Ww1 Was About The Fight That Involved The Whole Wo Free Writing Sample

ww1rld. The fight had been raging for years because of militarism, the belife that a nation should have a large military force, nationalism, the belife in ones nation, aliances, the joining of nations, Imperialism, when one large country takes control over a weaker one. The spark that caused ww1 was the assaination of the archduke of austria-hungry francis ferdinand by a serib.

Their were 2 opposing forces in the battle allied powers and the central powers. On the side of the central powers were the ottamon empire, astria-hungry, germany. On the side of the allied powers were japan, britin, serbia, russia, italy, france and 15 other smaller contries were also involved with the allied powers. German uboats were destroying british vessels. They also were destroying american vessels out in the sea.

Both sides wanted america to come to their side. Both sides posted propaganda to make america want to join on their side. Then they found out that a person in germany sent a telegram over to mexico to urge them to fight against germany. President woodrow Wilson wanted to go to war.

Some feared that a newly formed nation of america should not enter such wars.

Thogh congress voted against going to war in 1917 the U.S. declared war against the central powers. Then their was a big turn around. Allied powers started winning. New weapons such as tanks, chemical and biological, and air fighters were lunched. Their were also trench warfare. Woodrow wilson wanted to open the league of nations to settle international disputes. Then the war was over in 1919 0fficaly.

The allied powers won the war. Russia sufferedthe most human casualties. Germany had to pay heavy peperations for the damage they did to the allied powers. German currency was almost worthless. the U.S. emerged as world power.Words/ Pages : 305 / 24

Don Juan As Byron Introspective – Research Analysis

The controversial works and lifestyle of George Gordon, Lord Byron have long been a topic of discussion. Byron, born with a clubfoot, was deeply affected by his physical condition, which influenced his life and writings. Despite being an attractive child, he had fragile self-esteem and was highly sensitive to criticism, both of himself and his poetry. Consequently, he often made enemies quickly. Byron’s youth was marked by unhappiness and loneliness, leading many to view his literary works as a form of introspective therapy. His writings and life history provide ample evidence of how his poetry was greatly influenced by his mental instability. It can be said that Byron used his work as an escape from the challenges of reality. Notably, his lengthy poem Don Juan provides an intimate insight into Byron’s psyche.

To grasp the extent of Byron’s psychological struggles and their impact on his poetry, it is crucial to explore his ancestral background and upbringing. At the tender age of six, the young George Gordon inherited the prestigious title of Lord Byron, which bestowed upon him a social rank and a modest fortune. Byron’s lineage is quite fascinating, with his paternal ancestors encompassing figures such as the notorious “Wicked Lord,” “Mad Jack,” and “Foul Weather Jack” (Grosskurth 6). The idiosyncrasies exhibited by his family were further intensified by George Gordon’s upbringing.

When Byron was only three years old, his father, who was financially irresponsible, passed away, leaving the family burdened with debt. In a proud move, Byron’s mother relocated them from their humble dwelling in Aberdeen, Scotland to England. It was in England where young Byron developed a deep affection for the grand halls and expansive grounds of Newstead Abbey. However, these premises, which had been gifted to the Byrons by Henry VIII, had received little maintenance. For a period of time, Byron and his mother resided in this dilapidated estate.

While in England, Byron attended a “public” school in Nottingham where he underwent a painful and futile treatment for his clubfoot by an inept physician named Lavender. It was during this time that he was entrusted to the care of his nurse, May Grey. Unfortunately, young Byron suffered from her drunken fits of rage, physical abuse, neglect, and inappropriate behavior towards him. Regrettably, these acts of mistreatment were not intervened upon promptly enough to shield him from psychological harm. Byron would later confess to his sister that his passions had been awakened at a very early age.

In addition to the abuse from May Grey, Byron also endured frequent exposure to his mother’s volatile temper. Mrs. Byron alternated between spoiling her son and mistreating him, often referring to him as a crippled child. Eventually, John Hanson, Mrs. Byron’s lawyer, stepped in to save him from the unnatural affections of May Grey, the torturous treatments of Lavender, and his mother’s unpredictable demeanor. The impact of these early experiences would continue to affect the poet for many years to come.”The consequences of these tormented episodes intertwine with every aspect of his life, resulting in the expected melancholy that he always feels (Eisler 41). At the age of seventeen, he entered Cambridge University with a determination to overcome his physical limitations. Byron excelled in various physical activities such as horse riding, swimming, boxing, and shooting. Although he had an appreciation for literature, his interest in other subjects was limited. Upon graduating, he embarked on a remarkable journey that became a source of inspiration for many of his later works. Among the numerous poems where Byron portrays personal experiences, Don Juan offers the most intimate glimpse into the artist’s life.”

