How Is Dramatic Tension Created in Act 2 Scene 2 of Macbeth?

Shakespear wrote the play ‘Macbeth' in the 16th century and its set in the 11th century. The different themes explored in this play are Power, Fate, Destiny, Evil as well as the unnatural. The play is about Macbeth trying to gain power in ruthless ways because of the predictions the three witches made. Lady Macbeth plays an important role throughout the play too as a powerful elizabethan woman. In Act 2 Scene 2 Macbeth starts going insane due to the guilt and we see a change in his character right before this scene Macbeth's killed the king and now is dying out of guilt. This is a very pivotal scene in the play as I believe this is the turning point of the play as after this scene more crime is commited too. The scene begins with Lady Macbeth talking. The audience understands that Lady Macbeth is waiting for her husband to return from commiting the crime. Lady Macbeth seems to be thrilled and agitated, telling herself that its all going to be okay. She feels courageous and fearless, the audience gets this idea as she keeps repeating her plan over and over and over again believeing in herself feeling â€Å"bold† claiming she has â€Å"fire†. Lady Macbeth comes out as a very strong Elizabethan woman who believes in her own power to manipulate and control Macbeth the way she likes it. She first says â€Å"that what hath made them drunk, hath made bold; What hath quench’d them, hath give me fire† this is her saying she is excited as she believes that her husband is about to achieve greatness and become the king, his plans have made her passionate about the death of Duncan or is she trying to convince herself that she is right to plan the murder? A Shakespearian audience would start to believe that she is a witch as in Shakespeare times they strongly believed in witches. Reason why Shakespear wrote this play was due to King James the first's obsession with witchcraft. A Shakespearen audience would be very appalled as they would expect a woman in those times to be very obident and innocent. Shes meant to represent her husband however Lady Macbeth behaves much differently. This gives the impression that she is twisted as she sees murder as something so trivial and has no feeling of guilt whatsoever, to an extent of planning the death of the Duncan.. A king also in those times is said to be as a â€Å"messanger of God† therefore killing a God's messanger would be something that could lead upto death penalty. A modern audience would not be as shocked as a Shakespearn audience as society has now changed and such behaviour is very expected in a woman too but some might disagree and act surprised as women are seen to be the more vulnerable, helpless ones in society and would never expect them to behave in this manner. Macbeth enters when the crime is commited. Lady Macbeth makes sure to greet him. Dramatic tension first starts when Lady Macbeth says ‘the owl scream and the crickets cry’. To a modern audience, this has no meaning but during Shakespearean times these noises were signs of someone who has died/death. Also, something evil and unatural. Short sentences are used to build up dramatic tension. Both Macbeth and Lady Macbeth use one worded answers and ask short questions. For example: ‘When? ’ ‘Now. ’ ‘As I descended? ’ ‘Ay. ’ This builds up tension as the reader might believe Lady Macbeth and Macbeth are scared so the conversation is short and snappy. If this scene was re-enacted the actor would read this in a hushed voice and a quiet tone as they wouldn't want to get caught. The audience is aware that Macbeth has commited a sin. The audience would begin to feel cautious and tension builds up because what happens next is not predicatble, the audience is not sure if they would get caught or heard by someone. This is where things start to get a twist and this scene gets more interesting as we see a change in the characters. This is where Macbeth's madness starts as well as his guilt and the fear that people will discover what has happened. The theme of guilt is then built up throughout this scene. Lady Macbeth seems to keep her sentences short in this part of the scene as she thinks that Macbeth is starting to go insane. She says things such as â€Å"Consider it not so deeply† she doesn't want to confuse him furthur or wants him to feel any sense of guilt as this would blow her cover. Macbeth says â€Å"I had most need of blessing, and ‘Amen' Stuck in my throat† He wont say a holy word as hes gone against all of The divine rights of Kings which means he has also gone against God. The audience understands his guilt and feels however they know he did wrong and also went against his religion therefore it’s understandable that Macbeth should suffer with his guilt. Religion is shown at this point. Lady Macbeth takes notice of Macbeth's condition and tries to make sense to him For example ‘These deeds must not be thought, After these ways; so, it will make us mad’. She makes sure of herself and is assertive. The audience can see no signs of regret or guilt with her whatsoever. The theme of nature and guilt are constantly repeated