100% Secure Payment
© 2025 Copyright:
BoutEssays. All rights reserved
Leukemia is infamously known disease in modern times, yet a lot of people don't have an exact understanding of what it really is, or how it started. Yet, despite being given so little attention, it raises many health concerns and affects a large portion of the population. In this research paper, the origin, its scientific description, symptoms, treatments, and other data will be explored in depth.
Get original essayThe word leukemia is actually quite old itself, coming from two Greek words, leukos and haima (white and blood). In an article written by Chloe Bennett for News Medical Life Sciences, she writes how the first ever given account of the word leukemia being given to the disease was by a man named Rudolf Virchow. Rudolf had been inspecting some contaminated blood underneath a microscope when he decided that the word leukemia to refer to this phenomenon he had discovered. On December 6, 1899, it was the first major event in history where a surgeon known as Maj. Samuel T. Armstrong died in Manila, in which his death was contributed to leukemia in his obituary. In 1913, leukemia had become even more well known and studied, in which people found out there were different types of leukemia. In this year, people still had little to no understanding when it came to leukemia, but knew that it correlated with someone's blood. There are also many different other people who have been attributed to the discovery of leukemia. This is because since it was not well understood, it was hard for many it pinpoint its origin since there was not much recorded history on it. But, one certain candidate is John Hughes Bennett, who discovered the condition during an autopsy where he noticed the patient's blood was highly abnormal and decided to investigate further. He then published his findings to Edinburgh Medical and Surgical Journal in 1845, and later became well known for the first scientific report on leukemia.
The basics of leukemia is that it is a type of cancer that attacks the body's tissues that produce blood. These include bone marrow and also your body's lymphatic system.
As pointed out earlier, many different forms of the disease have been found existing. According to mayoclinic.org, some of these different strains of leukemia are more prominent in children, and others found more likely in adults. Typically how leukemia works is that the disease targets your white blood cells, which in other essences means that it stops the cells from growing normally and also dividing properly. Your bone marrow includes white blood cells, and because of leukemia, many of the white blood cells made by it will cease to function properly. Leukemia tends to affect these cells by having them overproduce which leads to white blood cells destroying your healthy red blood cells. There are four types of leukemia most commonly found in people, Acute lymphocytic leukemia,
Acute myeloid leukemia, Chronic lymphocytic leukemia, Chronic myeloid leukemia. Acute lymphocytic typically affects your immature white blood cells (B or T lymphocytes), while acute myeloid typically affects adults along with them affecting mature white cells (or even red blood cells). Chronic lymphocytic begins in your B lymphocytes and then abnormally grow in size while pushing out your normal cells. Lastly, Chronic myeloid is the rarest of types, and will affect adults more than children. It is genetic and usually turns your myeloid cells into immature cancer cells, which then again continuously keep growing while overpowering your other health cells in your blood and bone marrow.
According to the Leukemia and Lymphoma society, when a person has a low blood count, this is typically referred to as anemia. When a person experiences anemia, typically they have shortness of breath during everyday physical activity, fatigue, their complexion might become pale, and they could become overwhelmingly dizzy. Symptoms for victims who have low platelet counts include easily bruising, usual nosebleeds (severity can vary), long bleeding periods from cuts, blood in urine and in gums. Some more symptoms range from nightly sweats, discomfort in bones or joints, having enlarged spleen, liver, or lymph nodes, unexpected weight/appetite loss, and lastly pain below the ribs.
In order to provide an effective way to deal with the symptoms and effects of leukemia, there are many treatments that have been used throughout the years. The first modern day treatment is constant updates and doctor visits to make sure the disease is in check. This is useful typically to people who have the disease, but have not yet displayed any symptoms. These constant checkups are mainly useful to keep constant surveillance on the cells, and to make sure to be able to control the disease in time if side effects begin to occur. Chemotherapy is also a major treatment of leukemia, according to the Cancer Support Community, this is when drugs are given to a patient in order to combat the disease. Typically, there are many ways to take the drugs, either by mouth, into veins by IV, or by a catheter. These drugs kill the fast growing leukemia cells in your body, but a side effect to the drugs is that sometimes they can target other healthy cells that also develop rapidly. Stem cell transplant is another extreme method of treatment of leukemia. It involves using large amounts of radiation and drugs to kill not only the leukemia in your cells but also your healthy ones. They then became replaced with brand new health ones via stem cells donated from a healthy donor. Lastly, there are two more forms of therapy to combat leukemia, radiation and targeted therapy. Radiation therapy, as its name suggests, uses radiation rays to combat leukemia. The other, targeted therapy, is when patients are given drugs to stunt the growth of these abnormal cells in order to treat them, and is much less dangerous to other healthy cells then other treatments.
Leukemia has become in more recent times, a less considerable threat to people over time. More and more treatments have pop up as people began to understand what leukemia is, how it works, and most importantly, how to prevent it further. While it's threat has diminish over a large period of time, it is still widely considered a massive problem to many. It's history has expanded over two hundred years, yet we still study it constantly to gain even more understanding of the disease. As time progresses, leukemia may soon become an insignificant disease that's easy to treat. But as for now, leukemia still remains and is constantly evolving alongside humans.
There is no one right way to design a level in Super Mario Maker. However, there are plenty of Tips and Tricks every would-be level designer should take into consideration - whether it’s your first time building a simple course, or you’re planning on making the most challenging stage possible.
Get original essayDoors vs. Pipes: Knowing when to use a door or a pipe is key to designing a good level. Doors can take you anywhere in the current level (You can have up to 4 sets of doors on a level). Pipes, on the other hand will take you to a sub-level (once you’ve unlocked sub-levels, that is). Place them wisely to send players all over the map, and use up empty space that would normally be out of reach. To create a pipe connection, just drag Mario into a pipe and then place the exit. To create a door, place the twin doors and then move one to a different location.
Less is More: There is a finite amount of things you can place in a level. So don’t go nuts and be smart about what pieces you use where and when. But you can get more mileage by using pipes to connect to a sub-level. The sub-level can have its own theme (though you can’t switch to a different game version) and its own set of blocks and enemies.
Testers Wanted: Never doubt the power of a little play-testing. Before uploading your creation online, consider letting friends or family try it out. You’ll often be amazed at how someone else interprets a level, and does things in ways you may least suspect. Having others try out your level is also a good way to find something worth tweaking you may have overlooked. Once online be sure to check out comments to see what others think!
Checkpoints and Rewards: Take care when your level gets overly long. Long levels (especially difficult ones) tend to get frustrating unless you start rewarding the player with things like Power-Ups if you don’t add checkpoints. Remember to leave powerups after difficult or drawn out areas of your level.
Learn Your Shortcuts: Like any application, learning how to do things quick in Mario Maker can save you a lot of time and hassle. You can use the shoulder and trigger buttons to copy or select areas, pressing both will let you erase without pressing the eraser button
Think Before You Leap: It can be fun to just start placing enemies and traps all over the place - but it’s a smart idea to have a clear vision of where you want a player to go first. Think about constructing the skeleton of a stage first, and then going back to add enemies, traps, and other obstacles. Restrain yourself. More enemies don’t make a better level. Blind jumps are never fun for players, so make sure your level communicates that dangers lie ahead. You can, for example, mark a path with coins or arrows to remove the guess work. And I’ve seen a level with a blind jump with coins, but they lead right into spikes! Don’t do that!
Why Erase When You Can Undo?: The Eraser tool is a great item for getting rid of mistakes - but its better used for clearing out things you may have placed a while back. Anything recent can be done with the Undo-Dog, and doesn’t require swapping between Erase Mode and back.
The most important part of Super Mario Maker is the Tool Palette.
The palette is divided into 6 rows of 12 items each, with the 6th row left blank for "favorites". Each row can be customized at any time letting you swap around items in the pallet to let you draw from a particular row when editing a level.
The palette is made up of three types of items: Objects, Enemies, and Power-Ups. Many of these items have their own unique look depending on the type of Mario game you are editing in, and certain items can be shook when being placed to create new variations. Items in this palette often be combined or used together to create interesting and challenging combinations.
New players will not be able to use every single item right out of the gate. Instead, Nintendo has opted to let players ease into the game by only unlocking certain items after time spent using the tools available. The only requirement is that you play around with the editor for around 5 minutes, and you will be notified that a new shipment of items will arrive shortly.
On the first day you will only have access to the Brick Block, Question Mark Block, Block, Stone Block, Pipe, Super Mushroom, Coin, Trampoline, Goomba, Koopa, Piranha Plant, and Wings.
After completing a tutorial, you will be able to create levels using the Super Mario Bros. and New Super Mario Bros U. styles, in both the Ground and Underground settings. After tinkering a bit more, you’ll also gain access to the larger menu - including the 10 Mario Challenge and online Course World.
First Update
The first new shipment of items will consist of the Secret Mushroom/Cape Feather/Super Leaf/Propeller Hat, Lakitu, Spiny, Moving Platform, Fire Flower, Super Star, and 1-Up Mushroom.
Second Update
The second shipment will bring the Bill Blaster, Blooper, Cheep Cheep, Spikes, and Semi-Flat Platform. This will also come with the ability to create Underwater levels.
Third Update
The third shipment can arrive bearing the Hammer Bros., Buzzy Beetle, Thwomp, Lava Bubble, Bowser, Note Block, Skull Platform, and Fire Bar. This comes with the ability to create Castle style levels too.
Shortly after getting the new items, you’ll also be able to toggle Mario’s trail on and off.
Fourth Update
The fourth shipment will contain the Rocky Wrench, Bob-omb, Donut Block, POW Block, Cloud Block, Fire Jet, Cannon, and Bridge. This will come with the ability to use the Super Mario Bros. 3 style, as well as the Airship level theme.
Shortly after tinkering around on this day, you’ll also get the ability to change the timer and auto-scroll settings for the level.
Fifth Update
The fifth shipment of items can arrive including the Spike Top, Boo, Dry Bones, Magikoopa, Hidden Block, Vine, P Switch, and Door. This also comes with the addition of the Super Mario World style, and the Ghost House level theme.
Note that with all 4 styles, you can now use the Secret Mushroom / Super Leaf / Cape Feather / Propeller Hat in their respective styles.
Sixth Update
The sixth shipment will contain the Muncher, Wiggler, Yoshi/Kuribo’s Shoe, Clown Car, Mushroom Platform, and Arrow Sign.
Note that you will also gain access to the Sound Effects Editor.
Seventh Update
The seventh shipment of items will bring the Track, Conveyor Belt, and Grinder.
