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      "body": "Congratulations @correspondent! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@correspondent/birthday1.png</td><td>Happy Birthday! - You are on the Steem blockchain for 1 year!</td></tr></table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@correspondent) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=correspondent)_</sub>\n\n\n**Do not miss the last post from @steemitboard:**\n<table><tr><td><a href=\"https://steemit.com/steemfest/@steemitboard/steemitboard-supports-the-steemfest-travel-reimbursement-fund\"><img src=\"https://steemitimages.com/64x128/https://cdn.steemitimages.com/DQmXDHs9xfx8ZZ3DESFUqHRUQAcQT5kUWobArsRoJg2Yz1F/image.png\"></a></td><td><a href=\"https://steemit.com/steemfest/@steemitboard/steemitboard-supports-the-steemfest-travel-reimbursement-fund\">SteemitBoard supports the SteemFest⁴ Travel Reimbursement Fund.</a></td></tr></table>\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "permlink": "beowulf-what-makes-a-good-ruler",
      "title": "Beowulf: What Makes a Good Ruler?",
      "body": "![Screen Shot 2018-11-11 at 11.32.16 PM.png](https://cdn.steemitimages.com/DQmaQCqxKU75MfcT6RmczUC9GSzs3RAswAY2jxLuSDcnYuC/Screen%20Shot%202018-11-11%20at%2011.32.16%20PM.png)\n\nBeowulf is one of the most eminent poems in Old English. The story revolves around three battles which Beowulf fights – the battles with Grendel, Grendel’s mother and the Dragon. Beowulf is a warrior from the land of the Geats. He travels to the land of the Danes to save King Hrothgar and his community who are attacked by a supernatural being, Grendel. The poem points to morals in different events and characters, contrasting good versus evil, youth versus old age, public good versus private desire, Christian versus pre-Christian (called Pagan in the poem), and the value of goods. Throughout the poem, as Beowulf faces challenges he only shows acts of loyalty, strength, fortitude, and courage which defines him as a legendary figure, a hero. Beowulf embraces and lives by these valuable traits being an example of the heroic code, as he defeats the evil characters he meets with his superhuman strength, he represents the profile of a hero and a good king.\n\n![w000-the-coming-of-beowulf.jpg](https://cdn.steemitimages.com/DQmPXuE7geviUMCnpdHp5m4W3idDVXLQQcfSLUZMb9dBnMk/w000-the-coming-of-beowulf.jpg)\n\nThe first part of the poem presents Beowulf’s loyalty toward King Hrothgar. The brave Beowulf shows an act of loyalty by going to Heorot and offering his help to fight the monster Grendel, in attempt to free the Danes from the massacre the beast has inflicted on them. He comes to aid of King Hrothgar because he feels a great sense of loyalty to the king because of his father. King Hrothgar knew Beowulf’s father Ecgtheow as he recalled he had helped him in the past. Beowulf’s father needed assistance because of a feud, and Hrothgar had come to his aid. Moved by Beowulf’s courage and loyalty, King Hrothgar accepts Beowulf’s favor and invites him and his men to feast at Heorot. “Never, since my hand could hold a shield have I entrusted or given control of the Danes’ hall to anyone but you,” says King Hrothgar, giving full control to Beowulf as if he were one of his sons. (655-57)\n\n\nLater in the first part of the poem, Beowulf’s physical and mental strength is represented. To prove his strength, Beowulf announces that he would fight Grendel bare-handed. “Now I mean to be a match for Grendel,” said Beowulf to King Hrothgar. (425) Unferth envies Beowulf’s strength and recounts the battle Beowulf had in the past with the sea monster with sarcasm. Beowulf replies with pride: “Time and again. Foul things attacked me, lurking and stalking, but I lashed out, gave as good as I got with my sword. My flesh was not for feasting on” (559-62) \n\n![Beowulf-replies-haughtily-to-Hunferth-341277-large.jpg](https://cdn.steemitimages.com/DQmbbkTXS6B1sZcBtk4sRkh4EkZTTU6Lwf8o1hsG59t9bX5/Beowulf-replies-haughtily-to-Hunferth-341277-large.jpg)\n\nAs the night sets and the fear of the monster Grendel fills the Danes’ hearts, the feast comes to an end and Beowulf and his men are left to face Grendel. The monster finally comes to Heorot and faces Beowulf. Their confrontation displays the clash between the forces of good and evil. “The captain of evil discovered himself in a handgrip harder than anything he had ever encountered in any man on the face of the earth.” (749-52)\n\n\nBeowulf stands by his sword, he fights the monster “barehanded” and with a greater power he defeats Grendel. The king and queen gift Beowulf and his men to compensate them for their victory. The Danes celebrates the death of Grendel and their hero Beowulf with a pleasing feast and entertainment. Beowulf establishes honor among the Danes as he is esteemed by the king and his community for his accomplishment. He frees the Danes with his strength and defeats their great enemy by risking his own life. Beowulf is presented as the ultimate hero in this scene of the poem.\n\n![Siegfried,_the_hero_of_the_North,_and_Beowulf,_the_hero_of_the_Anglo-Saxons_(1909)_(14750134331).jpg](https://cdn.steemitimages.com/DQmQsYMt6q85YrkKGzJYKN6icBT8byQWSvBqgPCdAAzbNG3/Siegfried,_the_hero_of_the_North,_and_Beowulf,_the_hero_of_the_Anglo-Saxons_(1909)_(14750134331).jpg)\n\nIn the second part, the poem represents Beowulf’s fortitude. In the late night, another attack takes place at the gold hall killing everyone. It is Grendel’s mother that came for revenge. Beowulf learns about the tragedy and decides to stay and fight the demon that has caused horror and grief to King Hrothgar and the Danes.\n\n“Wise sir, do not grieve. It is always better to avenge dear ones than to indulge in mourning. For every one of us, living in this world means waiting for our end. Let whoever can win glory before death” (1384-88) says Beowulf to King Hrothgar. There is a parallelism between Beowulf’s words and Grendel’s mother as he chose to react to her revenge the same way as she did for her son’s death. Beowulf is aware that the battle with Grendel’s mother could kill him, but he chose to stay and fight Grendel’s mother. Beowulf speak his wishes to King Hrothgar before his travel to fight Grendel’s mother. As he approaches the cave “the gallant man could see he had entered some hellish turn-hole and yet the water there did not work against him.” (1512-14)\n\n![nick-tan-ac3-02.jpg](https://cdn.steemitimages.com/DQmZhZQZwGDLx9xWAGVSeiiiAJQWXaHVTRstnZyctYjwSJH/nick-tan-ac3-02.jpg)\n\nBeowulf meets with the demon and despite Grendel’s mother’s superhuman power, Beowulf stands his ground and fights her with all his strength, eventually defeating her. Beowulf is presented as a true warrior and savior of the Danes’ land. He also gives a great example through his action and commitment. His promise to King Hrothgar engages him even more to aid the Danes and be a model of bravery.\n\n\nThe last part of the poem represents courage. In this part of the poem, Beowulf is living in his land, the land of the Geats where he reigned as a king for many years. He is in his seventies and has ruled his people with great ability, keeping them safe and satisfied, until the day a terrible threat came upon them. A dragon that was asleep for many years has awaked and sworn to destroy their city and everyone in it, because someone had stolen its valuable goblet. The dragon weapon is fire, a natural force. Beowulf doesn’t want to let any of his men risk their lives fighting the dragon. He commands his men to let him battle the dragon alone and commands the thanes that accompanied him to stay put. “This fight is not yours, nor it is up to any man except me to measure his strength against the monster or to prove his worth”. (2532-35)\n\n\n\nBeowulf engages the dragon in a dangerous fight, with the help of Wiglaf, a young warrior, they defeat the dragon, but ultimately cost Beowulf’s life. Wiglaf was the only warrior that had stayed to help his king through the fight. During his last breath, Beowulf confesses with pride his achievement to young Wiglaf, as a king he had gained respect and love from his people. His pride of serving as a king and fighting great battles will make him remembered forever. The acts of courage Beowulf had shown throughout his life and upon his death are a model of a leader that he hopes to instill the hearts of the youth. As he spoke to Wiglaf, “To the everlasting Lord of all, to the King of Glory, I give thanks that I behold this treasure here in front of me, that I have been allowed to leave my people so well-endowed on the day I die”. Beowulf was thankful for keeping his people safe and leaving them fortune before he died, which demonstrates the character of a good king.