The Necklace by Guy De Maupassaunt

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The Necklace", written by Guy de Maupassant and published in 1884 is a story of an underprivileged woman named Mathilde who dreams of being rich, even if only for an evening. She borrows an ornate necklace for a special party, which she subsequently loses. She and her husband decide to take out loans and do whatever it takes for them to find the money to replace the lost necklace instead of just being honest with her friend about what happened. Her conscience effort to try to be something she is not, combined with her decision not to directly confront her friend with an explanation of her carelessness, results in her and her husband spending the next ten years of their lives trying to pay off the necklace they bought as a replacement. Various themes prevail throughout this story, including anger at the inability to determine one's own fate, pride, and deceit and despair. Mathilde is an example how women's roles were imposed upon them by the men of society and how women of the 1th century were governed by this fate. She views the necklace as a symbol of the rich and famous lifestyle she longs for. As a result, Mathilde becomes a victim of her environment while trying to reject the role that has been imposed upon her. She sees the necklace as her way of becoming the woman she longs to be, even if for just one night.

Even though she longed for a more gracious life, she was destined for misery of a poor pheasant. Having been "born into a family of clerks," Mathilde fit the description of everything it meant to be discriminated against by the ruling men of society. Without the help of a man, women could not establish a lavish lifestyle such as the one Mathilde longed for. "She had no dowry, no expectations, no means of being known, understood, loved, or wedded by any rich and distinguished man…" In other words, she had nothing to offer having been raised poor. Her fate was sealed when she "let herself be married to a little clerk at the Ministry of Public Instructions." Women of her time were expected to keep up the household and take care of the children. It was taboo for a woman to work outside of the home. De Maupassant reiterates how women of the time are viewed in his passage "…since with women there is neither caste nor rank and beauty, grace, and charm act instead of family and birth." He goes on to say, "She suffered ceaselessly, feeling herself born for all the delicacies and all the luxuries." Thus, Mathilde found herself to be in a hopeless situation, that in which she could not control her own fate. No matter how much she felt she deserved a distinguished rank among people, she was destined to be subservient to the role into which she was born a poor woman.

Because she was thrown into this uninvited role, Mathilde became obsessed with trying to elevate her status in the community. As a result, pride came to dominate her personality. She wouldn't dare show up at this spectacular event in her theatre dress. Her pride shows through in her statement "There is nothing more humiliating than to look poor among women who are rich." She needed the dress to define who she was however, even when presented with the opportunity to have it she still was dissatisfied because she had no jewels. She wanted this borrowed necklace to fulfill this fantasy role and to enact this superficial lifestyle. The necklace had aroused the vanity she had tried to hide. De Maupassant writes "she fastened it around her throat, outside her high necked dress, and remained lost in ecstasy at the sight of herself." It was as if she had finally become the woman she felt she was meant to be. Unfortunately, Mathilde did not realize that her precious necklace soon would become a millstone around her neck

Sometimes what seems like a life preserver turns out to be a millstone that drags you under. This is just what happened to Mathilde. Her joy was shortened when she found that she had lost the precious jewels that were loaned to her. What follows is a tale of deceit and despair. In a desperate attempt to avoid embarrassment, Mathilde's husband states, "You must write to your friend that you have broken the clasp of her necklace and that you are having it mended. That will give us time to turn around." They went from jeweler to jeweler searching for a replacement. When they finally came upon one that matched, they realized it was far more money than they could afford. Their pride would not allow them to go to Mme. Forestier and simply admit that they had lost the necklace. Instead, Loisel felt compelled to borrow funds he did not know if he could pay back and replace the coveted necklace, so, thus continued the deception. "He compromised all the rest of his life, risked his signature without even knowing if he could meet it; and, frightened by the pains of yet to come, by the black misery which was about to fall upon him, by the prospect of all the physical privation and of all the moral tortures which he was about to suffer, he went to get the new necklace, putting down upon the merchant's counter thirty-six thousand francs." Mathilde and Loisel now had a "dreadful debt" that had to be repaid. Mathilde was forced to perform heavy housework and Loisel worked long into the night in an effort to repay the debt. Mathilde fell into anguish as she now looked old and "had become the woman of impoverished households strong and hard and rough."

