Stanley Kubric's use of montage and mise-en-scene in A Clockwork Orange

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ʑStanley Kubrick is a director notorious throughout Hollywood for his unconventional,

and often morose, films. He is a perfect example of a director who uses montage and mise-en-

scene to his advantage to create a certain mood and reinforce the themes of a film. Clockwork

Orange is a story which takes place in the future and tracks the leader of a gang of hoodlums

Buy cheap Stanley Kubric's use of montage and mise-en-scene in A Clockwork Orange term paper

particularly fond of committing acts of "ultra-violence." The same themes which are prevalent

in Kubrick's other movies appear here as well (the downward spiral of humanity, death,

destruction, and mayhem.)

The plot of Clockwork Orange is conveyed mostly by Kubrick's brilliant use of montage.

The first cut in the movie comes after a blood red screen and features the main character, Alex,

and his "rouges" looking sinister and drinking milk. From the film's outset we are tied to Alex,

the group's leader, in the eeriest possible manner, which sets us up for what is to come. There is

also an element of foreshadowing in the first shot of a red screen, which seems to suggest the

violence which ensues.

There are also numerous point-of-view shots which create a connection between Alex and

the audience. However, Alex is not exactly a person we want ourselves to identify with, but due

to the manner in which the film is shot, we end up sympathizing with him in spite of ourselves.

We follow the story through his eyes and therefore develop a strange love-hate relationship with

him.

There are also numerous examples of Kubrick using montage to create transition so that

the story goes along smoothly. However, Kubrick is far from the archetype Hollywood film-

maker and therefore does so in a subtler, more symbolic manner than the classic continuity style.

One such symbolic cut is seen early on in the film when he cuts from the gang beating a

homeless man to a close up of an elegant looking stage with artwork and fantastic detail. To

further create a serene atmosphere, classical music is playing, but this is in conflict with the

action that is taking place. The viewer is tricked by the initial cut, but when the shot opens up to

include the big picture, we hear screams of a naked woman who is struggling with four or five

young men who intend to rape her. There are undercurrents of theme echoing throughout this cut

and many others that allow the unsettling story to unfold by making the viewer uncomfortable.

Later on, after Alex has gone to jail and undergone a "treatment" which makes him sick

at the thought of violence, other shots occur which create transition and also convey a deeper

meaning than simply letting the story unfold on its own. After he has been beaten by his old

comrades and left in the wilderness, Kubrick cuts from a shot of Alex screaming in pain, to one

of lightning, to one of a sign that reads "home." In these three simple, successive pictures we

have ascertained that Alex is feeling completely alone, helpless, and scared and that "home" is

where he desires to be more than any other place at that moment in time. As if the viewer and

narrator had not already been through enough emotional distress, Kubrick then cuts to a shot of

an old man at his typewriter. This is the exact same cut we see in the beginning of the film

because, ironically, Alex has ended up at the exact same house his gang forced itself into years

ago to rape the exact same man's wife.

After the old man has given Alex shelter and medical attention, Alex takes a bath and

gets a little too comfortable. He begins to boisterously sing "Singing in the Rain," the same song

he sung years ago while performing the old "in and out" on the old man's wife. Kubric cuts from

a shot of Alex, feeling warm and safe in his bath, to one of the old man gripped by terror at the

most disturbing camera angle so that the audience can watch him convulse and see the whites of

his eyes. Again there is contrast between Alex's comfort and the old man's trepidation.

Lastly, Kubric also uses montage as a device for transition, such as when Alex jumps out

of a window to escape the torment of having to listen to Beethoven's Ninth symphony. Once he

jumps there is a shot of him falling and then a cut to a black screen. Not only is this another

point-of-view shot, but it also creates a small pause in the action. We know Alex cannot be dead

because he's the narrator (which he so kindly sums up for us in the next scene in case we were in

doubt.) So the shot conveys a change and prepares us for the fact that something about Alex will

be drastically different when we return to the action (and in fact when we do, he's "cured.")