\n\n\nBeowulf embraces and lives by these values traits and is an example of the heroic code. Beowulf defeats the evil characters he meets with his superhuman strength and represents the profile of a hero and a good king. Beowulf faces all this challenges with great strength and courage for a goal to serve others and be recognized for his bravery as one of the greatest kings that ever lived. Beowulf’s death is just as he would have wanted it to be: to die fighting for something greater than himself. He models the traits of a true warrior in all fights despite his old age in the third part of the poem when fighting with the dragon, Beowulf proves that he is still capable of fighting a battle even if it costs him his life.\n\n![Siegfried,_the_hero_of_the_North,_and_Beowulf,_the_hero_of_the_Anglo-Saxons_(1909)_(14566833957).jpg](https://cdn.steemitimages.com/DQmTYC7Zi8UgELBPmCwSVjeyNUJjS1yHkuwtndBac8x8GVm/Siegfried,_the_hero_of_the_North,_and_Beowulf,_the_hero_of_the_Anglo-Saxons_(1909)_(14566833957).jpg)\n\n\"Our greatest glory is not in never falling, but in rising every time we fall\" - Confucius\n\n\nBeowulf. The Norton Anthology: Western Literature. Ed. Peter, Simon. New York: W.W Norton\n& Company, Inc 2014. (425-2535)",
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      "permlink": "re-muscara-re-correspondent-the-relationship-of-women-and-men-in-ancient-greece-20181106t201417324z",
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      "body": "Hi Muscara! Thank you for your comment. I agree Hypatia is a great example of the independent woman and also the reality of women oppression during that era. Thanks!:)\n\n![370-415-hypatia-of-alexandria-mathematician-first-woman-in-history-to-32194282.png](https://cdn.steemitimages.com/DQmQynsCBzBNuYp5zQGdDgU4cAksZTWor7AZnRp6f7RFavT/370-415-hypatia-of-alexandria-mathematician-first-woman-in-history-to-32194282.png)",
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      "body": "Though it didn't get better afterwards - best example is Hypatia who was as independent as a woman could be. Till the unwashed barbarians (aka early christians) got rid of her ;)",
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      "body": "@@ -579,19 +579,16 @@\n on only \n-on \n one real\n",
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      "title": "The Relationship of Women and Men in Ancient Greece",
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      "permlink": "the-relationship-of-women-and-men-in-ancient-greece",
      "title": "The Relationship of Women and Men in Ancient Greece",
      "body": "![Screen Shot 2018-11-04 at 10.44.40 AM.png](https://cdn.steemitimages.com/DQmY6hbRSKLNWX42spYby6qYYpFfjLSvZLU5QDkTw2rczpo/Screen%20Shot%202018-11-04%20at%2010.44.40%20AM.png)\n\nIn ancient Greece, women had no political rights and were restricted from equal rights.\nTheir role consisted of staying inside the home, rearing children and managing the household responsibilities. Literature was mostly dominated by men, and the portrayal of women also reflected a male point of view. Men regarded women who spoke up and shared ideas as a threat to society, a society that was based on only on one reality, a male dominated one.\n\nIn the Odyssey, Homer portrays Penelope, the wife of king Odysseus and mother of Telemachus, as a noble woman. Penelope is appreciated for being loyal and faithful, intelligent and cunning. She is referred to as “wise Penelope” regularly throughout the Odyssey by the narrator. The most evident example of Penelope’s cunning was when she delayed in remarrying any of the suitors and pretended to be busy with weaving a burial shroud for Odysseus’ father. Penelope’s characteristics make her a more realistically portrayed woman of her time.\n\nWomen standing up for themselves to men were seen as women with bad characters. Penelope’s only protection was her husband “-there is no man here to protect this house like Odysseus, - he and his son would make them pay for this outrage.” (585-88) Men had the upper hand on women. For example, the suitors who “partied” in Penelope’s house because no man was present, demonstrate that the men were allowed to do whatever pleased them to do. Women were oppressed because of their nature, and objectified. They were given in marriage by their fathers or other male relatives at a very young age and taught to be domesticated. For their entire lives. Consequently, women were controlled and protected by male figures, whether by fathers, husbands or other male relatives. They weren’t allowed to inherit and were excluded from the social life of the polis.\n\nThese aspects diminished their role in society and reinforced the stereotype of women being only good for raising children and staying indoors. They were appreciated for their good manners and beauty, which reinforced the image of the submissive woman.\n\n![Joseph_Wright_of_Derby_-_Academy_by_Lamplight_- (1734-1797)_Google_Art_Project.jpg](https://cdn.steemitimages.com/DQmRKrYobCLoEoRJpbCBHLkJxd9XYpWBanzbV5ba7ByQvoY/Joseph_Wright_of_Derby_-_Academy_by_Lamplight_-%20(1734-1797)_Google_Art_Project.jpg)\n\nAristophanes’ comedy Lysistrata challenges this stereotype of women, in comparing the two. Characters, Penelope and Lysistrata, we see that Lysistrata is less appreciated by men. In the play Lysistrata, the character is an optimistic young woman who speaks out against the men for failing to bring peace to the city and carry on by calling upon all women from both cities to join her in her effort to stop the war. Lysistrata’s character portrayal gives us an insight into the relationship between women and men during that time.\n\nIn the play Lysistrata, women use their sexuality to claim their power over men and motivate them to end the war. This play involves rebellious women taking a stand with Lysistrata to end the war; it was written as a comedy to entertain a male audience and performed by male actors. Speaking up and coming up with ideas to end the war were perhaps seen as impossible, and that is why it was laughed at. Men’s portrayal of women was negative. When the woman was not submissive she was a monster, or a witch such as Medea, taking revenge on her husband by killing the woman he loved. Moreover, these stereotypes continued to make others fearful of such a woman. This is also a stereotype that has survived our modern world today. In the play, Calonice argues female intelligence with Lysistrata in their first meeting with the goal of stopping the war. “What thoughtful thing could women even do? What vivid venture? We just sit decked out in saffron gowns, make up about this thick Cimberian lingerie and platform shoes.” (42-45) To which Lysistrata responds, “It’s those that I intend to save our race: those dresses, and perfumes, and rouge, and shoes.” (46-48) Here the playwright reinforces the idea of beauty and looks that will save a nation rather than intelligence.\n\nWomen were belittled by men and treated as second-class citizens; in Lysistrata’s statement, the character uses the words “race” referring to women as different from men. In the play, the only arena in which women seem to have equal power with men is sexual intercourse, which is why their plan is to stop the war using “total abstinence from sex.” In the play the “old men chorus” describes the fear of the women’s movement and calls it a “catastrophe” and a “matriarchy.” These claims bring to our attention the irony of patriarchy and the notion of men being fearful that the system may switch from one in which the male dominates to a female dominant world.\n\nBoth characters Penelope and Lysistrata had voices given to them by a male author and are subject to the norms of that era. Aristophanes ridicules women. The idea of women ending the war is something that is unbelievable, and that is why it is written as a comedy which presents a negative approach into the thoughts of men toward the intelligence of women in ancient Greece.\n\n![go-where-the-road-takes-you-watermark-2.jpg](https://cdn.steemitimages.com/DQmNYTcZmAARrVj7cSVBXZfgVaMiMxqLcxiAF9w9H4jBDdC/go-where-the-road-takes-you-watermark-2.jpg)\n\n\" She stood in the storm, and when the wind did not blow her away, she adjusted her sails.\" - Elisabeth Edwards\n\n\nAndrea Realpe. Blue Birds Wings. 2018\nAristophanes. Lysistrata. The Norton Anthology: Western Literature. Ed. Peter, Simon. New York: W.W Norton & Company, Inc 2014. (42-48)\nHomer. The Iliad Book I-XXIV. The Norton Anthology: Western Literature. Ed. Peter, Simon.\nNew York: W.W Norton & Company, Inc 2014.(585-88)\nJoseph, Wright of Derby. Academy by Lamplight. Google Art Project \n(1734-1797) \nWood Engraving Greek Women. Getty Images 2018",