throughout this scene. ‘Sleep no more! Macbeth does murder sleep’ which suggests that people will be in fear that Macbeth is left loose. Sleep is nature’s way of healing a person and Macbeth can't get any as he went against all the rules of nature – â€Å"Sleep no more; Macbeth shall sleep no more†. Macbeth says ‘I heard a voice cry’. This suggests hes going insane as he begins to hear other voices in his head. The constant repetition of referal to nature and religion emphasizes his guilt and regret; He knows he did wrong and repeating it reminds him of that. Macbeth feels confused and helpless as his insanity gets difficult to deal with. Lady Macbeth starts to take notice of Macbeth's madness and tries to take control of it. Themes of guilt and regret are still carried on. Lady Macbeth tries to inforce her words on him, For example ‘Infirm of purpose! As if shes telling him to accept the facts and move on. Lady Macbeth still shows no signs of guilt or regret. She is frustrated and almost shouting at him, forcing him into believing the way she does. Her tone of voice and use of language is harsh which attacks Macbeth's pride and ego as a man. She mentally manipulates him into thinking her way. Lady Macbeth takes control and is motivated by the need to not get caught and by the greed of power so then she can become the queen. The audience can once again see her manipulative side and feels sympathetic towards Macbeth. She tells Macbeth to hand her the daggers; she makes Macbeth feel useless and little as a person, directly attacking his pride as a man. Macbeth's madness continues to get worse. Lady Macbeth says â€Å"My hands are of your colour; but I shame To wear a heart so white† She makes him feel that he done the same crime as her but shes perfectly fine but hes acting like a coward, she keeps attacking his pride so that she gets what she wants out of him. As during Shakespearean times, pride and honour meant a great deal of importance. Macbeth doesn’t show any of this now. Becoming the queen is the most important motivation for her currently. Shes driven by her need and greed for power. Use of language is used to build tension, Shakespeare uses a hyperbole to express Macbeth’s guilt and the theme of regret. For example ‘Will all great Neptune’s ocean wash this blood clean from my hands? ’ This tells me that Macbeth feels really guilty hes comparing what he did as big a deal as the whole ocean saying Macbeth would need an ocean so big for him to be forgiven or to wipe away the evidence of his crime and wash this crime, this blood off their hands. Also ‘The multitudinous seas in incarnadine, making the green one red’. This imagery of blood and red is repeated and exaggerated which then again links to guilt and the theme of blood. Short sentences and noise such as ‘Knocking’ is used repeatedly to build up tension, the fear that anyone will find out keeps them anxious. Dramatic tension is created throughout this scene by the use of language, short sentences, hyperboles, repetition and imagery. This scene is an important one in the play as this is where we see a change in the characters and theres a twist in the story. This creates suspense and makes it unpredictable so the audience wants to know what will happen next and keep them interested and wanting more. Hyperboles emphasize the crucial themes in this scene like how Macbeth needs the oceans to describe his guilt and regret. Repetition makes the action continuous and seem important as its being repeated a several times and short sentences speed up the pace of which the actions happen at and help build up tension.

Current Market Conditions Competitive Analysis

Ford Motor Company was established in 1903 by Henry Ford (www. history. com, 1996-2013). This company has been a leader in the automobile manufacturing industry for over 100 years. The first vehicle ever sold by Ford Motor Co. was the Model A passenger vehicle. It was a two cylinder, eight horsepower, gas driven vehicle that could carry up to four passengers. Five years later (1908) Mr. Ford introduced the Model T passenger vehicle which was intended to be an affordable vehicle for everyone.Since then Ford Motor Co.  has been an innovative genius by developing some of the best technology related to assembly lines and universal automobile parts. Today, Ford Motor Co. offers 34 different styles of vehicles that are intended for a variety of purposes (www. ford. com, 2013). The manufacturer suggested retail price for the most basic compact vehicle is just over $13,000. 