The Great Train Robbery, 1903

The Great Train Robbery, 1903 The Great Train Robbery produced by Edwin S. Porter in 1903 is frequently acknowledged as the first narrative film. Porter, who had previously worked for Thomas Edison as a cameraman, takes the plot from a story based on a real train robbery, written by Scott Marble in 1896. To bring it to life in ways the public had never seen before, Porter utilises various new and innovative techniques, of which previous film-makers had never thought of using in the still relatively new process of film-making. Edisons company, who produced the film declared it absolutely the superior of any moving picture ever made due to the editing techniques that were totally new to the industry.  [1]  Eighteen years later, Victor Sjà ¶strà ¶m produced The Phantom Carriage with Svensk Filmindustri. Sjà ¶strà ¶m wrote the screenplay, which he adapted from a novel by Selma Lagerlà ¶f, as well as directed and starred in the film that Paul Mayersberg describes as a major departure from his [previous] outdo or dramas.  [2]  In The Phantom Carriage, Sjà ¶strà ¶ms creative editing style and new film techniques are illustrative of the progress made by film-makers in the time between the two films production, but also of the unique variety of films being made by the Scandinavian film industry in this fast changing and highly inventive period of cinematic history. As it is one of the first films to follow an actual narrative and not merely a single shot of a simple, everyday situation such as seen in the earlier works of the Lumià ¨r Brothers, the editing techniques in The Great Train Robbery are limited but highly experimental for the time. The film, most notably, makes use of cutting between two locations with use of a visual match to suggest one is happening after the other.  [3]  This is demonstrated between shot seven and eight where in the former, the train is seen moving on the tracks away from the camera, then in the next it is seen moving in the same direction and at the same angle to the camera. The idea is simple, and may seem obvious to modern viewers who are use to these cinematic conventions, but it demonstrates how editing is being manipulated in order to form a linear narrative that would be new to viewers of the time. We also see in this film the beginnings of the creation of a parallel narrative; the film begins in a tel egraph office where a worker is shot and tied up, the narrative moves on from here until shot ten when we return back to the telegraph office with the man still tied on the floor. The fact that the set up is exactly the same as where it was left off in the first shot, despite the plot moving on is indicative that the events that occur in shot ten are happening at the same time as the previous action we have seen is. This idea is consummated with the telegraph workers entrance in the dance hall in shot eleven, as it would obviously have taken some time for him to reach this new location, in which time the previous events could have run their course and in the next shot, number twelve, the two narratives are thus able to meet up as the men at the dance chase the bandits through the woods. Focusing on how editing functions in The Phantom Carriage, a scene which demonstrates Sjà ¶strà ¶ms more sophisticated style comes early on in the film, around five minutes in. Salvation Army Sister, Edit, pleads on her deathbed to see David Holm, an alcoholic of whom she cared for in the past. She sends a friend she met whilst working for the Salvation Army to find him; she and another friend of Edits, Gustafsson, part ways to cover more ground in their search for Holm. The sequence that follows watches both the Salvation Army friend and Gustafsson in the two separate locations they go to in their searches which, though similar to the shots explained above in The Great Train Robbery sequence, is pulled off more sophisticatedly in The Phantom Carriage sequence.  [4]   First the camera, and thus the viewer, follow the female friend to the dilapidated home of Holm, his wife and two children. As the friend arrives at the door to the house, Sjà ¶strà ¶m chooses to enclose the shot in a circular black frame. The edge is sharp not fading out like the vignette effect which he utilises later on and as the bottom third of the circular frame is cut off out of shot, it could be reminiscent of the frame that looking through a key hole would produce to the eye. This effect creates the feeling of the viewer as a voyeur; the viewer has not been invited to look, but is seeing her unnoticed as she unlocks the door. Later in the sequence, after shot thirteen where the friend comforts Anna, Sjà ¶strà ¶m cuts to the path of Gustafsson that runs parallel to this short sequence. The viewer sees him enter a bar and, presumably, since there are no inter-titles in this sequence, ask the staff about finding Holm. A few shots in however, the scene cuts back to the fir st location and the narrative continues from the point it left off, with the friend putting her coat around Anna. We are taken back to the first narrative jut for this single shot before being brought back again to the second, for four shots, and once again cut back for a single shot of the first. These extreme cuts tell us that the