Adultery and Society Essay Example for Free

Adultery and Society Essay Much has already been said about Couples – John Updike’s controversial 1968 novel about the lives and indiscretions of well-off couples living in the suburban town of Tarbox, Boston. At first glance, the novel may seem like a run of the mill erotic novel – tawdry and titillating, but nothing more. This was, in fact, the common perception that greeted the novel on its debut in 1968, hence its notoriety as a â€Å"controversial† novel. Much of its hype, however, is not lost, considering the amount of sex – illicit and otherwise – that graces the pages of the novel, as well as the forthright manner with which Updike boldly discusses these activities. Scandal and notoriety prevented a proper and contextual understanding of Updike’s novel, leaving it languishing in literary purgatory. In time, however, with the changes in society and modern views on sex, Updike’s Couples has, to some degree, been resurrected and reevaluated with a different perspective and point of view. Though still shocking in its extensive discussion of adultery and lecherous behavior in general, the novel has finally emerged from under its tag as a bawdy piece of B-rated literature to become one of Updike’s signature novels. No longer viewed as eroticized sensationalism, the novel is now seen as a representation of Updike’s most striking leitmotif: suburban adultery. If not erotica for eroticism’s sake, what then is the central thought in Updike’s Couples? Such is the question that this paper now intends to answer. This paper posits that John Updike’s Couples reflects the collapse of traditional values in the face of modernity particularly in the early 1960s. With the parameters of sexuality shattered by the advent of birth control, wealthy men and women living the â€Å"perfect† life are actually morally in disarray. Society, despite its beautiful and urbane facade, is in reality rotting away and slowly experiencing a moral decay. The beauty of suburbia and its polished citizens stand in sharp contrast to the breakdown of social norms and propriety. Such is the theme of John Updike’s Couples. To prove so, it is necessary to first look into the writer himself, John Updike. Much of his writings reflect his personal opinions, of course, and understanding the writer will most certainly provide a better contextual understanding of the novel. Moreover, it is necessary that a discussion of the era (early 1960s, under the Kennedy administration) be conducted in order to fully relay the circumstances that give way to the morally reprehensible â€Å"system† established by the titular couples. Lastly, this paper shall look into the juxtaposition of aesthetics (the beauty of both the people and the suburban town they inhabit) and the rotten structure of banality they willingly cling to. These are the significant aspects of John Updike’s Couples that shall be discussed. First of all, who was John Updike? Little is known about Updikes childhood, except that he was born to a middle class Pennsylvania family in 1932. John Updikes interest in writing began with his mothers instructions, herself a prolific writer. His mothers influence proved intense and enduring, giving him the strength and courage to continue with writing. Despite the lack of sufficient funds for his education, Updikes talents received recognition and earned him a full scholarship at Harvard University, where he joined the Harvard Lampoon. Upon graduation, he joined the New Yorker, which published his first story, Friends from Philadelphia, in 1954. The story would soon be followed by several more of his writings, all published through the New Yorker. By the end of the 1950s, Updike was reaping the fruits of a successful literary career (Pritchard 2000, p. 2). It was not, however, his writing technique that caught the fancy of critics. Though fluid and never boring, it is not his efficient style that gained support for John Updike. Unfortunately, his choice of subject matter overshadowed his style of writing, essentially giving way to the â€Å"controversial† tag. Couples is just one example of his unique point of view and manner of describing even the most intimate of details (Amidon 2005, p. 51). The mention and overt discussion of sex remained quite touchy, if not entirely taboo, even as society during the 1960s had significantly modernized. The effect of his controversial topics, however, had led to a period wherein his writings were shunned, to a certain degree, and remained misclassified as bawdy erotica. â€Å"Suburban adultery†, a topic most associated with John Updike, is born of his own experiences in grappling with the temptations of sex and desire. The writing of the novel Couples came at a time when he was completely confused in his personal life, particularly with regards to his marriage. Updike was in the middle of a passionate