00 (www. ford. com, 2013). The fleet is made up of cars, sport utility vehicles, pickup trucks, full-sized vans, hybr ids, and commercial vehicles (www. ford. com, 2013).Ford also possesses the means to help customers finance a vehicle through their Ford Credit Department. Here the customer can apply for credit, estimate payments, or even build a household budget (www. ford. com, 2013). These tools protect both the customer and Ford Motor Co. from defaulting loans and loss of revenue. Factors that affect Supply and Demand The factors that affect the demand for car seats are lower birth rates, safety, and price. Lower birth rates affect the demand for car seats because there will be less people that need to purchase car seats.Safety can affect the demand for car seats because many people shop for the safest car seat that will protect their child in case of a car accident. The demand for car seats can also be affected by price because people shop for the safest but affordable car seats they can find. One factor that can affect the supply for car seats is the increase in cost for producing car seats f rom government regulations. The increase in cost can decrease the amount of car seats that are produced. This can affect the equilibrium price because a decrease in supply and increase in demand can cause the equilibrium price to increase.However, on the other hand if there is a decrease in demand and a decrease in supply, the equilibrium price can decrease. The car seats that will be sold at Ford will be considered to be in a perfectly competitive market. Our main competitors are Britax, Chicco, and Graco. Our potential customers are those who purchase or own Ford vehicles. Our car seats are specially designed to fit Ford vehicles to make it easier and safer for the children of our customers. It saves them time and money because they do not have to shop around for a car seat that best fits their vehicle.Our safety ratings and prices are comparable to other top rated car seats. Long-Term Profitability Being that Ford has in the past only dealt with the manufacturing of only vehicles the production of car seats for children may have a different impact on the economy. Companies such as Evenflo, Graco, Chicco, and others are the names that people are used to hearing when it comes to car seats for their children. Knowing that Ford does have a good reputation in the United States with giving consumers the feeling of safety developing a car seat that fits comfortably in the vehicles can only help this.At the start up of producing car seats by Ford there will be some challenges on deciding the details because they will be competing with some large brands that people have learned to respect. Parents only have the concern for safety of their children and if they feel that Ford can give this to them they may opt for purchasing not only a safe vehicle, but a car seat that has been developed to fit in the vehicle better. In the long-term profitability with technological change Ford will have an edge over their competitors and the cost will only be marginal.

The Vampire Diaries: The Struggle Chapter Twelve

A voice spoke as Elena reached for a can on the store shelf. â€Å"Cranberry sauce already?† Elena looked up. â€Å"Hi, Matt. Yes, Aunt Judith likes to do a preview the Sunday before Thanksgiving, remember? If she practices, there's less chance she'll do something terrible.† â€Å"Like forgetting to buy the cranberry sauce until fifteen minutes before dinner?† â€Å"Until five minutes before dinner,† said Elena, consulting her watch, and Matt laughed. It was a good sound, and one Elena hadn't heard for too long. She moved on toward the check-out stand, but after she'd paid for her purchase she hesitated, looking back. Matt was standing by the magazine rack, apparently absorbed, but there was something about the slope of his shoulders that made her want to go to him. She poked a finger at his magazine. â€Å"What areyou doing for dinner?† she said. When he glanced uncertainly toward the front of the store, she added, â€Å"Bonnie's waiting out in the car; she'll be there. Other than that it's just the family. And Robert, of course; he should be there by now.† She meant that Stefan wasn't coming. She still wasn't sure how things were between Matt and Stefan these days. At least they spoke to each other. â€Å"I'm fending for myself tonight; Mom's not feeling so hot,† he said. But then, as if to change the subject, he went on, â€Å"Where's Meredith?† â€Å"With her family, visiting some relatives or something.† Elena was vague because Meredith had been Aunt Judith's cooking?† â€Å"For old times' sake?† â€Å"For oldfriends' sake,† said Elena after a moment's hesitation, and smiled at him. He blinked and looked away. â€Å"How can I refuse an invitation like that?† he said in an oddly muted voice. But when he put the magazine back and followed her out he was smiling, too. Bonnie greeted him cheerfully, and when they got home Aunt Judith looked pleased to see him come into the kitchen. â€Å"Dinner's almost ready,† she said, taking the grocery bag from Elena. â€Å"Robert got here a few minutes ago. Why don't you go straight on back to the dining room? Oh, and get another chair, Elena. Matt makes seven.† â€Å"Six, Aunt Judith,† said Elena, amused. â€Å"You and Robert, me and Margaret, Matt and Bonnie.† â€Å"Yes, dear, but Robert's brought a guest, too. They're already sitting down.