two separate sequences are happening at the same time. The fact they go back and forth in rapid succession is makes it more obvious or understandable than the occurrence of parallel narratives in The Great Train Robbery where it only cuts back once. One of the most significant differences in the editing of the two films is the scale of the shots. Porter tends to have the camera further away from his subject so that a large area and all the action can be seen at once, whereas Sjà ¶strà ¶m chooses to vary the shots, some establishing the room and others close-ups of characters reactions and actions. Porters shots are also lengthier, so we see, for example, the whole sequence of the robbers hiding and waiting for the train in shot two. This may have a negative effect on the viewers understanding of the narrative. The closer shots and varied cutting of the The Phantom Carriage sequence allows the viewer to feel like they are in the midst of the story, seeing little detail rather than further away simply watching it unfold. After the framed shot outside the door, the viewer is let inside the room and given a full view of it, as is standard with many films of the time. This master shot allows the viewer to get a feel for the landsca pe of the scene, and gain an understanding of the surroundings, which is necessary in order for the viewer to  [3]  keep up with Sjà ¶strà ¶ms relatively liberal use of cutting that contrasts greatly to Porters extended shots. In this first interior set up, the friend is seen looking toward the front, right corner of the room. In the next shot Sjà ¶strà ¶m cuts so that the camera faces the direction the friend has just faced, therefore we are able to see what she sees, which is the two children asleep in a bed on the floor. This is known as an eyeline match where the angle of the camera matches the eyeline of the person in the previous shot. A similar cutting technique occurs in shots four to nine, where axis cuts (where the position of the camera moves in each shot so it looks back on itself on a 180 degree plane) go back and forth between the friend and Holms wife Annas back, who is sat in the corner of the room. These are examples of the more sophisticated editing techniques that can greatly enhance the viewers understanding of the narrative; firstly because, due to the potentiality for more close-ups, the viewer can grasp who the characters are and be more aware of their emotions displayed by their faces and what they are doing. This insight is lost slightly in the long shots of The Great Train Robbery which dont bring the viewer close enough to the action to distinguish characters or even what exactly they are doing; for example in the mail carriage shot (set up C), one robber seems to take something, or put something into the killed workers pocket; what exactly he does we cannot know as we are too far away to see3. These cutting techniques can allow the viewer to get a grip on the characters position in the room and understand who it may be their emotions are directed at as well. Such methods also enhance the aesthetic look of the sequence, rather than simply seeing the whole scene unfold from the same far off angle that is seen in The Great Train Robbery. The fast cutting used in The Phantom Carriage also effects the tone or atmosphere of the scene which in turn contributes to the way the viewer interprets the narrative. Tension is built up in the scene as the viewer see some part of the action and then is cut away to see a characters reaction to this. Alternatively though, the more drawn-out shots of the film and the lengthy shots in The Great  [4]  Train Robbery could also create a feeling of tension or suspense in the way the viewer is able to see all the action at once where sometimes the characters themselves cannot. An example of this effect is seen in shot thirteen of The Great Train Robbery, the bandits go through their loot as only the camera sees their pursuers creeping up on them from behind. In The Phantom Carriage, in the scenes in which the ghostly carriage of death comes into shot, tension is created by its slow, suspenseful motion across the screen; this could be due to the fact the viewer knows its destination wil l be someone who has recently died, and its slow pace signifies an unease in its path to the dead. -1711 words excerpts from sources to back up/contrast to points = integrate into above paragraphs -100 add in 150 about interior/exteriors conclusion -100 Bibliography Victor Sjà ¶strà ¶m, Encyclopà ¦dia Britannica Online, at http://www.britannica.com/EBchecked/topic/547219/Victor-Sjostrom [accessed 18.03.13]. Cook, David A. and Sklar, Robert. Edwin S. Porter, Encyclopà ¦dia Britannica Online, at http://www.britannica.com/EBchecked/topic/471087/Edwin-S-Porter [accessed 18.03.13]. Dirks, Tim. The Great Train Robbery (1903) at http://www.filmsite.org/grea.html [accessed 18.03.13]. Mayersberg, Paul. Phantom Forms: The Phantom Carriage, on The Criterion Collection at http://www.criterion.com/current/posts/2000-phantom-forms-the-phantom-carriage [accessed 16.03.13]. Musser, Charles. Moving towards fictional narratives: story films become the dominant product, 1903-1907 in Lee Grieveson and Peter Krà ¤mer (ed.) The Silent Cinema Reader. London: Routledge, 2003.