love affair and was, in fact, contemplating filing for a divorce. In the end, he decided not to push through with the plan for divorce (Pritchard 2000, p. 119). The topic, therefore, is described vividly in every scene of the novel, reflecting Updikes own struggle with his inner demons and the destruction of the institution of marriage before his very eyes. The crumbling of his own marriage proved to be the very basis of Couples. To Updike, a certain degree of the story of a failed marriage is â€Å"sad magic† (Pritchard 2000, p. 124). Extramarital relations for Updike are not erotic, despite the manner with which he describes the sexual activities of his characters in the novel. Rather than titillating, the goal of Updikes prose is to portray the emptiness that these affairs and illicit relationships cause. There is no desire to eroticize or sexualize the characters; the idea is to present the weaknesses of their personalities and the ramifications of unbridled desire. It is not specifically aiming for preaching either, focusing only on the emotional hollowness that gives birth to the seed of lust and temptations in the first place. As Updike himself explains, his idea of sex in his literary achievements is far from intentionally erotic. Rather, the idea is to create a portrait wherein sex is a tool; it is a means by which Updike indicts the weaknesses of societys moral fiber. As he said of sex in his writings in an interview with CNN, â€Å"Ive seen it said of my work that its anti-aphrodisiac, that it doesnt – that my descriptions of sex doesnt turn you on. But theyre not really meant to do that. I mean, sex described in detail is not a turn-on† (Austin 1998). Updike is far from a prude, true, yet his writings are not erotic for eroticism’s sake. The goal is to present moral weaknesses, not join banality. Unlike the earlier accusation of critics, the story of Couples is far from erotic, despite its routine use of sexual scenes and explicit activities. The story revolves around the lives of several couples living in an upscale community in Tarbox – a fictional suburb located in Boston. These young couples live wealthy lifestyles and have enough time on their hands to fool around. Piet Hanema, for example, is a serial adulterer. He has trysts with Foxy, as well as with several more of the novels women. His decadence is merely one of the morally bankrupt scenes in the story. It is not just Piet, though, who experiences a life of immorality and lack of a moral center. The couples engage in â€Å"wife-swapping† activities, such as in the case of the Applebys and the Little-smiths. None of the members of the community are entirely above the erotic rondalla, sending everyone in the community into a moral tailspin. In the end, however, it is Piet and his mistress Foxy who are cast out from the lot. Piet, since the beginning of the novel, is insistent on gaining freedom from his marriage. Though initially not bent towards the destruction of his own marriage, in the end, Piet divorces his wife Angela and his thrown out of the apartment with his mistress. As Greiner (1984) points out, â€Å"lovers are drawn as much to what destroys marriage as to what supports it† (p. 146). They are far from completely beyond the trappings of love, hence its effect as a double-edged sword. While it is love that bound two souls together under the sacrament of marriage in the first place, it is also â€Å"love† or whatever passes for it that successfully questions the sacrament and stands as a threat to its stability. Despite accepting the sacrament of marriage and his chained life, Piet needs and wants room, seeking sex and love from elsewhere despite his wifes presence. There is a need to hone his skills as an illicit lover, and the adrenaline rush of such relationships do exist. And yet despite their illicit activities and immoral actions, Updike refuses to view his characters as villains. They are far from perfect, given their morally unstable relationships, and they are all tottering over the edge of hell with their hypocritical Presybterian lives. None of them truly lives up to the Christian ideals, and they can be described as having their own religion – the religion of sex and lust. Despite these errors and flaws, however, the characters are not evil per se. They are, rather, personifications of Updikes understanding of suburbia and the moral decay that goes on behind the facade of wealth and propriety. They are weak, not evil, and are merely caught in the struggle to keep up with the liberal times even with the significant changes in society during this period (Greiner 1984, p. 148). Unfortunately, the highlighting of adulterous Tarbox soon became news across every home in the United States. Rather than view the sublime veins incorporated in Updikes novel, it was soon branded sensationalized and controversial. Protests emerged, decrying Updikes