Canto I of Don Juan depicts Juan’s mother, Donna Inez, as a woman who appeared to be wise and moral, with each eye conveying a strong message (Longman 577). Donna Inez diligently monitored every aspect of her son’s education, while Catherine Byron clumsily attempted to do the same for her son, aiming to prepare him for life in the upper class. Mrs. Byron became fixated on molding her son into perfection, and he endured various forms of torment without complaint (Grosskurth 29). Although the description of Donna Inez is often assumed to refer to Byron’s ex-wife, many aspects of Catherine’s personality are reminiscent of Inez’s. It is possible that Byron’s perception of women was influenced by his exposure to these two individuals, leading his female characters to bear traces of their influence.

Stanza 61 of Canto I portrays Donna Julia with a blend of fondness and irony. She is depicted as intelligent, beautiful, and tall, but the speaker also expresses disdain for short women (Longman 586). Byron’s description starts off conventionally, but concludes with a subtly insulting remark.

The character of Donna Julia conforms to the archetype of the idealized heroine, embodying qualities such as beauty, gentleness, sweetness, and being the epitome of the perfect and submissive wife. However, in her interactions with Don Juan, Donna Julia breaks free from the confines of her traditional role by assuming the position of an older woman who is enthusiastic about teaching young Juan about love. Through this portrayal, Byron challenges traditional gender roles by presenting a sexually mature woman who actively seduces a naive and innocent young man. The description of Don Juan as a pious boy devoted to his mother’s wishes, yet exposed to worldly experiences by a woman trusted by his family, directly reflects Byron’s own personal experiences. Having been raised by an overbearing mother and introduced to sexuality prematurely by someone who was considered trustworthy by his family, Byron can relate to the situation in which Donna Julia takes advantage of the family’s trust, albeit not as cruelly as May Grey.

Even more general attributes of this poem and its characters reflect details from the author’s own life. Juan is able to survive shipwreck because he could swim, which is a skill that Byron also possessed. Don Juan embarks on a grand adventure that includes travels reminiscent of Byron’s own experiences. Like the author, Juan has several sexual conquests during his journey. Furthermore, the naivete of young Juan closely mirrors the shyness of young George Gordon.

Byron’s Don Juan portrays the author’s desire for a hero and his adoption of a historical figure to fulfill this role. In adapting the legend of Don Juan, Byron tailors it to his own needs as he is unable to find a contemporary hero that meets his criteria. The character of Don Juan serves as a direct representation of the poet himself, who has gained wisdom and maturity over time. The epic incorporates numerous details from the author’s personal experiences, showcasing his own reflection in the narrative. Although the narrator of Don Juan is not solely Byron’s voice, it does serve as a representation of him. The poet expresses himself through his interpretation of the story and employs the narrator’s voice to communicate his thoughts. Throughout the poem, Byron’s narrator remains prominent, offering commentary and demonstrating his presence to ensure he is not overlooked. This pervasive voice throughout Don Juan appears to mirror aspects of the poet’s own life, suggesting that Byron used this extensive poem as a form of catharsis for his troubled emotions. Consequently, the incomplete nature of the poem may be attributed to its function as an ongoing outlet for the poet throughout his life, paralleling his psychological healing process.

Disease Images In Hamlet

Hamlet’s Disease

The pages of Hamlet are tainted with somber images of poison and disease, which also cast a shadow over the corruption that is present in both past and future events at the castle. The poison used by Claudius to kill King Hamlet spreads throughout the country, leading to a widespread sense that “something is rotten in Denmark”, as noted by Marcellus (I.4.90). Shakespeare consistently employs words related to sickness throughout the play, effectively illustrating the unhealthy state of affairs affecting not only Denmark, but also the characters themselves.

In the opening scene, Shakespeare effectively portrays a sense of cold and apathy. The play begins in the chilly, dark night, with Barnardo and Francisco standing guard on the walls of Elsinore, anticipating the impending revenge of their enemy, Fortinbras (I.1). As midnight strikes, Barnardo remarks on the bitter cold and his own disheartened state, subtly alluding to the prevailing sentiment in Denmark (I.1.8). The death of their beloved King Hamlet and the subsequent remarriage of the Queen have left the people disillusioned and emotionally cold. As the scene progresses, the Ghost emerges from the ominous shadows (I.1). Horatio, who had initially doubted the men’s claims of seeing the Ghost, ponders on its purpose as it vanishes into the fortress. He tells his companions about King Hamlet’s battles and draws a parallel between the appearance of the Ghost and the omens observed in Rome before Julius Caesar’s assassination. Horatio references how “the graves stood tenantless, and the sheeted dead did squeak…the moon was sick almost to doomsday with eclipse” (I.1.120). This reinforces Horatio’s belief that the haunting Ghost is a premonition for Denmark, just as Rome’s pale, ill-fated moon foreshadowed dark events. Even future occurrences are bleakly depicted in the text, emphasizing Fortune’s potent influence.The previous mention of this force can be found in Hamlet’s soliloquy where he speaks about the difficulties and challenges that life throws at him, using the phrase “slings and arrows of outrageous Fortune”. He further describes himself as being affected by deep and troubling thoughts, using the phrase “sicklied o’er with the pale cast of thought” (III.1.90), which also portrays a sense of illness or disease.

