.... No toilsome or disagreeable duties were imposed upon me. My mistress was so kind to me that I was always glad to do her bidding, and proud to labor for her as much as my young years would permit. I would sit by her side for hours, sewing diligently, with a heart as free from care as that of any free-born white child . . . (377) Linda’s mistress didn’t treat her as a slave. She freed Linda from almost all of her troubles. Linda didn’t have to worry about being yelled at or getting whipped. Linda’s mistress was almost a second mother to her. She cared for Linda and taught her the essence of learning, which was how to read and write. Linda didn’t take ....

.... price; they could neither be bought nor sold. And she never threw words away." --Pg. 85 Momaday forces upon the reader the idea of language as a remedy for sickness; not only of the mind, but of the heart, also. If a speaker can reach a listener and show the listener what she means, then that is the most honorable achievement. Momaday wants the reader to know the importance of word weaving, of weaving the words to form a beautiful picture that can heal souls if spoken correctly. Momaday believes that the Native Americans who never bothered to learn to read and write, those who depend on their words, are those whose words are most powerful. The love for words, spoken wi ....

.... poor displays of judgement by Macbeth and Duncan allow them to be taken advantage of at various times in the play. There's no art to find the mind's construction in the face: He was a gentleman on whom I built an absolute trust (I, iv, 11-4). With this statement, Duncan illustrates his recognition of his inability to tell the character of an individual by looking at him. He is referring to the Thane of Cawdor who, during the civil war, helped try to overthrow Duncan's rule of Scotland. As a king, Duncan is well received which perhaps allows him to consider himself untouchable. He assumes that no one would have any reason to hurt or disobey him and so he allows his personal ....

.... he was acting so mad or insane. When Hamlet saw Rosencrantz and Guildenstern, he was very glad to see them and remembers how much of excellent good friends they are. Before Rosencrantz and Guildenstern were able to ask why Hamlet was acting mad, Hamlet said, “Were you not sent for? Is it your own inclining? Is it a free visitation? Come, deal justly with me: come, come, nay, speak.” Rosencrantz and Guilderstern's response was,” When Hamlet found out that Rosencrantz and Guildenstern were working for the King, Hamlet quickly ended his friendship with them and referred to them as just two schoolfellows. His distrust of them leads to his discovery of the do ....

.... evolved into a compassionate man of God, and Parris remained the conceited character he was at the beginning of the play. In act one, the corrupt, self-serving Reverend Samuel Parris is first introduced. In this scene, Parris' daughter Betty is ill and even the doctor cannot determine what is ailing the girl. Strangely enough, instead of worrying about the fate of his daughter, Reverend Parris seems more concerned about the rumors flying accusing Betty of dealing with the devil, leaving her unconscious. Parris denies all witchcraft accusations, and refuses to believe his household was involved in dealing with the devil. Showing that he is solely consumed with thou ....

.... doubts early in the book, "I wonder how far I should turn out faithful to that ideal conception of one's own personality every man sets up for himself secretly" (5). Lacking consultation with his repressed side, the captain questions whether he will be able to command his ship correctly. As the reader continues through the book, the Captain's first meeting with Leggatt communicates a closeness between the two men. "I was almost as much of a stranger on board as himself…at that moment I felt it most acutely" (28). The Captain still feels strangely about taking control of the ship, but he feels an impulsive connection with Leggatt. While Leggatt is close at his side, ....

.... to a series of actions and dialogue located at the climax of the story. The chosen passage came near the end of this work--just after Othello smothered Desdemona with her pillow. Shakespeare, simply and probably tritely put, was a genius. His artful mastery of meter, diction, imagery, and tone is matchless and captivates interest and thought like no other. Meter in a literary work, just like all other components, can be a key factor in affecting the reader's thoughts and mood. Of course, this being Shakespeare, meter was utilized with a definite purpose. Because this portion of the play is dramatic and suspenseful, an erratic, loose structure is appropriate. The author ....

.... a priest. The other cynically rejects religion. Stephen loves his mother, yet eventually hurts her by rejecting her Catholic faith. Taught to revere his father, he can't help but see that Simon Dedalus is a drunken failure. Unhappy as a perpetual outsider, he lacks the warmth to engage in true friendship. "Have you never loved anyone?" his fellow student, Cranly, asks him. "I tried to love God," Stephen replies. "It seems now I failed." The force that eventually unites these contradictory Stephens is his overwhelming desire to become an artist, to create. At the novel's opening we see him as an infant artist who sings "his song." Eventually we'll see him expand that son ....