. I'm not sayin' there isn't the odd elf who'd take freedom, but yeh'll never persuade most of 'em ter do it – no, nothin' doin', Hermione.† Hermione looked very cross indeed and stuffed her box of badges back into her cloak pocket. By half past five it was growing dark, and Ron, Harry, and Hermione decided it was time to get back up to the castle for the Halloween feast – and, more important, the announcement of the school champions. â€Å"I'll come with yeh,† said Hagrid, putting away his darning. â€Å"Jus' give us a sec.† Hagrid got up, went across to the chest of drawers beside his bed, and began searching for something inside it. They didn't pay too much attention until a truly horrible smell reached their nostrils. Coughing, Ron said, â€Å"Hagrid, what's that?† â€Å"Eh?† said Hagrid, turning around with a large bottle in his hand. â€Å"Don' yeh like it?† â€Å"Is that aftershave?† said Hermione in a slightly choked voice. â€Å"Er – eau de cologne,† Hagrid muttered. He was blushing. â€Å"Maybe it's a bit much,† he said gruffly. â€Å"I'll go take it off, hang on†¦Ã¢â‚¬  He stumped out of the cabin, and they saw him washing himself vigorously in the water barrel outside the window. â€Å"Eau de cologne?† said Hermione in amazement. â€Å"Hagrid?† â€Å"And what's with the hair and the suit?† said Harry in an undertone. â€Å"Look!† said Ron suddenly, pointing out of the window. Hagrid had just straightened up and turned 'round. If he had been blushing before, it was nothing to what he was doing now. Getting to their feet very cautiously, so that Hagrid wouldn't spot them, Harry, Ron, and Hermione peered through the window and saw that Madame Maxime and the Beauxbatons students had just emerged from their carriage, clearly about to set off for the feast too. They couldn't hear what Hagrid was saying, but he was talking to Madame Maxime with a rapt, misty-eyed expression Harry had only ever seen him wear once before – when he had been looking at the baby dragon, Norbert. â€Å"He's going up to the castle with her!† said Hermione indignantly. â€Å"I thought he was waiting for us!† Without so much as a backward glance at his cabin, Hagrid was trudging off up the grounds with Madame Maxime, the Beauxbatons students following in their wake, jogging to keep up with their enormous strides. â€Å"He fancies her!† said Ron incredulously. â€Å"Well, if they end up having children, they'll be setting a world record – bet any baby of theirs would weigh about a ton.† They let themselves out of the cabin and shut the door behind them. It was surprisingly dark outside. Drawing their cloaks more closely around themselves, they set off up the sloping lawns. â€Å"Ooh it's them, look!† Hermione whispered. The Durmstrang party was walking up toward the castle from the lake. Viktor Krum was walking side by side with Karkaroff, and the other Durmstrang students were straggling along behind them. Ron watched Krum excitedly, but Krum did not look around as he reached the front doors a little ahead of Hermione, Ron, and Harry and proceeded through them. When they entered the candlelit Great Hall it was almost full. The Goblet of Fire had been moved; it was now standing in front of Dumbledore's empty chair at the teachers' table. Fred and George – clean-shaven again – seemed to have taken their disappointment fairly well. â€Å"Hope it's Angelina,† said Fred as Harry, Ron, and Hermione sat down. â€Å"So do I!† said Hermione breathlessly. â€Å"Well, we'll soon know!† The Halloween feast seemed to take much longer than usual. Perhaps because it was their second feast in two days, Harry didn't seem to fancy the extravagantly prepared food as much as he would have normally. Like everyone else in the Hall, judging by the constantly craning necks, the impatient expressions on every face, the fidgeting, and the standing up to see whether Dumbledore had finished eating yet, Harry simply wanted the plates to clear, and to hear who had been selected as champions. At long last, the golden plates returned to their original spotless state; there was a sharp upswing in the level of noise within the Hall, which died away almost instantly as Dumbledore got to his feet. On either side of him, Professor Karkaroff and Madame Maxime looked as tense and expectant as anyone. Ludo Bagman was beaming and winking at various students. Mr. Crouch, however, looked quite uninterested, almost bored. â€Å"Well, the goblet is almost ready to make its decision,† said Dumbledore. â€Å"I estimate that it requires one more minute. Now, when the champions' names are called, I would ask them please to come up to the top of the Hall, walk along the staff table, and go through into the next chamber† – he indicated the door behind the staff table – â€Å"where they will be receiving their first instructions.