Practice Free Response 8

Huckleberry Finn never had a father. He had a tyrant: a master, a manipulative despot who squeezed every penny out of Huck that he could – all to use for himself. The description of Pap completes the picture of the desperate and despicable villain that he was: “He was most filthy...His hair was long and tangled and greasy; and hung down...It was all black, no gray; so was his long, mixed-up whiskers. There warn't no color in his face, where his face showed; it was white...a white to make a body sick, a white to make a body's flesh crawl – a tree-toad white, a fish-belly white.” (pg. 19 old book) Not only was his outward appearance filthy, but his intentions, motives, and morals were also as muddied as the rags that he wore. His dream for Huck was that Huck would make him rich. As such, he did what any sensible father would do: he kidnapped his own son and held him for ransom. With a parent like that, Huckleberry had little hope of ever experiencing the love of Family. The closest example to a doting parent that Huck ever encountered was that of Jim. Although Jim is in no way the ideal father and does not exhibit all the expected “parenting attributes” in his relationship with Huck, his care, his loyalty, and, above all, his love open Huck's eyes to grasp the true meaning of the word “Dad.”

Without doubt, Jim is the character that is closest to Huck. From the minute they meet on the island to the minute they set him free from the Phelps', Jim sticks by Huck through thick and thin. The minute that Huck realises a search party is coming to the island he rushes back to inform Jim. Without a word, the two set to escaping: “Jim never asked no questions, he never said a word...[Soon] everything we had in the world was on our raft...we got out the raft and slipped along down in the shade...– never saying a word.” (pg 62) The mutual understanding keeps them alive as they seek freedom. When Huck gets lost in the fog, brave Jim battles long and hard to keep up with him, fighting sleep and doubt so that the two can be reunited. However, Huck, in his ignorance, causes Jim, who was so broken at Huck's disappearance and so relieved at his return, great heartache by playing a trick on him. Yet, in his shame, Huck learns a lesson. He understands the measureless care of the runaway slave. His heart yields to the honest devotion of Jim, and Huck vows to never hurt Jim again.

With this in mind, one could say that the relationship between Huck and Jim is hardly father-son. In what world does a father see his son as an equal or allow himself to be tricked by his son? However, the complexity of the bond between the two is deeper than the hierarchy of respect. It is not the surface level relationship that influences Huckleberry, but the complete humility that Jim displays. Like any father, Jim is willing to give up everything to save Huck. Like any father, he seeks every possible way to keep them together. Like any father, he mourns the loss of the Prodigal and rejoices unashamedly when he returns. Like any father, his heart is broken by rejection but still holds onto Love.

Perhaps the most telling thing about Jim is the way in which he relates to Huck everything about himself – things he may never have told anyone else. In the same way, he tells Huck things that Huck may never have heard from anyone else. Firstly, Jim recounts the story of his daughter; he scolded her for not obeying, although he didn't know she was deaf and dumb. The emotion in the story is too much for Jim who cries bitterly at the end, and even he says "I doan' skasely ever cry. His self-abuse and self-blame drive him to make up for his mistake in everything that he does. As such, he is the only character to call Huck "honey." The first mention of this "pet name" is when the two are on Jackson Island, after Huck has run away from his cruel father. Never does any other character call Huck a pet name (that is, while they know him as Huck and not as Tom Sawyer).

As such, Huck is suddenly exposed to love. He has never felt it or understood it before. It was either in the form of a fist or a starched-collar and Bible. However, with Jim, he gets the bare-bones of pure, simple love. The honest tears Jim cries when Tom and Huck come to break him out, his uncompromisable trust in Huck, the sacrifice he makes for Huck – all these influence Huck to a level where he suddenly cries out "All right, then, I'll go to hell," defying all strictures, all codes, all morals, all understanding. Where does this outburst come from? From the heart. It is nothing more than the pure response of a heart to love. Huck has felt it, and though he can't begin to understand it, he will do everything he can to see that the love is not returned void.