The last point on the subject of montage is that it is used to convey the movie's theme. In

Clockwork Orange Kubrick cuts to images of very powerful allusions to convey the theme of

destruction. One such allusion is a cut of the Third Reich which is shown to Alex during

"treatment." Another very powerful image is that of Jesus which is used more than once in the

film. Early on, when Alex settles down in his room after a late night of "ultra violence," Kubric

cuts to shots of a statue of Jesus, but in a manner that makes it appear as if Jesus were dancing to

the music which is playing. Such an affront to religion makes very clear the type of world the

story takes place in, and that traditional values of righteousness have lost all validity. Jesus is

alluded to again later on, when Kubrick cuts to a re-creation of him carrying the cross. This is

supposed to give us a glimpse into Alex's mind and we are tricked into believing for a second

that he might have changed his ways. However, when the shot becomes wider we are horrified to

see that Alex is in the scene, driving Jesus forward with a whip. This simply reinforces the fact

that the world has become a cold, loveless place.

The last two powerful cuts occur towards the end of the film and in the last scene. First,

after Alex is drugged and locked in a room where Beethoven's Ninth Symphony is booming,

Kubric cuts to a shot of the old man rejoicing in Alex's agony. His expression and the fact that

there is complete silence dramatize the cycle of violence. The last example is the last shot in the

movie, where Kubrick cuts to a shot of sex and violence in the clouds (what's going on in Alex's

demented mind) and the movie ends that abruptly, completely contrary to the lofty moral

expectations of the typical Hollywood film-goer.

Mise-en-scene is the other stylistic device Kubrick uses to convey the themes of

Clockwork Orange. The set design is one example of how the film visually conveys its deeper

meaning. Throughout most of the movie, the sets are almost completely barren, have

disconcerting angles, or are filled with trash. This evokes an unsettling feeling in the viewer and

communicates the fact that humans have literally trashed their emotional environment. This

theme can even be seen in the landscape. For example, when Alex and his "rouges" flee the

scene of a crime and are driving down the road, there aren't even leaves on the trees. There is

absolutely nothing comforting in their world. Furthermore, when Alex's gang breaks into a

home, the dominant color in it is white in order to represent the victim's innocence and the

senselessness of their crime.

The set design is also used to enhance the plot of the film. When Alex is in jail, the

exercise yard looks like a shoe box with the inmates as little miniature people trapped inside of it.

There are no windows or pictures, but simply four brick walls. This amplifies Alex's feelings of

frustration and captivity. In contrast to the set of the jailhouse, the treatment center is primarily

made of glass, to show the proximity of the outside world (a destination Alex is desperate to

reach.) Once Alex has arrived home from treatment, his colorful (yet still not warm and inviting)

apartment is no longer his home and the shot cuts to him walking down by the river where almost

everything is tinted blue to exemplify his loneliness. When Alex is bathing in the old man's

bathroom, there are plants on the windowsill. This is not characteristic of the decor but makes

the viewer feel more comfortable and thus convey's Alex's feelings of contentment. Later on,

the old man tells Alex to "Try the wine..." and it looks a great deal like blood. This foreshadows

his revenge. When the old man has friends over who "sympathize" with Alex, there are big,

disturbing bright lights behind them which suggest that something is askew and that he is being

interrogated. Lastly, when the old man is torturing Alex, the set design is the most commonplace

that we see throughout the movie, which is contrary to the fact that Alex feels most

uncomfortable there.

In several instances Kubrick uses the shot to convey the film's themes. For example,

when the doctors are "treating" or in actuality torturing Alex, the light shines on them so they

look almost saintly. This suggests that pain and suffering are prevalent in the culture and are not

particular to the criminals. Again light is used when the government tries to boast about the

success of Alex's treatment. The shots are filmed from behind so that light shines on the people

on stage, making them appear saintly when, in fact, they represent sex and violence. Thus the

desire to be good is replaced by the temptation of evil. .