† Elena registered the words just as she stepped through the dining room door, but there was an instant's delay before her mind reacted to them. Even so, sheknew; stepping through that door, she somehow knew what was waiting for her. Robert was standing there, fiddling with a bottle of white wine and looking jovial. And sitting at the table, on the far side of the autumn centerpiece and the tall lighted candles, was Damon. Elena realized she'd stopped moving when Bonnie ran into her from behind. Then she forced her legs into action. Her mind wasn't as obedient; it remained frozen. â€Å"Ah, Elena,† Robert said, holding out a hand. â€Å"This is Elena, the girl I was telling you about,† he said to Damon. â€Å"Elena, this is Damon†¦ ah†¦Ã¢â‚¬  â€Å"Smith,† said Damon. â€Å"Oh, yes. He's from my alma mater, William and Mary, and I just ran into him outside the drugstore. Since he was looking for some place to eat, I invited him along here for a home-cooked meal. Damon, these are some friends of Elena's, Matt and Bonnie.† â€Å"Hi,† said Matt. Bonnie just stared; then, she swung enormous eyes on Elena. Elena was trying to get a grip on herself. She didn't know whether to shriek, march out of the room, or throw the glass of wine Robert was pouring in Damon's face. She was too angry, for the moment, to be frightened. Matt went to bring in a chair from the living room. Elena wondered at his casual acceptance of Damon, and then realized he hadn't been at Alaric's party. He wouldn't know what had happened there between Stefan and the â€Å"visitor from college.† Bonnie, though, looked ready to panic. She was gazing at Elena imploringly. Damon had risen and was Before Elena could come up with a response, she heard Margaret's high little voice in the doorway. â€Å"Matt, do you want to see my kitty? Aunt Judith says I can keep her. I'm going to call her Snowball.† Elena turned, fired with an idea. â€Å"She's cute,† Matt was saying obligingly, bending over the little mound of white fur in Margaret's arms. He looked startled as Elena unceremoniously grabbed the kitten from under his nose. â€Å"Here, Margaret, let's show your kitty to Robert's friend,† she said, and thrust the fluffy bundle into Damon's face, all but throwing it at him. Pandemonium ensued. Snowball swelled to twice her normal size as her fur stood on end. She made a noise like water dropped on a red-hot griddle and then she was a snarling, spitting cyclone that clawed Elena, swiped at Damon, and ricocheted off the walls before tearing out of the room. For an instant, Elena had the satisfaction of seeing Damon's night black eyes slightly wider than usual. Then the lids drooped down, hooding them again, and Elena turned to face the reaction of the other occupants of the room. Margaret was just opening her mouth for a steam engine wail. Robert was trying to forestall it, hustling her off to find the cat. Bonnie had her back pressed flat against the wall, looking desperate. Matt and Aunt Judith, who was peering in from the kitchen, just looked appalled. â€Å"I guess you don't have a way with animals,† she said to Damon, and took her seat at the table. She nodded to Bonnie who reluctantly peeled herself off the wall and scuttled for her own seat before Damon could touch the chair. Bonnie's brown eyes slid around to follow him as he sat down in turn. After a few minutes, Robert reappeared with a tear-stained Margaret and frowned sternly at Elena. Matt pushed his own chair in silently although his eyebrows were in his hair. As Aunt Judith arrived and the meal began, Elena looked up and down the table. A bright haze seemed to lie over everything, and she had a feeling of unreality, but the scene itself looked almost unbelievably wholesome, like something out of a commercial. Just your average family sitting down to eat turkey, she thought. One slightly flustered maiden aunt, worried that the peas will be mushy and the rolls burnt, one comfortable uncle-to-be, one golden-haired teenage niece and her tow-headed baby sister. One blue-eyed boy-next-door type, one spritely girlfriend, one gorgeous vampire passing the candied yams. A typical American household. Bonnie spent the first half of the meal telegraphing â€Å"What do I do?† messages to Elena with her eyes. But when all Elena telegraphed back was â€Å"Nothing,† she apparently decided to abandon herself to her fate. She began to eat. Elena had no idea what to do. To be trapped tike this was an insult, a humiliation, and Damon knew it. He had Aunt Judith and Robert dazzled, though, with compliments about the meal and light chat about William and Mary. Even Margaret was smiling at him now, and soon enough Bonnie would go under. â€Å"Fell's Church is having its Founders' Day celebration next week,† Aunt Judith informed Damon, her thin cheeks faintly pink. â€Å"It would be so nice if you could come back for that.† Aunt Judith looked pleased. â€Å"And this year Elena has a big part in it. She's been chosen to represent the Spirit of Fell's Church.† â€Å"You must be proud of her,† said Damon. â€Å"Oh, we are,† Aunt Judith said. â€Å"So you'll try to come then?† Elena broke in, buttering a roll furiously. â€Å"I've heard some news about Vickie,† she said. â€Å"You remember, the girl who was attacked.† She looked pointedly at Damon. There was a short silence. Then Damon said, â€Å"I'm afraid I don't know her.† â€Å"Oh, I'm sure you do. About my height, brown eyes, light brown hair†¦ anyway, she's getting worse.