But at times, Mathilde's despondency would turn to thoughts of a night long ago when she danced and wiled away the evening in a gown fit for royalty and a necklace that would forever change her life. A stand of glistening "diamonds" that had the ability to render not only joy but also despair.

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A Doll House- Henrik Ibsen

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A Doll House is a play written in 187 by Henrik Ibsen. The play is a journey of the character Nora's self-discovery and struggle against the oppression of her husband Torvald and the society that he represents. Ibsen uses non-verbal elements such as screen directions and setting descriptions to symbolise aspects of characters and their relationships to each other.

The opening scene of A Doll House is preceded by a description of a room in the house in which the two main characters, Nora and Torvald Helmer, live. "A comfortable room, tastefully but not expensively furnished ." This description represents the Helmers' place in society. They are middle class, not extremely wealthy, but with enough money to survive comfortably on. Middle class society in Norway in this time was quite patriarchal. There were strict social edicts about a woman being a good wife and mother. Women who tried to find independence, or were forced to work like Nora's best friend Mrs Linde, were often seen as lesser beings. This first setting description sets the scene for the entire play and supports the controversial main theme of the play, Nora's rebellion against this rigid society in her final decision to leave her husband when she realises she needs to make something of herself and find independence.

Non-verbal elements are used to develop Torvald Helmer as a character. The way that Torvald treats and sees Nora is the main device in which the audience is positioned to see Torvald, as a patronising and controlling man and husband. In Act it is revealed that the mailbox is for Torvald alone to access as only he holds the key. NORA "We're lost, the letter's in the mailbox." MRS LINDE "And your husband has the key?" NORA "Yes, always " Torvald's study is also a private room that Nora is prevented from entering. This shows that he does not perceive Nora as intellectual enough to be involved with any business or for that matter, any important matters in life.

Again Ibsen uses non-verbal elements in the play largely to construct the character of Nora. The Christmas tree, which is described in the opening scene, is a parallel with Nora's life and emotions during the play. The same as "The children mustn't get a glimpse of it (the tree) till this evening, after it's trimmed. " Nora is not allowed to be seen out of the house unless she is looking beautiful and acting like a proper wife and mother. This opening message begins to convey to the audience the values of the society the play is set in. Another non-verbal element used to express Nora's helplessness in her situation is expressed in the first act when it is revealed that Nora does not even own a key to her own home. "A bell rings in the entryway, shortly after we hear the door being unlocked, Nora comes into the room…"

In the first act, Nora buys herself a bag of macaroons that she has been prohibited to eat by Torvald. "…Torvald had forbidden them…He's worried they'll ruin my teeth ." This is a foreshadowing of Nora's final rebellion against Torvald. This also serves to form a connection with the two characters Mrs Linde and Dr Rank who are aware that Nora is lying to Torvald when she says, "Yes but these are some that Kristine (Mrs Linde) gave me"

The Tarantella dress that Nora wears in Act is perhaps one of the most powerful symbols of Nora and her relationship with Torvald. "Torvald wants me to be a Neapolitan peasant girl and dance the Tarantella that I learned in Capri. " This again shows Torvald's assumed control over her on the grounds that she is his wife and therefore is his possession. By choosing her dress and asking her to dance the Tarantella he controls her sexuality. He wishes to show Nora off, as if she is a doll, to all the guests at the party they attend with the knowledge that afterwards, she will be his. "All this evening I've longed for nothing but you…my blood was pounding till I couldn't stand it, that's why I brought you down so early. " Ironically, only Nora knows, with the knowledge that she is going to commit suicide after the dance, that this dance and this night is her final chance to be a doll for Torvald. The way that she dances conveys this to the reader who knows the truth, but not to Torvald, who is completely unaware of Nora's secret plan. However, he does notice that her dancing is somewhat over exuberant, "…the performance may have been a bit to naturalistic- I mean it rather overstepped the proprieties of art. " Furthermore, it is Nora's Tarantella costume that makes her a possession of Torvald, and makes her his doll wife. In Act , when Nora decides that she must leave Torvald and "stand completely alone… and discover herself and the world out there… " she changes out of her Tarantella costume and puts on her regular clothes to leave the house where she has been'imprisoned' by Torvald for such a long time

Finally, it is not only the clothes that Nora wears to dance, but also the dance itself that carries symbolic meaning. The Tarantella is a popular native dance of Southern Italy. The name Tarantella derives from the name of a poisonous spider; the Tarantula. In fact when a person is bitten by the Tarantula they begin jumping to relieve the pain and this jumping is the first step of the Tarantella dance . This dance can be compared to Nora trying to rid herself of the pain and problems of her life. It has also been said that when the dance is stopped, the victim will die. This relates to the suicidal intentions of Nora as she plans to kill herself after this dance.

