Garden of Love free essay sample

Blake is oriented towards playfulness and fun activities and the chapel symbolizes the opposite of Blake’s desires which is stillness and order. The rhyme scheme of the first stanza is A-B-C-B. The use of figurative language along with the simple rhyme scheme combines to offer a soothing effect for the reader. Also, the repetition of I in the opening stanza encourages the reader to trust the poet’s point of view. â€Å"I went to the Garden of Love, And saw what I never had seen; A chapel was built in the midst, Where I used to play on the green. †The tone gradually becomes darker because the experience of the poet’s life becomes more depressing with adulthood. The dark tone begins when the poet returned to the place where he used to play as a child. When he goes there, he notices that a chapel was built in the middle of his internal playground of happiness. We will write a custom essay sample on Garden of Love or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page He understands that the carefree life he had when he was a child was now replaced by the rigidity of rules. This garden of love symbolized a place of merriment and liberty. As he gets older, he mentions that a chapel was built.This chapel represents all of the rules and regulations that the poet has to adhere to as an adult which takes away his freedom that he once felt as a minor. â€Å"I went to the Garden of Love†¦ A chapel was built in the midst†¦Ã¢â‚¬  Blake figuratively speaks of the fact that he was not allowed in the chapel because of the strict laws, rules and regulations of religion – The Ten Commandments: â€Å"Thou shalt not†. Disappointed, the poet decided to turn to another part of his internal Garden of Love where flowers once were. There, he hopes to feel a sense of happiness again. The poet uses a symbol of flowers to represent joy, a feeling that he once felt in his youth. â€Å"†¦ I turned to the Garden of Love That so many sweet flowers bore. † In the last stanza of the poem, it seems as if all hope of happiness is lost for the poet. This happens when he got to the other part of the garden; it was filled with graves in a graveyard. These graves symbolize the disappointment that Blake felt as an adult. In the same place where innocence has bared its roots was the graveyard. This change highlights the theme: adults perceive the world differently from children. His dreams that were once flourished full of imagination lay now under the weight of sadness and strict laws of society. The feeling of discontent arises because he wanted to obtain a sense of alleviation, but instead reality struck him. Also on the graves were tombstones which replaced the flowers. These represent death, surely as opposed to happiness. There were priests walking around in the poem, â€Å"And priests in black gowns were walking their rounds†, which symbolizes politics and those who enforce the law of religion. He feels all his childhood freedom and joy were taken away.This is depicted by the use of briars which literally are thorny stems. Therefore, his dreams as a child were choked and could not come true anymore. â€Å"†¦and binding with briars my joys and desires. † The mournful and somber tone of the poem brought about a sympathetic mood. It makes the readers feel sad for the writer because of the lack of happiness as an adult. The use of first person and symbolism were two techniques used that helped to make a powerful contrast of the experience of the writer’s childhood versus adulthood.

Spanish Romantic Drama Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla Essay Example

Spanish Romantic Drama: Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla Essay One of the most familiar figures in world literature is Don Juan, whose name has become the label of the reckless rake and triumphant libertine. There was, apparently, a Don Miguel Maà ±ra in fourteenth century Seville, who seduced a trusting maiden, then killed her father, and spent his later days doing penance in a monastery. Out of his story grew the play El Burlador de Seville (The Seducer of Seville) by Tirso de Molina (pseudonym of the Spanish monk Gabriel Tellez, 1570-1648), the first dramatization of the Don Juan tale. In this telling, the statue comes into action. After Don Juan has seduced Dona Anna, he kills the Commandant Don Pedro, her father, who has come seeking vengeance. In the graveyard, the statue of Don Pedro warns Don Juan to repent and change his ways. Don Juan laughs, and in mockery invites the statue to a banquet at which the statue plunges Don Juan down to hell (Mansour 45-78). However, the most widely popular of the dramatic retellings of the Don Juan stor y is Don Juan Tenorio, 1844, by Josà © Zorrilla y Moral (Spanish, 1817- 1893). March 18, 1844, saw the debut in Madrid’s Teatro de la Cruz of what is undoubtedly the most popular production of the Spanish stage, Don Juan Tenorio. It is not easy to determine Zorrilla’s sources in writing this work, since not even his own words on the subject are reliable. The issue has been studied widely by scholars such as Josà © Luis Varela (1975), Garcà ­a Castaà ±eda (1975), Picoche (1986), and Fernà ¡ndez Cifuentes (1993) in their respective editions of the play. Regardless of which sources might have inspired him, Zorrilla maintained the setting and the characters created by Tirso. He added many new situations, created the character don Luis Mejia, Don Juan’s antagonist, and introduced Brà ­gida, who combines the role of â€Å"graciosa† with that of go-between in the tradition of Celestina. The servant Ciutti is not his master’s conscience, like Tirso’s Catalinà ³n, but rather the executor of his wishes. However, the princip al theme of the play is Zorrilla’s main innovation: the redeeming power of pure love, a purpose that voids the Counter-Reformation character of Tirso’s play (Mazzeo 76). We will write a custom essay sample on Spanish Romantic Drama: Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Spanish Romantic Drama: Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Spanish Romantic Drama: Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Don Juan Tenorio is a Romantic drama devoid of any theological, moralizing, or didactic value. The supernatural intervention of Don Gonzalo and Doà ±a Inà ©s’s offer to God to make her salvation contingent upon that of Don Juan, lack any religious meaning, belonging to the realm of fantasy. The melodious fluidity of the rich verse, the liveliness of the action, the brilliancy of the spectacle, and the impact of the plot made Don Juan Tenorio the greatest creation of the Spanish Romantic theater. Zorrilla was an innovator of the historical drama that flourished in the 1840s (Mandrell 56). In Don Juan Tenorio he carried on the national tradition. Like other contemporary authors of historical plays, Zorrilla modified history. He also complicated his plot with elements of intrigue that maintain suspense until the end of each play. In his drama, there is a mysterious character, intelligent and powerful, who is in possession of a secret that will change the course of events. This character embodies justice and always prevails over