Counselling and Therapy for Different Personality Types

Counselling and Therapy for Different Personality Types Active Suggestive Therapy View of Human Nature In the world, everyone is unique. They usually differ on the basis of family in which they grew up and the values, culture, unique experiences and the perceptions they have about their circumstances. I agree with the view of Adler that a persons perception of the past and interpretation of early events influence their behaviours (Corey, 2005). According to Albert Ellis, the belief is that we contribute to our own problems and by this way; we interpret events and situations (Corey, 2005). The basic hypothesis of REBT is that our emotions stem mainly from our beliefs, evaluations, interpretations, and reaction to lifes situations (Corey, 2005, p. 272). Behaviour is learned. Cognitive behaviour therapy states that during childhood we learn our irrational beliefs form others (Corey, 2005). As it is learned, so I believe that we can learn new ways of thinking and behaving. All humans have free will. Adler also supports that the concept of a creative force enables people to make their own decisions and develop their own opinions (Oberst Stewart, 2003). Albert Ellis says that we can learn to control our emotions by avoiding irrational beliefs (Ellis MacLaren, 2005). I agree with Adler that the people are social, creative and can make their own decisions (Corey, 2005). I also believe that people also have certain limitations. I believe that biology and genetics play a role in our behaviour and that we are predisposed to some types of mental illnesses. I believe that some forms of depression like extreme anxiety, bipolar disorder and schizophrenia can be the result of genetics or a chemical imbalance in the brain. Arnold Lazarus, the founder of multimodal therapy states that when any doubts arise about the probable involvement of biological factors, it is imperative to have them investigated (Lazarus, 1997, p. 28). I agree with William Glasser that we have basic needs. He stated that we have the need for survival, love and belonging, power and achievement, freedom or independence, and fun that drive our lives (Corey, 2005). These needs relate to some of the concepts of Adler. The need for love and belonging goes along with Adlers concept of social interest and community feeling. The need for power and achievement is similar to Adlers concept of striving for significance and superiority. Theoretical Orientation Multimodal therapy Multimodal therapy creates interests because of the concept of technical eclecticism†. It states that the therapist uses a collection of techniques from many approaches and from different theories of therapy (Corey, 2005). I like this approach because Arnold Lazaruss concept of the seven major areas of personality is made up of BASIC ID (Corey, 2005). These are behaviour, affect, sensation, imagery, cognition, interpersonal, and drugs/biology (Lazarus, 1997). It looks at behaviour and addressing self-defeating actions, emotions and reactions; sensory complaints, such as tension and pain; fantasies and images, flashbacks; the persons attitudes, values, beliefs, and opinions; aspects involving relationship with others; and the health of the individual including medical conditions, sleep, exercise, diet, use of drugs, etc. (Lazarus, 1997). The reason why it appeals to me is that it explores many different aspects of our well-being that can affect our mental health. This type of therapy appeals to me because it uses concrete tests to simplify the process of therapy and get to the problem in an efficient way. The problem identified in the Multimodal Life History Inventory encourages the therapist and client to focus on specific problems; it helps to set goals for treatment (Lazarus, 1997). The multimodal assessment coincides with my view of human nature, as it implies that we are social beings who move, feel, sense, imagine, and think, and that at base we are biochemical-neurophysiologic entities (Lazarus, 1997, p. 3). This theory is brief and effective, which is very important in todays society with insurance issues. Lazarus states that perhaps one would agree that effective therapy depends far less on the hours you put in than on what you put into those hours (Lazarus, 1997, p. 6). This theory puts the emphasis on breadth more than depth. This theory applies to the unique needs and problems of the client. Lazarus says, In my estimation, we need bespoke therapy – methods that are carefully tailored and custom-made (Lazarus, 1997, p. 16). The multimodal method uses several methods to find out what the problems are and the strategies to find out what treatments fit uniquely with each client. It is very flexible and open. Multimodal therapy has clear goals for therapy and focuses on current issues. It starts out with an initial interview, after this the client takes the Multi-Modal Life History Inventory and uses it to draw up a Modality Profile that lists the complaints and the areas of treatment that should be addressed (Lazarus, 1997). I like the systemic approach because there is a logical pattern to follow in order to find out the problem. Many therapies spend too much time just trying to figure out the problem, which can increase the number of sessions. Other Theories Some aspects of other theories