use of explicit words and graphic portrayal of sex. Perhaps most important of these criticisms, however, may be Anatole Broyards criticism of Piet Hanema, noting that there could be no sympathy for a â€Å"fornicator† (Greiner 1984, p. 149). In this the critics see the point of Updikes novel, yet completely miss it as well To classify Updikes novel as no more than a potboiler is to ignore its finer and less prominent points. To many, the adulterous activities and their graphic descriptions are the core of the novel. Looking past beyond such however, is the only way to find the true meaning of Updikes Couples. In the world of Tarbox, sex is just another ordinary day. Despite their preoccupation with it, sex is not the core of the community. It is, of course, an ironic glue that brings various couples together and inevitably unhinges them when the time comes. The characters are simply wandering from one relationship to another, in search not of true love, but of companionship and momentary beauty. Rather than portray the couples as treacherous villains determined to subvert the values of the day, Updike presents them as brats unwilling to succumb to the demands of married life. The central concept of their lives is â€Å"fun†, and with the end of each day, beyond the trappings of the suburban community, husband and wife find themselves alone with the bills, the children, the leftover food and the dishes to wash. To a certain degree, such a relationship is less exciting and not quite as desirable as spending time with the equally bored neighbors (Grenier, 1984, p. 151). The couples, therefore, are far from total villains and much easier to understand as adults with the minds of young children, unwilling accept responsibility yet entirely willing to pursue the cult of fun. To say that they are the product of a determinedly lost generation is to heap unnecessary blame on the characters. It is not that they preeminently wished for the structure of such a morally reprehensible situation. The issues in the novel are, in fact, the product of the times. The characters are merely swept up in the current, following the changing values and transitional problems that occur when modernity clashes with traditional values. There are changes in society, with growing wealth and scientific advances, and it is simply not possible to ignore the changes; the characters succumb to the call of the â€Å"wild† despite their surface urbanity. As mentioned earlier, it is not an innate â€Å"evilness† that Updike wishes to uncover in his Couples. The underlying core is less sinister than what critics and censors of his day had easily assumed. In truth, the story of Updikes novel is no more a potboiler than a thriller. It is simply a portrayal of Updikes own nostalgic view of the changes in society, including the slow deconstruction of a small town similar to the one he grew up in. Throughout the novel, the tone is largely wistful, reminiscent of a different past. There is something in the manner with which Updike contrasts the beautiful town and the rotting away of its core; a resounding sigh seems to escape Updikes lips with every word. Much of the storys very core is essentially reliant on the time frame of the novel. Updike pegs it on the early 1960s, under the Kennedy administration. As he himself pointed out, there is no way that the plot couldve existed in a different era. He noted that the action â€Å"could have taken place only under Kennedy; the social currents it traces are as specific to those years as flowers in a meadow are to their moment of summer† (Neary 1992, p. 144). There is something specific in the era that Updike particularly takes note of: the introduction of the bill and the liberation of women from the yokes of pregnancy. Without fear of pregnancy hanging over their heads, sex outside of marriage becomes a much more realistic possibility. It is what Updike calls the â€Å"post-pill paradise† (Sheed 1968), a world wherein the problem of unwanted pregnancy no longer exists. Updike describes his characters as wealthier than their predecessors, having been born into an era of relative prosperity. There is no limit to their desire for fulfillment, regardless of the price. They are driven by the id, raised in a culture of â€Å"me† and supported by the changing society. It is not just Tarbox which is changing. It is far from a microcosm entirely separate from the rest of society. Updike does not portray the suburb as a cancer entirely separate and different from the rest of the country. Rather, the suburb of Tarbox is a representative of many. The characters, themselves generic, are easily interchangeable and quite possibly recognizable in any town across the United States. In this world of change, not omly the couples of Tarbox are transformed. They are part of a larger social transformation, and Updikes focus on their interactions and