the villains. The protagonist of Zorrilla’s drama is a charismatic character taken from Spanish history, and the author places him in the center of a plot full of action. The fact is that Zorrillas work is full of the romance, the cheap spiritual flights, the sentimentalities, and the scenic crowding that all but killed the theatre in the nineteenth century. When the curtain goes up on to the set of Zorrillas Don Juan Tenorio, the spectator immediately enters the leveled world of carnival: Don Juan, wearing a mask, sits at a table writing. . . . When the curtain rises, people in masks, students and townspeople are seen passing by. . . . The setting is appropriate; in fact, don Juan, the first hero of modernity ( Serres 1982, p. 3), seems quite at home in this world of carnival. Moreover, his entire life, like carnival, knows no boundaries, respects no hierarchies: My love has spanned the whole of our social scale . . . ; From the haughty princess to the wench who fishes in a miserable boat . . . ; I descended to humble cabins, I rose to palaces, I climbed the walls of cloisters and everywhere I left a bitter memory of myself, I recognized the sacredne ss of nothing and my audacity respected not a single place or occasion. Nor have I bothered to distinguish between the religious and the secular. Don Juan defies death because his Tantalic love makes him seek the annihilation of his temporal existence in order to reunite with the absolute, which contains in its engulfing unity his perfect beloved. Don Juan displays a suicidal courage, as if actually courting death. In the play Don Juan is longing for his perfect love is linked, or even equated, with his quest to partake of the grace of God. Don Juan Tenorio declares: I worship Dona Ines ( Donna Anna). Im convinced that Heaven has granted her to me to turn my steps in the paths of righteousness. I didnt love her beauty nor did I worship her charms. Don Gonzalo, what I adore in Dona Ines is her goodness. That which judges and bishops could not bring me to with threats of jail and sermons was accomplished by her purity. Her love has transformed me into a new man; it has renewed my whole being. She can make an angel of one who was a devil. The figure of Don Juan lends itself to many meanings (Parker 19). It has been viewed as embodying the constant impulse of mans body, as Faust represents the tireless impulse of mans mind. It has been viewed as showing the attempt of man to hide from his fears. It is best presented when the dramatist, like Zorrilla, presses no single symbol of his own, but shows within Don Juan qualities and urges that in lesser measure every man can recognize within himself, so that the universal human figure takes the unique and individual aspect of each one. Thus Don Juan Tenorio becomes another, a less Puritan and more catholic Pilgrim, on blundering, destructive, yearning, pathetic progress toward a goal he can only dream (Kristeva 67). The view that Zorrillas version presents the struggles of an individual against the interests of a repressive and unyielding social hierarchy is equally apposite, as is the notion that the basic tenets of orthodox Catholicism are glossed over in order to reconcile salvation with the rights of an individual as construed in terms of Romantic ideologies (Kern 66-70). Don Juan Tenorio begins with a letter. Play begins, thus, by transcribing one of the central motifs in its model (Mandrell 234). To be sure, there are important differences between the romantic melodrama and the modern esperpento. Don Juans esperpento opens with the writer sitting at a table sealing the envelope. In point of fact, Don Juan Tenorio, though not an overt repetition of its precursor, both includes El burlador de Sevilla and thematizes its inclusion thereof, making this process of rewriting into the stuff of drama. The entire first part of Zorrillas drama turns on issues related to writing and rewriting; the continuing conflict between Don Juan and Don Luis, depicted most clearly during the second bet, is an outgrowth of just this sort of thematic interest (Blue 78). To be sure, the interest in writing is obvious in the opening scene, in which a masked Don Juan pens a letter. The notion of this commingling of souls and uniting of destinies as presented in drama is nothing new. Yet it serves to underline the cardinal importance of the letter and all texts in Don Juan Tenorio and in Don Juans story, indeed, the complicity of narration and literature in the very act of romance. In terms of Don Juan and Doà ±a Inà ©s, this commingling of souls picks up the notion of the daemonic Don Juan and that of the reading of a narrative scenario in a letter, fashioning of these different materials the mutual dependency of Don Juan and Doà ±a Inà ©s. Doà ±a Inà ©s, soul of my soul, becomes the soul of love, the Psyche of Eros, the manner in which, in a skewing of Platonic and Christian doctrine, Zorrillas Don Juan can reconcile himself with God. The joining of the two souls and destinies (lines 1662-63; 502) means that the spiritual future of each is dependent on the other. Not only does Doà ±a Inà ©s save Don Juans soul, but Don Juan saves the soul of Doà ±a Inà ©s. In this sense, Zorrillas Don Juan is a daemon, his testimony to Doà ±a Inà ©ss love for him is the deciding factor in the fate of each. The fact that Don Juan repents - ¡Seà ±or, ten piedad de mà ­! [God, have mercy on me!] (line 3769; 537) overrides the Statues grim sentence, Ya es tarde [It is too late!] (line 3770; 537). Doà ±a Inà ©ss investment of her soul is repaid in kind. Doà ±a Inà ©ss love for Don Juan derives from reading, in this case not of a book, but of the letter sent to her by Don Juan:  ¡Ay! ÃŽ ¼Quà © filtro envenenado me dan en este papel, que el corazà ³n desgarrado me estoy sintiendo con à ©l?  ¿Quà © sentimientos dormidos son los que revela en mà ­  ¿Quà © impulsos jamà ¡s sentidos?  ¿Quà © luz que hasta hoy nunca vi?  ¿Quà © es lo que engendra en mi alma tan nuevo y profundo afà ¡n? (lines 1732-41) [Oh! What poisonous filter is hidden in these words? It tears my heart apart! What hidden, sleeping thoughts these words reveal in me. What strange feelings they arouse. They cast a light upon me unlike any I have ever seen before. What has sown my soul with such new and deep desire? (503)] Once disseminated by Don Juans papel, the poisonous filter takes hold of the novice and she begins to repeat the content of the letter, to learn her papel or dramatic role:  ¡Ah! Bien dice: juntà ³ el cielo / los destinos de los dos, / y en mi alma engendrà ³ este anhelo / fatal [Oh, he spoke true! Heaven joined our destinies and engendered in my soul this fatal longing] (lines 1748-51; 503). Don Juans letter is not, then, just a point from which poetic and dramatic coherence originate but also the means by which Doà ±a Inà ©s completes her brief cursus in the ars amatoria. The letter is the text from which her actions in the drama derive, that which provides her with her papel, or role. Thus, the Don Juan of Don Juan Tenorio writes not only his own role, the list or papel, but writes other roles as well, demonstrating in the process the power of mens words