The porcelain stove has very symbolic meaning throughout the play. It is portrayed as the heart of the domestic space. It is often referred to as a provider of warmth and comfort. "lets get cozy here by the stove." Additionally, the stove symbolises Nora's place as a wife and the way society expects her to act in this role. Whenever Nora moves towards the stove in the play she moves back to her place as a wife. For example; NORA (going towards the stove) "Yes whatever you say Torvald, " and when Helmer and Krogstad are discussing "bank business" NORA (nods indifferently and begins stirring up the stove."

Non-verbal elements are used in a lesser way to develop a relationship between Nora and Torvald's childhood friend, Dr Rank. The depth and complexity of this relationship is revealed to the audience through non-verbal elements such as the lamp. This serves to heighten the meaning of certain events, especially the conversation between Dr Rank and Nora when he reveals to her that he is in love with her. The main part of the conversation takes part in very low light, conveying to the audience that it is a private and perhaps secretive exchange. When Dr Rank is on the verge of professing his love to Nora, "You know that you can trust me more than anyone else." And "Do you think (Torvald's) the only one who'd gladly give up his life for you." Nora orders the light to be brought in to bring the reality, that she is married to Rank's best friend and that Rank is dying of syphilis, back to the situation. She asks Rank, "Aren't you a little bit ashamed, now that the lamp is here." The light is again used as a symbol of information being revealed when Torvald finds out the truth about Nora's forgery and Krogstad's blackmail against him.

At the end of the final scene, when Nora leaves the house assumedly for good, the screen directions help to provide closure for the play and for the audience. Although this is still a very open ended play, and many watchers would be left wondering how Nora survives and whether she manages to change her life for the better away from the controlling influence of Torvald. "From below the sound of a door slamming " shows that she has walked out of her past life for good.

In conclusion, Ibsen uses non verbal elements such as screen directions and screed descriptions to add a heightened dimension of meaning to the characters in A Doll House and their relationships throughout the play and as powerful symbols that help Ibsen to convey ideas and themes in the play.

Four Major Plays Henrik Ibsen

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A seperate peace

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Gene Forresters difficult journey towards maturity and the adult

world is a main focus of the novel, A Separate Peace, by John Knowles.

Genes journey begins the moment he pushes Phineas from the tree and

the process continues until he visits the tree fifteen years later.

Throughout this time, Gene must become self-aware, face reality and

the future, confront his problems, as well as forgive and accept the

person that he is. With the jouncing of the limb, Gene realizes his

problems and the true person he is inside. Fifteen years later, when

revisiting the tree, he finally accepts and forgives himself. This

journey is a long and painful one. At the end of this long and winding

road filled with ditches, difficulties and problems, Gene emerges a

mature adult.

Gene jounces the limb and causes Finnys fall and at that moment

becomes aware of his inner-self and learns of his true feelings. This

revelation comes to him back in his room before he and Finny leave for

the tree. It surrounds him with the shock of his true self until he

finally reacts by jouncing the limb. Up in the tree, before the two

friends are about to make their double-jump, Gene sees Finny in this

new light. He realizes that Finny feels no jealousy or hatred towards

him and that Finny is indeed perfect in every way. Gene becomes aware

that only he is the jealous one. He learns of his animosity and that

he really is a savage underneath. Over a long period of time Gene

had been denying his feelings of hatred towards Finny, saying that it

was normal for him to feel this way. Now all of the feelings come back

to him and he sees how terrible he really is. The realization that

these feelings are one-sided causes Gene to to fall dramatically in

comparison to Finny (he paints himself black for these feelings and

because Finny doesnt share them, he puts a halo around Finnys head),

concludes with the neccessity for Finny to be brought down to his

level, and results with Gene jouncing the limb.