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      "body": "@@ -2415,16 +2415,26 @@\n ugustine\n+ (397-400)\n %0A%0A!%5BMarl\n",
      "json_metadata": "{\"tags\":[\"literature\",\"writing\",\"life\",\"history\",\"faith\"],\"image\":[\"https://cdn.steemitimages.com/DQmetzGNHFNW8SYQPjq4BRFZCq2jNZmMxW7WdtjVxsr2Y2V/Screen%20Shot%202018-10-26%20at%205.57.07%20PM.png\",\"https://cdn.steemitimages.com/DQmX2r5ZPzkmjb8j7yUdkrKVabLf4knZePArtxsFvkqbPqA/Marloes%20surf%20sm.jpg\",\"https://cdn.steemitimages.com/DQmUymGCqeUuKerKcKn3e5Len5QYFvjn3JxVNM55gXRCCwP/Screen%20Shot%202018-10-26%20at%207.30.51%20PM.png\",\"https://cdn.steemitimages.com/DQmVPkKki8n5AsBnePaiwCtDgsckeprXTRGAKTgqfSFtSYM/riverentrance_blog.jpg\"],\"app\":\"steemit/0.1\",\"format\":\"markdown\"}"
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{
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      "permlink": "the-confessions-of-saint-augustine-thoughts-on-a-passage",
      "title": "The Confessions of Saint Augustine: Thoughts on a Passage",
      "body": "![Screen Shot 2018-10-26 at 5.57.07 PM.png](https://cdn.steemitimages.com/DQmetzGNHFNW8SYQPjq4BRFZCq2jNZmMxW7WdtjVxsr2Y2V/Screen%20Shot%202018-10-26%20at%205.57.07%20PM.png)\n\n“Why I left the one country and went to the other, You Knew, O God, but you did not tell either me or my mother. She indeed was in dreadful grief at my going and followed me right to the seacoast. There she clung to me passionately, determined that I should either go back home with her or take her to Rome with me, but I deceived her with the pretence that I had a friend whom I did not want to leave until he has sailed off with the fair wind. Thus, I lied to my mother, and such a mother; and so, got away from her. But this also You have mercifully forgiven me, bringing me from the water of Your grace; so that when I was washed clean, the floods that poured from my mother’s eyes, the tears with which daily she watered the ground towards which she bent her face in prayer for me, should cease to flow. She would not return home without me, but I managed with some difficulty to persuade her to spend the night in a place near the ship where there was an oratory in memory of St. Cyprian. That night I stole away without her: she remained praying and weeping. And what was she praying for, O my God, with all those tears but that You should not allow me to sail! But You saw deeper and granted the essential of her prayer: You did not do what she was at that moment asking, that You might do the thing she was always asking. The wind blew and filled our sails and the shore dropped from our sight. And the next morning she was frantic with grief and filled Your ears with her moaning and complaints because You seemed to treat her tears so lightly, when in fact You were using my own desires to snatch me away for the healing of those desires and were justly punishing her own to earthly affection for me with the scourge of grief. For she loved to have me with her, as is the way of mothers but far more than most mothers; and she did not realize what joys you would bring her from my going away. She did not realize it, and so she wept and lamented, and by the torments she suffered showed the heritage of Eve in her, seeking with sorrow what in sorrow she had brought forth. But when she had poured out all her accusation at my cruel deception, she turned once more to prayer to You for me. She went home and I to Rome.” – Saint Augustine\n\n![Marloes surf sm.jpg](https://cdn.steemitimages.com/DQmX2r5ZPzkmjb8j7yUdkrKVabLf4knZePArtxsFvkqbPqA/Marloes%20surf%20sm.jpg)\n\nThe Confessions is an autobiographical work written by Saint Augustine of Hippo between AD 397 and 400. It is an intellectual and emotional examination of the soul, in which Augustine questions the relationship between the heart and the head. \n\nAugustine and his mother Monica had a difficult relationship mostly because of the differences in their beliefs. Monica was a pious Christian whose most fervent wish was that her son Augustine might convert to Christianity. Augustine did not have the same views about religion as his mother did, and he renounced the Christian faith publicly when he joined the Manicheans, which “crushed her to the earth; She would have grieved less over the news of her son’s death.” (41) \n\nMonica tried to reason with her son when he visited her and recounted a dream that assured her that her son would come back to his senses and be by her side. “Perhaps, suggests her son, anxious to turn it to his own advantage, ‘It means that you will come to see things as I do.’” Saint Monica, replies firmly, “’No, - for he did not say, ‘where he is, you shall be,’ but Where you are, there he shall be.” (43) \n\n![Screen Shot 2018-10-26 at 7.30.51 PM.png](https://cdn.steemitimages.com/DQmUymGCqeUuKerKcKn3e5Len5QYFvjn3JxVNM55gXRCCwP/Screen%20Shot%202018-10-26%20at%207.30.51%20PM.png)\n\nAugustine desired recognition in his work, and his friends persuaded him that he would “meet the honor that he deserved” if he sailed for Rome. When his mother heard that her son was sailing for Rome, she was alarmed and concerned for his life. As a non-believer her son was setting himself for failure and deception in her opinion. “What would become of Augustine in Rome? Without faith, without ideals, he was a disabled ship, drifting with every wind.” (44) \n\nThe scene focuses on grief and guilt between the mother and son before his departure for Rome. Augustine’s mother tried to stop him from leaving. Augustine asked his mother to go rest at the church. Because of the bad weather, the ship would not sail anyway, and in the morning, they would sail together. \n\nThe weather got better that night and Augustine sailed for Rome, leaving his mother behind. “She went home and I to Rome” (1190) \n\nIn this passage Augustine confessed his guilt resulting from his awareness of the pain he had inflicted on her. “I lied to my mother,” he says, “and to such mother!” (1190) \n\nHe was tormented by his mother’s pain because she genuinely wanted only her son’s success, and as a mother and wiser woman, she could predict that her son might fall into living a sinful life and be unhappy. She believed that faith was a good source of containment and God “whose mercy cannot fail” was her whole world. (44) She was grieving for her son as if she knew she had lost him already. Therefore, she turned to God in prayer to bring her son to his senses. \n\nAugustine had to take his own path to understand that all paths end up meeting on the only path to God. “Why I left the one country and went to the other, You Knew, O God, but you did not tell either me or my mother.” (1189) \n\n![riverentrance_blog.jpg](https://cdn.steemitimages.com/DQmVPkKki8n5AsBnePaiwCtDgsckeprXTRGAKTgqfSFtSYM/riverentrance_blog.jpg)\n\nThe passage also brings up the comparison with Dido’s and Aeneas’ scene of farewell. Aeneas loves Dido but has to leave her to fulfill the prophecy about him; Dido pleads for him not to leave but he leaves anyway. The passage also repeatedly evokes the weeping of Saint Monica over her son which is compared to baptism and “the cleansing of the soul” (1190) \n\nIn this scene, Augustine shared with us that a lesson can only be learned with experience. In order to fully believe in God, he had to feel the pain and experience on his own the doubts and confusion about the mind, the soul, and the world at large. \n\n\n\n\nArt Class: Boat in Water. Charcoal on paper. 2018\nAugustine. Confessions. The Norton Anthology: Western Literature. Ed. Peter, Simon. New \nYork: W.W Norton & Company, Inc 2014. P.1189-90\nForbes, F.A. Saint Monica. Model of Christian Mothers: Monica’s Heartbreak. TAN Books. \nCharlotte: North Carolina, 2011. P.40-44 \nGetty Images. Clip Art Teal Balloon. 2018\nHand Sketch, Google Images. 2018 \nSaint Monica and Saint Augustine Portrait. Getty Images. 2018\nShannon, Drew. Illustrations: Woman at the window. 2016\nMariko, Irie. River Entrance: The River Meets the Ocean. 2012\nDavid Bellamy. My Art: Windy Waves.  2018",
