The Linguistic Art Of The Adventures of Huckleberry Finn Essay Example for Free

The Linguistic Art Of The Adventures of Huckleberry Finn Essay The most significant feature that I noticed, after the first glance of the novel of? The Adventures of Huckleberry Finn? ,(Mark Twain ,Penguin Books LTD,1985,ISBN0-14-243717-4), are the words, phrases and sentences structures used by Mark Twain. This is the first book that I have ever read, which all is written by colloquial languages, and sometimes even in misspelling words and dialects. These morphological and grammatical changes did cost extra time to understand, but they are also the most interesting feature caused most of my attention while reading it. So in this reading  response, I would like to analyze the language arts in the novel of ? The Adventures of Huckleberry Finn?. First, as the adventures carried on, the protagonist Huckleberry met a lot of different people with different back ground. And the writer used many dialects and slangs for those characters to make the descriptions much more real. Take the following part of Jim’s words as example, ‘Yo’ ole father doan’ know, yit, what he’s a-gwyne to do. Sometime she spec he’ll go ‘way, en den agin he spec he’ll stay. De bes’ way is to res’ easy en let de ole man take his own way. Dey’s two  angels hovein’ roun’ ’bout him. One uv’ ’em is white en shiny, en ’tother one is black. De white one gits him to go right, a little while, den de black one sail in en bust it all up. A body can’t tell, yit, which one gwyne to fetch him at de las’. But you is all right. You gwyne to have considable trouble in yo’ life, en considable joy. Sometimes you gwyne to git hirt, en sometimes you gwyne to git sick; but every time you’s gwyne to git well agin. Dey’s two gals flyin’ ’bout you in yo’ life. One uv ’em’s light en ’tother one is dark. One is rich en ’tother is po’. You’s gwyne to marry de po’ one fust en de  rich one by – en – by. You wants to keep ’way fum de water as much as you kin, en don’t run no resk, ’kase it’s down in de bill dat you’s gwyne to git hung. ’(27) As in this part, all over the words of Jim, your, away, best, round, about, them, the other, considerable, flying, poor are all shortened as yo’, ‘way, bes’, roun’, ‘bout, ‘em, ‘tother, considable, flyin’, po’ respectively, and old, yet, going, speak, then, there, get, hurt, girls, first, from, because are all reformed as ole, yit, gwyne, spec, den, dey, git, hirt, gals, fust, fum, ’kase respectively. These are  exact the features of black slangs, which is the most suitable words for Jim. Second, instead of describing a lot of feelings and atmosphere, Mark Twain just using verbs to lead readers into the sceneries. As the following part, ‘Then he turns and goes in. The crowd looked mighty sober; nobody stirred, and there warn’t no more laughing. Boggs rode off blackguarding Sherburn as loud as he could yell, all down the street; and pretty soon back he comes and stops before the store, still keeping it up. Some men crowded around him and tried to get him to shut up, but he wouldn’t; they told him it would be one o’clock in  about fifteen minutes, and so he must go home – he must go right away. ’(154) In the first sentence of this part, writer used simple present tense to place Huckleberry’s behavior in the spotlight, while used simple past tense to describe others to make them as the background of the main character. This little change in tense made readers feel much more easier to get the real feeling. And as the next example when Huckleberry found out there was someone else was talking on the island with him on his way of escaping, ‘I didnt wait, but shoved out and paddled away easy. I tied up in the old place, and reckoned I  would sleep in the canoe. ’(51) The usage of constant verbs gave the readers a direct experience of being spooked, which is much more real feeling than the description of Huckleberry’s feeling at that time. Third, there are a lot of informal contractions of grammar to fit for Huckleberry who is a thirteen years old boy without too much education. For example, ‘Well, Judge Thatcher, he took it and put it out at interest, and it fetched us a dollar a day apiece, all the year round. ’(page9) ‘But Tom Sawyer, he hunted me up and said he was going to start a band of robbers. ’(9) ‘The widow she cried over me, and called me a poor lost lamb, and she called me a lot of other names, too. ’(9) These sentences are all in a ‘ Noun + Personal Pronoun’, which is not formally grammatical, but suitable for Huckleberry. Other examples as, ‘She put me in them new clothes again, and I couldn’t do nothing but sweat and sweat, and feel all cramped up. ’(9~10) ‘Well, I couldn’t see no advantage in going where she was going, so I made up my mind I wouldn’t try for it. ’(11) These double negative sentences do not mean an affirmative way, but matchable ungrammatical words for a thirteen year little boy.