After the realization of the person he truly is, in his room and

up in the tree, Gene must now confront his problems, face reality,

and deal with the future. He must learn that communication is very

important in a relationship and that he must express himself instead

of keeping his feelings inside, as he had always done with Finny. He

must learn to listen to himself rather than to others. These were just

a few of the many problems there were in his relationship with Finny.

He must face reality and acknowledge the fact that he isnt as great

as Finny, that he is his own individual person and that Finny isnt as

perfect as he thought. Gene must accept the guilt for Finnys

difficulties after his injury and must help Finny as a punishment and

act of repentence for his deed. Gene does this by giving a part of

himself to Finny as we see with the case of sports throughout the

rest of the novel - how Gene becomes Finny when it comes to sports.

Although the above are all of great importance, the greatest hurdle

Gene must overcome is learning to live with what hes done. This

painful step is the one which will allow him to completely mature.

The final stage of Genes maturation is his self-acceptence and

self-forgivness. He has to accept that he isnt perfect and that he,

like any other normal being (even Finny), has faults. Accepting that

his innocence has been lost helps Gene move on into another part of

his life and realize that he can never return to the days of his

innocent youth again. He can now become a man, enter the war and adult

world and leave his youth behind. Forgiving himself is the step which

allows Gene to lead a normal life and enter society. He must finally

forgive himself completely for his blind act and allow himself to

come in out of the rain. By accepting as well as forgiving the

person that he is, Gene enables himself to move on and join the adult

world.

Genes maturation is long, painful. It is a painful and difficult

process that reveals a darker side of Gene that he doesnt

neccessarily wish to see. However painful, Gene is made a better

person during his maturation through his suffering. Through

his pain and awful revalations about himself, Gene matures from an

insecure child to a self-knowledgable adult.

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A World Not So Far Away

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There are a lot of differences between the American and Indian culture and values. Things such as philosophy, family values, individuality, and religion are just some modern examples of the many differences between these two major countries. However, you don't have to come from India to experience how different and influential these cultures are.

For most of my childhood, I was exposed to nothing but the Indian culture. Before my parents first immigrated to the United States from India, we lived in a town called Vyera. Vyera was my home, the place where I met all my friends, and the place where I thought I would never leave. I spoke only Hindi, the official language of India, both to my friends and to my parents. I was pretty much secluded from the outside world because I never left the area, for I felt this was my home. However, my parents felt differently. They wanted me to become accustomed to the †American culture. By being more †Americanized , they felt that life would be better and that my sister and I would be more accepted. For that reason, my family and I moved to America twelve years ago. A big move my parents hoped would be a quick adjustment into the mainstream â€" the †American culture - an adjustment that would ultimately change my values and my perceptions of my cultural background.

When I moved from India to the green grassed city of Prescott, Arkansas, I was surprised at how different it was compared to Vyera. There was much less traffic and noise on the streets than I was used to. I remember pushing my way to get through busy streets when I was in Vyera. Another difference that I noticed was that all the children were Caucasian or Hispanic, while in India I associated with mostly Indians.

When I arrived at my new home, I was quickly plunged into the †process of being Americanized. My parents enrolled me into Prescott Elementary, a school consisting mostly of Caucasians. Although I was a quick learner in India, it was hard for me because I had to learn English. I did whatever I could to blend in. I bought cafeteria food and ate American lunches like bologna sandwiches and peanut butter and jelly. I tried hard to fit in so that I would be accepted. I did whatever my friends did. I begged my parents to buy me trendy clothes with designer labels. The haircut I had was also very similar to that of my friends. I spoke like them and adopted their ways. I wanted to no longer be Indian. I hated that part of me. I just wanted to be †American. I hoped that by doing everything they did and following their ways, I would be accepted despite the fact that I wasn't white.

It was not until eighth grade that I began to realize my changed behavior. A new Indian student was enrolled into my class. He reminded me of myself when I first came. Nilam was conservative, traditional, and very scholarly. Not knowing any better, I felt a bit embarrassed around him. I thought that his appearance would remind everyone of the person I was before. Because of this, I ignored and avoided him as often as I could.