Final Update
The final shipment will bring the last three items: Chain Chomp, Ice Block, and the One Way Tile.This final shipment will also include the ability to use sub-levels in your creations. Simply drop Mario into a pipe to create a lower level.
Mario Maker features a large pool of Objects to choose from. Drag and drop these items from the top of the menu bar into the level to add them instantly. The objects that were shown in the E3 2014 trailer include:
The 100 Mario Challenge is a game mode for Super Mario Maker that allows players to take on an assortment of levels pulled from all over the world. You will have just 100 lives to complete a large assortment levels, all of which are taken from the online courses uploaded from other users.
Note that this mode is only available to play when you are connected to the internet. If you are not connected to the internet, you can sample of some of Nintendo’s courses playing the 10 Mario Challenge.
When playing 100 Mario Challenge, a player’s coin total will carry over between levels, and they will have the opportunity to earn a maximum of three 1-UPs per level - which will only take effect if the player can beat the level.
A level must be replayed until it can be beaten in order to proceed. If a player cannot beat a level, they can "skip" the current stage, swapping it out for a new user-created level. This does not cost any lives, but you will not proceed either.
There are two difficulties, Easy and Normal, which are curated by Nintendo based on the ratio of clears to failure by players, in order to rank the difficulty of the submitted level. Playing on Easy will require you to complete 8 levels in 100 lives, while Normal mode will challenge you to beat 16 levels. Once 100 Mario Challenge has been completed the first time, a new harder difficulty mode will be made available.
Players who beat 100 Mario Challenge will be rewarded with a random Mystery Mushroom Costume to use in level creation. This costume can be based off an Amiibo or a costume not related to any current Amiibo.
The 10 Mario Challenge is a game mode for Super Mario Maker that allows players to take on an assortment of levels pulled from all over the world. You will have just 10 lives to complete a total of 6 levels, all of which are taken from the online courses uploaded from other users, or from Nintendo’s own stock of levels located within the game itself.
Note that unlike 100 Mario Challenge, this mode is available to play both online and offline. If you are not connected to the internet, you can only play from Nintendo’s levels.
When playing 10 Mario Challenge, a player’s coin total will carry over between levels, and they will have the opportunity to earn a maximum of three 1-UPs per level (to a max of 10 lives) - which will only take effect if the player can beat the level.
A level must be replayed until it can be beaten in order to proceed. If a player cannot beat a level, they can "skip" the current stage, swapping it out for a new user-created level. This does not cost any lives, but you will not proceed either.
There are two difficulties, Easy and Normal, which are presumably curated by Nintendo to rank the difficulty of the submitted level.
The Mystery Mushroom’s purpose is to change Mario into another character through use of costumes. Once unlocked - a costume can be selected by tapping on the Mushroom, or you can have it select a costume at random.
Costumes act much like a power-up in that taking damage in costume will only cause Mario to lose his costume. They do not increase his height at all - even if a costume appears larger than Mario traditionally is. The only thing a costume changes is purely visual and audio - as several costumes come with their own unique sounds when jumping, taunting (pressing up), and either falling into a pit or clearing a level.
At the start, there will be a few costumes already unlocked - such as the Goomba, Trampoline, and Question Block. Further costumes can either be unlocked through use of Amiibo Functionality, or as a reward for completing the 100 Mario Challenge online. Note that after obtaining around 60 costumes, the rest must be earned by completing the 100 Mario Challenge on a higher difficulty.
Also Note that there are several costumes that do not relate to any Amiibo, and cannot be unlocked by any Amiibo. Furthermore, a player can use a costume they have not unlocked if another player’s uploaded level has that costume. If you download that level, any costumes you do not have will not transfer over to you.
With a game like Super Mario Maker, the history of Mario is on display, and many secrets, Easter eggs and more are just waiting to be found in the game.
Unlock The 8-Bit Mario Amiibo’s CRT Vision With a CodeUsing the 30th Anniversary Mario Amiibo will trigger a mega mushroom powerup that changes several things on the screen, most notably a old-timey filter that replicated a CRT televesion screen. However, you can trigger this effect without the Amiibo. When on the loading screen for any level (not just Super Mario Bros. style levels) hold down on the D-pad, as well as the A and B Buttons to turn the effect on. You can turn it off the same way.
New players will not be able to use every single item right out of the gate. Instead, Nintendo has opted to let players ease into the game by only unlocking certain items after time spent using the tools available. The only requirement is that you play around with the editor for around 5 minutes, and you will be notified that a new shipment of items will arrive shortly.
When the title for the game appears along with the background for a sample stage (which you can take control of and play at any time!) The title itself can be interacted with much like Mario Paint.
Tap the "Super" part of the title to hear a crowd shout out the title, along with the bunch of Super Stars that will burst out.
Tap the "M" in Mario to change it to a W. Wario will call out in appreciation and give you a Wario costume! (Not for keeps, though and only in SMB theme.)Tap the "A" in Mario to summon a bright and fantastic shower of falling stars. Not only does it look nice, but it will destroy any enemies wandering around.
Tap the "R" in Mario to stretch the letter out, spilling out a horde of coins in the process.
Tap the "I" in Mario to call in a parrot, who is used in the Sound Effects editor.
Tap the "O" in Mario to summon a Koopa Clown Car.
Tap the "M" in Maker to drop a Buzzy Beetle Shell down. If it lands on Mario, he’ll wear it as a helmet!
Tap the "A" in Maker to initiate a countdown, before the A blasts off into space.
Tap the "K" in Maker to turn on an old-timey filter, rendering the title screen in sepia with retro music to boot.Tap the "E" in Maker to drop down a trampoline.
Tap the "R" in Maker to stretch out the R, which will spit out a Kuribo’s Shoe in the process. If the the title screen is in the Super Mario World or New Super Mario Bros. U style, it will release a Yoshi egg.
Tap anywhere else on the screen to summon a random enemy - much like the Magikoopa’s attack. Hold down and drag to show off the magic effects.
A throwback to Mario Paint has returned in the form of the Fly Swatter game. At a random point when creating levels, you may notice 3 flies buzzing around the screen. Hitting all of them on the gamepad will trigger the mini-game to begin. Unlike the previous version of Fly Swatter, this mini-game utilized the touch screen to swat flies, and has a very limited timeframe, rather than using lives. If you complete the minigame the first time, you will unlock Builder Mario. Additional playthroughs do not seem to unlock further costumes.
You can change the image of the hand on your TV screen while placing items simply by pressing in on the right or left control stick. Depending on which side you press, you can choose to either have it show a right or left hand. You can also cycle between different skin colors, or even animal paws!
When playing 10 Mario Challenge or 100 Mario Challenge, if you beat the final level while wearing a costume, it may have an effect on the dialogue when meeting Toad or the Princess. For instance, Toad will panic if you are wearing the Bowser costume, while Peach will be surprised Bowser saved her himself. If you’re wearing the Toad Costume, Toad will refer to you as Captain. Tall Mario At any point when playing levels (either your own, sample levels, or even community levels) you may come across a tall skinny looking Super Mushroom in place of a normal one. This will transform Mario into a very odd looking tall and skinny version of Super Mario, complete with odd sound effects and wiggling legs when running and jumping. Creepy.
If you manage to beat all the Nintendo World Championship Levels, you’ll be able to place the Skinny Mushroom at will!
If you’d like to try your hand at the four courses made specifically for the 2015 Nintendo World Championships, you can unlock them yourself. To do so, keep playing and completing 10 Mario Challenge. Each time you beat it, the 8 courses you played will be added to your Coursebot. Once you’ve unlocked everything but the last row on the Coursebot, you’ll be rewarded with the 4 championship courses!
If you find a Shell Helmet, but it is lying on the ground in Super Mario World or New Super Mario Wii-U Theme, you can simply pick the helmet up and duck and it will go on your head. However, if Mario is not small in the Super Mario Bros. 3 style, the player can put the helmet on as aforementioned.
Hidden Videos In Digital Instruction ManualIn the Digital Instruction Manual, you can enter a variety of four digit codes that will prompt a video. Many of these four digit codes can be found in the booklet that accompanied physical copies of Super Mario Maker. This booklet could also be viewed via PDF format online for those who purchased a digital copy of the game via Nintendo’s Wii U eShop. Physical copies of the booklet could also be obtained by contacting Nintendo by telephone and requesting a physical copy of the book after verifying that you in fact did purchase a digital copy of the game via the Nintendo Network ID (NNID).However, there are a few codes worth pointing out that aren’t actually gameplay footage. By entering the code 0913, you can watch a video of Koji Kondo (Super Mario Bros. musical composer) playing a medley of music from Super Mario Bros. on an electric piano. By entering the code 1309, you can watch a video in which both Tezuka and Miyamoto sign their autographs on large white cards. These signatures can also be found at the back of the aforementioned booklet. The numbers 0913 and 1309 have significance as the original Super Mario Bros. was released on September (9th month) 13, 1985.
Super Mario Maker lets you favorite builders to keep track of every level they upload. However, there is no option to filter your Wii U’s friends list, so you’ll need to get one of their course IDs before you can favorite them. Since it can be hard to find a level your friend has created without them telling you the code specifically, there is an easy workaround to find their levels and add them to your favorites list.
When anyone creates a level, it is automatically posted to the Miverse. You can find these through the following steps:
In Edit mode, place a door and tap on it with your stylus. You should hear a knock in response, from the other side. Listen for the number of knocks, then reply with the same number. The process should repeat a few times, and as long as you continue responding correctly for long enough, you eventually will see the door open and a character will appear.
Find the Nintendo World Championship Levels and clear all of them. From there, head to the Level Creator mode. You’ll find that you can now shake the original mushroom to produce the skinny mushroom on demand.
If Mario and Thwomp repeatedly fall into the same bottomless pit at nearly the same time (it seems to work best when Thwomp just barely takes the dive first), a series of weird sound effects follows and lasts around 27 seconds. The sound effects won’t play in Edit mode.
If you clear the final level in 10 Mario Challenge or 100 Mario Challenge, you’ll meet up with Toad or the Princess. If you are dressed in certain costumes, you’ll get individualized responses. Toad stresses out if you rescue him as Bowser, but Peach is merely bemused. Wear the Toad costume while rescuing Toad and you’ll be greeted as "Captain."
Normally, you’ll need to use Mario’s 30th Anniversary Edition amibo if you want to play the game with a special effect applies that causes the game to look as if it is being played on an old CRT television. However, you can also activate the effect by holding DOWN on the d-pad while a level is loading and pressing A+B. If you did it properly, the effect will take place. You can disable the effect the next time you load a new level, in the same manner.