with respect to female resolve. To restate the remark of Dantes Francesca, Don Juan fu l libro e chi lo scrisse [Don Juan was the book and he who wrote it]. Despite its late appearance in the play, and despite the fact that it is a secondary text in terms of Don Juans identity, the letter sent to Doà ±a Inà ©s is of primary importance for understanding the temporal ordering of the drama, and, in turn, the role played by El burlador de Sevilla in regard to the dependency of Don Juan Tenorio on its precursor. The papel is actually read in the third scene of the third act, roughly midway through the first part of the play, but it is being written as the drama opens. The effect of this lapse between the writing and the reading of the letter is to divide past actions from future developments, to create a dramatic parenthesis into which the past is interpolated. This means, of course, that Don Juan intended to abduct Doà ±a Inà ©sbefore he met with Don Luis to settle their bet. Doà ±a Inà ©s enters into Don Juans second wager with his rival, but more to the point, the second wager with Don Luis already enters into Don Juans future plans. The division between the past and future plans, as well as the elliptical presentation of the letter that points up these differences, fits into a linear pattern of increasingly obsessive passion (pasià ³n insensata), one that is best described by Don Juan himself: Empezà ³ [esta pasià ³n insensata] por una apuesta, / siguià ³ por un devaneo, / engendrà ³ luego un deseo, / y hoy me quema el corazà ³n [It began (this obsessive passion) with a bet and grew into a frenzy which later engendered a desire and now my heart is consumed with fire] (lines 1310-13; 496). Construed in terms of strict diachrony, Don Juan Tenorio begins with a wager, follows with a recapitulation of that first bet, and continues with the inception of another bet that corresponds to Don Juans growing desire. This desire finally becomes overwhelming in its force, burning Don Juans heart (Shipley 56). But with which wager, the first or the second, does Don Juan Tenorio really begin? Linearity notwithstanding, the division between the first and second bets, the reading and discussion of the papel, marks the point at which the two key figures, Tirsos burlador and Zorrillas Don Juan, begin to differ. Only the list of misdeeds allows the protagonist of Don Juan Tenorio to be identified as a Don Juan at all. Without a legendary past, which is to say, without Don Juans literary past as embodied in the list, Don Juan is just one more Romantic rouà © who finds true love and, determined to secure the object of his adoration, infringes upon various social conventions much to the delight of his cohorts (Abrams 67). The circularity of the first part of Don Juan Tenorio thus features the pertinent information of the past, El burlador de Sevilla, in order to render the future drama intelligible, doing so by means of incorporating entire an earlier text that both explains the past (and past tex ts) and engenders the future of the drama (as well as the drama itself). Yet even as the prior text is included in the refundicià ³n, it is rewritten by the other text that constitutes the basis for a new series of actions: Don Juans letter to Doà ±a Inà ©s, and, by extension, Don Juan Tenorio. As the second part of the play opens, the sculptor of the sepulchral statues is in the Tenorio pantheon, and he addresses his creations. This monologue constitutes an extended consideration of artistic glory and immortality:  ¡Ah! Mà ¡rmoles que mis manos pulieron con tanto afà ¡n, maà ±ana os contemplarà ¡n los absortos sevillanos; y al mirar de este panteà ³n las gigantes proporciones, tendrà ¡n las generaciones la nuestra en veneracià ³n. Mas yendo y viniendo dà ­as, se hundirà ¡n unas tras otras, mientra en pie estarà ©is vosotras, pà ³stumas memorias mà ­as.  ¡Oh! frutos de mis desvelos, peà ±as a quien yo animà © y por quienes arrostrà © la intemperie de los cielos; el que forma y ser os dio, va ya a perderos de vista;  ¡velad mi gloria de artista, pues vivirà ©is mà ¡s que yo! (lines 2656-75) [Oh, my marble beauties, carved so lovingly with these hands. When Seville comes tomorrow, wide-eyed, to contemplate your grand proportions and the beauty of this pantheon, our age will earn the veneration of generations to come. Days will come and go, men will come and go while you still stand, my posthumous memories. Oh, children of my labor, stones I brought to life and for which I was at the mercy of the heavens. He who gave you form and being is now going to lose sight of you. Watch over my artistic glory. You will live longer than I. (519)] A typically Romantic creative genius, the Escultor depicts himself as a little god who creates and gives life to the statues, all the while defying the undeniably greater forces at work in the world. Moreover, the statues will bear forth the glory of the sculptor, will grant him the possibility of artistic fame and immortality. Zorrilla also uses the Escultor to advance a subtle polemic relative to compensation for artistic endeav- ors. When Don Juan attempts to slip him something for the statues -Pues bien merece algo mà ¡s / un retrato tan maestro. / Tomad [Such a likeness deserves something more. Here] (lines 2866-68; 522) the Sculptor replies, Mirad que està ¡n bien pagadas [But they are well paid for] (line 2872; 522). If, as I suggest, the Escultor represents Zorrilla, then we ought to understand this brief exchange in terms of the relative status of authors in early nineteenth-century Spain (Ford 66).The monuments of the statues correspond, therefore, to the document that i s Don Juan Tenorio; the pantheon of the dead is the gallery of great authors. In his play we find elements characteristic of Romantic drama, such as deadlines to be met, settings in cemeteries, dungeons, castles or hermitages, characters believed to be dead that unexpectedly reappear, anagnorises, intrigues, and a wide diversity of secondary characters that add a picturesque touch. Zorrilla’s play gives a sentimental version of love and patriotism and invariably end with Good triumphing over Evil. Although the majority of Spanish Romantics had a Neoclassical formation, with models such as Lista and Quintana, young Zorrilla read the Duque de Rivas and Espronceda. His work lacks intimacy and does not present ideological problems; instead, it depicts a conventional chivalric Spain of the past, populated with valiant cavaliers and noble ladies. His literary Catholicism manifests itself in great sins, great repentances, and exemplary miracles. He was responsible for extending the Romantic drama until well into Galdà ³s’s times. Every year, during the days of the commemoration of the dead, the blessed souls in Purgatory, the people come as to a mass, a procession, a funeral, to hear and see, to admire, to fear, and to pity Don Juan, and to adore Dofia Inà ©s doà ©a Inà ©s of my soul maternal and virginal at the same time (Fernà ¡ndez 123). nbsp; nbsp;

Imagination in Heroics of Odysseus and Don Quixote Essay Example