† â€Å"Oh, dear,† said Aunt Judith. â€Å"Yes, apparently the doctors can't understand it. She just keeps getting worse and worse, as if the attack was still going on.† Elena kept her eyes on Damon's face as she spoke, but he displayed only a courteous interest. â€Å"Have some more stuffing,† she finished, propelling a bowl at him. â€Å"No thank you. I'll have some more of this, though.† He held a spoonful of jellied cranberry sauce up to one of the candles so that light shone through it. â€Å"It's such a tantalizing color.† Bonnie, like the rest of the people at the table, looked up at the candle when he did this. But Elena noticed she didn't look down again. She remained gazing into the dancing flame, and slowly all expression disappeared from her face. Oh,no , thought Elena, as a tingle of apprehension crept through her limbs. She'd seen that look before. She tried to get Bonnie's attention, but the other girl seemed to see nothing but the candle. â€Å"†¦ and then the elementary children put on a pageant about the town's history,† Aunt Judith was saying to Damon. â€Å"But the ending ceremony is done by older students. Elena, how many seniors will be doing the readings this year?† â€Å"Just three of us.† Elena had to turn to address her aunt, and it was while she was looking at Aunt Judith's smiling face that she heard the voice. â€Å"Death.† Aunt Judith gasped. Robert paused with his fork halfway to his mouth. Elena wished, wildly and absolutely hopelessly, for Meredith. â€Å"Death,† said the voice again. â€Å"Death is in this house.† Elena looked around the table and saw that there was no one to help her. They were all staring at Bonnie, motionless as subjects in a photograph. Bonnie herself was staring into the candle flame. Her face was blank, her eyes wide, as they had been before when this voice spoke through her. Now, those sightless eyes turned toward Elena. â€Å"Your death,† shoulders, lifting her. Bonnie's skin had gone bluish-white, her eyes were closed. Aunt Judith fluttered around her, dabbing at her face with a damp napkin. Damon watched with thoughtful, narrowed eyes. â€Å"She's all right,† Robert said, looking up in obvious relief. â€Å"I think she just fainted. It must have been some kind of hysterical attack.† But Elena didn't breathe again until Bonnie opened groggy eyes and asked what everyone was staring at. It put an effective end to the dinner. Robert insisted that Bonnie be taken home at once, and in the activity that followed Elena found time for a whispered word with Damon. â€Å"Get out!† He raised his eyebrows. â€Å"What?† â€Å"I said, get out! Now! Go. Or I'll tell them you're the killer.† He looked reproachful. â€Å"Don't you think a guest deserves a little more consideration?† he said, but at her expression he shrugged and smiled. â€Å"Thank you for having me for dinner,† he said aloud to Aunt Judith, who was walking past carrying a blanket to the car. â€Å"I hope I can return the favor sometime.† To Elena he added, â€Å"Be seeing you.† Well,that was clear enough, Elena thought, as Robert drove away with a somber Matt and a sleepy Bonnie. Aunt Judith was on the phone with Mrs. McCullough. â€Å"I don't know what it is with these girls, either,† she said. â€Å"First Vickie, now Bonnie†¦ and Elena has not been herself lately†¦Ã¢â‚¬  While Aunt Judith talked and Margaret searched for the missing Snowball, Elena paced. She would have to call Stefan. That was all there was to it. She wasn't worried about Bonnie; the other times this had happened hadn't seemed to do permanent damage. And Damon would have better things to do than harass Elena's friends tonight. He was coming here, to collect for the â€Å"favor† he'd done her. She knew without a doubt that that was the meaning of his final words. And it meant she would have to tell Stefan everything, because she needed him tonight, needed his protection. Only, what could Stefan do? Despite all her pleas and arguments last week, he had refused to take her blood. He'd insisted that his Powers would return without it, but Elena knew he was still vulnerable right now. Even if Stefan were here, could he stop Damon? Could he do it without being killed himself? Bonnie's house was no refuge. And Meredith was gone. There was no one to help her, no one she could trust. But the thought of waiting here alone tonight, knowing that Damon was coming, was unbearable. She heard Aunt Judith click down the receiver. Automatically, she moved toward the kitchen, Stefan's She looked at the floor to ceiling windows and at the elaborate fireplace with its beautifully scrolled molding. This room was part of the original house, the one that had almost completely burned in the Civil War. Her own bedroom was just above. A great light was beginning to dawn. Elena looked at the molding around the ceiling, at where it joined the more modern dining room. Then she almost ran toward the stairs, her heart beating fast. â€Å"Aunt Judith?† Her aunt paused on the stairway. â€Å"Aunt Judith, tell me something. Did Damon go into the living room?† â€Å"What!† Aunt Judith blinked at her in distraction. â€Å"Did Robert take Damon into the living room? Please think, Aunt Judith! I need to know.