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      "title": "Virginia Woolf - To the Lighthouse analysis",
      "body": "![Lighthouse-Shadwell-Opera-1200-x-600-800x400.jpg](https://cdn.steemitimages.com/DQmSZUdWuqEQhSeGwmmRGn4x6myVRcDnmWLMixd6fMSWdUY/Lighthouse-Shadwell-Opera-1200-x-600-800x400.jpg)\n\nTo the Lighthouse is a novel written by Virginia Woolf in 1927. The story centers on members of the Ramsay family and their trips to their holiday home in the Isle of Skye over the course of a decade. The novel tells the story through the use of stream of consciousness of various characters in the novel, which is the method Woolf uses to present their reflections on their memories, feelings, and core beliefs to give the reader different perceptions about who they are. Mrs. Ramsay embraces conventional gender roles as a wife, mother, and hostess to her friends visiting her house. She is a support to her family and friends and believes that marriage and having children constitute the only fitting path to take for a woman. \n\nLily Briscoe, is a friend of the Ramsay family, Mrs. Ramsay and Lily do not share the same beliefs about the role of women. Lily is an artist. She thinks that a woman can be more than just a wife and/or a mother and wants a career as a painter primarily. Mr. Tansley a friend of the family, believes that women can’t write or paint. Lily’s is hurt by his comment but motivated to prove him wrong. During Lily’s stay with the Ramsay family, Lily begins to paint a portrait of Mrs. Ramsay and her son James and thereby proves that a woman could paint and write since she finishes her painting at the end of the novel.  Mrs. Ramsay, however, is willing to care for Lilly only on her own terms, and she believes that the best career for a woman is in fact marrying and having a family “Lily Picture! - one could not take her painting very seriously” (12)\n\n Mrs. Ramsay is, however, more interested in marrying Lily to William Bankes a friend of the family, because Lily is thirty-four and not conventionally attractive “with her Chinese eyes and her puckered-up face, she would never marry.” (12) Mrs. Ramsay’s comment about Lily’s physical appearance supports the practice of objectifying women, reducing them to their looks and their role as merely housewives, an attitude which was at that era conventional. \n\nWoolf herself was a feminist, and she resembles the character of Lily’s in the novel.  As a child Woolf’s father didn’t believe in girls going to school which limited Woolf and her sisters from having a conventional education from school; however, they were given access to their father’s library and were encouraged to read and write as children. \n\nMrs. Ramsay comes to agree with her husband even when his ideas and reactions seem inadequate, again supporting the idea of women being second-class citizens. Mr. Ramsay’s actions are often validated by his wife. Mr. Ramsey needs his wife’s attention and reassurance to feel good about himself and to maintain his role as the head of the family. Mrs. Ramsay, who plays a secondary role as a woman, as other members of the family observe, dismisses his flaws. \n\n![victorianfamilydinner_custom-488a6109e517bf94dd28ba820d2364d6222c6f5c-s800-c85.jpg](https://cdn.steemitimages.com/DQmUnQsmMNyxivZAdbwTNWcZvBmJ6v1QQqE9QsqgQZVisPb/victorianfamilydinner_custom-488a6109e517bf94dd28ba820d2364d6222c6f5c-s800-c85.jpg)\n\nJames hates his father for denying him the trip to the lighthouse. “as now lean as a knife, narrow as the blade of one, grinning sarcastically, not only with the pleasure of disillusioning his son and casting ridicule upon his wife, who was ten thousand times better in every way than he was (James thought), - what he said was true. It was always true. He was incapable of untruth.” (8) It is the men who sees themselves as protecting the women from being overwhelmed. Mr. Ramsey “liked that men should labour and sweat on the windy beach at night; pitting muscle and brain against the waves and the wind; he liked men to work like that, and women to keep house, and sit beside sleeping children indoors, while men were drowned, out there in the storm.” (105) This supports the idea that women were better off taking care of their families rather than having an intellectual career in which they had no faith. Mrs. Ramsay supports her husband’s feelings first and in the process diminishes her own feelings. Because she is always looking out for the people she loves first and putting herself and her feelings second, she denies herself in a way which makes her feel sad and question the world at large. Mrs. Ramsay thus becomes a self-critic “For now she need not think about anybody. She could be herself. And that was what now she often felt the need of – to think; well, not even to think. To be silent. To be alone.” (44) \n\n![9319f6487c382e74ea6378338a699941.jpg](https://cdn.steemitimages.com/DQmZDd12dbEjrYHhtAJjSAFhHRUmzpz8TQPnRJ6KV7bYhKB/9319f6487c382e74ea6378338a699941.jpg)\n\nMrs. Ramsay’s need to withdraw from the world around her intimates an attraction to death. “She had a sense of being past everything, through everything, out of everything…it’s all come to an end, she thought.” (55) The role she assumes as a wife, mother and conventional woman drains her of vitality. Mr. Ramsay could not come to help of his wife. He sees her troubled but can’t help her. “She was aloof from him now in her beauty, in her sadness…He could not reach her, he could do nothing to help her.” (46) When it comes to connecting with his wife and supporting her, Mr. Ramsay just looks at her “beauty” and “her sadness” without even attempting to help. She was on her own. This shows the dynamic of their relationships and the fear perhaps of Mr. Ramsay in connecting deeply with his wife emotionally. Mrs. Ramsay is uncomfortable telling her husband she loves him, but he knows it because she would agree with him. \n\nThe novel deals with a multiplicity of perspectives, visual and emotional. “For nothing was simply one thing” (155) every thought the characters have of each other and themselves is directly connected with one character, reflecting their own struggles and revealing their own flaws and hopes. \n\n\n![186464-049-13CE227E.jpg](https://cdn.steemitimages.com/DQmaNWnYhGRgBcBpPp7hLALLNx95i27wPEtM6TkhWxPC9HD/186464-049-13CE227E.jpg)\n\"Women have served all these centuries as looking-glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.\" \nVirginia Woolf (1882-1941)\n\nHulton Archive/Getty Images. Victorian family at the dinner table, circa 1850. 2018\nThe Lighthouse, art by Shadwell Opera. 2018\nWeighting Scale Sketch, 2015\nWoolf, Virginia. To the Lighthouse. New York: Houghton Mifflin Harcourt, 1981. (e-book) (1 – 201)",