Imagination in Heroics of Odysseus and Don Quixote Paper The most respected and venerated social group in ancient times and middle ages were that of the heroic warriors, knights, and kings. The view of what it is to be a hero is winning honor through combat and in a competitive situation. A hero would be someone who has great fighting skill and would even dare to risk death to have honor. The heroes were the people who would lead their armies or fellow knights into battle and won accolades for their courage displayed on the battlefield. On the other hand, the cowardly were subjected to strong prejudice. Their existence was considered a burden on the earth and they were ignored and ridiculed by everyone. This noble characteristic is evident in the Odyssey by Homer and Don Quixote by Miguel de Cervantes. Both the authors draw different characteristics of what it means to be a hero in different ways. In the Odyssey, mere fighting skill does not necessarily mean that Odysseus was the hero. Rather, we see a man who is very shrewd and cunning. Although he is a brilliant fighter, he also shows restraint and mercy. On the other hand, Don Quixote was not a born hero like Odysseus. We will write a custom essay sample on Imagination in Heroics of Odysseus and Don Quixote specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Imagination in Heroics of Odysseus and Don Quixote specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Imagination in Heroics of Odysseus and Don Quixote specifically for you FOR ONLY $16.38 $13.9/page Hire Writer He is deluded by chivalric ideas of heroism and valor and sets out to reform the world along with his sensible companion Sancho Panza. Both the heroes are from two very different times of the world but both of them tried to conquer the world with their heroic acts. Its not just their heroic acts that set them as two of the most renowned heroes of all time; its also their imagination or ability to conjure things that makes them stand out. But in comparison, imagination is the key which makes Don Quixote as the hero where imagination just adds a dimension to Odysseus character that rules him along with other traits. Heroes are renowned for their abundance of qualities that enable them to conquer any problem. Odysseus, from The Odyssey, is no different. He represents the heroic ideals of Ancient Greece, and is revered for his perseverance, intelligence, and leadership abilities. Greek heroes were the people who saved people; they were courageous wise and had fighting spirit. But apart from all, all the Greek heroes used to be favored by the divine gods. Odysseus holds almost all the heroic qualities. But he was not always favored by the good gods in his decade long voyage as stated by The Study Club (1922)- As a hero, Odysseus, it is true, ranks far below Achilles, but he is a much greater figure one who can endure without despair, even the disfavor of the gods and can by strength of will and the guidance of reason eventually triumph against unbelievable odds (p. 115). So, if it was not the help of the gods or if was not only his strength and power, what was it that helps him to survive such a long journey? It was his wit, it was his imaginary that saved in many occasion. It not only saved him, it also distinguishes him from many other Greek heroes who are remembered for their muscles, not for their brains. Odysseus departure from Troy is the beginning of his long heroic adventure. What of those years of rough adventure, weathered under Zeus? (Book 1)- This quote depicts not only the rough times Odysseus will have on his journey, but also reveals that Zeus will watch over him. Odysseus will cross the threshold and go to places from where no one has returned before. On the island of the Cyclops Odysseus exhibits his abilities, as he developed a plan to escape the Cyclops cave. Odysseus has this plan and utilizes it. He and most of his men escape the cave unharmed. This symbolized the escape from the belly of the whale (Anthony, 1972). Throughout his journey, Odysseus receives some help from supernatural powers, which aid him to fulfill the heroic voyage. Aeolus, the god of winds Presents Odysseus with a bag, filled with all the bad winds. Although this was a great help to Odysseus, it did not last long. Odysseus also had help from other gods and goddesses. But it was his own skill that helped Odysseus to pass the obstacles one after another. He becomes the first to ever pass the island of the sirens unharmed. He does not carry away with the lovely seductive songs of the sirens. The men filled their ears with wax and only Odysseus, who was tied to the mast, was able to hear the tempting songs. As they passed the island, Odysseus screamed to be free, but the men would not free him. It was a temptation that Odysseus keeps in check through foresight and imagination. Similarly, when Odysseus and his crews are trapped in the cage of Cyclops, he again uses his intelligence. He realizes that he cannot defeat the one-eyed monster with his sword and muscle. Rather, he opted to wait for the opportune moment and outwit Cyclops. When asked his name, Odysseus told Polyphemus that his name is Nobody. Odysseus feeds the Cyclops some wine, which made him fall asleep. Then Odysseus and his crew took a large burning timber and blinded the Cyclops. After hearing his cries, Polyphemuss neighbors, other one-eyed monsters come running to the cave. Polyphemus yelled to his neighbors through the stone door, Nobody is killing me! Nobody has blinded me! (Book IX) The neighbors dismissed his cries and return to their own caves. Here, at first when Odyssey disguises himself as Nobody, it seems there I no real significance in this. But finally it comes out as the trick that makes Polyphemus stranded and isolated when other Cyclops thinks that he is just too drunk and went insane. Similar treatment is received by Circe, the sorceress, as Odysseus knew that she is too strong for him and if he does not counter her with his intelligence, he will turn into pigs along with his crews. Therefore, he again waits for the opportune moment and when it is there, he puts his sword on her throat and makes his way out. Again when he returns to Ithaca, he does not just go back to home. He is very much aware that things are not the same as he left them. There are suitors around here and many of them are ready to kill him and throw him out of his throne. Instead, Odysseus disguised himself as a beggar and starts to gain reliable companions. Finally, when Penelope arranges the contest, suspecting the beggar is none but his long lost husband; Odysseus again proves he is superior to the suitors and kills all of them one by one. And it does not end here since he realized he and his family is still not out of danger as the companions of the dead suitors will look for revenge and finally he triumphs over them as well. In any other story of epic, the hero would have not taken all this trouble of hide and seek play. They would have rather come straight to confront their opponents and beat them after a fierce battle and triumph. It is the wit, intelligence and the vision that distinguish him from many other epic heroes. In contrast to Odysseus, Don Quixote is not just another epic hero. He is not a youthful