† â€Å"Why, no, I don't think so. No, he didn't. They came in and went straight to the dining room. Elena, what on earth?†¦Ã¢â‚¬  This last as Elena impulsively threw her arms around her and hugged her. â€Å"Sorry, Aunt Judith. I'm just happy,† said Elena. Smiling, she turned to go back down the stairs. â€Å"Well, I'm gladsomeone's happy, after the way dinner turned out. Although that nice boy, Damon, seemed to enjoy himself. Do you know, Elena, he seemed quite taken with you, in spite of the way you were acting.† Elena turned back around. â€Å"So?† â€Å"Well, I just thought you might give him a chance, that's all. I thought he was very pleasant. The kind of young man I like to see around here.† Elena goggled a moment, then swallowed to keep the hysterical laughter from escaping. Her aunt was suggesting that she take up Damon instead of Stefan†¦ because Damon was safer. The kind of nice young man any aunt would like. â€Å"Aunt Judith,† she began, gasping, but then she realized it was useless. She shook her head mutely, throwing her hands up in defeat, and watched her aunt go up the stairs. Usually Elena slept with her door closed. But tonight she left it open and lay on her bed gazing out into the darkened hallway. Every so often she glanced at the luminous numbers of the clock on the nightstand beside her. There was no danger that she would fall asleep. As the minutes crawled by, she almost began to wish she could. Time moved with agonizing slowness. Eleven o'clock†¦ eleven thirty†¦ midnight. Onea.m. One thirty. Two. At 2:10 she heard a sound. She listened, still lying on her bed, to the faint whisper of noise downstairs. She'd known he would find a way to get in if he wanted. If Damon was that determined, no lock would keep him out. The hallway was dark, but her eyes had had a long time to adjust. She could see the darker silhouette making its way up the stairs. When it reached the top she saw the swift, deadly glimmer of his smile. She waited, unsmiling, until he reached her and stood facing her, with only a yard of hardwood floor between them. The house was completely silent. Across the hall Margaret slept; at the end of the passage, Aunt Judith lay wrapped in dreams, unaware of what was going on outside her door. Damon said nothing, but he looked at her, his eyes taking in the long white nightgown with its high, lacy neck. Elena had chosen it because it was the most modest one she owned, but Damon obviously thought it attractive. She forced herself to stand quietly, but her mouth was dry and her heart was thudding dully. Now was the time. In another minute she would know. She backed up, without a word or gesture of invitation, leaving the doorway empty. She saw the quick flare in his bottomless eyes, and watched him come eagerly toward her. And watched him stop. He stood just outside her room, plainly disconcerted. He tried again to step forward but could not. Something seemed to be preventing him from moving any farther. On his face, surprise gave way to puzzlement and then anger. He looked up, his eyes raking over the lintel, scanning the ceiling on either side of the threshold. Then, as the full realization hit him, his lips pulled back from his teeth in an animal snarl. Safe on her side of the doorway, Elena laughed softly. It had worked. â€Å"My room and the living room below are all that's left of the old house,† she said to him. â€Å"And, of course, that was a different dwelling place. One you werenot invited into, and never will be.† His chest was heaving with anger, his nostrils dilated, his eyes wild. Waves of black rage emanated from him. He looked as if he would like to tear the walls down with his hands, which were twitching and clenching with fury. Triumph and relief made Elena giddy. â€Å"You'd better go now,† she said. â€Å"There's nothing for you here.† One minute more those menacing eyes blazed into hers, and then Damon turned around. But he didn't head for the stairway. Instead, he took one step across the hall and laid his hand on the door to Margaret's room. Elena started forward before she knew what she was doing. She stopped in the doorway, grasping the casing trim, her own breath coming hard. His head whipped around and he smiled at her, a slow, cruel smile. He twisted the doorknob slightly without looking at it. His eyes, like pools of liquid ebony, remained on Elena. â€Å"Your choice,† he said. Elena stood very still, feeling as if all of winter was inside her. Margaret was just a baby. He couldn't mean it; no one could be such a monster as to hurt a four-year-old. Everything seemed to be happening in slow motion. She saw Damon's hand on the doorknob; she saw those merciless eyes. She was walking through the doorway, leaving behind the only safe place she knew. Death was in the house, Bonnie had said. And now Elena had gone to meet Death of her own free will. She bowed her head to conceal the helpless tears that came to her eyes. It was over. Damon had won. She did not look up to see him advance on her. But she felt the air stir around her, making her shiver. And then she was enfolded in soft, endless blackness, which wrapped around her like a great bird's wings.