illicit affairs present his understanding of society (not just suburbia) in general. The couples, though seemingly too deviant and unbelievable to be considered general stereotypes, are in fact Updikes definition of the moral breakdown of society. It is not an indictment of suburban life (despite the use of the term â€Å"suburban adultery†). The location of his subjects is more of a realistic portrayal than an unfair indictment. His judgment is not one of localization. Rather, Updike is presenting the class most affected by the changes in the Kennedy administration, primarily due to their wealth and social status. It is also in this level that the reality of class versus crass becomes most realize. Behind the beautiful homes and educated facades, there is darkness. The players randomly select their next partner, playing a grand, elaborate and ritualistic game of musical chairs with their neighbors. Play, again, is a significant theme in Updikes novel, being the central concept that drives the couples to pursue sexual adventures again and again. The significance of the time period should not be ignored. Updike describes his characters as the products of national tribulations. Following the Great Depression and World War II, these young couples find themselves thrust into a new America, one that struggles to keep up the facade of decency while slowly eroded away by modernity and the vulgarity of the new world order. These characters are far from intentionally indecent, however. Their initial goal was to be enveloped in beauty, separate from the staleness of the rest of the nation and the vulgarity that threatens to creep up the morality ladder (Sheed 1968). In the end, however, they find themselves in a vulgarity of their own making, hidden under the sheen of decency and beauty that the suburbs signify. Quoting Updike, â€Å"the ultimate influence of a government whose taxes and commissions and appetite for armaments set limits everywhere, introduced into a nation whose leadership allowed a toothless moralism [sic] to dissemble a certain practiced cunning, into a culture where adolescent passions and homosexual philosophies were not quite yet triumphant, a climate still furtively hedonist† (Neary 1992, p. 146). The passage describes Updikes view of the world in which the couples were molded. For all their failures and flaws, these characters were but the products of a bigger problem. Society itself, led by the government, was far from the pristine, moral structure it once was. The Applebys, the Little-smiths, the Guerins, the Constantines, the Hanemas etc. are merely the by-products of a flawed era. The destruction of society, therefore, does not begin and end with suburban adultery. It is merely a microcosm of a larger decay – one that goes beyond the wife-swapping activities of the inhabitants of Tarbox, Boston. In part, Updike’s focus is on the period and the circumstances that give rise to the opportunities for suburban adultery. One significant detail that Updike notes is the introduction of birth control. Whereas the novels of the 1950s focused on the â€Å"everyone is pregnant† motif, in Updike’s novel it is more of an â€Å"everyone is guilty† narrative (Greiner 1984, p. 145). Previously, pregnancy outside of marriage was the biggest obstacle for illicit lovers. Physical consummation, after all, could always leave an undeniable proof in the woman’s womb. With the introduction of the pill, however, a new â€Å"paradise† is opened to the people, with the characters of Updike’s Couples taking full advantage of the situation. These new methods of birth control had, to some effect, liberated the characters from the burdens of pregnancy. Now as long as his mistresses would remain on the pill, Piet would have no problems keeping his affairs in order. No longer would the characters of Updike’s novel fear the repercussions of sex outside of marriage, hence the ease with which they gradually fall into the abyss of sexual debauchery and adultery. And yet it seems as if this is just the tip of Updike’s metaphorical discussion. More than an indictment of the potentially â€Å"evil† consequences of birth control (such as the encouragement of promiscuity, perhaps), Updike’s inclusion of the pill is less of a reproach and more of a symbolism. It is not the pill per se that drives the characters into the arms of others. It is the slow break-down of society, particularly religion. The pill is merely a tool by which society slowly presents its disintegration. In itself, it cannot be identified as the cause of social decay. Rather, it is a sign of the changing times – a symbol of the struggle of the old traditional values to keep up with the changes in the modern world. In Updike’s own point of view, the concept of the novel is not really adultery. It is a discussion of the disintegration of society through the disintegration of church. Marriage, after