and strong knight or warrior who goes to a battle, fight fiercely and conquers them eventually. He is rather a man who has passed the prime of youth and now living in his middle ages. He has never gone to any battle or knight-errant, neither does he has any prior experience to fight. In Don Quixotes time, reading was the only entertainment in the home. Most people werent very well educated anyway so some could not tell the difference between pretend and reality. That is probably why people who read the bible took it so literally. The clergymen were more educated and knew how to take advantage of the people. People were so afraid of what it had to say; they did whatever it said so they would be doing well (Madariaga, 1928). Don Quixote did the same thing as those religious people. He believes exactly what he read. Unfortunately for him, those books were outdated; there were no knights in armor anymore. He convinced a less educated man to come with him on his travels. His squire is not as educated but he has good common sense. So, Don Quixote is actually the story of how an ordinary man becomes a hero even with his silly and foolish deeds. In medieval times, knights roamed the countryside of Europe, rescuing people and vanquishing evil lords and enchanters. This may sound absurd to many people in this time, but what if a person read so many books about these so-called knight-errants that he could not determine the real from that which was read? Such is the case in The Adventures of Don Quixote which takes place sometime in the fifteenth and early sixteenth centuries. Don Quixote is not really a don at all. He is a wealthy, intelligent farmer who read too many books about knight-errantry and goes crazy. He convinced a simple-minded peasant named Sancho to become his squire, promising him wealth and a high spot in society. Together they go for many adventures, both are convinced that they are doing brave and honorable acts of chivalry, when they are only two fools running around the countryside. Interesting part about Don Quixote is that his entire adventure is based upon his imagination. He lives in his own utopia where he sees everything from a great knights perspective, though the knights are long gone. He imagines himself as one of the great knights and vows to take the mission to rescue mankind. In his one of his adventures, he comes across a man named Juan Haldudo lashing his shepherd boy and thinks Haldudo is an evil knight. He challenges the farmer and makes him swear by the code of chivalry that he will pay all the accrued wages of the boy. Let all the world stand still if all the world does not confess that there is not in all the world a fairer damsel than the Empress of La Mancha, the peerless Dulcinea of El Toboso this is his announcement when he see a group of merchants and assumes that they are knights. The merchants think Don is crazed and he receives a beating from them. Again when Don comes across the giant windmills, he imagines them into evil giants. Despite his squires caution that they are harmless wind machines, he charges and one of the circling vanes knocks him out. When he realizes that these are windmills, he starts to believe that a magician must have turned the giants into windmills to thwart his heroic attack. The entire adventure of Don Quixote is based upon his imagination. He just does not seem to see things straight. Once he even attacks a funeral procession escorting a litter draped in black. He believes the litter holds the body of a wounded or slain knight who was the victim of villainy. He thinks the inns as castle and the giant turns out to be the innkeepers goatskins of wine. After many other eventful adventures, all which are something extravagant according to Dons illusion, finally he is beaten by a real knight and draws an end to his knight-errand. But he switches from one form to another- he now wants to be a shepherd and wants to live his life under the sky. He begins to think a shepherds life is a life that has appeal. Although the adventures of Don Quixote seem very stupid in nature outwardly, there are several factors which bear great value. Through his imaginary adventures, Don Quixote upholds the moral idealism. Even though he is mad, he realizes that there are eternal, unchanging values that remain valid in a modern, ever-changing world (Bell, 1947). Interestingly, throughout the novel, the character of Don Quixote remains a puzzle. Sometimes even it appears that behind his every mission, he has a vision. Liberty, Sancho, my friend, is one of the most precious gifts that Heaven has bestowed on mankind or Sanity may be madness but the maddest of all is to see life as it is and not as it should- this quotes suggests that may be he is deliberately trying to be a fool. Through his imagination, maybe he is trying to point out the lack of justice that prevails in the society. If we look at the use of imagination in both Odysseus and Don Quixote, we will actually find Don Quixote is the one who is dominated by his imagination a lot more than Odysseus. In fact Don Quixotes idea of realism seems to be in zero level in comparison to that of Odysseus. Odysseus is a seasoned hero who fought in numerous battles and is knowledgeable enough to know when to use the power of sword and when to use the might of his intelligence. In contrast, Don Quixote seems to be content with his own vision. He sees the world as he reads them in the book. To him the world is still threatened by the evil people and wicked knights and he must be acted as a savior. In fact, the imagination ruled Don Quixote so much that Sobre (1976) stated Don Quixote is a perfect example of created reality. The character Don Quixote is real, and he lives in a real world, but everything that he sees is exaggerated in his mind. He engages in so many adventures that he is convinced that he is doing brave and honorable acts of chivalry, when he is only a silly man running around the countryside. Odysseus on the other hand is very unlike Don Quixote and many heroes who seem invincible. They have no life, no feelings, no weaknesses. Odysseus feels pain, frustration and grief but at the same time his family and friends and those relationships and emotions are what make him like every person. He is brave and strong person, who is also very human. And above all its his ability to read a situation and use of his imaginative power to sort the best out of it. A large number of his adventures show his cool and calm nature and clear vision that makes him unlike most of the Greek epic heroes. So, we find here two different characters with two different attitudes to the world. Where Odysseus seems very practical and goal oriented, Don Quixote on the contrary is very much like a child and often seems very bizarre as a hero due to his uncanny behaviors. However, its the use of the imagination that actually draws the line of distinction between their heroics. Odysseus lives and conquers in a world where the daemons live along with the evil people and he fights them all with his might and wit. But Don Quixote has actually created a world which does not really exist in reality; it exists only in his dreams.