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      "body": "Congratulations @correspondent! You have completed the following achievement on the Steem blockchain and have been rewarded with new badge(s) :\n\n[![](https://steemitimages.com/70x80/http://steemitboard.com/notifications/votes.png)](http://steemitboard.com/@correspondent) Award for the number of upvotes\n\n<sub>_Click on the badge to view your Board of Honor._</sub>\n<sub>_If you no longer want to receive notifications, reply to this comment with the word_ `STOP`</sub>\n\n\n\n**Do not miss the last post from @steemitboard:**\n<table><tr><td><a href=\"https://steemit.com/steemitboard/@steemitboard/steemitboard-ranking-update-steem-power-followers-and-following-added\"><img src=\"https://steemitimages.com/64x128/https://cdn.steemitimages.com/DQmfRVpHQhLDhnjDtqck8GPv9NPvNKPfMsDaAFDE1D9Er2Z/header_ranking.png\"></a></td><td><a href=\"https://steemit.com/steemitboard/@steemitboard/steemitboard-ranking-update-steem-power-followers-and-following-added\">SteemitBoard Ranking update - Steem Power, Followers and Following added</a></td></tr></table>\n\n> Support [SteemitBoard's project](https://steemit.com/@steemitboard)! **[Vote for its witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1)** and **get one more award**!",
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      "title": "Aristophanes, Lysistrata - Thoughts on a Passage",
      "body": "@@ -828,20 +828,37 @@\n .C.E%0A%0A!%5B\n-fair\n+0_8d6fe_fb1daa8d_orig\n .jpg%5D(ht\n@@ -892,57 +892,74 @@\n /DQm\n-ZLxhMKS99UN6KjkPQWLoeFm9Gg6U6XKKg62g5UcYxWVz/fair\n+bcWWL3xypKzXb2rkDwkuBiA3wU7fbidXcU74Aryqvaz4/0_8d6fe_fb1daa8d_orig\n .jpg\n@@ -1875,16 +1875,286 @@\n sage. %0A%0A\n+!%5B0_8d6ff_fce338fd_orig.jpg%5D(https://cdn.steemitimages.com/DQmS7xCLGKjCBf8tUBr43c6Xe2yKeZ6SPt9UsTk7edySuFD/0_8d6ff_fce338fd_orig.jpg)%0A%0A!%5B0_8d701_c2b71da5_orig.jpg%5D(https://cdn.steemitimages.com/DQmSSt35ce7TZMUbTL8z86UDiCgtdhiyJK8i4gT1mVC45Qt/0_8d701_c2b71da5_orig.jpg)%0A%0A\n Lysistra\n@@ -3008,16 +3008,287 @@\n 8-90) %0A%0A\n+!%5B0_8d703_c0635acb_orig.jpg%5D(https://cdn.steemitimages.com/DQmW8uUQ1yBqWedUefxVUcQgcsz37CT3Wo67GHdkHyW6fyR/0_8d703_c0635acb_orig.jpg)%0A%0A!%5B0_8d700_4f24291a_orig.jpg%5D(https://cdn.steemitimages.com/DQmSLeSHH4vmHZDU1fjtgyzowaeJ3QjTDxjFiqFBGUiixLP/0_8d700_4f24291a_orig.jpg)%0A%0A%0A\n Aristoph\n@@ -4081,344 +4081,697 @@\n %0A%0A!%5B\n-'Thesmophoria'_by_Francis_Davis_Millet,_1894-1897.jpg%5D(https://cdn.steemitimages.com/DQmfXezRs9Z1ZxeL1nKwxojLW6jUokGqnqaTEDKB8nk41bd/'Thesmophoria'_by_Francis_Davis_Millet,_1894-1897.jpg)%0A%22We do not need magic to change the world, we carry all the power we need inside ourselves already: we have the power to imagine better.%22 %E2%80%94 J.K. Rowling\n+0_8d702_35d501b5_orig.jpg%5D(https://cdn.steemitimages.com/DQmeg6AQb33RUeMNj3j3YYMSHi3K6yHhaPem6gnAdhyoBJL/0_8d702_35d501b5_orig.jpg)%0A%0A%22We do not need magic to change the world, we carry all the power we need inside ourselves already: we have the power to imagine better.%22 %E2%80%94 J.K. Rowling%0A%0A!%5B'Thesmophoria'_by_Francis_Davis_Millet,_1894-1897.jpg%5D(https://cdn.steemitimages.com/DQmfXezRs9Z1ZxeL1nKwxojLW6jUokGqnqaTEDKB8nk41bd/'Thesmophoria'_by_Francis_Davis_Millet,_1894-1897.jpg)%0A%0A%0AAristophanes. Lysistrata. Heritage Press, 1962. Illustrated by Pablo Picasso.%0AAristophanes. Lysistrata. The Norton Anthology: Western Literature. Ed. Peter, Simon.%0ANew York: WW Norton & Company, Inc. 2014. (578-90)\n",
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      "permlink": "aristophanes-lysistrata-thoughts-on-a-passage",
      "title": "Aristophanes, Lysistrata - Thoughts on a Passage",
      "body": "![Screen Shot 2018-10-14 at 1.43.55 AM.png](https://cdn.steemitimages.com/DQmdUyiwSwvUyG1RNh6qpyakEwTAdoKxLxjxERFt2zzoaSV/Screen%20Shot%202018-10-14%20at%201.43.55%20AM.png)\n\n“First, give the fleece a bath to dunk away the sheep dung. \nSpread your city on a bed\nNext, and beat out all the layabouts and briars. \nThen card out any clumps – you know, the cliques of chumps,\nMagistracy-mongers. Pluck their little heads off.\nComb what’s left into a single goodwill basket.\nWad in your resident aliens and other\nNice foreigner, and don’t leave out public debtors. \nAnd heck, as for the city’s scattered colonies,\nI want you to construe them as neglected tufts,\nEach on its lonesome. Gather them all together, \nBunch them up tight, and finally you’ll have one\nBig ball. Use it to weave the city something fine.” \nAristophanes, 411 B.C.E\n\n![fair.jpg](https://cdn.steemitimages.com/DQmZLxhMKS99UN6KjkPQWLoeFm9Gg6U6XKKg62g5UcYxWVz/fair.jpg)\n\nThe ancient Greek playwright Aristophanes’ play Lysistrata presents issues of gender roles, war, corruption, and power. In this comedy, the only weapon women have to end the war being fought in the play is sex. By refusing to have sexual intercourse with their husbands, the wives hope that their husbands will come to terms for peace so that these men will be able to have sexual relations with their wives again. In an intense and passionate scene Lysistrata instructs the councilor step by step how to bring peace and order back into the city by using the metaphor of wool and weaving. To express his ideas through the words he assigns to Lysistrata, Aristophanes employs a diction and short sentences to lend a commanding and authoritative tone to her words. At the same time, the playwright’s use of such diction and syntax to underscore the role of gender seems to me to diminish the power of her message. \n\nLysistrata suggests cleaning out the city to get rid of all the “layabouts and briars,” that is, all the men who are not moving the work of the state forward. If any man is not making progress toward achieving peace and collaborating with others to attain a better future for the state and its people, then he is a waste and a burden to the state and should be either removed or straighten up. (581) She also mentions “magistracy-mongers,” referring to a corrupt government. and to “debtors” whose debts should not be discharged by the authorities, but who rather should be held accountable for those debts. (582-585). Lysistrata continues by saying, “I want you to construe them as neglected tufts, each on its lonesome. Gather them all together, bunch them up tight, and finally, you will have one big ball. Use it to weave the city something fine.” (588-90) \n\nAristophanes then presents a different Lysistrata. She is more serious. Her independent plan has a less comedic execution for ending the war and restoring peace. She does not enlist the help of women to carry out her plan, but rather directs her attention toward men, saying, “Spread your city on a bed.” (579). If men are as passionate as they have been portrayed to be, having a strong desire for sex while their wives were depriving them of it, then the war would end. This passage demonstrates the capacity of a woman to think clearly to bring order to a city and to be able to rule it. In that era, women were expected to be at home caring for the children and preparing the meals. This play, in contrast, presents women acting against conventional norms to bring about peace and end war. \n\n!['Thesmophoria'_by_Francis_Davis_Millet,_1894-1897.jpg](https://cdn.steemitimages.com/DQmfXezRs9Z1ZxeL1nKwxojLW6jUokGqnqaTEDKB8nk41bd/'Thesmophoria'_by_Francis_Davis_Millet,_1894-1897.jpg)\n\"We do not need magic to change the world, we carry all the power we need inside ourselves already: we have the power to imagine better.\" — J.K. Rowling",