After all that the two raft-riders have been through, it is possible to say that they are just the closest of friends. It is true that Huck is far more educated than Jim. It is also clear to see that Jim respects Huck's opinion far and above his own. These are not attributes of a father and son. However, what is most important in the relationship between Huck and Jim is that Jim is constant. Huck flounders and flurries from side to side, but whenever he comes to Jim, he is greeted with open arms. In some ways, we see ourselves, as a fallen human race, running ourselves ragged to fulfill our pockets and our adventurous spirits, always on an emotional roller coaster, tossing our decisions to the wind, but on returning empty to the arms of our ever-caring, ever-loyal and ever-loving Father, we find peace. Huck knows this is true when he, after escaping the surreal world of the Grangerfords, says, “There warn't no home like a raft, after all...You feel mighty free and easy and comfortable on a raft.” In Jim and the raft, Huck has found Dad and Home.

R + J essay; question 3

The belief that “destiny is written in the stars” often infuses events and situations with a nihilistic apathy. People just aren’t interested to do anything because in the end what they do won’t matter! In Romeo and Juliet, Shakespeare begins the story by foreshadowing the fate of “star-crossed lovers” who will “take their li[ves].” Does this reference to the stars finalise the play, leaving no more need for exposition, or does it weave a story of mystery and intrigue as the role of stars suddenly comes into light? The former creates only static characters, who will reach the same conclusion in all circumstances. The latter allows the characters to have a chance to make decisions, to write their own fate – to become heroes in their own right! As such, the mystery of the stars adds to the intricacies of the plot, while at the same time, letting the reader comprehend the bigger picture that the characters will paint.

For the fate of the two lovers to be written in the start, may initially deem the play as useless. One may as well turn to the last page, read the end, and put the book down: you already know the whole story! However, the genius of Shakespeare is in his creativity. It is not important whether the reader knows the end or not: the art is the true jewel of the story. As such, the knowledge that fate, the stars, and destiny are all guiding the writer’s hand does not make the characters any less exciting, the writing any less beautiful, or the craft of the artist any less valuable. Additionally, the heroes, Romeo and Juliet, will be created as only Shakespeare can create them. The knowledge of their fate will not taint the emotions evoked in the reader, as we read of their beautiful love and tragic end. In fact, the heroes can be seen as they truly are, since we are already witness to the big picture.

Indeed, knowing the path that the plot will take, guides the reader to the end. When events unfold, there is no ambiguity. In fact, Romeo, the tragic hero, is better understood in context of his fate. Romeo’s foreshadowing of his own end in Act 1 Scene 3 adds suspense to the story. His meeting with Juliet confirms the outcome of our hero, and yet, the reader is all the more desperate to know how the stars will direct the two lovers. This allows the bold and passionate decisions made by both Romeo and Juliet to fit into the context of fate, and the heroic nature of the two to be further solidified.

Revised Essay 2

For the Joad family in The Grapes of Wrath, the household is presided by a matriarch rather than the traditional patriarch. The motherly figure of Ma Joad is burdened by the weight of the responsibility she bears for her family. However, her character is not one of a bitter overseer, but rather of humble, steady, and, most importantly, calm Provider; a Spirit Mother: one who sees all and knows all, but is gentle in all situations. Her effectiveness as leader stems from her consistency, strength, knowledge, and understanding – all these accentuate her steadfastness of character and her importance to the family. Steinbeck paints a portrait of a portly but dependable character, who we know holds the family together. If she should change, the Joad family would be in jeopardy.

We first read of Ma's character from the description of the cool, calm “drawl” of her voice. Tom, her jailbird son, remembers the friendly and humble inflections of her voice that so adequately reflect her personality. However, Steinbeck ingeniously states that as Ma is cooking, “the sizzle of angry grease [comes] from the stove.” There is an underlying anger that is pent up in her heart and that festers in the heart of the family. But for their sake, she remains “the citadel of the family, the strong place that [can]not be taken” that their anger will not consume them. So influential is she over the family (and yet so self-sacrificing) that “she…practice[es] denying [hurt and fear] in herself…She seem[s] to know that if she sway[s] the family [will shake].” As such, she has developed an “imperturbable calm.” Due to the responsibilities she has to shoulder, Ma holds her place of “dignity and a clean, calm beauty” so that her family can rise against any disaster.

However, Ma is more than just a rock: she is a healer. If something does go wrong she is there to soothe and counsel. She is “sure and cool and quiet"; she dispels fear and brings comfort to the family, which is in desperate need of hope. The outcome of the Joad's journey into the great unknown of California rests in Ma's healing hands. Disappointment awaits them, but in Ma they will stay strong. After every pitfall, they will be healed, dusted off, and set on their way once again. She is not only their fortress but also their balm.

