Nesterov And Leo: Passage Analysis

Sing Down the Moon, a book written by Scott O’Dell is about a young Navajo girl named Bright Morning who is tending her flock of sheep with her friend, Running Bird, when they spot Spanish slavers coming toward them. They are both captured and taken to a village. There they are sold to different families as servants. Running Bird and Bright Morning later escape with another Native American servant, Nehana. Soon after returning home to their tribe, the Long Knives make everyone leave their homes, and take almost nothing other than water and food. Suddenly the Navajo tribe is ambushed by the Long Knives and forced to walk to an Apache/Navajo reservation.

When conceptualising the notion of a ‘constellation’, many definitions arise as to what the term represents and the ways to which it possesses a metaphorical significance. Such queries emerge throughout the duration of the contemporary theatre piece suitably entitled ‘Constellations’, written by English playwright Nick Payne, who effectively initiates controversy by implicitly alluding towards the perplexing concepts of parallel universes, nonlinear and possible infinite expanses of time, as well as the importance of individual choices and their relationship with the concept of fate/destiny. This exploitation of the power of subliminal manipulation is prevalent in most modern theatre as dramatic meaning is more effectively conveyed and

Lamott most probably wrote this passage with intention for either her son to see, to influence other parents to get their children in church, or even for religious skeptics. The style of this composition evokes a sort of spiritual feeling but is modern at the same time. Since the essay is written in first person, we get to see a small portion of Lamott’s outlook on life. The key points she talks about are from her own understanding. Maybe the plot is going from

The third section of the excerpt focuses on the mother and her reaction to her children’s “furious tenacity.” Her head begins to ache as the children argue over what happened on the cliff. She blames their behavior on “the perilous world” and the “intransigence” of the children. The rivalry between the children has overwhelmed her; furthermore, she is embarrassed by their behavior. She loves her children, but their constant bickering has exhausted

“I’m afraid of children my own age. They kill each other. Did it always used to be that way? My uncle says no. Six of my friends have been shot in the last year alone. Ten of them died in car wrecks. I'm afraid of them and they don't like me because I'm afraid. My uncle says his grandfather remembered when children didn't kill each other. But that was a long time ago when they had things different” (Section1). This is an early part in the book when Montag starts to actually notice the things happening around him in this world. Due to him meeting Clarisse, his opinion on things were greatly affected. In Fahrenheit 451, the futuristic version of our common TV is, “The Parlour”. It is an entire room where the walls are a type of television.

Self preservation and personal comfort, another consistent theme throughout the story is continuously perpetuated as generation-after-generation of residents are introduced to the unspeakable treatment of this helpless child. Ironically when first exposed to the atrocity, most children were more disgusted and outraged by the horrible predicament of the child than the adults who by all accounts should have been responsible for its protection. This obvious moral role reversal signifies a purity and innocence that is often present in a child’s perspective that is untarnished by corrupt societal teachings and norms. Additionally, the comparison between the moral integrity of

“’Want to see the hanging!’ … Children always clamored to be taken to see [the hangings of Eurasian prisoners, guilty of war crimes],” (pg 23).Again, I find the dehumanizing and the loss of innocence on the behalf of the children is mortifying. I find it sad that children are placed in the lines of the war at all.

MGMT’s ‘Kids’ deals with the realisation of growing up being scary and unsettling. This can be seen in the clip in one of the first scenes with the kid sitting in the cradle with big scary monsters creeping their nasty claws into the cradle to grab a hold of the child. This then makes the child cry and his ignorant mother come and comfort him. The child’s mother is oblivious to its concerns going about her normal day with no attention given to the distressed child who is so obviously frightened of the scary, monstrous adults of the big wide world. This helps to show that growing up is a scary thing in life and the youth of today are actually scared of growing up but decide not to let everyone see this or it could just be the fact that everyone

The citizens come to the consensus that nothing can be done for the child, and nothing should be done. To help this one miserable child would lead to the suffering of an entire city, after all. This is what the narrator persuades us to think. She uses many methods to prove her point. For instance, she tells us that if the child were to be saved, “in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed.” (1552). She defends the people of Omelas, who are not heartless, cruel, mindless “simple utopians,” but instead as passionate, intelligent, gentle people capable of sympathy. However, they understand that “the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars…the kindly weathers of their skies, depend wholly on this child’s abominable misery.” (1552). Not only this, but she asserts that the child is too “imbecile” to recognize love anymore; it has grown too used to the darkness of the cellar to ever revert back to normal civilized life. At every turn, she finds a way to argue against compassion and in favor of causing pain; she portrays the assessment the Omelasians make of the child to be so logical and responsible that even the reader starts to buy into it. Why help the child? There is no point, is there? Continuing this abusive treatment of it is for the good of the order, isn’t it? The narrator makes it extremely easy to