In the old Super Nintendo classic, Mario Paint, it was possible to play a Fly Swatter mini-game. You can play it in Super Mario Maker, as well. As you create levels, you will eventually see a group of three flies buzzing around on the screen. If you tap them all on the gamepad, you’ll initiate the Fly Swatter mini-game. It has changed a bit, but should still be familiar.
At the 2015 Nintendo World Championships, in advance of the game’s release, four championship players were made available to participants. Those are available in the retail version of Super Mario Maker, as well. To access them, play and complete 10 Mario Challenge courses to unlock courses within your Coursebot. Once you unlock everything but the last row, you’ll gain access to the 4 championship courses.
Once the game’s title appears with a sample stage background, you can interact with various parts of the screen to produce interesting effects, or tap a general spot on the screen to summon a random enemy.
Tap the "Super" part of the title and a crowd shouts out the title while Super Stars appear
Tap the "M" in "Mario" to change it to a "W" and get thanks from Wario
Tap the "A" in "Mario" to trigger a shower of stars
Tap the "R" in "Mario" to stretch it and reveal a bunch of coins
Tap the "I" in "Mario" to summon a parrot, used in the Sound Effects editor
Tap the "O" in "Mario" to summon a Koopa Clown Car
Tap the "M" in "Maker" to drop a Buzzy Beetle shell
Tap the "A" in "Maker" to start a countdown before the letter blasts into space
Tap the "K" in "Maker" to give the screen a new/old look and music
Tap the "E" in "Maker" to drop a trampoline
Tap the "R" in "Maker" to stretch out the letter and produce a Kuribo’s Shoe.
Keep in mind:
This is only a sample.
Get a custom paper now from our expert writers.
Get custom essayWhen you grab and shake objects as you are building your course, they will respond in different ways, depending on the object. For example, the Goombas will shrink and fly off the screen, and the Koopa enemy will turn colors. Let go of the wings and they will fly away.
According to Kloos et al. (2011), the Ecological Systems Theory takes into consideration distinct levels of analysis that individuals come across, each representing a unique environment that helps to shape their behavior. These different levels include the Microlevel, Mesolevel, and Macrolevel, all of which also interact with each other and impact one’s development. In the context of those in the Foster Care System, Hayes, Julien-Chinn, Geiger, and Lietz support the fact that the environments of youth in Foster Care might be consistently changing and therefore their micro, meso, and macro levels of analysis are also going to become unstable (2016). Those in the Foster Care System are often pulled away from their houses, so they also are losing their family structure, their financial freedom, and their support system, etc. They are also oftentimes changing schools and therefore changing social lives; and less likely to engage in outside organizations or extracurricular activities. On a larger scale, they are also impacted by lack of government/political aid and support which can cause overcrowding and other major problems in the Foster Care System.
Get original essayThe microsystem is defined as a structure of the most immediate influences in one’s life, which include family, friends, social roles, and relationships. According to Krinsky, sometimes when children are placed into Foster Care, they are not only taken away from their biological parents and lack stability, but they can also be taken away from their friends, their extended family members, and even potentially their siblings (2010). This part of their environment (at their Microlevel), which has such a large impact in shaping their behavior, has now become ever-changing for the child.
A good example of this can be shown with their parent-child relationship which initially changes from biological parent to foster parent, and can even change again to various other foster parents as well, depending on how many homes the child gets placed into. In their qualitative study, Coyne and Luke (2008) deliberate how a foster child’s self-esteem might be looked at if the child were placed into a home with a model foster parent as opposed to a less ideal one. As children within the Foster Care System potentially lack a connection with their birth parent as well as a more fixed parental figure, this can contribute to a lower self-worth and other behavioral problems.
The Mesosystem is defined as the secondary influences in an individual’s environment such as schools and churches. In Krinsky’s research (2010), she suggests that individuals in Foster Care are taken away from their schools and extracurricular activities; forcing them to engage with new peers because of this sudden change in school systems. The social lives of many Foster Care youth change in relation to schools and organizations, as well as their surrounding environment. This inconsistency can cause them to feel socially isolated, which can negatively affect their mental health and is unfortunate for these children due to the fact that proper medical care is difficult for them to receive once in the Foster Care System. This has a significant influence on their present and future success. Statistically, the research has shown that 75 percent of these children will get held back in school, while only 15 percent will attend college. In addition, 25 percent will become homeless, and another 25 percent will become incarcerated.
The macrosystem is defined as the largest ecosystem made up of cultural influences, as well as societal, political, governmental, or institutional impacts, and belief systems. Henderson (2004) states that the rate of children needed to be placed into Foster Care homes is constantly going up, and therefore so is the need for available foster homes to place them into. Unfortunately, there is a lack of foster parent training, social and agency support, and foster parent satisfaction, as well as “limited procedures for assessing quality of care”. In addition, due to the scarcity of foster home placements, there is an overcrowding of foster homes in many areas. This can often result in maltreatment, neglect, abuse (physical, sexual, or emotional), and lack of supervision. Additionally, there are various special needs that foster children might have as a result of their past trauma, but because of the overcrowding those needs are often not taken care of. This can result in attachment disorders, emotional or behavioral problems, and/or developmental deficiencies, etc. When there is a limit for mental and physical health care options and a lack of parenting skills set forth by an absence of government funding/political policies (the Macrolevel), this has detrimental effects on the child’s behavior.
When something in life changes, it sequentially causes other changes in one’s environment to occur; this is known as interdependence. Research by Salas, Fuentes, Garc?a-Mart?n, and Bernedo (2015) indicates that the traumatic events that led up to a child ending up in Foster Care are multiplied by the traumas that can often occur after being exposed to different aspects of life, such as new surroundings and new authority figures. Those changes in the child’s atmosphere effect the child’s views on life, their mental outlook, and their attitudes, amongst other things. This is a series of events that leads to attitude changes, and begins with being placed in Foster Care (thus acting as a domino effect).
According to Kloos et al., (2011), cycling of resources refers to the use of one's resources, such as financial resources, personal, social, or physical resources that are dispersed within a community. It is suggested that the resources that are essential within a family type community include “time, nurturance, attention, emotional support, and money”. As has already been determined, these types of resources for Foster Care youth might be very limited. They lack in access to financial support, sometimes they lack peer, social, or parental support, and they lack in access to medical care, as well educational support. In her research, Ahmann takes this a step further and states that teens who age out of Foster Care are also limited in these types of resources which makes it extremely difficult for them lead successful and healthy lives.
Adaptation refers to the action of conforming to new customs and ideals in one’s natural surroundings. Children can enter the Foster Care System for many reasons: loss of parental guidance, lack of familial support, abandonment, or forcible separation of their biological parent(s). Whatever the reason, they must learn to adapt to their changing environments. As previously discussed, they will be changing home lives, peers, support systems, schools; new things may even start to become limited to them that were not previously, and they may even have to learn to follow new rules or guidelines. Their entire family dynamics will have become transformed. These are the external forces that many Foster Care youth must adjust to.
Succession can be defined as being in the present and using past historical outcomes to come up with a plan for bettering the future. According to Henderson (2004), there have been many changes in Foster Care policies due to failures that have occurred in its history. For example, in the 1800s orphans were sent to institutions known as Orphan Asylums, in which the children's fundamental needs such as food and shelter were met at a minimum level. In addition, many times they were put in the same category as criminals and the mentally insane, and so they also lived in the same settings with them. Since then, many policies have led to different changes in the way that the Foster Care System was viewed and the ways that orphans were treated. In fact, it was not even until the 19th Century that “child abuse and parental neglect became acknowledged as major problems, which led to child protection agencies such as the Societies for the Prevention of the Cruelty to Children (SPCC) to emerge”.
Keep in mind:
This is only a sample.
Get a custom paper now from our expert writers.
Get custom essayLooking at the Foster Care System's history and seeing how far our society has come since the 1800's and how we used to treat orphans, we have definitely come a long way. However, there is still a long way to go as far as making improvements in government spending and policies goes.
Physical security is necessary for an organization to protect its resources. However, no security system is completely secure. Physical security protects personnel, information, physical resources, systems, facilities and organization assets (Harris, 2013). Any system developed can be bypassed. Organizations always concentrate on technological and administration controls and so, intrusion may not be discovered instantly (Oriyano, 2014). If a system is developed to protect an organization from threats, it should have some weak links; for instance, an alarm system or a perimeter wall. In case the security system developed cannot fully provide protection from threats, it should delay the threat until the system can be up graded. Various parts of a security system cannot achieve the intended objective unless integrated in the right proportions. Lack of standards in security systems often deludes personnel responsible for the security systems into believing they provide high standard security systems for their organization than is often the case. The team should identify key performance indicators (KPIs) to raise the security program (Santander, 2010) KPIs ought to be monitored timely, quarterly, current year, and over years (Wailgum, 2005).
Get original essayThe following security levels give a clear explanation on levels of security systems:
Minimum Security Systems are developed to obstruct some unauthorized external activities. These unwarranted external activities are outlined as emanating outside the scope of the minimum security system and could span from a basic intrusion to an armed intrusion.
From the definition, a minimum security system could include very basic physical security systems like basic doors and windows made with regular locks. The most appropriate example for a place with minimum security system is an average American home.
Low level security systems are security systems that obstruct and detect some unauthorized external activities. When basic physical security barriers and locks have been developed, other barriers are always added in the security system implementation for instance reinforced doors, gates, high security locks and window bars and grates. Also, a basic lighting system that could be nothing more complicated than the regular security lighting systems over windows and doors and a regular security alarm system which would be an unattended device at the location of unauthorized intrusion which gives detection ability and sound alerts. Some of the places that implement low level security systems include storage houses, retail stores, and small business premises.
Medium security systems are security systems that obstruct, detect and evaluate some unauthorized internal activities and most unauthorized external activities. Some of these activities could be basic shop theft to intentions to commit sabotage.
Given a security system is developed into the medium level security, the minimum-and low-level uses previously developed into the system are extended with obstruction and detection capabilities and the threat evaluation capabilities. So as to achieve medium-level of physical security, it is important to:
Medium security systems are often used in giant industrial producing plants, some giant stores, bonded warehouses, and armories.
High-level security systems are security systems that obstruct, detect and evaluate most unauthorized internal activities and most unauthorized external activities.
After those measures previously mentioned have been incorporated into the system, high-level security is realized with the addition of the following:
Examples of high-level security sites include certain prisons, defense contractors, pharmaceutical companies, and sophisticated electronics manufacturers.