The Search for Their Promised Land Professor Ramos Blog

The Search for Their Promised Land When Frederick Douglass died in 1895, white social and political leaders saw that his death created a power vacuum for a black political leader in a particularly dangerous, unstable time. They would attempt, and succeed, to fill this vacuum with someone who they hoped would help to quell the racial tensions, someone who had risen from the lowliest of circumstances of his race to a place of high regard and clout, and someone who had already demonstrated his moderate, accommodationist philosophy in previous addresses: Booker T. Washington. As recounted in his autobiography, Up from Slavery, Washington spoke about his views at two significant events in the North and received a positive reception from both Northern and Southern whites, before he was asked to speak at the Atlanta Cotton States and International Exposition in fall of 1895. His controversial speech would come to be known as the Atlanta Compromise. Despite succeeding at bringing together both black and white interests in the South, it would also serve to ingratiate the Negro race to white America and would be partially responsible for slowing social and political progress in the era of Jim Crow. Though he originally agreed with the address, these points and further criticisms of Washington’s program are what W.E.B. Du Bois wrote about in The Souls of Black Folk; this publication would forever put him in intellectual opposition to Washington. In order to understand the differing impacts of the writings by Washington and Du Bois, it is necessary to understand the stage onto which these major players entered. Jacqueline Moore notes the rise of minstrel shows and blackface in the mid 1800’s propagated racial stereotypes that African-Americans were â€Å"lazy, dishonest, and lacking mental capacity for anything beyond manual labor† (4). In 1859, Charles Darwin published On the Origin of Species, which gave rise to â€Å"Social Darwinism†. Social Darwinism was a theory in the social sciences that believed Western European races were the ideal and therefore the degree of difference between any race from that ideal, was directly proportional to that race’s inferiority (Moore, 3). This belief was further reinforced by the pseudo-scientific evaluation of African facial features that was being conducted at the time (see fig. 1). These studies gave a scientific basis and excuse for racism. Fig. 1. Sketches from an 1854 study wherein a caricatured Negro male is compared to the Greek ideal and to a primate from: Nott, Josiah Clark. Types of Mankind. Agassiz, Louis, et. al., pp. 458, Lippincott, Grambo, Co., 1 Apr. 1854. The end of the Reconstruction Era and the withdrawal of federal troops from the South saw a drastic increase in voter fraud, intimidation, and violence at the polls, targeting African American voters (see fig. 2). All of these, combined with the South’s economic hardships in the Post-Reconstruction Era, and the rise of the Ku Klux Klan, culminated in the time period that historian Rayford Logan, who has written extensively on African-American history and race relations, describes as the nadir of African-American history. Fig. 2. Political cartoon showing intimidation at the polls from: Frost, A.B.. â€Å"Of Course He Wants to Vote the Democratic Ticket.† Harpers Weekly, 21 October 1876, dcc.newberry.org/items/of-course-he-wants-to-vote-the-democratic-ticket. According to Logan, the decade between 1890 and 1900 was marked by over two thousand documented lynchings (informal public executions by mobs that bypass due process). These lynchings were brutal affairs, often involving torture of the victims, distribution of dismembered body parts as souvenirs to spectators, and widespread circulation of photographs of the killings or effigies thereof (see fig. 3). Fig. 3. A Ku Klux Klan effigy being lynched , used to intimidate potential black voters from: Unknown Source circa 1920s. These events sent a political message of white supremacy and black powerlessness in a way that is equatable to systematic political terrorism. This message was not just the angry cry of white men, but was in fact backed by state legislature. By 1908, ten out of eleven Southern states ratified new constitutions and amendments to disenfranchise African-American voters in an attempt to counteract the 15th Amendment adopted in 1870. Du Bois said of this time period, â€Å"The Nation has not yet found peace from its sins; the freedman has not yet found in freedom his promised land.† This is the social climate in which Washington and Du Bois both gained prominence and developed their divergent viewpoints. In an interview conducted before his death in 1963, Du Bois acknowledged that the differences in philosophies were probably due in large part to the differences in their upbringing and development (McGill). Booker T. Washington was born into slavery on a Virginia plantation in approximately 1856. After the emancipation proclamation, he and his family joined his step-father, a freedman who escaped slavery during the civil war, in West Virginia. As a young boy, Washington, like his step-father, worked in coal and salt mines. After work, he walked great distances to go to school and painstakingly learned to read and write. It is this time period that may have shaped his philosophy that hard work would lead to economic success, and thereafter political power would be earned and given freely. After common school, Washington attended Hampton Institute, a school established to educate freedmen and their descendants, before being recommended to be principal and founder of Tuskegee Institute. W.E.B. Du Bois on the other hand, was born to free, land-owning parents, post emancipation in 1868. He had access to greater privileges from the start. He attended the local integrated public school, earned a bachelor’s degree from Fisk University and from Harvard. He did graduate studies at the University of Berlin with some of the top social scientists of the times, and went on to be the first black man to obtain a Ph.D. from Harvard in 1985, the same year Washington would give his Atlanta Exposition speech. Fig. 4. Letter from W.E.B. Dubois to Booker T. Washington congratulating Washington on his Atlanta Exposition Speech from: Booker T. Washington Papers, Manuscript Division, Library of Congress, (003.00.00) Digital ID # na0003, 24 Sept. 1895, loc.gov/exhibits/naacp/prelude.html At this time, Du Bois’ ideology was not yet crystallized. He originally approved and congratulated Washington on his address, calling it â€Å"a word fitly spoken† (see fig. 4). However, several events influenced his change in views between 1895 and 1903 when he would publish his collection of essays directly in contrast with Washington’s program. One such event which Du Bois recalled vividly in the interview with McGill was when he saw a recently-lynched Negro’s drying fingers on display in front of a grocery store. He found it difficult to reconcile the importance of patience in matters of social equality while such atrocities were regularly being committed against his people (McGill). In 1901, Washington published his own auto-biography in which he recalled his ascension as a political leader, as well as reconfirmed the beliefs he had established six years prior. Du Bois said, â€Å"I realized the need for what Washington was doing. Yet it seemed to me he was giving up essential ground that would be hard to win back and Du Bois soon became a counterweight to the rhetoric coming from Tuskegee (McGill). Washington preached self-help and believed that the cultivation of the virtues of patience, enterprise, and thrift would win the respect of whites. He urged acceptance of social segregation and the disenfranchisement of black voters in favor of economic growth, asking each member of his race to â€Å"Cast down [their] bucket where [they] are.