One day, I was eating lunch with my friends and I glanced over towards him. I noticed he was eating one of my favorite Indian dishes, Tandoori Murg. I summoned enough courage to go visit him. I walked up to him slowly, and asked him for a small piece of the chicken. Nilam happily offered me some. We spent the rest of the lunch hour talking. I found out that we had a lot in common. We both loved model airplanes, reading books, and girls with skirts. We also found that our parents were similar in both their values and beliefs. Before long, we became best friends.

Through him, I now realize that I found the strength to rouse my long forgotten past. I was afraid to discuss my past with any of my white friends for fear of being treated differently. My new friend Nilam understood that. He pointed out that I was like my white friends before I met him, and that we became friends after realizing we had likenesses other than race and culture that brought us together.

Race and culture is not important when making friends, it is our personal character that is important. To this day, my parents are impressed with the wide range of friends I have and how well I've †adapted to the American culture. The reason for this is because I am comfortable with who I am. During my childhood, I focused so hard on changing my ways and being accepted that I lost myself in the process. By trying to adopt my friends' values, I gave up my own. I didn't have to pretend to be someone I was not, just be who I am. I no longer hated the fact that I was Indian. I accepted who I was. More importantly, I was happy with myself.

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An Analysis of The Cask of Amontillado by Edgar Allan Poe

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Edgar Allen Poe's "The Cask of Amontillado" is a horror story about a carefully thought out and planned act of revenge, and murder. Poe lets the reader know right away and throughout the story that the outcome will be Montresor getting revenge on Fortunato.

The story begins with Montresor vowing revenge on Fortunato for an insult, which is not clearly told. Montresor had planned and carefully designed this revenge, and murder. Planning a murder that could not be traced took a lot of forethought and preparation. One could only imagine the time it took to methodically and with cold calculation plan his revenge. In his plan, Montresor had to be sure that Fortunato would not become aware of his fate. Montresor knew Fortunato had a weakness, and he was going to exploit it to his advantage in order to undertake his plan. Fortunato was a connoisseur of fine wines. He took great pride in his knowledge, taste and smell of wines.

Montresor tempts Fortunato to come visit his vaults to taste his newly purchased Amontillado. Once there, Montresor gets Fortunato drunk and then buries him alive by walling him into a recess in the wall.

Evidence that Montresor's revenge was carefully thoughtout and planned is shown throughout the story. The time of day Montresor chooses to undertake his plan is one aspect of this. At "about dusk" during "the supreme madness of the carnival" is a perfect time for Montresor to disappear with Fortunato unnoticed. The fact that Fortunato is wearing a clown costume only helps ensure that he won't be recognized when in the presence of Montresor.

Just about everything Montresor says is ironic leading one to believe he is saying things in a taunting, sick way. He keeps inquiring about Fortunato's health and says he will not die of a cold. What it seems he is really saying is that Fortunato will not die of a cold but will die a horrible death by his hands. Montresor tells Fortunato that he is a member of the masons. Fortunato thinks he means he is of a fellow member of the society of

Masons. What Montresor really means is that he is a mason as in a bricklayer about to brick him in and bury him alive.

More evidence supporting the idea that Montresor had put a lot of thought and planning into the murder is when he pulls the trowel out from

the folds in his cloak. Then Montresor " uncovered a quantity of building stone and mortar" from underneath a pile of bones, and just happened to have his trowel inside his cloak seems a little suspicious. The staples and chains that were already attached to the wall, deep in the recess, before the two men arrived seems a little suspicious as well.

The ending of the story is very suspenseful and scary. Montresor chains Fortunato to the wall and begins to layer the bricks. Montresor is committed to finishing what he set out and planned to do despite the desperate pleas from Fortunato. When the last brick is set in place, we know Fortunato's fate has been sealed.

Works Cited

Kirszner and Mandell; Literature Reading, Reacting, Writing Compact

Fourth Edition; 000; Heinle and Heinle.

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Analisis of misty and heartly's relation ship

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The relationship of Hartley and Mitsy can be called a multiphase relationship because it has gone through many phases such as physical passion, unrequited love from Hartley's side of the relationship, estrangement, hostility, friendship lost & gained, and at the end an uncertain future.