Kubrick's shots are also used to strengthen the plot of Clockwork Orange. In the

beginning, the shadows of the gang as they approach a victim are formidably long to convey their

power and brutality. The eerily long shots of Alex's face are another reason we identify with him

from the beginning. In support of the auteur theory, Kolker describes Kubrick's affinity for long

shots when discussing 001 A Space Odyssey. When Alex is being interrogated after getting

caught, the scene is shot in the corner of a small room to emphasize the feeling that he is trapped.

At the treatment center we always see Alex as diminished with the doctors looming over him, his

head is small and vulnerable with crazy gadgets holding his eyes open. Once Alex returns home,

the shots of him are closer and more intimate than with any other character, so again we

empathize with him. When Alex meets the homeless man he attacked at the film's outset, he is

accosted in a tunnel where he looks trapped and vulnerable. Lastly, when the official who

recommended Alex for "the treatment" visits, the shot displays his guilty feelings by juxtaposing

Alex dressed in white with the official dressed in black and enveloped in darkness.

Finally, the camera angles are elements of the mise-en-scene used to reinforce the

movie's plot. First, when Alex is in control of the gang, he is always the dominant figure, the

others sit or lean while he stands. When he is challenged by another member of the group, they

come face to face. This routine changes, however, when he is being interrogated by the police.

Then the camera is constantly looking down on him to highlight his vulnerability. Later on the

same trend occurs when he meets two old gang members who have become policemen. When

the two take him out to the woods, there is a shot held for an incredibly long period of time of

just their backs. Since we cannot see their faces we are in suspense and curious about what will

become of Alex. Lastly, when there is a shot of the old man, the camera, for the first time since

Alex's arrest, is again looking down. This suggests that there might be a ray of hope for the

narrator. However, when he realizes that Alex is the same man who raped his wife the camera

angle changes and there is a close-up where the camera is looking up into his face.

There are many examples of how montage and mise-en-scene can reinforce the plot and

themes of a movie, especially when executed by a skilled director. Within these two categories,

there are subcategories such as set design, shot, and camera angle. Examining these elements is

integral because all too often we view films simply for entertainment purposes when there is a

reason behind every decision in film making that we should pay close attention to.

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Self

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English epic poetry

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One distinctive characteristic of Old English Literature is the role of heroic epic poetry. According to wikipedia.org, epic poetry is defined as "a broadly defined genre of poetry, which retells in a continuous narrative the life and works of a heroic person or group of heroic persons either historical or mythical." In Medieval literature, the role of the hero has played a constant role in the works surfacing from that time period. The hero role is a man or woman who usually possesses powers far beyond that of a standard human being. In most cases, one of the ongoing themes from the work is the struggle between Man vs. Evil. An excellent example of an epic piece that includes the role of the hero is the literary work, Beowulf.

The Anglo-Saxon epic, Beowulf is probably the most important work of Old English Literature. It tells the story of a hero named Beowulf and his exploits fighting the evil Grendel's mother and a Dragon. The storyteller uses many elements to build a certain depth to the characters. According to studyworld.com, a few of the important character elements in Beowulf are "wealth and honor, biblical and paganistic, and man vs. wild themes."

In Medieval Literature, the mentality shared by many Anglo-Saxons can be inferred by its literature. In Anglo-Saxon culture, one can assume that wealth and status was also measured in terms of accomplishments. These characteristics were used as the barometer of who was good and who was evil. Therefore, these qualities show who are the heroes and villains. For instance, Beowulf, the hero-prince, proves his true wealth and status by defending the Danes. After his fight and defeat of Grendel, Beowulf earns the fame, wealth, and honor that he deserves; hence, depicting Beowulf as the true hero. On the other hand, Grendel has no money, honor, and murderous. As a result, he is the obvious villain EVIL.

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Movie- "Being There"

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ʑIn the film Being There, Director Hal Ashby very effectively makes a satirical comment on

the effect of television's impact on society. Chance, the central character in the spoof, is a mentally

challenged man who has lived his entire life enclosed by the walls of his rich master's luxurious

townhouse that isolate him from the actualities of the real world. He passes his days in a totally

routine manner, tending the master's garden, watching television and being fed by a black servant.