all, is a sacrament. The destruction of marriage, therefore, does not signify the end of a union alone. It is a metaphor for the slow destruction of the church and its foundations. Sex is the new religion (Greiner 1984, p. 149). With the church crumbling and religion not as reliable as it once was, the characters of Updike’s Couples seek comfort and solace from another source. Marriage is not enough to provide the human warmth the characters require. They are not villains, just people trapped by circumstances and incapable of escaping from the needs of the flesh. It is a religion in itself, this search for fun. Quoting from the jacket blurb of Couples, Sheed (1968) notes how one character is supposed to be a priest and the other a scapegoat. In some ways, the idea of a spiritual leader leading the empty towards greater hypocrisy and shallowness is apt for the story. Fred Thorne is identified as the priest, the leader who organizes parties and games for the bored couples. His party on the night of Kennedy’s assassination is telling; the couples swear to be solemn yet soon revert to their partying ways. In a sense, this invokes a feeling of emptiness, of floating through space. These characters have nothing else but their physical selves to cling to. The government’s leader is assassinated, God strikes his own church with lightning and society is giving way underground to new bores. In essence, they are free of religious and political encumbrances, only to realize that without these structures there is almost nothing to hold on to at all. In the end, there is nothing but the warmth that sex provides – be it illicit or otherwise – giving a physical reality to the world. Without this physical connection, they are lost. The couples move around, shuffle in their beautiful clothing and beautiful homes. Beyond the facade however, are emptiness and a world of gradual moral decay. Works Cited Amidon, Stephen. â€Å"Unzipped: John Updike’s Prose is as Supple as Ever in This Chronicle of a Lifetime’s Erotic Exploits. † New Statesman, 134. 4724(2005): 51 Austin, Jonathan. â€Å"His Characters Allow Updike to be ‘Free’. † CNN. Com, 16 November 1998. Available 27 April 2008, from http://edition. cnn. com/books/news/9811/16/updike/index. html Greiner, Donald. John Updike’s Novels. Athens, OH: Ohio University Press, 1984 Neary, John. Something and Nothingness: The Fiction of John Updike and John Fowles. Carbondale, IL: Southern Illinois University Press, 1992 Pritchard, William. Updike: America’s Man of Letters. South Royalton, VT: Steerforth Press, 2000 Sheed, Wilfrid. â€Å"Couples. † The New York Times, 7 April 1968. Available 27 April 2008, from http://www. nytimes. com/1968/04/07/books/updike-couples. html? pagewanted=1 Updike, John. Couples. NY: Ballantine Books, 1999

Federal Budget Must be Reduced :: Argumentative Persuasive Economics Papers

Federal Budget Must be Reduced The annual multibillion-dollar federal budget threatens the future of the United States and must be reduced.To cut the size of the deficit, federal revenues must be increased, and federal outlays must be reduced, or a combination of the two may be used.Under the 1990 budget agreement, Congress cut defense spending and benefits to veterans, farmers, and Medicare and Medicaid patients. In addition, the agreement increased taxes for the wealthiest Americans and phased out some of their tax exemptions. The act also raised taxes on cigarettes, alcohol, gasoline, and airline tickets. ("Current Issues". Close-Up Foundation,1993.) This was a good first step, at balancing rather than rolling over the debt to future generations. However, the Republicans need to find some more support to get another such agreement passed. Expensive defense programs that were once necessary are no longer needed. The money that was once used for defense should be put toward lowering the budget deficit, which grows at the rate of $10,000 per second and stood as $5,020,705,156,014 at eight o'clock p.m. on November 13, 1995. This is according to the National Debt Clock ([Debt Clock], //www.fusebox.com/debtclock/). Because Americans are not willing to sacrifice social programs, the only alternative is to raise taxes. Americans may not like it, but they need to pay for the government services they want and need. However, this increase in taxes should be kept in perspective, since a tax increase will reduce personal income and business profits. Too high of an increase in taxes will only stifle economic growth by reducing the money businesses would have to invest in expansion and job creation. The latest step in balancing the budget was a stop-gap spending bill which passed through the House of Representatives November 8, 1995, ([CNN-House passes stop-gap spending bill-Nov.8,1995], http://www.cnn.com//US/9511/budget/index.html) This bill reduces the funding for some programs. On Monday, President Clinton vetoed the stop-gap spending measure, and a debt limit extension calling them "too high a price"