After those measures antecedently mentioned are incorporated into the system, high-level security is accomplished with the addition of the following:
High-level security is often used in some prisons, pharmaceutical firms, and advance electronic industries.
Such a system is intended to impede, detect, assess, and neutralize all unauthorized external and internal activity. Additionally to those measures already cited, it's characterized by:
The highest level of physical security protection can he found at nuclear facilities, some prisons, bound military bases and government special analysis sites, and a few foreign embassies. To upgrade a security system to consequent highest level, all criteria for that level should be met. Bear in mind that individual criteria from a better level of security will be done without upgrading the full system. For instance, if a medium security facility establishes access controls and installs a CCTV system, the over-all level of security has not been upgraded to a high level. Electromagnetic interference and radio frequency interference can lead to disruption to communication-systems like cellular, computer network, phone, auditory, radio, television, etcetera (Stewart, Chapple & Gibson, 2012). Noise is comes from arching equipment, solid-state rectifiers with loads, improper grounding, control devices, arching equipment, and power supply switching (CEDIA, 2008). The reality is, what results could be a medium-security system with some high-level characteristics. Counting on its capabilities, high-level security systems might bring home the bacon by the extension of a neutralizing capability. By exploitation fashionable strategies, materials, and technology, a maximum-security system will be developed or system upgraded.
Keep in mind:
This is only a sample.
Get a custom paper now from our expert writers.
Get custom essayMaximum security systems are mostly used in Federal Prisons, military equipment industries and nuclear firms.
When considering Primo Levi’s Survival in Auschwitz, one is immediately struck by his deadpan tone, emphasis on factual descriptions and blunt presentation of his content. Levi comments on the events he describes and offers his own insight, but never allows his perspective to interfere with his presentation of facts or detract from the objective manner in which he recalls the events of the Holocaust. Given Levi’s background as a chemist, the question arises as to how one should differentiate between Levi the author and Levi the scientist, or whether such a distinction is necessary. This essay will consider Levi’s identity and outlook, as well as both his motivation behind writing and method of communicating, in an effort to establish to what degree he writes like a chemist.
Get original essayThe first factor that one must consider is Levi’s own upbringing and personal context, since it was influential on his outlook on the Holocaust. He was educated at the Liceo Massimo d’Azeglio, a school renowned for its anti-Fascist sentiments, and studied chemistry at the Università degli Studi di Turino, although his classification as a Jew made it hard for him to graduate. From this education, he drew a positivist outlook by which he placed his trust in facts and reality, in contrast to Fascist racial dogma and idealism. Levi himself remarked that ‘chemistry and physics . . . were the antidote to Fascism’ (Il sistema periodico, Ferro), and since he leans on his scientific principles when examining Fascism, it is only natural that his careful, analytical realism should be reflected in his writing.
In addition to this, Levi was born in Turin and lived there both before and after his experience in Auschwitz, since he felt a strong connection with it as a home. This is significant when it is considered that Turin was an industrial, positivist city that remained notably anti-Fascist and was at odds with Mussolini’s idealistic Italy. For example, Antonio Sonnessa (Factory Cells and the Red Aid Movement: Factory and Neighbourhood Forms of Organisation and Resistance to Fascism in Turin, 1922-1926) notes ‘The recalcitrant opposition of the city’s labor movement and working class to fascism and capitalism between 1920 and 1922’ and thereby outlines a city with an ideological foundation that was strongly sceptical of Fascism and modern Italian politics. Whilst Levi should not be considered synonymous with predominant Turinese opinion, it is clear from his writing that he retained this scepticism and rejection of Fascism. In short, before he had any experience in a concentration camp, Levi was provided with the perspective of a secular, positivist chemist by his education, career and home town, and one would expect this perspective to influence his writing regardless of subject matter; he is not merely writing like a chemist, he is writing as a chemist.
Moreover, Levi’s style of writing and the reasoning behind it must also be considered; it is not enough to say that he writes like a chemist because he is one, given his careful treatment of the subject matter. While he maintains a matter-of-fact, deadpan register throughout, Levi adopts two manners of writing. The first of these styles is that of factual description that lacks any deliberate emotional resonance with the reader; if one does react to it, it is a personal reaction and nothing more. The other style is focused more on Levi’s own thoughts and reactions and therefore offers a more philosophical insight into content that is otherwise totally dry. The difference between these two styles is outlined effectively by two passages in which Levi describes Auschwitz: in the first (‘Auschwitz: un nome privo di dignificato, allora e per noi; ma doveva pur corrispondere a un luogo di questa terra’) he captures the sense of the unknown that gripped him and his fellow passengers on the train to the camp, as well as a sense of positivist relief at learning that they were headed to a real destination – he grants the reader a powerful emotional insight into the mind of a Jew travelling towards an uncertain doom. However, the second reference to Auschwitz (‘Noi siamo a Monowitz, vicino ad Auschwitz, in Alta Slesia: una regione abitata promiscuamente da tedeschi e polacchi…’ and so on) is a stream of information with nothing attached to it that might point the reader towards a specific reaction; Levi details the facts and leaves his reader to treat them as he/she will. Whilst these two approaches to writing are very different, they both resemble what one might expect to see in a lab report – the factual approach parallels to observations of what occurs during an experiment, and the philosophical approach parallels to the explanation and interpretation of data that one would expect a chemist to offer. This style is effective for writing about the Holocaust, since Levi’s facts are objective and faithful to the events whilst supplying the reader with an accessible means through which to view them. On the other hand, Levi’s personal insights are distinct enough from the bare facts to avoid the universal experience of the Holocaust being clouded by or confused with Levi’s experience as an individual, so they provide a compelling and thought-provoking perspective that doesn’t attempt to represent the suffering of others in itself.
Consideration of Levi as writing like a chemist takes on another level of significance when one contemplates the nature of Auschwitz and what concentration camps actually represented. One might consider the Lager as a laboratory examining the behaviour of humanity when pushed beyond the boundaries of humane living conditions. In I sommersi e i salvati, most notably the chapter La zona grigia, Levi considers how individuals had to compromise their own values in order to survive under the SS’ regime, the hierarchy of which permeated the society of the prisoners, especially in the context of how some prisoners were granted special privileges by the guards. As Levi says here, ‘Limitiamoci al Lager, che però…può ben servire da “laboratorio”: la classe ibrida dei prigionieri-funzionari ne costituisce l’ossatura, ed insieme il lineamento più inquietante.’ Having detailed the use of the Lager as a laboratory in which one could observe the reaction of its prisoners to its harsh environment, most notably in the case of those who became part of the system as ‘functionary prisoners.’ However, he also says that this specific class of prisoners were only the ‘ossatura’ and that the prisoners’ society was ‘una struttura interna inredibilmente complicata’ – as Levi writes in Se questo, ‘voremmo far considerare come il Lager sia stato...una gigantesca esperienza biologica e sociale,’ and he also expresses shock at the cold, indifferent approach of the guards, showing the sterile, mechanical way that the camp and its authorities operated. Therefore, if one takes the Lager as the framework for a huge social experiment, as Levi did, then in observing and attempting to understand it, one takes on the role of a scientist. Enrico Mattioda (Al di qua dal bene e del male) considers the how Levi’s perspective as a chemist makes him especially suitable for this observational, analytical role, since ‘La chimica ha insegnato a diffidare delle apparenze, a distinguere il simile dal dissimile, ed anche questo si rivela utile in Lager.’ Levi is not just a chemist in vocation, education and style of writing, but also as a writer and prisoner. It therefore follows that in writing an account of his experience as the latter, he must also do so as the former, thereby assuming the role of a scientist considering an experiment.
Levi’s scientific style of writing can be attributed not only to the content that he aims to capture with it, but also to his purpose behind writing. Levi’s is not only account, but also of hundreds of thousands of people who died in concentration camps before they had a chance to bear witness to their experiences – as Jonathon Drucker (Primo Levi and Humanism After Auschwitz (2009)) puts it, ‘Levi’s testimony shoulders the heavy responsibility of speaking for victims…who have no voice of their own.’ As such, it cannot be a wholly personal or subjective account as with some other testimony (for example, the diary of Anne Frank), since this would fail to do justice to those who did not survive – compelling as one might find it, the experience of Primo Levi does not count as the experience of thousands of other Holocaust victims. Therefore, in writing on behalf of others in a highly observational and analytical manner, Levi provides a convincing representation of what life might have been life for any of the prisoners (overlooking experiences specific to Levi, such as his work as a prisoner-chemist.) What Se questo lacks in personal value is made up for by its convincing insight into the mechanisms of Auschwitz as would apply to any of the victims on behalf of whom Levi is testifying.
However, Levi’s intention in writing is not just testimonial; Se questo certainly bears witness to the tragedy of Holocaust victims, but it also has a confrontational side. In I sommersi e i salvati, he wrote with regard to the perpetrators of the Holocaust that ‘before, they were oppressors or indifferent spectators, now they would be readers: I would corner them, tie them before a mirror.’ In this context, one might consider him as writing just as much like a jurist as like a chemist; both roles must present facts in a clear and unbiased way, but unlike the chemist, the jurist does to attain a certain reaction. In the words of Judith Woolf (The Cambridge Companion to Primo Levi, Chapter 3), ‘Justice with which Primo Levi was concerned was not the justice of Nuremburg…he wanted to understand his adversaries and to confront them by forcing them to confront themselves.’ Levi’s dry style displays the Holocaust through its own inhumane nature rather than through subjective embellishment, and therefore forces the reader the react to the events it describes. Whilst Se questo does resemble the writing of a chemist to a significant degree, it must be remembered that science does not concern itself with morality, unlike Levi as a writer in sense of some form of justice. Therefore, Levi’s manner of being analytical, observational and looking for patterns of understanding has significance beyond Levi’s experience as a chemist and the scientific nature of what he captures; it is also the most effective way of confronting the perpetrators.
Keep in mind:
This is only a sample.
Get a custom paper now from our expert writers.
Get custom essayWhile the parallel between Ulysses, the wandering hero who goes through great trials before returning home, and Levi might lead one to view Levi as a valorous protagonist as well, there is a crucial difference between them: Dante’s Ulysses (with whom Levi concerns himself primarily, as opposed to Homer’s) pushes the boundaries of what humanity can achieve, but Levi experiences the boundaries of what can humanity can endure. Therefore, Levi is not an explorer, but an observer of what is effectively a destructive experiment on humanity. His role as an author does not correspond fully to that of a chemist – his own moral perspective and search for ‘justice’ by forcing the perpetrators of the Holocaust to confront their own misdeeds transcend the confines of a scientific perspective. However, Levi’s education, positivist outlook and careful observational treatment of his content result in a testimonial account that has much in common with the writing of a chemist.