I believe that when H.H. began his journey toward the Home of Light in the East, he had no real understanding of the implications for those starting out as he was. There was safety as long as Leo was present, but with his leaving went their support system. The absence of Leo meant times became hard and confusing, and everyone was left to find their own way. I see this as a metaphor for life, as we often begin with lofty dreams and aspirations, which are easy to see as long as there is someone standing beside us. It is only when left on our own that we have questions and doubts and are sometimes unable to remember our true intent. I think there is a growing process before we finally remember our goal, desiring to know if it was real and if so,

After appreciating the skills that author uses in this tale, one should pinpoint on the moral within. From my own perspective, in this story, the kid symbolizes a group of people who take potshots at others with supercilious attitude, for it does no harm to them to say so or they

The characters of the man and the boy change through their journey throughout the novel. The man has great bravery and skill, but one thing that stands out from him is his love and devotion for his son. “He knew only that the child was his warrant. He said: If he is not the word of God God never spoke” (McCarthy, p. 5). The man refers to his son as a warrant which insinuates that the boy gives him a reason to live. The man is ready to protect his son at all costs which makes him ruthlessly violent and cynical. The wife’s suicide and apocalypse have internally wounded the man, but he also seems burdened by his past – a happy childhood; another life before the catastrophe. The man is resourceful, well-educated, and

The Dream of Scipio is a novel that helps convey the lesson that people all hold different interpretations and beliefs to how we should analyze the past. The characters presented in the novel all deal with making moral decisions. The manuscript’s purpose is to incite critical thinking, ‘“that manuscript you brought me, by that bishop. It argues that understanding is more important than movement. That action is virtuous only if it reflects pure comprehension, and that virtue comes from the comprehension, not the action” (Pears, 378-379). This novel shows how Pears uses complex themes over history and how the characters make moral decisions based on their interpretation of knowledge in each time period.

The third stanza brings forth a mood shift when the baby sister is introduced: "The baby cooed and laughed and rocked the pram / When I came in, and I was embarrassed / By old men standing up to shake my hand" (7-9). The playful and innocent rhythm of the seventh line differentiates from the previously gloomy tone, providing readers a sense of anticipation that the situation is not as bad as it seems. However, it is back to reality in the fourth stanza when those men express their condolences to the young man: "And tell me they were 'sorry for my trouble,' / Whispers informed strangers I was the eldest, / Away at school, as my mother held my hand" (10-12). The men's treatment towards the young man, the hand shaking and referring to him as the "eldest," implies that he is an adult now and is respected as one. Along with the shock of the situation, the death of his brother has now forced him to grow up and realize that he is not a child anymore.

‘Astrophil and Stella’ was first published in 1591 by the renowned Elizabethan poet Sir Philip Sidney. The Petrarchan styled sonnet sequence is comprised of 108 verses, and 11 songs in which the speaker, Astrophil shares his innermost thoughts and passions with regards to his love for a woman named Stella, the addressee of his lyric poetry. Each sonnet reconnoitres a slightly different phase of Astrophil’s love for Stella as their circumstances revolt; yet it details little of her fondness for him, as she neither rejects nor reciprocates his love, alluding to a fairly misleading romance. As the sonnets unfold, Stella weds another man, however when Astrophil learns she is miserable in her matrimony, he again becomes profusely engrossed in her. This sequence is significant as Stella eventually returns Astrophil’s adoration, but is ultimately plagued by her morality and cannot participate in carnal affairs with him as she is still wed, and this differentiates prominently with Sidney’s character Astrophil who is consumed with sexual longing for the woman he loves. As a result of Astrophil’s fixated nature, Stella refuses to continue to see him, and the closing sonnets reveal Astrophil’s thoughts and conflicting views on the matter. In the final verse, Astrophil grasps his immoral actions, and is anguished by the absenteeism of Stella from his life; however he feels some respite in knowing she once returned his love. From the three sonnets I have selected, I will now focus upon