In the opening scenes of the play, even men from outside the country can perceive the decay within. Claudius scornfully comments that Fortinbras believes our state is disordered and broken due to our late brother’s death, referring to both the political confusion and the diseased state of our health. He further remarks that the dying king of Norway is weak and bedridden, barely aware of his nephew Fortinbras’ intention to attack Denmark. This universal sickness afflicts all men, regardless of their nationality. This notion of one person being unaware of another’s hidden actions is reminiscent of other plots in the play.

In the scene where Claudius, the newly crowned villain, discusses his plans to send Hamlet away to England, he reflects on how desperate measures are sometimes necessary to cure desperate diseases (IV.3.8). He views Hamlet as mentally ill and compares him to a fever raging in his own body that must be cured (IV.3.65). Hamlet, in his first soliloquy, laments the presence of sinful and repulsive things in the world that seem to dominate it completely (I.2.136). He describes the world as an untended garden overrun with weeds (I.2.136). Feeling overwhelmed and disoriented, Hamlet wishes he could vanish like dew and questions why God prohibits suicide (I.2.136). He further emphasizes how the world feels monotonous and lifeless, echoing the recurring theme of bleakness throughout Shakespeare’s work. Continuing his thoughts, Hamlet emphasizes how a single flaw or illness can tarnish the reputation of an entire nation or individual, illustrating how even a small amount of evil can overshadow all goodness, which has happened to his family and country (I.4.24).

In subsequent scenes, Hamlet continues to use these weak images. While mocking Polonius, he states, “For if the sun breed maggots in a dead dog, being a god kissing carrion” (II.2.181-182), expressing his belief that even the life-giving sun can bring life to repugnant disease. Later, upon discovering that Rosencrantz and Guildenstern are visiting him under orders from Claudius rather than friendship, he remarks, “this most excellent canopy, the air this majestic roof adorned with golden fire, why, it appears to me as nothing more than a foul and infectious gathering of vapors” (II.2.299-303), evidently another grim description of the current circumstances.

Laertes also used words that contributed to the theme of disease when he spoke to Ophelia about her relationship with Hamlet. He warned her by saying, “The canker galls the infants of spring, too oft before their buttons be closed” (I.3.39-40). In this metaphor, the “canker” represents a worm and “gall” represents breaking the skin. The “Infants of spring” refers to young spring flowers with unopened buds. Laertes compares Ophelia to a young and innocent bud, and the canker represents her love for Hamlet. Since Laertes cannot marry her, he believes that Hamlet will break her heart, leaving her like a flower bud eaten by a worm. Additionally, if Ophelia were to become intimate with Hamlet, it would ruin her reputation and the same worm that had hollowed her heart would have caused shame. The scene is filled with desolate images of decay and sickness.

One significant moment in the play highlights again the presence of disease. This occurs when the Ghost recounts the manner of his death. He reveals that Claudius, during a moment of security, covertly stole in and poured cursed hebenon juice from a vial into his ears. The result was a putrid liquid that caused his blood to coagulate like eager droplets into milk. This vile poison produced a revolting crust upon his previously healthy body. Thereby, this vivid illness signifies the intentional and deadly contamination inflicted by Claudius, which mirrors the corruption of Denmark under his rule.

Among the scenes in this text are those featuring Gertrude and the depiction of disease. When conversing with Hamlet, he suggests that she is incapable of responding due to being “apoplexed”, immobilized, as a result of recent tragic events in Denmark (III.4.74). She later reflects, “to my sick soul (as sin’s true nature is) each toy seems prologue to some great amiss, so full of artless jealousy is guilt it spills itself in fearing to be split” (IV.5.18), indicating that her guilt-ridden emotions amplify the impact of every unfortunate occurrence.

Hamlet must be the one to clean up what is “rotten in Denmark,” but he is also contaminated with a sickness of thought. While some argue that his madness is feigned, it only serves to highlight his lack of resolution. Throughout the play, Hamlet has opportunities to rid Denmark of its problems, yet he constantly hesitates due to the sickness of his mind. This contrasts sharply with Laertes quick and passionate decisions, who would have taken drastic action if he were in Hamlet’s position. The end of the play sees each character’s sickness leading to their downfall, as their plans backfire on them. Claudius’ deadly poison ends his own life, as well as Gertrude and Laertes’ for trusting in him. Meanwhile, Ophelia’s obvious mental disease leads to her demise. Unfortunately, Hamlet, the indecisive tragic hero who could have ended the plague on Denmark, is unable to do so because he is afflicted with his own illness as well.

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