† He took out his wand and gave a great sweeping wave with it; at once, all the candles except those inside the carved pumpkins were extinguished, plunging them into a state of semidarkness. The Goblet of Fire now shone more brightly than anything in the whole Hall, the sparkling bright, bluey-whiteness of the flames almost painful on the eyes. Everyone watched, waiting†¦.A few people kept checking their watches†¦ â€Å"Any second,† Lee Jordan whispered, two seats away from Harry. The flames inside the goblet turned suddenly red again. Sparks began to fly from it. Next moment, a tongue of flame shot into the air, a charred piece of parchment fluttered out of it – the whole room gasped. Dumbledore caught the piece of parchment and held it at arm's length, so that he could read it by the light of the flames, which had turned back to blue-white. â€Å"The champion for Durmstrang,† he read, in a strong, clear voice, â€Å"will be Viktor Krum.† â€Å"No surprises there!† yelled Ron as a storm of applause and cheering swept the Hall. Harry saw Viktor Krum rise from the Slytherin table and slouch up toward Dumbledore; he turned right, walked along the staff table, and disappeared through the door into the next chamber. â€Å"Bravo, Viktor!† boomed Karkaroff, so loudly that everyone could hear him, even over all the applause. â€Å"Knew you had it in you!† The clapping and chatting died down. Now everyone's attention was focused again on the goblet, which, seconds later, turned red once more. A second piece of parchment shot out of it, propelled by the flames. â€Å"The champion for Beauxbatons,† said Dumbledore, â€Å"is Fleur Delacour!† â€Å"It's her, Ron!† Harry shouted as the girl who so resembled a veela got gracefully to her feet, shook back her sheet of silvery blonde hair, and swept up between the Ravenclaw and Hufflepuff tables. â€Å"Oh look, they're all disappointed,† Hermione said over the noise, nodding toward the remainder of the Beauxbatons party. â€Å"Disappointed† was a bit of an understatement, Harry thought. Two of the girls who had not been selected had dissolved into tears and were sobbing with their heads on their arms. When Fleur Delacour too had vanished into the side chamber, silence fell again, but this time it was a silence so stiff with excitement you could almost taste it. The Hogwarts champion next†¦ And the Goblet of Fire turned red once more; sparks showered out of it; the tongue of flame shot high into the air, and from its tip Dumbledore pulled the third piece of parchment. â€Å"The Hogwarts champion,† he called, â€Å"is Cedric Diggory!† â€Å"No! † said Ron loudly, but nobody heard him except Harry; the uproar from the next table was too great. Every single Hufflepuff had jumped to his or her feet, screaming and stamping, as Cedric made his way past them, grinning broadly, and headed off toward the chamber behind the teachers' table. Indeed, the applause for Cedric went on so long that it was some time before Dumbledore could make himself heard again. â€Å"Excellent!† Dumbledore called happily as at last the tumult died down. â€Å"Well, we now have our three champions. I am sure I can count upon all of you, including the remaining students from Beauxbatons and Durmstrang, to give your champions every ounce of support you can muster. By cheering your champion on, you will contribute in a very real -â€Å" But Dumbledore suddenly stopped speaking, and it was apparent to everybody what had distracted him. The fire in the goblet had just turned red again. Sparks were flying out of it. A long flame shot suddenly into the air, and borne upon it was another piece of parchment. Automatically, it seemed, Dumbledore reached out a long hand and seized the parchment. He held it out and stared at the name written upon it. There was a long pause, during which Dumbledore stared at the slip in his hands, and everyone in the room stared at Dumbledore. And then Dumbledore cleared his throat and read out – â€Å"Harry Potter.†