Aos: Power – Lord of the Flies

Related Text â€Å"Lord of the flies† 1. Summarize the main ideas/themes of the text. * The loss of innocence * The invariable corruption of power * Savagery vs. Civilization * The reality of betrayal * ————————————————- The influence fear has on people ————————————————- Power is often a source of violence in  Lord of the Flies. The desire for power breaks down the boundaries set by rules and order, causes strife and competition, and governs the actions of many of the boys on the island.Once achieved, power has the ability to either improve or corrupt its holder. Ralph, the more noble of the two leaders on the island, is bettered by his position as chief; whereas Jack, the usurper, abuses his power for personal gain. ————â€⠀Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€- There are several themes in â€Å"Lord of the flies†, including innocence, rules and order, fear, power, identity and religion. The text shows the audience to be more self-critical, that the fact not to believe in a good side of a human being and the fight for important values is what separates the human being from animals.The central theme of the text, Lord of the Flies, is power. The different aspects of power shown, is the invariable corruption of power, the reality of betrayal and the influence of fear. In the text, Jack is the antagonist, his like a dictator; he uses fear to control the boys on the island and manipulates them and uses them to his own advantage such as to get food and shelter. Jack uses a story of a non-existent beast to manipulate the other boys to follow his orders/ commands. The reason why the boys follow him and sees him as a leader is because he promised †˜protection from the beast’.A quote in the text that talks about the beast: â€Å"Fancy thinking the Beast was something you could hunt and kill! You knew, didn’t you? I’m part of you? Close, close, close! I’m the reason why it’s no go? Why things are what they are? † 2. What does this text tell us about power? ————————————————- Power is often a source of violence in  Ã¢â‚¬Å"Lord of the Flies†. In Lord of the Flies the idea of power is expressed this way, imagine a world where there were no rules, no laws, and no government to oversee the running of the country.The desire for power breaks down the boundaries set by rules and order, causes strife and competition, and governs the actions of many of the boys on the island. Once achieved, power has the ability to either improve or corrupt its holder. Ralph, the more noble of t he two leaders on the island, is bettered by his position as chief; whereas Jack, the usurper, abuses his power for personal gain. This shows us two different sides of power. ————————————————- Power is often used as a source of violence in the text, â€Å"Lord of the Flies†.The idea of power is expressed differently; imagine a world where there were no rules, no laws, and no government to oversee the running of the country. In â€Å"Lord of the Flies†, to gain power was competitive which meant strife. The desire for power breaks down the boundaries set by rules and order. Being the leader meant governing a group of boys on an island. Whenever power is achieved, power was either improved or corrupted on the leader. For example, Ralph and Jack were leaders for separates groups of boys on the island, the boys had their own choice on who they wanted to follow.It was between Ralph, the more noble of the two leaders, who was the more acceptable or bettered as being ‘chief’ (leader) and coordinated the boys to build a miniature civilization on the island, and Jack, the usurper, who used fear and manipulation to abuse his power for personal gain. It was discussed amongst the boys, â€Å"Which is better–to have laws and agree, or to hunt and kill? † With one side that showed freedom and equality, the other was a dictatorship, the text showed two very different sides of power. 3.Comment on the film techniques employed by the composer of this text. How do they contribute to the meaning of Power in the text? Brook's film opens with a very creepy montage consisting of pictures of a British boarding school intercut with planes flying over London with a haunting school chorus playing in the background. Brook's use of grainy black-and-white photography, plus the lack of any comprehensive musical score (remember Tom Hanks' â⠂¬Å"Castaway†? ), accentuates the bleakness of its surroundings and feelings of isolation.The movie can hardly be expected to capture fully every single intention of this highly complex novel (most don't), but it does respect Golding's words and captures the very essence of what he wanted to say. For that alone it should be applauded. Brook is able to compose beautiful sad visuals. ***SPOILERS*** These