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      "body": "![22.png](https://cdn.steemitimages.com/DQmS5Habt3gi7b7NAfNgBWdRcxe55RhyB9qTJdmz1QCMpVz/22.png)\nIn the European history, the Renaissance was a period from the 14th to the 17th Century. The rebirth of European culture after the dark ages developed in the modern era of individualism, secularism, logic, rationality, art, and literature. William Shakespeare and Christopher Marlowe’s works were influenced by this era. In the plays The Tragedies of Hamlet, Prince of Denmark, and Doctor Faustus there are references of religion, politic and science and both plays give us a feel of the history and the transition from Medieval Times to the Renaissance. Both tragic heroes, Prince Hamlet and Dr. Faustus symbolize that time period. By comparing Dr. Faustus and Prince Hamlet, we can find many similarities between the two in terms of their goals and thoughts. Both of them are not satisfied with the way things are in their environment and want to reach a resolution - Hamlet goal is to avenge is father’s death, while Faustus’ goal is to gain ultimate knowledge. Both have valid goals, but they approach it differently. Hamlet is paranoid from his avenging thoughts and looks for ways to justify his actions in order to act right in the name of God. Faustus, on the other hand, acts against God and seeks ultimate knowledge and power by making a deal with Lucifer. Hamlet’s temperament is one of paranoia, while Faustus temperament is irrational and egoistic. \n\nPrince Hamlet and Dr. Faustus attended the same university, Wittenberg, in Germany and were excellent student and scholars of logic and philosophy. They come from different backgrounds and have different personalities, however, both man struggle similarly to connect with the world. In the plays, both characters are captivated by their own thoughts, and both are conflicted with the questions of God and the purpose of life and death. Prince Hamlet contemplates death and displays suffering and anxiety as he is asked by the ghost of his father to avenge his murder. In his distress, Prince Hamlet reveals his innermost thoughts about his search for answers to the questions of existence. Similarly, Dr. Faustus questions God, The Heavens, and the contemporary education of the time which fail to satisfy him. Both characters goals get conflicted with their spiritual beliefs, and as they sink in deeper despair they alienate themselves from the world, which eventually costs them their lives. \n\nFaustus’ pursuit to acquire greater knowledge beyond academics makes him turn to magic in his desire to gain power and learn about the world, the universe, and immortality. His desire of god-like qualities and unlimited knowledge fill his mind with irrational judgments. “Settle thy studies, Faustus, and begin to sound the depth of that wilt profess” (502) This is the first lines that Faustus says to himself when alone in his study which reveal his desire to reach out the the dark powers for greater knowledge. He does not fear the consequences of his desire and complies with any rule that will bring him closer to what he believes is greater power.  \"According to the Renaissance view, Faustus rebels against the limitations of medieval knowledge and the restriction put upon humankind decreeing that he must accept his place in the universe without challenging it.\" (Fitzwater)\n\n![Big-wind-two.jpg](https://cdn.steemitimages.com/DQmbss9vmXnLfrXoFcxKeFQBdhMApcT3eTtYacPZXUsrahQ/Big-wind-two.jpg)\n\nPrince Hamlet ultimate goal is to avenge his father’s death. Prince Hamlet is searching for a justified revenge and is fearful of making a mistake. Being unsure of himself, he ponders and contemplates dark thoughts such as suicide in his soliloquy “To be or not to be” (53) which has a great effect on his sanity. As a believer of God, Prince Hamlet believes that taking revenge on a crime that is not committed is wrong. Although he is tormented from the news of his father’s murder, he still doubts it: “The spirit that has seen may be the devil, and the devil hath power to assume a pleasing shape.” (138-140) Prince Hamlet fears that the ghost is playing tricks on him and needs more time to think before taking any action against his uncle Claudius. By putting on a play for the court which would re-enact the murder of his father, Prince Hamlet hopes to see a reaction from his uncle which could serve as proof of the murder. \n\nPrince Hamlet aims to commit a crime against a man, his uncle, and he can not bring himself to act upon his goal. As a philosophical thinker he continuously questions the rationality of everything, and seeks to justify his actions. Furthermore, even when he witnessed his uncle at the alter confessing to the murder, Prince Hamlet still hesitates to carry on with his revenge because he reasons that since his uncle repented, killing him in prayer will only send him to heaven. While Faustus commits a crime against himself, he damned himself when he sold his soul to Lucifer in exchange for promised unlimited knowledge and power. Faustus signs a contract with the devil with his own blood and is definite to attain his goals. \n\nBy comparing Prince Hamlet and Dr. Faustus’s thoughts we can learn about their differences, and weaknesses. Hamlet thoughts are agonized by the circle of constant questioning on everything and anything that he can think about in terms of justifying his revenge. He is imprisoned in his own mind and beaten by waves of questions that make him sink deeper and deeper into the verge of insanity. He thinks of tricks and scenario to ambush his uncle. He torments himself and contemplates suicide as he knows deep inside that he needs to overcome all that he believes in order to commit murder.  Contrary to Hamlet, Faustus thoughts are clear in the beginning. He wants to acquire power through magic. But the first thing he wishes for once he signed the deal with Lucifer is a wife which shows that maybe all he wanted was love and companionship rather than search for ultimate knowledge and divine power. Then his curiosity of knowledge dies and he desires praise, as he travel around the world to get it. His thoughts are fearful and he plays cruel jokes on the Pope and a group of friars. He is however undecided every time he has to make a decision about repenting and going back to God; the Good and Bad Angels appear to influence him every time he is doubtful. He ends up making a decision and rationalizing his decision for the comfort of his own mind and pride. However, after the big voyage around the world, the pranks and praise, the time has never stopped clicking, his final hour is approaching and Dr. Faustus knows that. Upon his return, and during his last hour Dr. Faustus agonizes his faith and is in total despair. Nothing can save him because he is disconnected with God and can not call upon him as he doesn’t trust God will let him repent. If Faustus has learned one lesson it will be that superpower is for the Gods and anyone that attempts to deal with magic powers must face eternal damnation. In contrast, Hamlet inactivity toward his goal costs him his life too and his goal of revenge led him to anxiety and tension. \n\n![a2743063554_10-1.jpg](https://cdn.steemitimages.com/DQmdUktVSSaGxhrmcfdjExGRSL4G5hTfwsS1StJ6RCj1q9a/a2743063554_10-1.jpg)\n\nBoth characters in their own times are overwhelmed with their tragic circumstances and are in despair at some points. Both are debating their own thoughts and rationalizing things over and over again. Ironically, Both Prince Hamlet and Dr. Faustus are scholars and students of logic, however, they both fail to attain their goals because of their confidence on logic and their failure to account for practical evidence. Dr. Faustus in contrast of Hamlet validates his thoughts, and rationalizes his irrationality and acts upon them; whereas Hamlet lingers over his thoughts irrationalizing his thoughts and finding flaws into them, leading him to doubts his own conclusions and questions himself constantly. The contrast with both characters’ thoughts is that while both rationalize and irrationalize their ideas in order to get an answer that aligns with what they believe is the truth, both have different ideas about the consequences of their actions. Prince Hamlet seems to fear making a mistake and continue to dig deeper for other possible answers that can bring him to act toward his goal accurately and to justify his act of vengeance; while Dr. Faustus doesn’t seem to have any remorse at first and up until the last hour - for choosing to sell his soul to Lucifer. Dr. Faustus is an overachiever and acts upon his desires. Whether they seem to be wrong or not he is only focused on the end results. Even though Faustus’ thoughts are irrational, he still finds comfort in them. As he steps beyond what’s been known as realistic and makes logical what’s unnatural, his beliefs become logical to him. Hamlet does not rationalize every thought but as a philosophical thinker thinks everything over and, contrary to Dr. Faustus, find flaws in his thoughts and ideas in order to avoid taking vengeful action. By overanalyzing everything, Hamlet ends up losing his mind over burning thoughts and ideas that are too hurtful to his soul to keep him balanced and sane.