Politics and Hierarchy in Shakespeares As You like It Essay

In William Shakespeare’s play, As you Like It, there are lots of interesting themes which both drive the action and speak to the culture that the author lived in. Among those interesting themes are the classic Shakespearean ideal of love, issues dealing with family relationships, and perhaps more importantly, politics and hierarchy. In this comedy, the dichotomy between certain characters becomes evident early on and continues for the entirety of the work. Over time, the reader comes to understand that many of the decisions made by Orlando and Oliver in their conflict are due to the perceived hierarchy of the society and the politics that would result from the decisions. In addition, the relationship between Duke Frederick and Duke Senior is one that explores lots of hierarchical themes associated with living in England at the time. These pertinent examples and more are explored in a light, intellectual way throughout the play.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Politics and hierarchy are primarily relevant when one considers the relationships between the various characters. One important plot aspect is the relationship between Orlando and Oliver. Orlando is a victim of circumstance and he is fully aware of his plight. In a way, he is a sympathetic character that has no recourse in trying to make his situation better. In his relationship with his older brother, Orlando is constantly under emotional torment from Oliver. Their conflict is at the heart of the story and it is an important theme throughout. Where does this conflict come from? Ultimately, it is the result of a decision that was made by the father of the two boys. Oliver received the inheritance from the father and took advantage of the land in his father’s estate. From that, there exists a hierarchical battle between the two brothers for the rest of their life.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The stark contrast in the hierarchy is best represented by these two brothers because the example is so pure. Oliver is different from Orlando not only because he owns the estate, but also because he has other advantages that put him above Orlando in social status. During the comedy, there are many times when Orlando can be found telling his servant Adam that Oliver refuses to educate him and provide anything for him. Though the reader does not know much about the relationship of the brothers before their father died, one can reasonably infer that they had a decent relationship. Once Oliver elevated himself to a greater status in the hierarchy, he not only abandoned Orlando, but even took the initiative to make his brother’s life harder. This even comes to a violent head when the two brothers engage in a fight when Oliver comes to see Orlando. Orlando gets the better of that conflict and makes sure that Oliver understands that. Since this is a comedy, Shakespeare makes sure that the conflict between the brothers is presented in a sarcastic nature that the readers can enjoy. Clearly, Orlando makes light of his own plight and even makes a comment about his relatively low status in comparison to his brother. In the play, Orlando remarks to Oliver, â€Å"I am helping you to mar that which God made, a poor, unworthy brother of yours, with idleness† (Shakespeare). This sarcasm is put into the play to provide a light moment, but it also represents the fact that Oliver looks upon his brother as being something of a joke.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   There is another hierarchical aspect of their relationship that must be considered. During that time, there was a huge gap in education for the wealthy and the poor. As such, those with money could go to the few schools that existed, while people without money had to learn skills in order to survive. From this, a certain perception began to exist that colored uneducated people as being somewhat barbaric. This interesting dichotomy is presented well by Shakespeare, as he attempts to inform the reader that Orlando is both a better fighter and a more vindictive person, while his brother Oliver was much more cultured. This was one of the many ways that people were separated by class during that time. It was all based upon money, wealth, and power, but other things came as a result of that.