include the kinetic editing during the hunt for Ralph, Simon's dead body floating in the water arranged by the sad school chorus (depressing moment), Piggy's tragic demise that puts the 1990s remake laughable mirrored scene to shame, and the very scary feast that occurs at night followed by the dance.That scene, consisting of quick images, scary close-ups on the savages painted faces ————————————————- It is disturbing, haunting, and visually wonderful. —— ——————————————- In Peter Brook’s film, â€Å"Lord of the Flies†, released in 1963 was a black and white film. Although it was black and white film, it’s underrated and it’s still a classic, this is preferably better than the new remakes of this film. Some scenes are considered as disturbing and haunting but visually wonderful.Brook uses a very creepy montage in the opening scene showing pictures of a British boarding school with planes flying over London and a haunting school chorus playing in the background. Brooke uses grainy black and white photography and emphasizes the bleakness of its surroundings to create a feeling of isolation, which relates to a feeling of savagery vs. civilization. With Brook being able to compose beautiful sad visuals, he is able create the scene of Piggy’s tragedy with quick images, scary closer-up shots on the savages pai nted faces of the hunters (Jack’s tribe).This scene shows influence of fear, the invariable corruption of power/ losing control and a sense of savagery vs. civilization. 4. How does this text relate to your prescribed text i. e. George Orwell’s Animal Farm? Link each text by exploring three common aspects of Power. * well the power in the  lord of the flies  is jack's rise to control and leadership. he leads an army of corrupt boys who carry out his evil orders (set the island on fire, orders to kill ralph, etc. ) * in animal farm, napoleon takes the power from snowball and forms a dictatorship. e also has minions such as the dogs who carry out his tasks and corrupt orders. ————————————————- Ralph represents a democracy while Jack represents a totalitarian form of leadership. lead the boys into savagery   —————— ——————————- Want power, Greed or selfishness bring the destruction of the societies, ————————————————- In Animal Farm the animals hated the humans and were scared that they might take back the farm. Napoleon uses it as an excuse to keep the animals working.In Lord for the Flies the littluns are afraid of the â€Å"beast†. When Jack, Ralph, and Roger went and saw the beast, which is a parachute and a man, the biguns also got scared. ————————————————- The pigs took control and the other animals were in worst condition than they were in when the humans were in control. The boys ended up disagreeing and killing each other ————————â€⠀Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€- â€Å"Lord of the flies† is very similar to the novel Animal Farm by George Orwell. They relate with a common theme of power.However, both are from different context but written for the same reason, â€Å"Lord of the Flies† is a story of humanity from a navy officer, which served in WWII, while Animal Farm is based on the Russian Revolution. The plot, the characters and the symbols are very similar. Three common aspects of power in these texts is the want of power, the control of power, the reality of betrayal. The antagonist in each text, both want power and used a belief to manipulate the others. In Animal Farm Napoleon tells the other animals to hate the humans and they were scared that the humans might take the farm back.Whereas in â€Å"Lord of the flies†, Jack tells the littleuns that there is a ‘beast’ on the island and if they worked for him, he would provide them with protection. A nother aspect is the control of power, in Animal Farm Napoleon takes the power from Snowball and forms a dictatorship. He uses the other animals to work for him, such as the dogs that carry out his tasks and corrupt orders. In â€Å"Lord of the Flies†, Jack rises to control and leadership. He carries out an army of corrupt boys to carry out his evil orders, similar to Animal Farm. Both Napoleon and Jack represent totalitarian forms of leadership.And lastly, the reality of betrayal was common in both texts. In Animal Farm the pigs had started to become like humans, wearing clothes, sleeping in beds, drinking alcohol and playing cards with humans in the farm house. The other animals saw them through a window and couldn’t tell whether they were pigs anymore or humans. In â€Å"Lord of the Flies†, Jack starts his own tribe with his hunters, the littleuns, he went to steal Piggy’s glasses, but Ralph went to look for it, then suddenly Jack stabs Ralph in the ba ck, but luckily Ralph survived.

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