Any need to go beyond these daily rituals is precluded by his content state of mind and lack of

knowledge and interest in anything exceeding the boundaries of gardening and television. His habitual

means of living, however, comes to an end when his master is found dead in bed. Forced to leave

home for the first time in his life, he dresses himself in his master's elegant, specially tailored, 10s

apparel, and abandons the townhouse's shielding walls. While walking the streets of Washington, he

is awed by what to an average citizen would be mundane occurrences, for example kids playing

basketball. To him this fascinating phenomenon had been previously depicted only on the television

screen. Early in his induction into society he is struck by a limousine whose owner, Eve Rand, is the

wife of multimillionaire Benjamin Rand, an industrialist whose lofty connections tie him even to the

President of the United States. Chauncey Gardiner, the name Eve mistakenly interprets from Chance

the Gardener, is welcomed into her home to receive medical attention from her husband's personal

physician. Ben, Eve's husband, quickly becomes fond of Chance, mistaking his garden references,

such as "spring is a time for planting," for metaphorical axioms in relation to politics. Unable to

distinguish that Chance, who comports himself and is dressed in a manner that suggests he is a man

of prestige, is the simple-minded person he truly is, even the president takes his perceived symbolic

garden metaphors and quotes them on national television. Soon the media is stirred to action, trying

to determine just who this intellectual is. Audiences are captivated by the insightful messages they see

him present on television, and Washington considers him a candidate for presidency.

Being There, through the character of Chance, poignantly depicts the power that television

holds. Growing up Chance attained all his knowledge first through the radio and then through the

televison, once that means of communication was introduced. Chance in a sense did see the

television as a, "tiny box into which people are crowed and must live" (Carpenter 6).

Because of this reliance on the television, he was so overwhelming immersed in the medium that he

was unable to relate on a personal level to anything that occurred in reality. An example of this is

when the servant tells Chance his master has died. Upon hearing the news, Chance continues

watching television unable to express any emotion because his routine living has never called for it.

The television plays its purpose wonderfully by capturing Chance's attention with numerous images

flashing on the screen. He reacts to these images with interest and awe just as the first audience did

with the onset of the television. For them, it did not matter the quality of the programming but

rather the novelty of the technology. For Chance it did not matter the quality of the program

because of his lack of discerning judgement. The problem with the television in the case of

Chance, however, is that it is unable to provide the interaction necessary to develop intimate and

emotion filled relationships.

Other than television, the only event Chance takes part in during the day, other than eating,

is working in the garden. Even when working in the garden, however, he still lacks any interaction

that would foster his development to the point of allowing meaningful communication with others.

This complete lack of interaction is heightened when he leaves his deceased master's home

and wanders around the streets of Washington. When Chance is faced with a scene that causes him

discomfort, such as a gang of street kids antagonizing him, he reaches for his remote and tries to

switch the channel to a more pleasing prospect, not able to distinguish the difference between

television and reality.

It is ironic that something so detrimental to his personal and social development as the

television could in fact help him become respected and renowned in Washington. When Chance

arrives at the Rands' house, it is the mannerisms he mimics from the televison such as shaking hands

and looking pleasant that provide him with a semblance of normalcy. His inability to interact

intelligently manifests itself as a kind of quiet wisdom. Chance's garden references are mistaken by

Washington's elite for political metaphors. As a result, his status as a sagacious innovator takes hold

and grows to the extent that he is quoted by the president of the United States on national television.