Divorce or Annulment Essay -- Social Issues, Custody of the Children

In the failure of marriage, most couples nowadays prefer to have a divorce or annulment. For them, separation is a lot easier than forcing a relationship to work. However, the consequences of divorce appear to have greater impacts on children and not just on the couple. The custody of the children is usually brought into court settlements to determine which party, whether the mother’s or the father’s, qualifies for custody. In this regard, lawyers require help from mental health experts who would make evaluations of both parties. Mental health experts also provide counseling that would help the individuals to cope with the condition that they are experiencing. This way, the psychologist would have dual tasks: a forensic evaluator and a therapeutic counselor. This dual task would be the center of this discussion. In 1997, Greenberg and Shuman wrote an article that shows the irreconcilable conflict between dual roles of mental health experts in court proceedings. Several factors have enabled mental health experts to appear as forensic expert witnesses. However, these two roles are not compatible due to several differences between these and confidentiality and anonymity are compromised. Definitions must first be provided to differentiate between the roles. The therapist refers to a clinician or mental health expert who provides psychotherapy to the client. His primary responsibility is to treat his patient. A fact witness, meanwhile, refers to the person testifying based on direct observations. He does not offer expert opinions. In short, a therapist who serves as fact witness is someone who testifies based on the observations carried out during therapy. His conclusions are thus drawn from his observations (Strasburger, Gutheil, &... ...ings as therapist and forensic expert. This is due to the premise that assuming the roles of both a therapist and a forensic expert may lead to the possibility that the expert is more concerned about the conclusion of the case than the integrity and accuracy of his testimony. Furthermore, there are many differences between the roles of the therapist and the expert. Some of these differences include attitudes of each expert, goals, and roles of therapist-patient and forensic-expert-patient relationships. These differences lead to the incompatibility of dual roles. Furthermore, confidentiality and anonymity are compromised when therapists provide testimony in court proceedings. While some researchers believe that the dual roles can be compatible, the points discussed in this paper are adequate enough to conclude that therapeutic and forensic roles are incompatible.