How will you feel if your acquisition and merger process is made in few minutes? That’s what Lexit platform aims to do for you.
Get original essayLexit is an ecosystem that assist everyone especially startups the means to build and sell exit their deals via blockchain network. What is more captivating was that it will allow your creativity brings you money. It’s a room for anyone with business ideas or execution to succeed irrespective of your niche whether you’re a sellers, appraisers, buyer or solution providers.
It’s a platform that used the blockchain promise for its project execution. Lexit will be give rooms for the business oriented persons especially the entrepreneurs helping them developing a great ways of using technology to revitalize their obsolete projects into new one.
Providers of services: It will serve as service based provider for businesses by helping them verifying, accessing, and analyzing their appraisal independently within the industry. The service providers will be of quality contractors, well screened and placed to a reputation system.
Providing the service of matchmaking: Closing business deals within the industry of merger and acquisition. Lexit will maintain a synergy program to bring in together the the best of brains in the technological sphere globally.
It presents Native ecosystem to user:
Lexit will change the face of the industry and user experience with its native marketplace. This will be done on the platform by floating its ecosystem based on decentralization for easy accessibility for its marketplace which everyone can benefit from.
The presence of marketplace where each users can have the means to release their Intellect Patent right easily with their branches of company and startups for auction; it will possible via the advanced filtering mechanism. Allowing customers to go via the potential or available opportunities; afterwards they will form their informed decision about which investment to pick from the available ones.
It will use its system of reward, incentives and bonus to attracts more customers activities and encourage them too. When they start they will be paid some loyalty too. But the platform will ensure that there is presence of legal assistance to its user so as to have high priority to prepare for their intellectual Patents.
Finally, the industry of Mergers and acquisitions space will makes businesses which are on the means of shutting down to seek the timely support system, and offering the businesses that are established already the means to reaching their assets goal that will transcend them to a profitable height. Lexit will be give rooms for the business oriented persons especially the entrepreneurs helping them developing a great ways of using technology to revitalize their obsolete projects into new one. With Lexit source code, patent right, license code from reaching outside the businesses has now been made easier to obtain with helping you economically with saving funds and hours to do your research development within your business.
If Andrew is to be held liable for murder in the death of Bettina, the prosecution would have to establish that Andrew either possessed an intent to kill or an intent to cause grievous bodily harm[1].
Get original essayAccording to Cokes’ definition "The actus reus for murder is that there must be an unlawful killing of a human being[2]" and the defendants actions, in this case Andrews’ actions, must be identified as the cause of Bettina’s death. To establish this, it must be proven that Andrews actions were the factual and legal causes of the death of Bettina.
For factual causation we must perform the "but for" test: but for Andrew actions would Bettina have died? [3]. The facts state that Andrew kicked Bettina in the stomach repeatedly which caused her to suffer a miscarriage and internal bleeding. Due to the internal bleeding which stemmed from her injuries inflicted on her by Andrew, she died the next day. Therefore, applying the but for test it could be argued by the prosecution that "but for" Andrew’s actions, Bettina would not have suffered injuries which caused her internal bleeding and miscarriage and she wouldn’t have died. He factually caused her death.
We would next have to establish legal causation. For this, the prosecution would have to demonstrate that Andrew’s actions were the "substantial and operative cause" of Bettina’s death[4]. The facts state that her internal injuries which led to her internal bleeding were the cause of her death as well as complications from her miscarriage. However, it was Andrews’ conduct which caused the injuries which caused her death. According to R v Hennigan, Andrews’s actions must not be the sole or the main cause of Bettina’s death to satisfy legal causation[5]. The facts do not mention any novus actus interveniens which may have broken the chain of causation, all we are told is that Bettina called the police as she began bleeding.
The prosecution then has to establish if Andrew has the required mens rea for murder which is intention[6]. Andrew’s intentions are unclear from the scenario so we must look at oblique intention. For this, it would have to be established that whilst Andrew was kicking Bettina in the stomach he could foresee that certain consequences, mainly grievous bodily harm or death, were "virtually certain" and intended the result to come about even though it was not his primary aim[7]. The fact that Andrew kicked Bettina in the stomach several times demonstrates oblique intention on Andrews part as it was virtually certain that she would suffer at least grievous bodily harm. However, it is important to note that a jury would not always be obliged to consider the foresight of a virtual certainty as proof of intention[8]. After considering this, it can be concluded that the elements for murder have been satisfied and a charge may be brought against Andrew.
Andrew may benefit from the partial defense of loss of self-control, according to s 54 of the coroners of justice act[9]. To benefit from this defense Andrew must establish that him killing Bettina resulted from his loss of self- control and that he had a qualifying trigger[10]. He may claim ,pursuant to s 55 subsection 4, that as Bettina told him that she was having a baby for Crispin and that Crispin was a better lover than Andrew and after hearing such life changing news, he came home to find Crispin , his wife’s lover, in his home. This could arguably qualify as circumstances of an extremely grave character which caused Andrew to possess a justifiable sense of being wrong. However, according to section 55 subsection 6 ( c) actions or words uttered in relation to sexual infidelity are to be disregarded. So, it is likely that Andrew might not be able to benefit from this defense. However he may use the precedent set out in the case of R v Clinton[11] where it was established that sexual infidelity may be taken in to account if it is found that there are other qualifying triggers asides from it alone. Furthermore, to benefit from the defense, Andrew must also establish that a person of his sex and age with a normal degree of patience and self-control would have to reacted in a similar way to Bettina’s news. But, kicking her in the stomach repeatedly is unlikely to be the reaction of such a person, therefore it is unlikely he would be able to benefit from this defense.
Another defense Andrew could rely on is the partial defense of Diminished responsibility, pursuant to s 2 of the homicide act[12] which was later amended by s 52 of the corners and justice act[13] which pertains to defendants who at the time of the murder were enduring a recognized mental condition which considerably affected their ability to make decisions. To benefit from this defense Andrew would have to establish that his mental functioning was impaired by a recognized medical condition. He could claim that his clinical depression impaired his mental functioning to the point where it robbed him of all reasonable judgement and ability to exercise self-control, which is why he killed Bettina. In R v Gittens[14] a man who was suffering from depression and benefitted from the testimony of medical experts had his sentence for murder thrown out and replaced with one for manslaughter. To benefit from this defence, Andrew would have to provide substantial medical evidence to satisfy all elements of the defence before this is put to the jury[15]. However, unchallenged medical evidence would not result in an automatic removal of a murder charge[16].
In assessing Andrews liability for the death of Bettina’s unborn child, if the prosecution wishes to bring a charge of murder against Andrew, the A-G's Ref (No 3 of 1994)[17] must be considered as it analyses coke’s definition of murder[18]. This definition stipulates that the killing must be of a human being and it was concluded that in order for the fetus to be recognized as a human being it must be wholly removed from the mother [19]. In this case, the baby died in Bettina’s stomach and therefore is unlikely to be considered as independent from the mother. it is unlikely that the prosecution would succeed in bringing murder charges against Andrew for the unborn child.
However, the prosecution is more likely to be successful if they bring charge of child destruction pursuant section 1 and 2 of the infant life preservation act 1929[20].
Andrew may claim that the child was not capable of being born alive as it may have been under twenty eight weeks which is the age required of a fetus to bring such charges, however we are not told how far along Bettina’s pregnancy is.
In the death of Crispin, the prosecution may consider bringing murder charges against Andrew. As previous stated, they would have to demonstrate that Andrew possessed the actus reus and mens rea for murder . The actus reus for murder is that there be an unlawful killing of a human being[21], the prosecution would have to show that Andrews’ actions were the cause in fact and in law of Crispin’s death. For factual causation, it would have to be determined that "but for" Andrew hitting Crispin in the death, he would not have died[22]. The facts state that Andrew hit Crispin with an ashtray whilst he was trying to separate Bettina and Andrew from fighting. Due to the hit, a pre-existing aneurysm burst in Crispin’s brain which led to his death. in r v Dyson[23] it was stated that the death of the victim being impending doesn’t release the defendant from being liable. Therefore, even though Crispin was already suffering from an illness which could have killed him, Andrew would still be liable for his death.
To determine legal causation, it would have to be established that Andrew was the operating and substantial cause[24] of Crispin’s death. The facts state that the aneurysm could have burst at any time if Crispin experienced any physical strain. Therefore, if Andrew had not caused the fight with Bettina and hit Crispin in the head with an ashtray, it could be argued that the aneurysm may possibly not have been triggered. Furthermore, the thin skull rule established in the case of R v Blaue[25] states that the defendant must leave the victim as he found them. Whether Crispin suffered from a pre-existing condition, Andrew is still liable for his death.
The next step would be to determine if Andrew had the mens rea for murder which is intention. Crispin’s death could be viewed by the jury as a natural and probable consequence of being hit in the head with an ashtray by Andrew. Furthermore, pursuant to s 8 Criminal Justice Act[26] the jury is prohibited from applying an objective test rather than a subjective one when deciding if Andrew had intention. This was established in the case of Hancock and Shankland[27] where murder convictions were reversed as a result of the defendants not intending to cause death as they dropped the lumps of concrete of the bridge to block the road to the mine and not cause death. The convictions were overturned as the possibility of death was not a natural consequence of their actions and this was determined by examining the evidence from the perspective of the defendants. In determining if Andrew had the required intent, it is important to consider how likely the result which stemmed from Andrew’s act was as well as if he foresaw that consequence. The jury would have to determine whether it was a virtual certain that death would occur from being hit with an ashtray/ that death was a natural consequence of being hit with an ashtray to be able to infer intent[28].
However, it could be argued that is not a virtual certainty that if one gets hit with an ashtray they will die. Furthermore, there is not enough information on the amount of force exerted or the material composition of the ashtray could have caused grievous bodily harm. Therefore, the prosecution should aim to bring a claim for manslaughter as without intention there cannot be murder.