Following his televison appearance on a talk show comparable to Leno, where once again his

simplistic gardening advice is misinterpreted, his credibility is enhanced and his celebrity status is

established. A media frenzy ensues, because like in the movie Quiz Show, where seeing is believing

and the audience is deceived by the suggestive power of televison, so too is the audience deceived

by Chance's naive innocence. After the broadcast, the nation is charmed and impressed and begins

to develop its own opinions and views on Chance, the latest televison dignitary. Miss Hayes, a lawyer

who at the beginning of the movie sees Chance as an anomalous inconvenience, labels him a man of

brilliance following the telecast. Miss Hayes' co-worker, Mr. Franklin, believes himself to have been

fooled by the act Chance put on at their meeting, thinking Chance fabricated his oblivious state of

mind. After seeing Chance on television he believes he, "must have been involved on some major

financial level with the deceased." Because Chance had no background, for reasons that are

unmentioned in the movie, the public begins to think that the information has been suppressed. One

man quotes, "No telling what he could be involved in. Could be extremely confidential matters."

There is even a heated debate as to whether it was the FBI or the CIA that destroyed the documents,

surely a parody of what happened in regard to Lee Harvey Oswald, the alleged assassin of President

John F. Kennedy. These examples exemplify satirically man's acceptance of television's assertions.

No sooner had Chance left the televison studio than the American public move to action, starting

conflicts with one another, diversely labeling a man no one knew hardly anything about, and basically

blowing things out of proportion. When watching the movie it is humorous to see the chaos that the

fictional character Chance causes, but what Ashby is daring to say with ridicule, is that there is in fact

truth in the plot. That we as a society do place tremendous importance on the televison, believing

what we see on nonfiction programs to be creditable.

Ashby's most powerful scene unfolds in the last minute of the movie, leaving the audience

stunned. While watching the movie I thought I had Chance figured out-- his character, his abilities

and his limitations Unlike the gullible and television-duped characters in the movie, I thought I had

totally discerned Chance's background and character and was feeling quite complacently smug about

it. The ultimate irony then occurs when Chance decides to walk across river, and he does just that,

walk across the river. This of course leaves the audience breathless realizing that they too did not

know just who Chance really was. Because we, this movie's audience had seen Chance at the

beginning of the movie we believed we understood who he really was and were not fooled by his

supposed metaphorical garden analogizes. When Chance took his stroll atop the river, submerging

his umbrella into it, it heightened Ashby's tacit contention that the audience just like the characters

in the movie began to see Chance as something deeper and we are now the umbrella trying to

penetrate the hidden depths.

Being There is a film with few limitations. The main drawback of the film is after the

extremely philosophical ending when the viewer is still searching for meaning the credits appear with

out takes that ruin the mood of reflection. Another limitation of the movie would be its audience.

Because of the complex content, it would only appeal to more mature viewers falling short of a

diverse market audience.

The cast for the movie come together to wonderfully pull off the spoof that Ashby masterfully

puts together. Peter Sellers whose acting credits are usually more of a boisterous and undignified

nature, Captain Clouseau from the Pink Panther for example, plays the lead role of Chance the

complete antithesis of The Pink Panther. In Being There, Sellers successfully fulfills the necessary

character traits of Chance such as his expressionless facial features, unawareness of the events

enfolding around him, and dignified overall appearance that makes Chance believable. Shirley

MacLaine who plays Eve Rand preforms her part as the wife of a dying husband depicting flawlessly,

the desire for sex that comes after months without being intimate with her husband. Melvyn Douglas,

who in fact won best supporting actor for his part as Benjamin Rand, most spectacularly portrays a

loveable, dying billionaire who is first to form the misconceptions of Chance that flourish into a

country wide debacle.

The sound in the movie is most prominent in relation to the televison. Any time Chance is in

the room watching television the viewers can clearly hear what he has tuned into regardless of the

conversation that is taking place foreground. It can be said that Ashby uses this method to reveal to

the viewers exactly what Chance hears. Although Chance is taking place in the conservation his main

focus is always the televison thus the sound of the television must always be in focus.