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As only Orlando’s brother, Oliver should have never taken a role of sovereignty over him. Instead, their relationship should have still existed like a normal one during that time. However, William Shakespeare uses the relationship between the two brothers in this play as a means of displaying his own political thoughts during the time. A Paul Yachnin article published in the HighBeam Encyclopedia indicates the fact that Shakespeare did this in many of his plays. In that article, Yachnin writes, â€Å"In the play, the political and social relations between masters and their subjects places loyalty at the center of the system of relations devoted to instituting a regime of absolutist politics† (Yachnin). The loyalty between the brothers is at the center of their conflict, as Orlando feels that his brother has not been loyal to him because of social status. On the flip side of that, Oliver feels that Orlando should look up to him as something of a master, when in fact, they are just brothers. This is an interest dichotomy between the two characters that plays itself out in a series of fights, both physical and verbal.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In addition to the aforementioned hierarchy in Shakespeare’s play, politics also play a huge role in driving the action. Though politics are not a major player in the relationship between Orlando and Oliver, they do power the relationship between Duke Frederick and Duke Senior. In fact, this is one of the primary plot sequences that is very important to the storyline. Duke Frederick oversteps his bounds in this comedy, as he is not supposed to move to the top of the political latter over his brother. In English society at the time, people were locked into their roles in society. This was true even among the rich people. Though they were clearly above poor people in society, they had to worry about staying put in their position in the upper crust of the political scene. When Duke Frederick supplants Duke Senior in the political scene, a huge conflict is born. Interestingly, Shakespeare finds a creative way to intertwine the two separate stories, drawing connections between the social roles of the various characters in the story.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Politics play a substantial role in the plight of the two dukes because they cause Duke Senior to have to live somewhere else. When Duke Frederick takes the place of his older brother, there is no option that allows both of them to just live in harmony in the same area. Instead, Duke Senior is banished from the duchy and has to live with plain nobles in a wooded area. Though he did not get banished to living with the peasants who were living completely off of the land and good graces of the upper crust, Duke Senior did not get to take advantage of the life with which he had become accustomed. That is a very important theme for the story.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Alan Bloom book, Shakespeare’s Politics, has an interesting take on the inner workings of how the author thought. There is lots of speculation about what sort of political thinker William Shakespeare was and the majority of that can be seen in his works. In As You Like It, it is clear that Shakespeare both searched for and figured out the answers to many of the most important questions of his day. According to Bloom, the author tosses harsh criticism on some of the systems that existed during his day (Bloom). Some examples of this include Shakespeare’s constant criticism of the class system, which he believed was bad for English society. While Shakespeare may have taken harder political stances in some of his other works like Julius Caesar, he certainly addresses the current landscape in each of his works. When dealing with the two Dukes in As you Like It, Shakespeare makes light of how their folly makes both of their lives more difficult. It was an interesting approach to take because most of the political thought during the time was breaking down the class distinctions between the reach and the poor. Very few authors or thinkers had even considered the politics that existed among the distinct groups. Shakespeare had the progressive vision to try his best to understand what sort of political motives drove advancement within certain social castes. In this comedy, he finds that even the rich jockey for position, as Duke Frederick used â€Å"creative† means to get rid of his older brother and take control of the power in the society.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Robin Headlam Wells wrote a book about how Shakespeare used politics as a major theme in his work. In the book, Shakespeare, Politics, and the State, Wells writes about how Shakespeare constantly uses the voices of his characters to present problems within the political and hierarchical system (Wells). In this particular comedy, the beauty of the work is that each of the characters has their own role in the madness that existed within the English political system at the time. He uses all of the characters to make it well known that no one individual person or individual group was affected less or more by the makeshift caste system that England used.