\n\nHamlet spends the most of the time thinking about his goal rather than taking action towards it. Contrary, Faustus takes action to achieve his goal, and when confronted with the consequences he quickly rationalizes his actions. Faustus acts upon his goal without much contemplating, while Hamlet contemplates his goal without much action.\n\n![2010-life_choices-der_720.jpg](https://cdn.steemitimages.com/DQmegSMzAFFY8SCL5sZ22LN2bt8YTRpBTPSSTgPfEzKrLLJ/2010-life_choices-der_720.jpg)\n\"Before you embark on a journey of revenge, dig two graves\" - Confucius\n\nFitzwater, Eva. CliffsNotes on Marlowe's Doctor Faustus (Kindle Location 667). Houghton Mifflin Harcourt. Kindle Edition.\nMarlowe, Christopher. Doctor Faustus. The Norton Anthology: English Literature. Ed. Julia, Reidhead. New York: W.W Norton & Company, Inc 2013, pp 502\nShakespeare, William. Hamlet. Dover Thrift Editions. Ed. Appelbaum Stanley and Weller Shane. Dover Publications, Inc. New York. 2016, pp. 53-138-140\nJamies Wang's Drawings And Painting Seek To Capture The Passage Of Time (2018)\nSebastien Crugley - Introspective Existentialism (2018)\nSamuhka. nature scenery drawing  (2010)",
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      "permlink": "wuthering-heights-analysis",
      "title": "Wuthering Heights analysis",
      "body": "![Screen Shot 2018-09-30 at 11.53.55 AM.png](https://cdn.steemitimages.com/DQmfLHFCb7h6ZJJjVPeKfh2Un8QrAYrbHRTjVAh8xuSH2td/Screen%20Shot%202018-09-30%20at%2011.53.55%20AM.png)\n\nWuthering Heights is a novel written by author Emily Bronte. It is set in Wuthering Heights, Thrushcross Grange and the Yorkshire moors between the two houses, the moors. The novel was published in 1847 and was not well received by the critics. Victorian society did not accept the dark side of Wuthering Heights and its violent characters. The novel portrays women in the society of that era as well as the relationships between men and women in relation to political and economic life, and the social class differences, as was done by Jane Austen in Pride and Prejudice. The novel tells the story of the overpowering love and passion for one another of Catherine Earnshaw and Heathcliff, a foundling that Mr. Earnshaw brings home from Liverpool. \n\nThe difference between the social classes that the two central characters belong to is significant in two ways in Wuthering Heights. First, it limits the character’s actions, and second,it motivates the character’s actions. Catherine and Heathcliff face class conflicts and are victims of social rules and standards which prevent them from marrying each other despite the love they have for one another. The love they share seems to be born out of rebellion and not simply due to sexual desire. Both are rebellious in their own way, but nevertheless, perhaps unwittingly, they also conform to these societal standards and rules. Social class impels Catherine to marry Edgar Linton instead of Heathcliff.  And class is what motivates Heathcliff to get control over both properties, Wuthering Heights and Thrushcross Grange. \n\nHeathcliff is destroyed by Catherine’s betrayal when she accepts Edgar Linton’s proposal for marriage, a betrayal that motivates Heathcliff to seek vengeance for the rest of his life against Catherine and the people who treated him as low and unworthy. Catherine and Heathcliff's choices go against the love they have for each other.  Their actions reveal their conflicted emotions and turns them to become hateful and irrational. Both end up deceiving and hurting one another and themselves. Their unresolved passion drives them to cruelty and violence which eventually destroys them, Catherine in body and Heathcliff in soul. \nWhen Heathcliff is brought back as an orphan by Mr. Earnshaw from the slums of Liverpool to Wuthering Heights, Heathcliff is described as “a dirty, ragged, black-haired child” After being introduced to the Earnshaw family, Heathcliff is rejected and hated by Hindley, Mr. Earnshaw son.  At the beginning, Mr. Earnshaw is the only person who is fond of this street urchin from Liverpool when he arrived. Eventually, Catherine’s feelings for Heathcliff change as they grow up together, and their love for one another flourishes. They become inseparable, as the housekeeper Ellen Dean witnesses.  Catherine “was much too fond of Heathcliff. The greatest punishment we could invent for her was to keep her separate from him” (5.20) Heathcliff’s social status does not seem to matter to Catherine at first, their relationship is based on their true feelings and excluding following the status quo. Their passion was so strong that they preferred to dream of a world where they both can be together despite the difference in their social class. \n\n\n![Screen Shot 2018-09-30 at 11.39.29 AM.png](https://cdn.steemitimages.com/DQma6C4SkHM6ggazxk8VQQ7vLhMPgamLZRDJW7eqBqagUb7/Screen%20Shot%202018-09-30%20at%2011.39.29%20AM.png)\n\nBy the time Catherine returns from her convalescence at the home of the Lintons at Thrushcross Grange, she has become very aware of the unbridgeable difference in their social status. She is now drawn to the civility and comfort there, whereas he is repulsed by it. Ironically, Heathcliff is once again an outsider, meeting with rejection. After spending five weeks at Thrushcross Grange, Catherine is barely recognizable. Catherine kisses Heathcliff, and comments upon his dirty appearance and compares him unfavorably to Edgar. “Why, how very black and cross you look! and – how funny and grim! But that’s because I’m used to Edgar and Isabella Linton.” (7. 24) She suggests that if he washes his face and brush his hair, “it will be all right: but you are so dirty!” (7.24) Heathcliff is hurt by the changes in his friend’s appearance and attitude and reacts in anger, which puts him again in the wrong. Because of his behavior, Heathcliff is scolded by Hindley. The relationship between Catherine and Heathcliff makes a sharp turn from love to hate when Heathcliff overhears the conversation between Mrs. Dean and Catherine about the latter’s wish to marry Edgar Linton. Catherine passionately loves Heathcliff but chooses to go against her feelings by marrying Linton instead. Catherine tells Nelly “It would degrade me to marry Heathcliff now; so, he shall never know how I love him: and that, not because he’s handsome, Nelly, but because he’s more myself than I am. What our souls are made of, his and mine are the same; and Linton’s is as different as a moonbeam from lightning, or frost from fire.” (9.35)\n\nCatherine’s character is similar to that of Charlotte Lucas in the novel Pride and Prejudice.  Charlotte was also more interested in living comfortably than being in love. Thus, when Mr. Collins makes a proposal of marriage to Charlotte, she accepts. “I ask only a comfortable home; and considering Mr. Collins' character, connection, and situation in life, I am convinced that my chance of happiness with him is as fair as most people can boast on entering the marriage state.\" (Austen, 22.17) Catherine chooses conformity by following the fundamental rules of marriage during the Victorian era – business first, love second. Money and power were almost always most important. A man was the only true source of financial and social stability in a woman’s life. Similarly, Catherine chooses to marry Edgar Linton whom she finds “handsome, and pleasant to be with.” (9.35) When Nelly presses her to give her more reasons for wanting to marry Edgar, at last Catherine exclaims “And he will be rich, and I shall like to be the greatest woman of the neighborhoods, and I shall be proud of having such a husband.” (9.36) At this point, Catherine has made her choice. \n\nHeathcliff can’t bear Catherine’s decision to marry Linton. Thus, he leaves Wuthering Heights for three years to come back wealthy and determined to seek revenge on the woman he still loves but who has betrayed their love. Heathcliff’s revenge was the only thing that was driving him from the time he got back. He has also changed and has become bitter and hateful. He plots to marry Isabella as a means of hurting Catherine. \nCatherine warns Isabella against Heathcliff by telling her sister-in-law that “he’s not a rough diamond – a pearl – containing oyster of rustic: he’s a fierce, pitiless, wolfish man- and he’d crush you like a sparrow’s egg” (10.46) Catherine’s heart is broken by the hateful and resentful Heathcliff. Isabella doesn’t listen to Catherine, and Isabella’s decision to pursue her love of Heathcliff exposes Catherine’s jealousy of their romance. Catherine eventually gets ill and dies from torment. Before Catherine dies she confesses to Heathcliff “You and Edgar have broken my heart, Heathcliff! – You have killed me – and thriven on it, I think.” (15.70) “I shall not be at peace.”  