Finally, Ma is the voice of reason. She is not one to allow selfish wrongs to tear apart the family. This is because of her knowledge that a divided house will fall. Like an Earth Mother, she presides over the family and is "faultless in judgement." Yet, again, all this she does without thought to herself but in order to uphold the family. She knows when to give mercy but also when to reprimand. In both she is calm, unyielding, and true. For that reason, along with her strength and solace, Ma is the only one who holds the Joad's together as they begin to fall apart.

Obituary/Whodunnit?

Obituary

Tybalt Capulet, a promising youth of the city of Verona, has been slain. He met his untimely demise at the hand of another youth, Romeo Montague, who attacked him with the sword. Tybalt was 17.

The death of the young Capulet occurred after the murder of Mercutio Escalus, a friend of Romeo. Two members of the family of Montague, Romeo and his cousin Benvolio, were the only witnesses to Mercutio’s death, and both have claimed Tybalt was the murderer. Rather than letting justice work its course, however, Romeo slayed Tybalt as he arrived on the scene of Mercutio’s murder. The reason for Tybalt’s appearance on the scene is unclear.

Tybalt was known for his outstanding swordsmanship and his leadership skills in battle. His uncle and aunt, Lord and Lady Capulet, were very fond of him. So far, no statement has been made by his family. However, the whole household is currently in mourning. Plans for the funeral are to be made soon, and County Paris has been seen around the house; it has been speculated that he is there to sooth young Juliet Capulet, cousin of Tybalt, who is very distressed.

Tybalt Capulet is survived by his parents, his uncle and aunt, his cousin, Juliet, and basically the rest of the Capulet household.

Whodunnit

The situation which enveloped the deaths of Mercutio and Tybalt were rather complicated. When the Prince showed up, Benvolio was able to give an unbiased account of the events, but who was really at fault?

Romeo was avenging the death of his best friend and therefore is justified for the murder of Tybalt; he would have been condemned to death by the law anyway. However, he did step between Mercutio and Tybalt, which led to Tybalt sneaking his sword into Mercutio (albeit in a rather unsportsmanlike manner). Due to these two events, it would be clear the Romeo was directly at fault for the two deaths.

Yet, the fight would not have occurred if the two families had not been feuding in the first place! As the Prince mentioned, “three civil brawls” between the two families has caused havoc in the town. Deaths of innocents and unknowns may have already occurred, but finally, the feud has taken the life of a family member and that of a prominent figure. Therefore, the true root fault that caused the two deaths runs deep through families’ history. Who is at fault? Whoever started the stupid fight in the first place!

Romeo and Juliet: Free Response

Expressed by many as the most vivid and beautiful love scene in literary history, Act II, Scene ii of Romeo and Juliet – the “balcony scene” – captures the hearts of two lovers as they meet in a passionate but secret and somewhat fearful encounter. Indeed, the words spoken in this scene breathe life into the essence of “true love,” as they cannot deny their hearts what tenderness love has given them, yet must yield to the realistic concerns of their minds. Shakespeare's use of diction, syntax, and other narrative devices, such as metaphors and rhyme schemes, excites this mood of “forbidden love” in which the young lovers share.

The difference in diction between Romeo and Juliet clearly reveals the conflicting emotions of euphoria and fear. Juliet, being more pragmatic than love-struck Romeo, refers to the morbid, worst-case scenarios in her speech. With reference to “death” and “murder” she reminds Romeo of the danger he is in, due to his presence in the garden of the arch-enemies of his family. Her words are not flowery, but direct: “how cams't thou...wherefore?”; “[b]y whose direction founds't thou this place?” – one can sense her urgency and concern. On the other hand, Romeo is too much in love to be concerned with the pragmatic! With extravagant words he greets his love: “stony limits cannot hold love out”; “look thou but sweet, and I am proof against their enmity.” He almost makes a jest of the realistic problem he may face! With his head in the clouds Romeo spouts of poetic words of love and witty charm to answer Juliet's serious questions. This contrast exposes the secrecy of the romance, but, at the same time, the intensity of the romance as it brews within the lovers' hearts.