In order for the prosecution to bring an involuntary manslaughter by an unlawful act charge against Andrew they must establish all elements of the actus reus. In this case that the death arose as a result of an unlawful act and not an omission[29] and that the unlawful act committed was a crime[30] as well as creating a risk of serious harm but that harm must not be as grave as grievous bodily harm. The facts state that Andrew struck Crispin in the head with an ashtray this may constitute an assault occasioning actual bodily harm[31] as well as being perceived as a dangerous act. To determine if Andrew’s action constituted actual harm an objective test must be applied to see if a reasonable sober man would recognize the harm in Andrew’s actions[32]. It is arguable that the reasonable sober man would view being struck in the head with an ashtray as harmful depending on the material composition and the amount of force exerted. And that the actions of Andrew resulted in the death[33]
The mens rea for assault occasioning actual bodily harm and unlawful act would be the same. The mens rea could be intention or recklessness. in this case when applying the Cunningham recklessness test it is plausible to say Andrew foresaw a risk that Crispin would end up serious injured if not dead from this strike to the head.
Andrew may also seek to try and benefit from the defense of insanity and claim he was insane at the time of Crispin’s killing occurred, in order to benefit Andrew’s defense would have to establish the elements set out in the M'Naghten rules[34] which include; that he possessed a deficiency with his reasoning and not merely short periods of inattentiveness[35]. He must also establish that this deficiency resulted from a disease of the mind and as Andrew was suffering from clinical depression which may be considered an unorthodox medical condition in the specific defense of insanity however as in the case of R v Burgess[36] where a sleepwalker was given a verdict of not guilty by the defense of insanity, unorthodox diseases as such can be seen to be accepted. Andrew must also establish that he did not know what he was doing or that what he was doing was wrong unlike the case of R v Windle[37] where at the defendant’s arrest he uttered words which illustrated he was aware of his actions and their effect. However as we are told that he consumed medication this could be interpreted as an external factor or an outside source this would better suit him for the defense of non-insane automatism.
Andrew could rely on the defense of non-insane automatism. For this, he must establish that he suffered an overall loss of control as any element of consciousness and self-control presented in evidence would lead to a failure of this defense as established in Broome v Perkins[38] . In this case, the facts do no mention Andrew exercising any form of restraint which could reflect that he possessed any iota of self-control. Furthermore, Andrew would also have to demonstrate that the cause of the automatism was external. In this case we are told Andrew consumed drugs prescribed to him for his depression and we are not told he suffers from any disease of the mind, which would be regarded as internal factors and qualify him better for a defense of insanity rather than automatism.
According to the non-insane automatism established in R v Hennessy[39] , Andrew would have to prove that the automatism was not self-induced. The facts states that Andrew shared a bottle of wine with Bettina whilst he was on prescribed medication, this can be viewed by the court as Andrew causing his own loss of self-control and therefore disqualify him from the benefits of the defense of non-insane automatism[40].
As previously stated in relation to his possible defense for Bettina, Andrew may also claim to benefit from the partial defense of diminished responsibility.
[1] Jeremy Horder, Ashworth's Principles Of Criminal Law (Oxford University Press 2016).
[2] R v Clegg [1995] 1 AC 482
[3] R v White [1910] 2 KB 124
[4] R v Smith [1959] 2 QB 35
[5] R v Hennigan [1971] 3 All ER 133
[6] Jeremy Horder, Ashworth's Principles Of Criminal Law (Oxford University Press 2016).
[7] R v Woollin [1999] AC 82
[8] R v Matthews and Alleyne [2003] EWCA Crim 192 (CA)
[9] Coroners and justice act 2009, S54
[10] Coroners and justice act 2009, S 55
[11] R v Clinton [2012] EWCA Crim 2
[12] Homicide act 1957, S 2
[13] Coroners and Justice act 2009, S 52
[14] R v Gittens (1984) 79 Cr App R 272
[15] R v Dix (1982) CA
[16] R v Khan [2009] EWCA Crim 1569
[17] A-G's Ref (No 3 of 1994) [1997] 3 WLR 421
[18] Mitchell B, 'Problems with the Interpretation of Murder.' (1986) 50(1) J Crim L 76
[19] R v Poulton (1832) 5 C & P 329
[20] Infant Life (Preservation) Act 1929, S 1,2
[21] R v Clegg [1995] 1 AC 482
[22] R v White [1910] 2 KB 124
[23] R v Dyson (1908) 2 JCB 454
[24] R v Smith [1959] 2 QB 35
[25] R v Blaue (1975) 61 Cr App R 271
[26] Criminal Justice Act 1967, S 8
[27] Hancock and Shankland (1986) HL
[28] R v Nedrick (1986) CA
[29] R v Lowe [1973] QB 702
[30] R v Franklin (1883) 15 Cox CC 163
[31] OffencesAgainst the Person Act 1861, S 47
[32] R v Church [1965] 2 WLR 1220
[33] R v Cato (1976) 62 Cr App R 41
[34] Taylor HE, 'The M'Naghten Rule.' (1951) 2(2) Syracuse L Rev 349
[35] R v Clarke [1972] 1 All ER 219
[36] R v Burgess [1991] 2 WLR 1206
[37] R v Windle [1952] 2QB 826
[38] Broome v Perkins [1987] Crim LR 271
[39] R v Hennessy [1989] 1 WLR 287
Keep in mind:
This is only a sample.
Get a custom paper now from our expert writers.
Get custom essay[40] R v Bailey [1983] Crim LR 353
The definition of a "liberal thinker" greatly depends on the context it is examined under. In the Leviathan, Hobbes understands liberty to simply be "the absence of external impediments" (Hobbes, 21.1). However, classically, it is often used to describe people who favor more individual liberty whilst largely rejecting the prevailing political norms of autocracy and excessive government control[1]. In this essay, the term "liberal thinker" will be associated with people who adhere to the defined characteristics presented above. I will argue against the misconception that Hobbes is a "liberal thinker", but rather a supporter of absolutism primarily based on his clear emphasis on securing the authority of the sovereign over its subjects presented in his political doctrine, the Leviathan.
Get original essayThe Leviathan was written during the time of the English Civil War, a period of lawlessness where Hobbes witnessed high death tolls and the dissolution of the monarchy as a result of human passions, rather than based on rational grounds. Hobbes believed the citizens of England were led into a position of anarchy in the aftermath of the war, where "every man against every man…The notions of right and wrong, justice and injustice, have there no place" (Hobbes, 13.13) and thus, his view of human nature was a series of inevitable cyclical wars. In the absence of a common power, survival was key - one only looks out for oneself. This view of human nature undoubtedly gives rise to tyranny as it projects humans to be naturally brutal creatures in need of an absolutist government to keep the warped human nature in line.
However, nearly every philosopher before and since has contested this view and depict a much more benevolent picture of human nature. As Tarlton states "Hobbes’s contemporaries, however, generally recognized the despotical nature of the political theory of Leviathan. Many writers, from widely disparate political persuasions, agreed in rejecting Hobbes’s absolutist prescriptions" (Tarlton, 2002). Smith, for example, believed all humans had natural feelings of sympathy in what he termed as "fellow-feeling"[2]. Locke also disagreed with the Hobbesian view of humanity and its existence within a state of nature. "The promises and bargains for truck…and keeping of faith belong to men as men, and not as members of society" (Locke, 1983) shows how humans create peaceful relations not through a centralized body but through transaction and trade. However, because Hobbes constructs a tyrannical view of human nature and how it functions, he creates a political theory that is itself tyrannical. Hobbes writes "there can happen no breach of covenant on the part of the sovereign; and consequently, none of his subjects, by any pretense of forfeiture, can be freed from his subjection" (Hobbes, 18.2.2). By prescribing an absolutist sovereign that is above the law, based on the idea that a covenant is created by the subjects to a sovereign, is in itself a recipe for tyranny. Hobbes proposes the acceptance of a dictatorial, authoritarian government that can effectively do as it pleases because any act or law instituted by the sovereign is believed to hold the people’s implicit ratification. Given the Hobbesian view of human nature, the resulting form of sovereign prescribed to end the state of nature is undoubtedly one of tyranny and despotism, which clearly shows Hobbes to be far from being a liberal thinker.
All language exists with two definitions. The primary, literal meaning is defined as what the object physically is, and the secondary, symbolic meaning is what the object represents. An object’s literal meaning remains a stationary constant, as it exists in a physical reality, and can only change if the object also physically changes. The symbolic meaning, however, is subjective to an individual’s perspective. Therefore, if a form becomes ‘rigid’, the symbolic meaning is also stationary and all language is restricted to producing a single interpretation. Language becomes ‘ready-made’ in both literal and symbolic meaning. To ‘revolt’ from this, R. L. Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde and Oscar Wilde’s The Picture of Dorian Gray both offer alternative symbolic meanings for the same, set language. Through this, language is only ‘ready-made’ syntactically, and is liberated from the ‘bondage of traditional form’ though development of the symbolic meaning.
Get original essayA ‘ready-made’ language was originally created to describe a normative, human reality. As each novel encounters the ‘other’, a ‘double’ that does not fully belong in this reality, ‘ready-made’ language becomes inadequate in description. Freud’s theory on the Uncanny argues for an uneasiness in the heimlich developing to represent the unheimlich. Jekyll’s double is both familiar in his human resemblance, and disturbingly unfamiliar in his deformity.
To describe the unfamiliar accurately, a new language must be created. To transition from a set, traditional language to a new, unfamiliar vocabulary presents difficulty. Mr Enfield, as a model of the reasonable, middle-class gentlemen, embodies this struggle in his attempt to articulate Mr Hyde’s features in an inadequate, pre-formed language: ‘He must be deformed somewhere; he gives a strong feeling of deformity, although I couldn’t specify the point.’ Initially, Mr Enfield describes Hyde as ‘deformed’. However, he seemingly decides this singular adjective incompetent in offering an accurate portrayal of Hyde. The description transitions instead to a ‘strong feeling’, that features deformity, but now contains further unidentified horrors, made increasingly grotesque through the inability to determine a literal description.
The only certainty present is in emotion that is ‘strong’ and asserts Hyde ‘must’ be deformed, implying a Tennyson-esque concept. Language limits emotion, as abstract feelings have to be expressed through a ‘ready-made’ vocabulary. Through this inability to describe Hyde in a ‘ready-made’ language, Enfield can neither classify him in a ‘ready-made’ category. Consequently, he addresses Hyde as ‘he’ as opposed to ‘it’, identifying the ‘other’ as physically closer to himself, Utterson and Lanyon than with any class of creature. Almost subconsciously, Enfield aligns Mr Hyde with Dr Jekyll, forcing the ‘unheimlich’ closer to the ‘heimlich’ form. Initially, Hyde is assumed to wholly inhabit the unheimlich ‘other’. This sense of uneasiness therefore emerges from the inability to classify Hyde in ‘ready-made’ categories of ‘human’ or ‘animal’. The new language that must be created only slightly differs from traditional form, and exists as both familiar and unfamiliar.