But before she dies, she gives birth to a baby girl named Cathy. \n\n![Screen Shot 2018-09-30 at 11.49.45 AM.png](https://cdn.steemitimages.com/DQmeJ6CT3D1zZiCmsjGTMh8Mcvsvbm7A4oHNRYzHkux8VhJ/Screen%20Shot%202018-09-30%20at%2011.49.45%20AM.png)\n\nHeathcliff accuses her of making the wrong choice in rejecting his love and begs her to hunt him after she dies because he cannot live without her. Heathcliff doesn’t put to rest his vengeful plan even after Catherine dies but keeps plotting more revenge, now using his son and Catherine’s daughter to gain Linton’s property. Heathcliff’s rebellious attitude and his passion here are more powerful than the power of class. Heathcliff may be motivated by class, but he’s even more motivated by his undying passion for Catherine. Passion in the form of revenge is what drives him to marry Isabella and later to unite young Catherine and Linton as part of a scheme to control both families’ properties. And passion is what transcends social class to bring Catherine and Heathcliff together in death. \n\nThe power in this story maintain the challenges of social standings, but overall focusses on the passion that is so all-consuming that nothing can stop it. Wuthering Heights shows you what happens if you don’t avoid the extreme passionate route that could ruin and transform one’s life for the worse; It also shows you the kind of real love that breaks the cycles of violence.  It’s not passion, but genuine affection between young Catherine and Hareton that not only resolves the story, but that also offers the reader a model of love to take with him or her after the last page. The couple at last units, and we do believe that they are going to grow, respective of one another and live a joyful life. \n\n\n![Screen Shot 2018-09-30 at 11.59.34 AM.png](https://cdn.steemitimages.com/DQmauy4pr7fM2Udr3MDnyHd5atMPtQQbN9baAME8FXugBmC/Screen%20Shot%202018-09-30%20at%2011.59.34%20AM.png)\n\"Life can only be understood backwards; but it must be lived forwards.\" - Soren Kierkegaard\n\n\nBronte, Emily. Wuthering Heights. Ohio: Dreamscape Media LLC, 2017. \nAusten, Jane. Pride and Prejudice. Sweden: Published by Wisehouse Classics Imprint. 2016. \nArtsy Online. 2017",
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      "permlink": "an-analysis-of-jonathan-swift-a-modest-proposal",
      "title": "An Analysis of Jonathan Swift: \"A Modest Proposal\"",
      "body": "![modestproposal.jpg](https://cdn.steemitimages.com/DQmX9Dro2xrjCRdb11o7EMnERQ6MTCzrijzJRZQQLcqHnNv/modestproposal.jpg)\n\n\n In 1729, Jonathan Swift wrote and published anonymously “A Modest Proposal” in which he bitterly satirizes the cruel treatment of the Irish by the English government. England showed little regard for the condition of Ireland or its citizens at that critical time. Swift begins his essay by describing the undeniable poverty of people in Ireland, shares his concerns, and presents facts and analysis, demonstrating that the Irish have the problem of an excess of children who cannot be fed. Over a million Irish citizens died from famine caused by a third successive year of bad harvests. Irish parents, unable to feed their children, were forced to abandon them. After visiting Ireland, Swift witnessed the critical situation, returned to England outraged and wrote his essay \"A Modest Proposal\" in which he offers his ideas to improve Ireland’s economy and standard of living. In his proposal, Swift suggests using Irish infants to \"contribute to the feeding, and partly to the clothing, of many thousands.\" Instead of letting them go to waste through death, he recommends that Irish parents sell their children to rich ladies and gentlemen. (1200) By selling her infant \"the mother will have eight shillings net profit\" (1202) He calls the impoverished women \"breeders\" since they kept having children but couldn't provide for them. (1200)  \n\nIn his essay, Swift takes the voice of a nonchalant economist, offering statistics to demonstrate that selling one’s children is profitable, and providing disturbing details about how his approach could turn famine into a potential feast. Swift makes the outrageous claim that, according to his American acquaintance, a healthy child at one-year-old is “a most delicious, nourishing and wholesome Food, whether Stewed, Roasted, Baked or Boiled”. (1201) Swift has an American suggest cannibalism, mocking the view that the English are cultured and civilized and that the Irish are ignorant and barbaric. The English presume that the Native Americans are inferior savages comparing to themselves.  Swift does not blame the Irish people for Ireland’s poverty but effectively uses satire and extreme rhetorical devices to expose corrupt Irish and English politicians who take advantage of poor Irish citizens. Swift states that the majority of the population in Ireland is Catholic, and the minority is Protestant. The religious differences within Ireland itself and between Ireland and England caused a political clash resulting in the subjection of Irish Catholics and allowing the Protestant Irish and English to control the country and exploit its people. The Protestants owned most of the land in Ireland and collaborated with the English government to pass laws revoking the rights of Catholics. Swift suggests an ethnic cleansing and mocks anti-Catholic religious prejudice as part of his proposal. \"the Number of Popish Infants, is at least three to one in this Kingdom, and therefore it will have one other Collateral advantage by lessening the Number of Papists among us\". (1201)  \n                                                                                      ![maxresdefault-1.jpg](https://cdn.steemitimages.com/DQme7a5faFQyeq3BRHoLdgrEPR8ipLhf5DoTKp5CdJV516j/maxresdefault-1.jpg)\n\nFor years the British controlled and ruled Ireland and lay heavy restrictions on the Irish, such as limiting Ireland’s ability to trade with other countries, bringing severe economic hardship to the country for the benefit of England. Swift calls for anyone to offer a better solution than his suggestion to alleviate the hunger and poverty from which Ireland was suffering. At no point in the essay does Swift abandon the horrible ideas of his proposal to return to his senses. His proposal has no flaw and could work. The only problem is that it is immoral. Swift’s main reason for writing this satire is to shake up and wake up the consciousness of his readers and get them to act. Swift makes the following statement at the beginning of his essay before proposing his ideas: \"as to my own part, having turned my thoughts for many years upon this important subject…\" England ignored the problem in Ireland giving it mere lip service, acknowledging the horror but not taking any action to help bring about the country’s stability. What can one do to make things better? This Is the moral question that Swift intended to instill in people’s minds in order to motive them to action to save the unfortunate children of Ireland.\n                                                           ![Screen Shot 2018-09-23 at 4.00.12 PM.png](https://cdn.steemitimages.com/DQmbBvbRfa6MjEMgKjARfYN3HMCdqMjccASr8v1YKJVqtLF/Screen%20Shot%202018-09-23%20at%204.00.12%20PM.png)\n\nSwift, Jonathan. A Modest Proposal. The Norton Anthology: English Literature. Ed. Julia, Reidhead. New York: W.W Norton & Company, Inc 2013",
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