Hamlet, Laertes and Fortinbras are all reflections on each other Essay

â€Å"The world is a looking glass. † This synecdochic statement of 19th century English novelist, William Makepeace Thackeray, encapsulates the idea of reflections of ourselves being evident all around us in different aspects of the world. Whether in the words, actions or attitudes of others, we tend to see something of ourselves. Shakespeare employs this theme of reflection in his works such as in Antony and Cleopatra where Caesar recognises that Antony is, as stated by Maecenas, â€Å"a spacious mirror set before him† and this reflects to Caesar both the dimensions of he and his fellow triumvir, leading Caesar to the realisation that the world is not big enough for the two of them as can be interpreted from â€Å"†¦ we could not stall together/ In the whole world. † Reflection is thus a recurrent motif in Shakespeare’s works, and is a key issue which arises in the course of the play Hamlet. Hamlet is a play which involves a lot of reflection and mirroring in various ways. One of the most notable is the ‘play within a play’ or ‘The Mousetrap’ which mirrors the relationship King Hamlet had with Gertrude as well as the manner in which King Hamlet was murdered. Hamlet himself sees performance as a way of reflecting inner corruption; holding â€Å"the mirror up to nature. † The idea of mirroring or doubling can further be seen in Shakespeare’s use of literary techniques like hendiadys such as in Hamlet’s reflective ‘To be, or not to be’ soliloquy where he says, ‘slings and arrows of outrageous fortune’ and ‘whips and scorns of time’ or later in the play where Hamlet says to Horatio, â€Å"Fortune’s buffets and rewards. † Shakespeare’s use of hendiadys helps to place emphasis on the message he is trying to get across as the words mirror each other and act as a sort of parallelism, creating a balance in the phrases. But even more notable in the play with regards reflection, is the manner in which the characters of Hamlet, Laertes and Fortinbras reflect on each other. These three characters are all young men who, at some point, have lost or will lose a father. Hamlet has returned to Denmark from school in Wittenberg to mourn his father’s death and is so much in grief that he says, â€Å"How weary, stale, flat and unprofitable/ Seem to me all the uses of this world! † The use of lists and exclamation marks emphasises the extent of his grief and make us sympathise with him. Young Fortinbras has also lost his father, Fortinbras, as we come to know from Horatio’s speech that King Hamlet â€Å"Did slay this Fortinbras. † Laertes, in the course of the play, also returns from France to Denmark to find that his father, Polonius has been killed. They thus reflect on themselves in that they have all lost their fathers, but furthermore in that they all seek to avenge the deaths of their fathers. Hamlet is charged by the ghost of King Hamlet to â€Å"Revenge his foul and most unnatural murder! † The exclamation mark and use of striking adjectives highlight that this is an order, a duty which Hamlet has to carry out, and he expresses his feelings about this in the heroic couplet, â€Å"The time is out of joint: O cursi d spite,/ That ever I was born to set it right. † Fortinbras, likewise, is seeking to avenge the death of his father, King Fortinbras of Norway by regaining the land lost by his father in war, and waging war on Denmark. When Hamlet sees Fortinbras leading his army through Denmark to Poland, he draws parallels between his cause and that of Fortinbras. Similarly, Laertes, on finding out about his father’s death, declares, â€Å"I’ll be revenged/ Most throughly for my father. † Hamlet recognises the similarity between his cause and that of Laertes and states later on in the play, â€Å"For by the image of my cause, I see the portraiture of his. † However, it is open to interpretation whether or not Hamlet was referring to revenge as his ’cause’, for as Philip Edward argues, Harold Jenkins points out that Hamlet simply does not recognise himself as a proposed victim of Laertes’ revenge, and thus Hamlet simply meant, when he made that statement, that as a son grieving his father, he should have realised that grief makes one act strangely. Nevertheless, Hamlet does recognise an aspect of himself reflected in that of Laertes. Thus, Hamlet, Laertes and Fortinbras all seek to avenge the death of their fathers, but they each work towards this end with varying methods. Whilst Hamlet is the vacillating, hesitant one searching for proof and taking his time, and Fortinbras is the calculating but quick-acting, resolute one, Laertes is the more aggressive typical revenge hero. Hamlet spends so much time dithering and searching for proof that the ghost has to reappear to â€Å"whet thy almost blunted purpose. † The use of words associated with knives or daggers, that is ‘whet’ and ‘blunted’, remind us that Hamlet’s purpose is to kill to avenge his father, rather than his inactivity. Hamlet says of Fortinbras, on the other hand, that his â€Å"spirit is with divine ambition puffed† and thus he is able to lead the Norwegian army to fight over a ‘little patch of ground’. Laertes’ brutal, aggressive approach can be seen not only in the way he breaks into the Danish palace to confront Claudius over his father’s death but also how he says of Hamlet that he would â€Å"cut his throat I’th’church† The aggressiveness in this statement is emphasised by the use of alliteration in ‘throat’ and ‘th’church’. Thus, their varying methods are comparable, so that we can identify from one to the other the preferred path or more successful path to have taken. Whilst Laertes and Fortinbras are thus more typical Aristotelian tragic heroes, in that they have ‘consistency’ as once their personality and motivations are established, they continue throughout the play. Hamlet, on the other hand, falls short of this as he dithers and almost loses sight of his goal. This sheds light on a reason for which Shakespeare appears to have made use of reflections in his work- that of revealing shortcomings. Hamlet, Laertes and Fortinbras reflect on each other in such a manner that they highlight the shortcomings of each other. As Shakespeare states in his Sonnet 77, â€Å"Thy glass will show thee how thy beauties wear. † The whole idea is that our reflections make us more aware of our flaws, and this can be seen where Hamlet, having seen Fortinbras march his army through Denmark, says, â€Å"How all occasions do inform against me,/ And spur my dull revenge! † He is reminded, by the reflection of his cause in that of Fortinbras, that whilst Fortinbras is active and resolute, his revenge is ‘dull’. This idea of reflections showing our flaws or shortcomings is also employed by Shakespeare in Richard 11 where the deposed king hopes to see his sorrows etched in his reflection and states, â€Å"Give me that glass, and therein will I read. /No deeper wrinkles yet? † The alliteration in ‘give’ and ‘glass’ as well as the use of rhetorical question help to highlight the king’s desperation to see his sorrows in his reflection. Reflections also act, in Shakespeare, as a trigger or a call to action. When Hamlet sees Fortinbras and his army, it ‘spurs’ his revenge so that he is led to say in a rhyming couplet, â€Å"Oh from this time forth,/ My thoughts be bloody or be nothing worth. † His use of the graphic adjective ‘bloody’ emphasises his resolution and is rather reminiscent of the sort of decisiveness that we would expect from a typical revenge hero. Furthermore, when Hamlet sees ‘the portraiture’ of Laertes’ cause in the image of his, he is led to regret his outburst to Laertes at their battle at Ophelia’s grave and to ‘court’ Laertes’ ‘favours’. Ophelia, in the course of the play, refers to Hamlet metaphorically as â€Å"The glass of fashion. † He appears to have been the reflection of what noblemen should be; the one to be emulated. All noblemen in Hamlet’s Denmark, like the society of Shakespeare’s England, were expected to remark and imitate the manners of the prince. Thus, we can understand why Hamlet is, in the words of Claudius, ‘loved of the distracted multitude’ and why Fortinbras speaks of him so highly. Nevertheless, following his act of madness and outburst at Ophelia, Ophelia mourns that this noble mind, this ‘glass of fashion,’ is ‘quite, quite down! † The repetition of ‘quite’ relays to us how greatly Hamlet has changed from the reflection of nobility that he used to be. It is also interesting to note that Hamlet sees a reflection of his cause in that of Fortinbras and Laertes towards the end of the play in a form of anagnorisis. However, at the start of the play, he seems deeply sceptical about the ability of anything to reflect him truly. According to Philippa Kelly, he mocks verbal and physical display as having the incapacity to ‘denote me truly’. In his mocking summation of Laertes even in the final act of the play, he appears sure that nothing and no one could reflect Laertes â€Å"he his semblable is his mirror, and who else would trace him, his umbrage, nothing more. † His argument is that words fall short of describing Laertes’ greatness, but earlier on we know that he has declared that he sees a reflection of his cause in that of Laertes. Thus, although Hamlet, ab initio, comes across as one who feels that nothing can reflect him, nothing can denote him truly or body him forth as would the dissection of his organs, he comes to realise that reflections are indeed everywhere as can be interpreted from William Thackeray’s statement, â€Å"The world is a looking glass. † In the actions, words, causes and attitudes of others, particularly Laertes and Fortinbras, he sees a reflection of his own self and is, from these reflections, made aware of his shortcomings and spurred to action in eventually avenging the death of his father.