Stevenson struggles to mold a ‘ready-made’ language to a stationary image of Hyde’s unfamiliar form. The Picture of Dorian Gray instead encounters the limitations of a pre-formed language through the ‘other’ existing not as human, but as an inanimate object capable of human activity. This variety of personification requires a new set of verbs. The portrait is seemingly supernatural, yet it’s non-human actions are restricted to a human vocabulary. Wilde creates a conscious imbalance between vocabulary and meaning by using ‘heimlich’, pre-existing words to describe a supernatural scene that requires new symbolism: What was that loathsome red dew that gleamed, wet and glistening, on one of the hands, as though the canvas had sweated blood? Dorian does not attempt, as Enfield does, to immediately identify either the substance, or the emotion it creates within him. Instead, Dorian reverts to a question to suggest he must gain the knowledge he lacks from an outside source. The same struggle of identification that Enfield encounters is present. Dorian can see the ‘red dew’, but cannot decide upon a noun to accurately describe the vision, presenting an uneasiness in being unable to identify the ‘unheimlich’.
The consideration of, firstly, ‘dew’ presents an Eden-like image that traditionally would dictate a new beginning. Wilde inverts this through irony, to suggest the painting as taking, rather than giving, life. In progressing to ‘sweat’, the substance still remains temporarily less threatening than blood, however loses the innocence associated with ‘dew’. Syntactically, and mentally, Dorian only identifies the substance as bearing the closest resemblance to ‘blood’ at the end. Thus far, a ‘ready-made’ language is adequate in description, as all these substances exist in a human world. The previously stationary symbolic meaning is then taken from a traditional context to the unfamiliar Gothic through the moisture’s origin. The blood has ‘sweated’, not from flesh, but from the canvas. This action forces the picture to ‘revolt’ from it’s identity as an inanimate object, to a supernatural context where it becomes partially human. A ‘revolt’ from ‘ready-made’ language –that is used to describe a mortal, earthly world –is therefore necessary. Neither Dorian nor Hyde belong to this world, and cannot be described by it’s language.
Symons urges a revolt in both ‘ready-made language’ and ‘form’. In The Strange Case of Dr Jekyll and Mr Hyde, Stevenson revolts from this traditional form through narrative style. Instead of adhering to a singular narrative voice, the different narrative perspectives allow the novella to exist simultaneously as a crime report and memoir. However, even these distinct categories are not definite. Dr Lanyon’s narrative is a separate chapter yet is interrupted by Jekyll’s epistolary, suggesting that a claim to an account does not deem it exclusively one perspective. ‘Dr Lanyon’s Narrative’ focuses on physical interpretation: ‘as I looked, there came, I thought, a change –he seemed to swell –his face became suddenly black’ (Stevenson, p.41).
If this novella is categorised as a crime report, the third person narration is the ‘traditional form’, as the perspective traditionally approaches the crime from the outside. Lanyon is detached in the action of seeing –‘I looked’ –and reporting what physically appears –‘his face became suddenly black’ –in front of him. However, this sense of detachment is also limiting. He restricts identity to the basic and external, and can only describe Jekyll in a child-like context of colour, with ‘black’, one-dimensionally representing death. Despite initially categorizing Stevenson’s novella as a crime report, Lanyon’s perspective is still subjective. He reports what he ‘thought’ ‘seemed’ to be real, suggesting that an attempt to remain within a traditional narrative form is, in itself, difficult. Stevenson perhaps deems Lanyon’s narrative as necessary to identify the bondage of a traditional, wholly aesthetic, third person narrative. As this form is restricted to exterior identity, Lanyon’s analysis cannot extend to the possibility of psychological motive behind action.
‘Henry Jekyll’s Full Statement of the Case’ is therefore necessary to this fiction also, as the title suggests a forensically accurate, physical description is not a ‘full statement’. In moving from this detective genre –that identifies who has committed the crime– to a first-person, psychological account, –why the crime was committed– Stevenson completes the narrative through adding the possibility of emotion. Only through revolting from the rigidity of one narrative is the reader allowed to examine and consequently sympathize with Jekyll’s actions, that are revealed as compulsive.
As previously established, Stevenson ‘revolts’ from traditional form through the act of writing. Wilde also revolts from the ‘bondage’ of traditional form through concept. Instead of language, The Picture of Dorian Gray interacts with art. Traditionally, Victorian art carried a political or social message, such as Ford Maddox Brown’s ‘Work’, that depicts reality to provoke emotional reaction and subsequently action. Wilde breaks this ‘bondage’ through the aestheticism movement of the 1890’s. His novel both exists as and contains ‘art for art’s sake’, revoking any responsibility previously associated with the action of viewing art. Dorian’s picture is created to provoke pleasure, not to induce social action: ‘Art has no influence upon action. It annihilates the desire to act’ (Wilde, p.198). Wilde perhaps condemns this extreme lack of traditional form, and the responsibility that accompanies it. Aestheticism refuses not only ‘action’, but the ‘desire to act’, a drive that future action is dependent upon. However, identifying future action, if the activity is not specified, as either good or evil is almost impossible. Removing this desire does not deem Dorian as either antithesis, but creates an indifference to responsibility and consequence.
Whilst his hand does not personally murder Sibyl Vane, his indifference inadvertently causes her death. A ‘revolt’ to aestheticism can therefore be condemned as dangerously liberal. In refusing the social responsibility traditionally associated with art, Dorian refuses a moral responsibility also, suggesting that a lack of ‘bondage’ allows for too much freedom. This unsustainability, exhibited by Dorian’s inability to uphold a visual perfection, suggests aestheticism can only ever exist as a ‘revolt’ and will not develop as the new ‘traditional form’ of art. This ‘revolt’ in art is initially harmless, as Wilde claims the painting has ‘no influence’ on Dorian’s actions. He temporarily achieves this by splitting his conscience and physical body between painting and the human form. Yet, this separation does not consider mental influence. The painting haunts Dorian’s mind until it, ironically, does affect his actions. In attempting to engage with aestheticism to ‘revolt’ from the ‘traditional form’ of art, Wilde almost returns to again to a traditional form. The picture becomes art with a meaning and an inescapable responsibility. Bondage of form, even when attempted, cannot be easily broken.
Thus far, the form, both the ‘traditional’ and the ‘revolt’, has been examined as stationary concepts. The traditional form is implied as stationary through it’s ‘bondage’, and the ‘revolt’ exists as a new form, yet is still stationary. Walter Pater argues for a development, that ‘every moment some form grows perfect in hand or face.’ [1] Pater focuses on the transition between forms, highlighting this experience as more important than the form you either begin, or finalize with. Dr Jekyll views bondage as, specifically, the human body that remains in a ‘traditional’, singular form. The transition to Mr Hyde is, in Dr Jekyll’s perspective, growing ‘perfect’, as his experiment is essentially a success in his liberation from a singular form. However, in choosing to break free of this bondage, Jekyll can never again return to a singular physical form: ‘if I slept, or even dozed for a moment in my chair, it was always as Hyde that I awakened’ (Stevenson, p.53).
Without this bondage to a single body, the boundaries between Jekyll’s two forms also cease to exist. The narrative ‘I’ claims Jekyll’s voice, yet is simultaneously conscious that he has ‘awakened’ as Hyde. The human form, ironically, still remains as a bondage for Dr Jekyll. He is successful in breaking free from a physical bondage, yet his mind remains imprisoned within a different form. Despite Pater’s focus on experience, the transition occurs during ‘moments’ where Jekyll is in a ‘doze’, and barely conscious. The experience therefore belongs to the ‘perfect’ form he becomes, and the reader is refused access to Hyde’s narration. The transformation itself is not witnessed, as if the reader too is in a state of semi-consciousness. Even in Pater’s idea of development, Stevenson introduces new ‘rigid’ forms. ‘Always’ suggests a definite result to the process, and simply a transition to a different, certain form. To escape wholly from the ‘bondage’ of form, whether traditional or not, Jekyll must eternally remain within this ‘moment’, an action unsustainable in itself.
The concept of ‘bondage’ has been explored as both negative in its restricting influence, and positive in it’s implication of necessary social boundaries. Pater’s statement defines growth as moving towards perfection, suggesting that any ‘bondage’ that refuses movement is a negative concept. The Picture of Dorian Gray instead considers Pater’s idea of growth as a negative aspect. Wilde extends this concept beyond a ‘moment’ to an entire lifespan, defining growth as a submission to the bondage of a physically decaying human form. The moment where Dorian anticipates this exists as his realization that youthful beauty is invaluable, displacing the vocal proclamation ‘I would give my soul for that!’: Yes, there would be a day when his face would be wrinkled and wizen the grace of his figure broken and deformed (Wilde, p.26-27).
The image of Dorian’s future self is aligned with Hyde’s present condition in their claim to deformity. When Enfield describes Hyde, deformity equates to a degenerative, physical form. Instead, Dorian’s ‘deformity’ relates to his ‘grace’, suggesting his worth is based entirely on a socially accepted aesthetic beauty. An attempt to alter ‘traditional form’ is therefore attempted. Dorian temporarily inhabits a transcendent, immortal form and attempts to assert it as the traditional human form by living his entire life through it. The human body is not capable of liberation, as it is for Jekyll, but acts as a cage that will stunt Dorian’s social aspirations by becoming inadequate in decay. Through looking to the future, Wilde pre-empts a process that will occur after Pater’s ‘moment’ of perfection. It remains impossible to move beyond the highest level of perfection. After Pater’s ‘moment’ has passed, the human form cannot develop any further, and will begin to degenerate. For Dorian, the ‘bondage’ to a particular form becomes an ambition. However, to remain as a ‘traditional’ form is still defined as a mortal, physical bondage. Instead he attempts to ‘revolt’ from form, not to Pater’s development, but to a form that will not decay, but still resemble a human. Therefore, that action of looking forward to an impending moment acts as the defining moment where Dorian decides to escape the ‘bondage’ of decay that a traditional human is subject to.
Keep in mind:
This is only a sample.
Get a custom paper now from our expert writers.