To be outright honest, this film should not have a sequel, prequel or be made into a televison

version. What makes this film so exceptional is the mystery of who Chance the gardener really is. To

have a sequel or prequel the answer would have to be unfolded thus ruining the Ashby's angle. The

ending if the movie can be taken in many forms. When Chance walks atop the water some could

compare it to the Jesus story and try and find a parallel there. Others may think that he walked upon

the water because in his lifetime nobody told him he couldn't. What I think Ashby did was make

Chance walk on the water just because he could knowing that people would search for the meaning,

such as some of the reasons mentioned above. I know after I saw the end I sat for hours trying to

figure out just what was the point Ashby was trying too make about Chance. The fact of the matter

is, in my opinion he is not trying to make any real point about Chance rather highlight his satire on

televison yet again.

However, not having a sequel, prequel, or television version is not an option to the successful

completion of this paper, so if I had to choose I would make a sequel where Chance learned to accept

and comprehend the other communication mediums. In the sequel, eventually people are going to find

out that Chance's metaphorical speeches are not in fact that but rather advice in how to maintain a

heathy garden. Eve Rand would be the one to help Chance adapt to the communication era since by

this point she had already fallen in love with him and her dead husband had left Chance his fortune.

In the movie, every communication medium would be explored by Chance. He would even have to

start right from the beginning with verbal communication learning how to maintain and participate

in a formal conversation. Next would com the telephone where he would learn the basics such as

actually picking it up when it is ringing, not hanging up without saying goodbye and saying hello,

rather than waiting for the person on the receiving end to do so. Finally he would learn how to read

and write. By its very absence from Chance's life promoting and sustaining Chance's celebrity status,

the all powerful print media is thereby ridiculed in Ashby's movie. Chance has risen to top celebrity

status without influence from the print media. Nieve simplicity

We don't watch TV; it watches us it guides us." Carpenter 65 (top right)

Television, it was said, would bring the family ever closer... Spigel 70 (top right)

"It keeps us together more." Spigel 7 (very bottom right)

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Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte.

If you order your essay from our custom writing service you will receive a perfectly written assignment on Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte.. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte. paper right on time.

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The poems I will be comparing are Wind by Ted Hughes and Lines Composed in a Wood on a Windy Day by Anne Bronte.In Anne Brontes poem she describes how the wind is affecting her by using religious words like soul, spirit.The religious words help to build atmosphere.She also uses many verbs like soaring ,dancing and dashing these give a sense of action to the poem and helps us imagine the storm in more detail.Also in the poem there are euphoric words like awakend and soaring which also add a sense of action to the poem.Throughout the poem she describes the effect the storm is having on her which is that it has awakend her soul and allowed her spirit to soar she is implying that the storm has put her in touch with nature.

In Ted Hughess poem Wind he uses a metaphor,describing his house as though it is a boat on the sea not land.He uses many verbs and adverbs like rose and flexing this is to bring the poem to life.Also in the poem he uses onomatopoeia; crashing,booming,stampeding, this also helps bring the poem to life and give it a sense of credibility.Also he uses these to give us a clear image of the storm including the sound of the storm destroying things and it helps us to identify with the person experiencing the storm.

The theme of both poems is similar they both describe the wind however Ted Hughes describes the effect of the wind on him his house and his family.Anne Bronte describes the effect the storm has on her, the earth and the ocean.She also conveys the power of the elements as does Ted Hughes.

The mood of Wind is action filled, loud and chaotic in the first stanza and then the mood changes to calm in the second stanza.He sugests that the landscape has been rearanged as a coseqense of the storm.Then in the third stanza he starts describing the storm again so the mood reurns to as it was in the first stanza and remains the same throughout the rest of the poem which is loud chaotic and eventfull.The mood in Anne Brontes poem is fast paced ,action filled my spirit is soaring. She uses words and descriptions to create atmosphere. The action filled mood is constant throughout the poem therefore contributing to a clear visualisation of a persistant and chaotic storm.The storm triggers many of her emotions like euphoria also she is in awe of the storm.

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The stucture of Anne Brontes poem is with costant rhyme of abab, and eleven or twelve syllables in each line. Ted Hughess poem has six stanzas with four lines in each stanza however it has an irregular rhythm much like its irregular which co exists with the irregular movement of the wind.