Larsen s Passing Clare Kendry And The Race Problem

Larsen’s Passing: Clare Kendry and The Race Problem Since before the birth of America, race has been a common denominator in determining the placement, treatment and opportunities given to certain groups. Native-Americans were assimilated or murdered in mass quantities and driven from their land because they were deemed inferior by whites who settled here. Like Native-Americans, African-Americans were judged based on their skin color and perceived ability to live among those who took over the country. African-Americans were brought over by the thousands on ships and placed in slavery as a result of not being civilized enough to live independently. Knowing all of this, race is something that individuals attempt to ignore by saying that†¦show more content†¦For those reasons among others, Jefferson felt that it should always be appropriate for whites to take responsibility of them because their frame of mind wasn’t adequate enough for them to be self-sufficient. Samuel Morton went on to echo Thomas Jefferson’s sentiments regarding African-Americans when he compiled Crania Americana, written in 1839, and argued, â€Å"In disposition the negro is joyous, flexible, and indolent; while the many nations which compose this race present a singular diversity of intellectual character, of which the far extreme is the lowest grade of humanity,† (7). The repeated publication of the inferiority of the black race caused a wealth of contention in the country as it became divided concerning race relations and ethical treatment. Disdain for racial equality is even perpetuated by characters in Larsen’s short novel, demonstrating that the issue at hand most certainly has been conceived from mentalities of the public. Written in the earlier half of the 20th century, Passing is a plausible representation of race and community in the 1920s, as Americans remained separated on their ideas about how to deal with the proposed â€Å"race proble m.† Like other authors before her, Larsen focuses on depicting both sides of the fence by giving the audience two biracial women. One lives in a black community and is immersed in African-American culture, and the otherShow MoreRelatedNella Larsens Passing Essay2911 Words   |  12 PagesNella Larsens Passing The Harlem Renaissance was a turning point for many African Americans. A vast amount of literature was created specifically for this group during this era. It was a period when the African American was in vogue and white thinkers and writers were devoting a considerable amount of attention to them (Taylor 91, 90). For the first time, African Americans were being told that it was okay to be proud of who they were. 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