Get custom essayTo ‘revolt’ from ‘traditional form’ has consequences. Society punishes both Dr Jekyll and Dorian Gray for revolting from tradition as individuals. Dorian is forced to unite his conscience with the ‘bondage’ of his physical frame, returning once again to a conventional human form. In parallel, Dr Jekyll is refused existence in a reality where he can inhabit a form that accepts no social responsibility. For social change to occur in an established culture, it must occur as a gradual, collective change to a new tradition. The attempts of both protagonists can therefore only ever exist as an individual ‘revolt’, and will never develop to a reformed tradition. Society punishes both Dorian and Jekyll for revolting from tradition, deeming the death of the rebels as the only method to maintain this ‘bondage’.
In the Prologue to Don Quixote, Cervantes presents his protagonist as a "dry, shriveled, whimsical offspring... just what might be begotten in a prison, where every discomfort is lodged and every dismal noise has its dwelling" (41). But if conceived in an Iron Age of limited religious, social, and intellectual freedoms as the product of Cervantes's own poverty and privation, Don Quixote liberates himself through his transformative capacity, first of his will and imagination and later of his reason. Alongside this is the parallel tale of the squire's own pilgrimage to personal freedom. Cervantes uses the characters Don Quixote and Sancho Panza to advance his argument for liberty in literature and society, and when this is not possible, in the individual.
Get original essayDon Quixote can be read not as an "invective against the books of chivalry" but as an invective against the abuse of literature (46). As Part I opens, Don Quixote has "stumbled upon the oddest fancy that ever entered a madman's brain," one that moves him to take up arms as a knight-errant and venture out into the world, "redressing all manner of wrongs" (59). He is enslaved to a chivalric fiction, though this is a fiction of his own narration: he chooses what he sees, turning inns into castles, wenches into ladies-in-waiting, and giants into windmills. To the point of fault, Don Quixote is irreverent not only to the constraints of society but to its demands; thus, his liberty develops only as his idealism begins to wane in Part II. Here, Cervantes continues to manipulate the motif of conflicting authorship and duality of characters to establish his quarrel between reality and fantasy.
As Don Quixote begins to recognize that his life is descending into a staged presentation of himself, his defiance grows. He shows less willingness to serve for the enjoyment of others, for the Dukes and Duchesses and Don Antonios of the world. As he writes in his letter to Sancho Panza, "when it comes to the point, I must comply with my profession rather than with their pleasure" (895). In a faintly concealed assertion of Cervantes's own authorial liberty and command, Don Quixote acts in defiance of the actions set forth in the false sequel by Avellaneda, who has brought the knight to Saragossa. Don Quixote proclaims, "For that reason, I will not set foot in Saragossa, and so the forgery of this new historian shall be exposed to the eyes of the world, and mankind will be convinced that I am not the Don Quixote of whom he speaks" (953). Don Quixote asserts his freedom by refusing to be merely a character proposed by another, losing his own identity in the process. However, at this point, he is still not truly free but only a character proposed by himself.
It is in his death, when all delusion releases him, that Don Quixote's liberty achieves its highest form. He dies as his own master, who, "though he was conquered by another, nevertheless conquered himself" (1038). It is not the contrivance of the "Knight of the White Moon" that ultimately frees Don Quixote but rather his own mind; he dies renouncing his knight-errantry and with his judgment "clear and unfettered" (1045). Should the Don's journey therefore be viewed simply as one that takes him from the bondage of living in an idyllic past to the freedom of an "unfettered" mind Cervantes seems to suggest otherwise, passing his final judgment on Don Quixote through the mouthpiece of Sansn Carrasco, who writes in the epitaph for the hero's tomb:
He reck'd the world of little prize
And was a bugbear in men's eyes
But had the fortune in his age
To live a fool and die a sage (1049).Both the life of the fool and the death of a sage are acts of Don Quixote's own free will; it is his immense fortune, in an Iron Age that constrains ideas, to have lived and died both. The novel takes the knight from an imaginative liberty that "reck'd the world of little prize"to a liberated and rational reality. Cervantes believes that both types of liberty embodied by Don Quixote, of the imagination and of reason, have value for the reader in claiming one's life as one's own. Earlier in the novel Sansn tells the knight that "his life did not belong to him, but to all those who needed him to protect them in their misfortunes"554). But in his defiant life and defiant death, when those around him are hesitant to relinquish him and to end the charades, Don Quixote proves that his life does belong to himself, both as the Knight of the Rueful Figure and as Alonso Quixano the Good. He is its sole author as the knight and its sole savior as Alonso.
But the novel is not just the romance of a strong individual character, Don Quixote, who affirms the possibility of freedom in a constraining environment. Within Cervantes's treatment of the theme of liberty are many layers that support and articulate the others. Although Cervantes does profess an explicit goal to overthrow "the ill-based fabric of these books of chivalry" through his satire of the genre, he tries to reconcile this with his belief that literature can be liberating to the reader (47).
This is accomplished not only through his account of Don Quixote as an imaginatively liberated figure but also through Sancho Panza, who discovers his freedom along the way and forces us to reflect on our own. As Sancho Panza sets out in Part I, Cervantes describes him as a "laboring man . . . with very little wit in his pate," a "poor wight"who is coerced into playing the role of squire for Don Quixote (95). Yet, even as Sancho sets out, his subsequent development is foreshadowed by the image Cervantes gives us of Sancho astride "his ass like a patriarch" (96). The image at this point in the novel is comical, but should not be dismissed because it prefigures Sancho's move to grasp the autonomous rule of his own, if humble, domain.
This move is symbolically represented by Sancho's forsaking of his governorship and return to Dapple, the "friend and partner of [his] toils and troubles" (909). As Sancho says, "Make way, gentlemen, and let me return to my former liberty. Let me go in search of the life I left, and rise again from this present death" (909). Sancho would rather "rest under a shady oak in the summer and wrap [himself] up in tough sheepskin in winter, at [his] own sweet will, than lie down, with the slavery of a government, in holland sheets"(910). The squire recognizes the sweet drudgery of ruling himself. If he follows Don Quixote now, it will not be because of ambition but because of his "own sweet will;" because, as he tells the squire of the Knight of the Wood, "love him as I love the cockles of my heart, and I can't invent a way of leaving him, no matter what piece of foolishness he does" (613).
Sancho's association with the Don has not only brought him to an understanding of his own personal liberty, but it gives him something of the imaginative liberty the knight fiercely displays. No longer the "poor wight," Sancho in his ingenuity deceives his master in the adventure of the fulling-hammers and later transforms a peasant girl into Lady Dulcinea by invoking the knight's own panacea of enchantment. When Ricote questions the possibility of Sancho's governorship of his island by telling him, "Hush, Sancho, islands lie out in the sea; there are none of them on the mainland," Sancho replies, "Why not?"(917). In this single statement, Sancho incorporates both his master's defiance and his insistence on the sovereignty of his own will.
But Sancho's pilgrimage is not simply one toward self-awareness. It also encompasses Cervantes's subtle criticism of his time, an era of oppressive class structures and limited speech. In Part I, Cervantes presents a disturbing episode of the whipping of the servant-boy Andrs that is left unresolved and worsened by Don Quixote's involvement. This is a dark portrait both of the destructive potential of Don Quixote's delusion and the incorrigibility of the provincial social structure. The knight's renunciation of his disillusion solves the first problem, but what of the second? Cervantes offers some resolution in Part II, when Don Quixote attempts to whip Sancho in order to disenchant Dulcinea. The possibility of physical violence in this scene is reminiscent of the violence suffered by Andrs.
Sancho overpowers the Don, who cries, "How, traitor! Do you dare raise a hand against your master and against the hand that feeds you?" Sancho replies, "I neither mar king nor make king. I only defend myself, who am my lord. If you promise me, master, that you'll let me alone and not try to whip me, I'll set you free" (956). In this parable of the reversal of roles, Cervantes indulges in a type of wish fulfillment where the limits on freedom "here the fabricated norms of knight-errantry but also the norms of a hierarchical society" disintegrate. As Sancho questions authority and asserts his own basic rights, Cervantes questions the limits on human freedom in society even while conceding that these limits exist.
The suppression of speech is a secondary target of Cervantes's social commentary articulated through Sancho. Don Quixote tells Sancho,"you must abstain and curb your desire for so much talk with me in the future, for never in any of the innumerable books of chivalry I have read have I found a squire who talked to his master as much as you do to yours" (196). But although Don Quixote takes his squire to be "a perverter of good language," Sancho recognizes that his words, even when lacking in precision and laced in proverbs, are no worse than the "balderdash" his master spouts about knight-errantry and enchantments (661, 693).
"I know you, Sancho," replied Don Quixote, "so, I pay no heed to your words."
"No more do I to yours," said Sancho, "even though you beat me or kill me for those I've spoken or mean to speak if you don't correct and mend your own" (693).
Sancho's unwillingness to compromise his free speech leaves the reader of Don Quixote with a lasting consciousness of and appreciation for Sancho' speech in all its idiosyncrasies. Because the squire's words persist, the series of exchanges between master and squire on the matter of speech are not merely humorous, but testify to the triumph of speech over a force that threatens to suppress it, a force not nearly as restraining as the literary censorship of the Spanish Inquisition but suggestive of it. Through the course of the novel, Sancho develops an awareness of his own worth and autonomy, circumvents the master-servant relationship, and makes a case for freedom of speech. Cervantes presents Sancho's journey to freedom with a bittersweet longing that this could be the case for each "poor wight"(95).
Don Quixote and Sancho Panza are complementary characters that together express Cervantes's commitment to the cause of liberty, both in society and in literature, where ideas should be given free reign. Don Quixote's journey shows that both the imagination and the mind are liberating "if one can have the fortune both "to live a fool and die a sage"(1049). Sancho brings this concept further, illustrating that the individual can liberate himself. As Don Quixote leaves the castle of the duke and duchess, he turns to his squire and says, "Liberty, Sancho, my friend, is one of the most precious gifts that Heaven has bestowed on mankind...
Keep in mind:
This is only a sample.
Get a custom paper now from our expert writers.
Get custom essayFor liberty, as well as for honor, man ought to risk his life, and he should reckon captivity the greatest evil life can bring" (934)2E Perhaps this is the attraction of knight-errantry to Don Quixote: the disciplined rule of self and the crusade to emancipate the oppressed. His is that "noble mind . . . ranging freely" in the castles of his imagination before coming home and liberating itself (935). But if Don Quixote breaks free from the prison in which he was conceived, perhaps Sancho does so even more. Throughout the novel he advances his personal liberty, and when he returns to La Mancha, the reader remembers the image of the squire atop "his ass like a patriarch"(96). But this time the image is not just a caricature but an affirmation of the fiercely individualistic freedom he has found and that is available to us all.