At the beginning of the novel Hartley becomes friends with Mitsy, because Alice (Hartley's sister) was good friends with Mitsy and with Hartley spending a lot of time with Alice & Mitsy they all became friends. After Hartley and Mitsy became friends their relationship went into a new phase and Hartley says " I fell in love with Mitsy in the darkness of the tin-walled cinema in Sheba Lane". When the lights would turn off in the cinema the romantic attachment between Hart and Mitsy is revealed as being forged in the dark of the cinema through subtle and tantalizing contact of shoulders and knees.

The next phase is a phase of estrangement. This estrangement phase came about as a result of Hart, Mitsy, & Alice taking Derby to the Penrose house where Hartley's prejustice mother tells Derby that he must find somewhere else to stay. Then Ida's curt treatment of Mitsy, which is the intrusion of racism, leads to a misunderstanding and conflict between Mitsy and Hart. Mitsy then becomes cool and distant from Hart, but Hart's feelings remained the same for Mitsy.

Now that Mitsy was distancing herself from Hart and Hart still felt the same about Mitsy as he did before Ida caused the misunderstanding that led to conflict. Now there was unrequited love. Which could be seen clearly when Jamie Kilian the new kid on the block comes to Hartley's birthday party. At Hartley's birthday party there is competitiveness between Hartley & Jamie that almost immediately turns into rivalry while Mitsy is still cool as a cucumber towards Hart.

Hartley becomes desperately frustrated in his romantic intentions towards Mitsy. He grew suspicious to the point of paranoia and starts following Jamie Killan. After that out of a desperate restlessness and boredom, Hart's father Michael decides to go pearling at a time when the weather had shut down the pearling industry temporarily. Disaster strikes with a massive force that nearly kills Hart. He is saved by Mitsy's father Zeke who is lost at sea. Badly injured Hartley is tended by Mitsy and Alice in a Broome hospital.

The hospital is where Mitsy and heart reconcile in a sex scene, which involves Mitsy giving Heart a sponge bath and a flick on his penis with her fingers. Mitsy feels lost without her father and in their shared grief and suffering they reach out to each other.

Facing eviction and coming under increasing harassment from people in Broome Mitsy Sodako are invited to come and stay with the Penroses. Mitsy gets into bed with hart and they become lovers for a while. Tensions of the Second World War rise and so do the tensions if the Penrose household. Mitsy and hart become increasingly distant as everyone for news of Alice who faces an uncertain fate at the hands of the Japanese Army. Their sexual relationship begins to decline as the tenderness fades and hart says " it was a short step from that to having hateful sex with her". Hart follows Mitsy and finds her meeting up with Jaime Killan, which probably marks the end of the lovers phase.

After the lovers phase comes a phase of hostility. A letter arrived from Malaya reporting Alice is missing. Mike Penrose collapses in stress and confusion. Hart abuses Mitsy by saying you bitch, shortly after the war reaches Broome. Jamie is killed in the war. Mitsy and Sadako make plans to leave Broome and do so.

As time goes by Mitsy initiates contact with Hartly in a letter that reveals her love for him he waits for her. She remains committed to a relationship with Hart. But their future seems very uncertain to Hart. He seems only willing to see what happens. Hartly sums up this multiphase relationship very well in the end when he said "we'd started off as friends, we were lovers for a while, then there was hate and indifference. Now friendship replaced all that, but a friendship that cant offer or ask too much".

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Catching a Cheat

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This is an essay regarding the techniques a teacher uses to catch a cheat. First and foremost, kids are typically not smart enough to change enough big words to fool a certified teacher. I am a perfect example of a teacher who knows immediately if the students has taken a step far beyond their skill level. That is the first element of catching a cheat.

The second element is simply one of comparison. Has the student really put in enough effort to pull off the copy? A student who maintains a grade of C is unlikely to turn in an A paper on the next attempt. Gradual steps is the name of the game and a wary teacher will always be on the lookout for them.

If successful, a cheater can receive a good grade. However, it does nothing to expand the power of their mind. If there is such a thing as too much knowlege, I have not discovered it. Unfortunately, students no longer thirst for knowledge, they want the easy way out. Too bad that this will only harm them in the long run. Especially since I am well aware of many more legitimate ways to cheat than they can imagine. Many times, critical essays written by students are poorly focused. Thus, understanding must first be reached. Does this seem like a boring topic? you bet it is. I just want to peruse some free essays and find out if one of my students isnt being quite as honest as he or she should be.

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

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