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Shakespeare himself was one of the people who understood how the political system could impact just about everyone. In order to understand the uses in his book, one has to understand Shakespeare’s political opinions and his experiences with politics. One website indicated that, â€Å"Shakespeare knew people who had been arrested and tortured – friends and family members† (William-Shakespeare.org). This is interesting to consider in that he knew that people who did not have affluence had a hard time surviving in the current political system. As such, his criticisms of the current political system had to be somewhat hushed by the constant fear that he might be prosecuted for such comments. Given the fact that Shakespeare had family that had been the victim of political happenstance, it is interesting to consider his take on the dynamic of Orlando and Oliver. The author understood the plight of Orlando more so than he did the situation of Oliver, so in many ways, he favors Orlando in his writing.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As you Like It is an interesting play by William Shakespeare that addresses many different themes that were prevalent in English society during the time of the author. Among those are the common themes of politics and hierarchy. In his breakdown of the various relationship of individuals within the comedy, Shakespeare actually sheds a little bit of light on what it might have been like to live in England during that time.   Works Cited Alexander, Catherine. Shakespeare and Politics. 13 September 2004.   Cambridge University Press. Bloom, Allan. Shakespeare’s Politics. 1 December 1996. Chicago, Illinois: University of Chicago Press. Shakespeare, William. As You Like It. Wells, Robin Headlam. Shakespeare Politics and State. December 1986. Palgrave McMillan Publishing. William Shakespeare and Elizabethan Politics. http://www.william-shakespeare.org.uk/william-shakespeare-politics.htm Yachnin, Paul. High Beam Encyclopedia. Shakespeare’s Politics and Loyalty. 22 March 1993. http://www.encyclopedia.com/doc/1G1-14363559.html   

An Analysis Of Lenore Walker s The Battered Woman

In 1979, Lenore Walker published The Battered Woman which became instrumental in addressing abused women (Bartol Bartol, 2012). Lenore E. Walker is a leading authority in partner abuse, Walker coined the term cycle theory of violence (Wallace Roberson, 2014). Walker’s book provided an academic look into lives of abused women while also debunking myths associated with abused women (Rutherford MacKay, 2013). She also developed the battered woman syndrome; the syndrome discusses two aspects of the dynamics of abuse, the cycle of abuse and learned helplessness (Rutherford MacKay, 2013). This cycle of abuse does not discuss the cause of IPV but rather the dynamics of this type of relationship (Wallace Roberson, 2014). Prior research conducted on other theories related to the cycle of violence have found results similar to Walker’s findings (McMahon, Hoertel, Wall, Okuda, Limosin, Blanco, 2015). Walker claims the abuse is cyclical and consists of three different p hases (Wallace Roberson, 2014). The three distinct phases within Walker’s theory are the tension-building phase, the explosion phase, and the â€Å"honeymoon† phase (Rutherford MacKay, 2013; Wallace Roberson, 2014). The tension building phase begins with minimal abuse but the threat of future violence increases (Rutherford MacKay, 2013). The victim may feel angry, unfairly treated, tense, afraid, and depressed during this phase and may not express feelings, may use alcohol/drugs, become nurturingShow MoreRelatedThe Controversial Concept Of Battered Woman Syndrome1121 Words   |  5 PagesBattered Woman Syndrome The controversial concept of Battered Woman Syndrome (BWS) is a psychological theory that aims to explain the behavior of certain women who suffer abuse from their husbands, partners, or significant others. 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United States courtrooms, instead of protecting battered womenRead MoreI Will Cover Healthy Vs. Unhealthy Relationships2087 Words   |  9 Pagescommunication, absence in trust and respect, unequal power, and the inability to communicate due to fear are common signs of an unhealthy relationship. These factors increase the chances of verbal, physical, and emotional abuse. In a relationship the woman is most likely to be the victim due to â€Å"Nearly one-third of American women report being physically or sexually abused by a husband or boyfriend at some point in their lives.† (Commonwealth Fund Survey, 1998.) Dr. Susan Hanks, director of the familyRead MoreThe Patterns And Trends Of Domestic Abuse2204 Words   |  9 Pages(Groves and Thomas, 2014). Patterns and Trends The occurrence of DA often follows three main phases by stated in Lenore E. 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