† He asked whites to do the same, but one popular interpretation came to be that he promised his race would work meekly under white oppression as they had done as slaves in the past: Cast down your bucket where you are. Cast it down among the eight millions of Negroes whose habits you know, whose fidelity and love you have tested . . . among these people who have, without strikes and labour wars, tilled your fields, cleared your forests, builded your railroads and cities . . . helped make possible this magnificent representation of the progress of the South. Cast down your bucket among my people, helping and encouraging them . . . to education of head, hand, and heart, you will find that they will buy your surplus land, make blossom the waste places in your fields, and run your factories . . . as in the past, you and your families will be surrounded by the most patient, faithful, law-abiding, and unresentful people that the world has seen. As we have proved our loyalty to you in the past, nursing your children, watching by the sick-bed of your mothers and fathers, and often following them with tear-dimmed eyes to their graves, so in the future, in our humble way, we shall stand by you with a devotion that no foreigner can approach, ready to lay down our lives, if need be, in defence of yours, interlacing our industrial, commercial, civil, and religious life with yours . . . In all things that are purely social we can be as separate as the fingers, yet one as the hand in all things essential to mutual progress.Booker T. Washington in UpfromSlavery Washington also wrote in his autobiography, â€Å"I believe that in the South we are confronted with peculiar conditions that justify the protection of the ballot in many of the states†¦ either by an educational test, a property test, or by both combined†¦Ã¢â‚¬  This confirmed not only his acquiescence of voting rights, but his endorsement of disenfranchisement. According to Du Bois, â€Å"It startled the nation to hear a Negro advocating such a programme after many decades of bitter complaint; it startled and won the applause of the South, it interested and won the admiration of the North; and after a confused murmur of protest, it silenced if it did not convert the Negroes themselves.† While he had many criticisms, W.E.B. Du Bois did not disagree with Washington’s program entirely. He did not advocate on opposition to industrial training, but in addition to it: To be really true, all these ideals must be melted and welded into one. The training of the schools we need to-day more than ever,- the training of deft hands, quick eyes and ears, and above all the broader, deeper, higher culture of gifted minds and pure hearts. The power of the ballot we need in sheer self-defence,- else what shall save us from a second slavery? Freedom, too, the long-sought, we still seek,- the freedom of life and limb, the freedom to work and think, the freedom to love and aspire. Work, culture, liberty,- all these we need, not singly but together, not successively but together. . .W.E.B. Du Bois in TheSoulsofBlackFolk He had hoped for a future in which both races could come together and it would be â€Å"possible to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face,† and without either race being subsumed by the other (Du Bois). Du Bois did however take issue with the fact that his race had not chosen Washington as their spokesperson and that â€Å"by national opinion, the Negroes began to recognize Mr. Washington’s leadership; and the voice of national criticism was hushed.† (Du Bois). Washington had been selected by white political leaders and presented to a mixed-race audience as â€Å"a representative of Negro enterprise and Negro civilization† (Washington). Du Bois asserts, â€Å"If the best of American Negroes receive by outer pressure a leader whom they had not recognized before†¦ there is irreparable loss – a loss of that peculiarly valuable education which a group receives when by search and criticism it finds and commissions its own leaders.† Du Bois also saw that fulfilling the promises of emancipation meant a grab for political power and necessitated political agitation and organized protest, which Washington had called â€Å"the greatest folly.† According to Du Bois, â€Å"The ideal of liberty demanded for its attainment powerful means, and these the 15th Amendment gave [us]. The ballot†¦ [should] now be regarded as the chief means of gaining and perfecting the liberty with which the war had partially endowed him.† Du Bois sought to counteract Washington’s call for acceptance, saying, â€Å"By every civilized and peaceful method we must strive for the rights which the world accords to men, clinging unwaveringly to these great words which the sons of the Fathers would fain forget: ‘We hold these truths to be self evident: that all men are created equal’†¦Ã¢â‚¬  Abolitionists throughout the country were equally divided. In his article chronicaling the relationship between Du Bois and Washington, Thomas Aiello notes, black critics. . . saw Washington’s Compromise as a slippery slope that would cause more problems than it could ever hope to solve (51). Unfortunately, while Washington had the best of intentions, his program helped sustain the ethos of Jim Crow America. Washington believed that white southerners had an objection to amoral or illiterate black people having the right to vote or rising above their means, and he believed that rectifying these things would mean an end of racism. In reality, the white population had an existential objection to black people, not because of a lack of education or financial success and autonomy. Washington had misplaced his faith in the white people of his time, believing â€Å"No race that has anything to contribute to the markets of the world is long in any degree ostracized.† (Washington) Whites in that era did not uphold their end of the compromise, but instead, burned down schools and churches and targeted black middle and working classes. Du Bois wrote in The Souls of Black Folk that â€Å"[Washington’s] doctrine has tended to make the whites, North and South, shift the burden of the Negro Problem to the Negro’s shoulders†¦ when in fact the burden belongs to the nation, and t he hands of none of us are clean if we bend not our energies to righting these great wrongs.† Despite this, some good did come from the divide in beliefs. Opposition to Washington’s acceptance of segregation resulted in the formation of the National Association for the Advancement of Colored People (NAACP) and the Niagara Movement; W.E.B. Du Bois was heavily involved with starting both, and the former is still active today. While Washington’s racial philosophy died with him, his economic policies are still relevant and Du Bois’ philosophy of agitation and civil protest flowed directly into 1960’s civil rights movement. The United States itself has come a long way; nine-year-old Jeremiah Harvey, who was accused by a white woman of sexual assault when his backpack brushed up against her in a store, did not become a second Emmett Till. There is still far to go however, and as Du Bois once said, â€Å"either the U.S. will destroy ignorance, or ignorance will destroy the U.S.† Aiello, Thomas. â€Å"The First Fissure: The Du Bois-Washington Relationship from 1898-1899.† Phylon (1960-), vol. 51, no. 1, 2014, pp. 76–87. JSTOR, jstor.org/stable/43199122. Bauerlein, Mark. â€Å"Booker T. Washington and W.E.B. Du Bois: The Origins of a Bitter Intellectual Battle.† The Journal of Blacks in Higher Education, No. 46 (winter, 2004 2005), pp. 106-114. The JBHE Foundation Inc., jstor.org/stable/4133693 Biography.com Editors. â€Å"W.E.B. Du Bois Rivalry with Booker T. Washington.† Youtube, AE Television Networks, 29 Jan. 2013, youtube.com/watch?v=NnVt9RvN548. Coates, Ta-Nehisi. â€Å"The Tragedy and Betrayal Of Booker T. Washington.† The Atlantic, The Atlantic Monthly Group, 31 Mar. 2009, theatlantic.com/entertainment/archive/2009/03/the-tragedy-and-betrayal-of-booker-t-washington/7092/. Du Bois, W.E.B.. The Souls of Black Folk. 1903, Project Gutenberg, #408, gutenberg.org/files/408/408-h/408-h.htm. Gates, Henry Louis. â€Å"The Debate Between W.E.B. Du Bois and Booker T. Washington.† Frontline, Public Broadcasting Service, 10 Feb. 1998, pbs.org/wgbh/frontline/article/debate-w-e-b-du-bois-and-booker-t-washington/. History.com Editors. â€Å"Booker T. Washington.† History, AE Television Networks, 12 Sept. 2018, history.com/topics/black history/booker-t-washington. Logan, Rayford Whittingham. The Betrayal of the Negro, from Rutherford B. Hayes to Woodrow Wilson. Reprint ed., Da Capo Press, 1997. McGill, Ralph. â€Å"W.E.B. Du Bois.†The Atlantic Monthly, Nov. 1965, pp. 78–81, theatlantic.com/past/docs/unbound/flashbks/black/mcgillbh.htm. Accessed 25 Feb. 2019. Moore, Jacqueline M.Booker T. Washington, W.E.B. Du Bois, and the Struggle for Racial Uplift. Vol. 1, Scholarly Resources Inc., 2003. Washington, Booker T. Up from Slavery: An Autobiography. 1901, Project Gutenberg, #2376, gutenberg.org/files/2376/2376-h/2376-h.htm.