There are no similies in Anne Brontes poem, however she uses lots of verbs and adjectives which help us envision the storm. In Wind Ted Hughes uses onomatopoeia and verbs to describe the wind like booming as does Anne Bronte in her poem .He also uses adjectives like orange this is to ensure the credibility of the situation.

I found Anne Brontes poem more effective, she uses effective descriptions to personify the storm and help us envision the storm in detail the poem has a reggular rhythm that helps the storm to flow effectivly.She appropriatly describes how the storm has put her in touch with nature.The poem shows she clearly appreciates nature as she uses words like rapture and arousing which is different to the way Ted Hughes conveys nature he implies that it is frightening and wild by using adjectives like quivering and tremble .And onomatopoeia like stampeding and booming this also emphasises the loudness , power and intimidation of the storm. I appreciate how Ted Hughes uses onomatopoeia and verbs to create the storm and to help us appreciate the power of the storm.In TedHughess

poem he also uses similes ; Flexing like the lens of a mad eye and bent like an iron bar slowly these are to help us visualise the storm in greater detail in my opinion he is sucsessful in doing this, there are no similes in Anne Brontes poem however she uses descriptions that are positive and also descriptions that convey the power of the storm for example ; wild wind, ocean is lashing,wild roar,merily dancing,my soul is awakened these are effective in my opinion because they show that she is giving a positive description of the storm withought taking anything away from the power of the storm.

Please note that this sample paper on Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte. is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte., we are here to assist you. Your persuasive essayon Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte. will be written from scratch, so you do not have to worry about its originality.

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I Have A Dream Summary

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"I Have A Dream" is a speech written by Martin Luther King Jr. in order to influence and inspire the oppressed negro population of North America. Its vivid imagery and frequently metaphorical language delivered the audience unprecedented hope and determination despite their dire circumstances, which lead eventually to the liberation of the Negroes, and, to a degree, the dissolving of racial injustices across the nation.

King frequently makes use of repetition throughout the speech, emphasising his points and shaping the rhythm of his dialog. The repetition of phrases such as "I have a dream" and "Go back to…" gives the text a certain balance, symmetry and lucidity, making it more appropriate as a speech. This repetition also contributes to the imperative nature of his statements, therefore subtending a greater influence upon the audience and making the speech more memorable.

One of the techniques employed by King to give his speech credibility and make his key points more comprehensible is imagery. His imaginative and creative use of metaphors, such as

"This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality"

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and

"…staggered by the winds of police brutality"

make his assertions more explicit and accessible, an important element considering the low standard of education predominant among those in the audience. This contributes significantly to the effectiveness of the speech, and maintains the audience's engagement.

At the time of writing the speech, King was also a Reverend, which gives him credibility as a speaker. This is evident through his use of phrases originating from the bible. His statement

"Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred"

is clearly drawn from

"You cannot drink from the cup of the Lord and from the cup of demons, too."

1 Corinthians 10, 6

He also uses phrases sourced explicitly and directly from the bible, including

"…and the glory of the Lord shall be revealed"

This religious derivation enhances the appeal of the speech particularly to those with an affinity to Christianity, and promotes the integrity of the content. This augments the responder's willingness to concede the validity of the composer's opinion.

These techniques and others are all used to promote the integrity and sincerity of King's opinions and consequently inspire, enlighten, and convince his audience.

Please note that this sample paper on I Have A Dream Summary is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on I Have A Dream Summary, we are here to assist you. Your cheap college paperson I Have A Dream Summary will be written from scratch, so you do not have to worry about its originality.

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An Edgar Allan Poe Analysis

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Edgar Allan Poe's morbid fascination with death has always intrigued the public since his untimely death at age forty. Death has always been a theme in Poe's works because of his turbulent past and the death of ones he cared for the most. Poe's views on this subject are seen throughout his many publicized novels, short stories, and essays. Two such stories, "The Tell-Tale Heart" and "The Masque of the Red Death," both encompass Poe's interests on death. Why was the theme of death ever prevalent in so much of his works? Poe's enigmatic writings leave the general public of today to ponder this elusive question.