Another way in which Shakespeare emphasizes the conflicting mood is in the syntax of the two young people. Except for her first line, Juliet speaks in short, choppy questions. They are rushed; one can almost here them being whispered. However much she loves Romeo, she'd rather him be away and alive, than close-by and dead, and this anxiety is well reflected in the length of the sentences she uses. Romeo, however, takes a long time to say anything. His speech is verbose and animate, full of life and beauty and love. As it is said, “Love does not know time.” Apparently, neither does Romeo – he answers Juliet with words of passion and ardour, taking the time to woo her with his words and poetry.

Indeed, Shakespeare utilises his gift of poetry to further evoke the mood of secrecy and affection. The metaphor used by Romeo that the “light wings” of love helped him “o'erperch [the] walls” and personifying love as “len[ding Romeo] counsel” to help him find Juliet both give Love a more front-seat role in the emotions that got the two lovers to where they are. Romeo's poetic lines, all written in blank verse, add to the drama of the scene, prompting further amorousness. However, the metaphorical “cloak” of night that hides Romeo from angry eyes encompasses the whole feeling of confidentiality that the two lovers desire to hold on to.

As we observe Romeo and Juliet pouring out their hearts together, alone in a garden, under the cover of the starry night-sky, it is easy to sense the tenderness, yet also understand the trepidation. A secret love, a hidden jewel of passion, shrouded in mystery, yet surrounded by light is growing in the two hearts. The words spoken and the way they are spoken leave us with no doubt of what whirlwinds of emotions are swirling inside the two souls present, and we can not but wonder if such love will ever come across our doorstep as well.

For those who flee, have a flyer!

THE LAND OF PROMISES

(made to be broken)

Do you find pleasure in a hard day's work?

Are you willing to sacrifice yourself for your family?

In California, You Can Do All These Things!

Work is plenty! And we have no discrimination against the weak!
We promise to pay you as long as you work hard.
Lots of community!

Andrew Blythe and Julie Ahn

Satirical Satires Satirise

A day in the life of a student can be labourious. It often unfolds as follows: wake up (late), rush to the school bus, sit through the ramblings of boring teachers, get overloaded with homework, and drop into bed (late). This is repeated day-after-day. Who would want to toil through such a burdensome existence, when, in the end, it all goes to helping struggle through longer and more monotonous days of working at a job? The best way to live life to the full – grabbing the bull by the horns and making something of life – would be to be independent now, to break out of the prison we call “education,” and experience a life truly worthwhile. Where can such a life be found? On the street.

Living life as a street-child has often been criticised or pitied by society as low, demeaning, dangerous, or a consequence of a poor domestic life. These are all horrible misconceptions that blacken the status of street-pioneers and opaque the blessings that such heroes as Old Man Sam, Tissue-Paper Kid, or even the drunk hobo sitting wasted at the corner of the block have been bestowed. To follow in their footsteps on such a journey as they have endeavoured to set out on makes is possible to share with them in all the beauty that street-dwelling has to offer.

Imagine sitting in a stuffy, noisy, odoriferous classroom. It dulls the senses, sullies imagination, and liquidates creativity. Worst of all, those stuck-up nerds who “want to learn something” are always causing trouble with the loud-mouth show-offs. There is no need for that kind of distraction. It only provides a drawback to the true essence of learning. Flee the scene, and escape over and above the barriers of boredom, stereotype, and lies! One must get out to where the air is fresh and the senses can be excited; out to where inspiration flows like milk and honey from the Promised Land. On the streets, drink deep, for the offer of independence is free and the consequences, priceless. So what if you’re a kid; so what if you don’t think you have what it takes; so what if you don't know what to do: living in city streets is life's greatest learning experience. School offers nothing more than facts. But the streets are where fact is accompanied by the joys of fiction and the gift of free-thinking.

Hold on. Free-thinking? Such action is disallowed at school and often results in punishment. This is not the case in the real world. Living life to the max takes more than just knowledge – it takes experience. School and education are a mock-up for honing skills and talents that are never needed! In contrast, the streets offer its citizen's freedom to do as they please, in order to build useful and enduring skills. The consequences (if they come at all) make people wiser. The struggles that one face (often rarely) will not be in vain. The safety of house and home leave one weak and incompetent. However, the streets offer protection of experience. There's no need to ignore the truths of this world by living a sheltered school-life. The real action and adventure of adolescence are in the streets, parks, alleys, drainage ditches, doorways, and cardboard-boxes of our cities. Live life to the full. Live in the streets!