Diabetes Research Paper Example | Topics and Well Written Essays - 500 words - 4

Diabetes - Research Paper Example al., 2010). The use of pig cells for the purpose of treating diabetes was originally researched and practiced in treating Australian and oceanic region patients ailing from the disease (Soto-Gutierrez et. al, 2011). However, it has been increasingly used in treating patients suffering from the disease through the injection of cells that produce insulin throughout the globe. These cells are taken directly from pigs which are healthy and are mainly utilized on patients suffering from type 1 diabetes (Lopez-Larrea, et. al., 2012). The cells injected into humans are collected from the pancreas of pigs which are coated with the seaweed gel. The cells are then implanted into human abdomens for the purpose of producing insulin that later on helps in controlling the amounts of sugar in the blood stream (Soto-Gutierrez et. al, 2011). Reports indicate that when using the technology, all risks of infections from the animal cells should first be examined and eliminated to ensure that patients receiving the treatment are safe from animal infections. In the previous tests carried out on the use of these cells, the patients developed no side-effects and were seen to be staying away from the usual insulin injections that were expensive for most of them (Hakim et. al., 2010). Subsequently, the new method of treating the ailment has enabled patients who have been suffering from an unstable diabetic condition to seek adequate treatment since the use of injected insulin has become uncontrollable (Soto-Gutierrez et. al, 2011). In the recent past, many diabetes patients have been able to abstain from utilizing insulin in the treatment of the disease since they received the pig cells. The cells have benefited the patients by producing extra amounts of insulin to aid in the absorption of the glucose found within their bodies (Hakim et. al., 2010). The use of

In Defense of Traditional Marriage By R. Anderson Essay

In Defense of Traditional Marriage By R. Anderson - Essay Example Anderson in his article about traditional marriages argues that a marriage should still be viewed in the traditional sense of it being a reunion between a man and woman for the purpose of procreation as is indicated in the constitution (Anderson, 2013). His argument therefore dispels the gay activists’ attempts to have this wording changed in the formal documents simply because they have already been accorded the right to get married. The article further ascertains that this definition of marriage has been in existence way before there was any evidence of same sex marriages and hence cannot be changed now. Furthermore, the moment the federal government will change this definition; it will mean that it will be on the road to changing other things as well and being cornered to allow enforcement of other untraditional issues in the marriage institution such as allowing polygamy and the likes. Anderson stands with his word that simply because the gays were allowed to get married i n the states that they have does not allow them the power to demand a change of the traditional institutional definition of marriage (Anderson, 2013). They should be glad with what they have been accorded and remain silent on the issue and let traditions remain as they have always been. The argument by Anderson leans more towards deductive reasoning where he starts by stating the general rules and laws of marriages that have always been and moves to focusing on the sole aspect of procreation. This argument is based on only one major point and a few others that are not too strong to support the traditional marriages or even provide enough reason to avoid the definition of marriage being changed in the constitution despite it being an age old definition whose changes will open up a Pandora’s box of other issues related to modern marriages. The argument of

Gun control Research Paper Example | Topics and Well Written Essays - 1500 words - 2

Gun control - Research Paper Example The proponents of gun rights argue that the availability of gun in the public spheres allows the people to protect themselves, and this ultimately is a solution to the gun crisis that exist in the affected states. Gun control is indeed not a solution for the violence and killing that are evident in states such as America. The Gun culture is an issue that started back in the 1970s when citizens were given the right to possess a gun as a defense weapon. In the famous westward expansion in the history of America, the citizens were allowed to safeguard their lives from attackers and wild animals in a period that was characterized with war and rivarly. This implies that the initial motive of providing gun rights was to protect the people from criminal acts that were threatening the people. In a period of high crime like the 21stcentury, the purchase of guns has increased as people prepare to counter these crime rates in the public domain. The supporters of the Gun rights argue that this i s the period that people need more personal protection than ever in the history of America (Moorhouse 103-124). Consequently, legalizing the purchase of guns in USA will empower the citizens to be more conscious of crime at their homes. Statistics compiled in 1990 have pointed out to the aggravation of criminal activities in the United States, most of which were perpetrateted by arm owners. Crooker (1) points out that atleast one person dies in America every 18 minutes which amounts to a total of about 30, 000 deathst very year. Of these, less than 50% of people who die are killed while the rest are victims of accidental gun shots and other commit murder using legally owned weapons. The question that emerges from these kind of statistics is whether legal arms or illegal arms result to the increased number of gun deaths in the united states. From the point of critical evaluator, legal arms as well are dangerous in the public sphere and the question of withdrawing gun rights can be ra ised at this point. Withdrawing the public right to own a gun would help to reduce the number of accidental deaths as well as the rate of suicide that has threatened the existence of the citizens in America. On this ground, most supporters of gun control feel that both illegal and legal arms should be withdrawn from the public to ensure that the people are safe from sudden deaths. However withdrawing the gun from the public spheres may not be an ultimate solution to the number of gun deaths that are increasing each day as more rifles find their way into the public sphere. DeConde (172) presents the pros and cons of denying the public the rights to possess legal firearms which has underpinned the death of more citizens every year. Depossessing the public with the right to own firearms will ensure that the rates of suicide would decrease considerably and the consequent drop in the number of people who die from stray bullets. However, the impact that this would have is that illegal arm owners, who are mostly criminals ,would have an advantage over the public, which is likely to trigger higher crime rates in the American society.In essence, this will be leaving the public more vulnerable to criminals which will lead to the death of loyal people and the thrive of criminals. Otherwise, the government would be forced to be more responsible of the security which is practically impossible given the high population