"The Tell-Tale Heart" tells the story of a misguided, nervous man who has just committed a hideous murder of this old man and apparently has buried him under the floorboards of the old man's room. The most striking thing is the narrator and his admittance of his sanity. This seems evident when he claims that "the disease had sharpened my senses-not destroyed-not dulled them" (Appelbaum 75). This narrator gives the reader a glimpse of the confused mind of Poe. The narrator almost parallel Poe in certain actions due to the fact that he realizes that he has a problem and is willing to show it to the audience. In Poe's life, the certainty of his alcoholism is mostly known. However, Poe himself knew that he had a problem but whatever he did, he could not escape the depths of the bottle. Death followed Poe wherever he went, whether it was the death of his mother or his wife. To reflect his pains, Poe constructed this fictitious yet similar character of his life to carry out a grizzly murder yet through guilt, was forced to give himself up for committing the crime. Poe probably thought about murdering people for the misfortunes that he had to live through but like the his character in "The Tell-Tale Heart," had enough sense to realize his sanity and put his 'murders' on paper instead of carrying them out in real life.

In most of his tales, Poe recalled his theme of death to enlighten and also to frighten his readers and critics. In "The Masque of the Red Death" Poe drew a horrendous portrait about the disease that was running rampant at the time, tuberculosis. In the story, Poe stated, "No pestilence had ever been so fatal, or so hideous" (Appelbaum 57). The 'red death' that he wrote about was and still is, of course, this terrible disease that has plagued and eluded him at the same time. From the death of his mother Elizabeth to the death of his wife Virginia who died in 1847 (Encyclopædia), Poe saw first accounts of what this disease could do. To articulate his feelings about the disease, he wrote a story encapsulating it as a character that brought death wherever it went. The hideous descriptions of the 'red death' showed his audience the ingenuous pains of what Poe were facing everyday of his short-lived existence. This story, as with "The Tell-Tale Heart," expressed his theme of death as a calculating pseudo-character always with the intent of murder. However, in this story, Poe's life is again mirrored in a sort of way as in "The Tell-Tale Heart." The way he pictured tuberculosis as a character gives the reader an avid account into Poe's personal life yet at the same time, offers the critical distance required to write apiece so clever and insightful.

Poe's bi-polar lifestyle made him a harsh critic yet at the same time he was an insightful listener. "The same duality is evinced in his art. He was capable of writing angelic or weird poetry, with a supreme sense of rhythm and word appeal, or prose of sumptuous beauty and suggestiveness, with the apparent abandon of compelling inspiration; yet he would write down a problem of morbid psychology or the outlines of an unrelenting plot in a hard and dry style" (Encyclopædia). Such were the case of "The Tell-Tale Heart" and "The Masque of the Red Death." His turbulent way of living and his appetite for liquor fueled his senses of death and he became this wholly new person that would write appalling and sometime outrageous tales of death and murder. Yet, he still seemed to hold on to his sanity whenever he was writing or with his companions.

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In all practicality, Edgar Allan Poe's lurid tales of the occult and death served to temporarily create a kind of surreal world in which Poe could live out his thoughts and fantasies to great extent. These tales, including "The Tell-Tale Heart" and the "The Masque of the Red Death," showed his audience the real nature of Poe. His creative banter fueled with the demons of his life spewed this unique creative genius that cannot be replicated today. His theme of death best symbolized in his short stories paints out a more frightening picture, however, and the audience is left with all sorts of questions surrounding Poe and his fascination with this theme.

Poe, Edgar Allan. Encyclopædia Britannica 00 Encyclopædia Britannica Online.

4 Feb, 00 http//search.eb.com/eb/article?eu=6058.

Appelbaum, Stanley, ed. Edgar Allan Poe The Gold-Bug and Other Tales. New York

Mineola, 11.

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