that I would like to integrate when using multimodal and Adlerian therapy include some of the concepts from psychoanalytic therapy, such as ego defense mechanisms and Ericksons psychosocial stages of development. I can see the benefit of exploring defense mechanisms and seeing how they play a role in behaviour. Ericksons stages of development are a good framework for understanding development (Corey, 2005). REBT therapy is behaviour therapy, as is multimodal therapy. The A-B-C theory of personality is a concept that I would integrate with multimodal therapy. It is a common sense approach to show people how they can change their irrational beliefs into rational belief. It assists clients in recognizing their self-defeating thoughts, particularly the absolutist thoughts, such as the shoulds, musts, and oughts (Corey, 2005). With person-centered, I would like to draw on the empathetic relationship aspect of this type of therapy. The use of the concept of unconditional positive self-regard is essential. Adler describes social interest in terms of empathic understanding. Adler sums it by saying, To see with the eyes of another, to hear with the ears of another, to feel with the heart of another (Ansbacher Ansbacher, 1956, p. 135). Reality therapy is a lot like multimodal and Adlerian therapies in that it is directive, active and educational. The five basic needs of survival, i.e. love and belonging, power and achievement, freedom or independence, and fun is something that I would integrate into my own therapy (Corey, 2005). Some aspects of solution-focused therapy and narrative therapy appeal to me. Solution-focused therapy takes on a positive and optimistic view of the future and looks for what is working. I would use the three questions of solution-focused therapy; the exception question, the miracle question, and the scaling question (Corey, 2005). Narrative therapy is similar to Adlers concept of early recollections. This is a very interesting form of therapy and I would like to learn a lot more about it. I would like to take some of the aspects also of Asian therapy, such as aromatherapy and creating an atmosphere of relaxation. Multicultural Therapy It is extremely important to consider differences in culture when engaging in therapy with a client. Adler focuses on the person in their environment, allowing exploration of cultural issues. Behaviour therapys focus is on behaviour rather than feelings, which can be compatible with many cultures (Corey, 2005). Adlerian Therapy The concepts of Adlerian therapy state about social interest, birth orders and sibling relationships, fictions, and early recollections. Adlerian counselors educate clients in new ways of looking at their lives. The process of therapy used by me would be to foster social interest, which would help the clients to overcome the feelings of discouragement and inferiority, modify their lifestyle, assisting clients in feeling a sense of equality and help people to be contributing members of society (Corey, 2005). The four phases of the therapeutic process are a part of Adlerian therapy that I would integrate with other methods. These are establishing a proper therapeutic relationship, doing a Lifestyle Assessment, encouragement and insight into purpose, and reorientation and education (Corey, 2005). The Adlerian concept of the five basic mistakes people make developed by Mosak is of interest to me. These are overgeneralization, false and impossible goals, misperceptions of life and lifes demands, denial or minimization of ones worth, and faulty values (Corey, 2005). This is very similar to the core irrational belief concept used in REBT. The core irrational beliefs are awfulizing and I-cant-stand its over generalizing, jumping to conclusions, focusing on the negative, disqualifying the positive, minimizing good things, personalizing, phoneyism, and perfectionism (Lazarus, 1997). Therapist/Client Relationship The importance of the therapeutic relationship varies among different types of therapy. Some therapies focus on the personal relationship as crucial to therapy while other therapies do not give so much emphasis on the relationship. The importance of the therapist/client relationship in relation to my philosophy is that it is important, but is not the central focus. I agree with Adlers view on joint responsibility between the client and the therapist (Corey, 2005). My focus as a therapist is to engage the client in a learning process and to act as a teacher and consultant. I agree that there needs to be empathy and positive self-regard for the clients who want to change. The relationship needs to be a good working relationship. Encouragement from the therapist is essential. Two major theories that I am going to discuss in regards of the therapist/client relationship are cognitive behaviour therapy and person-centered therapy. With person-centered therapy, the main focus is on the relationship. It is the primary focus of therapy. Rogers emphasizes the attitudes and personal characteristics of the therapist and the quality of the client-therapist relationship as the prime determinants of the outcomes of therapy (Corey, 2005, p.85). With cognitive behaviour therapy, the therapist functions as a teacher and is highly directive. The relationship is important, but not as important as in the person-centered therapy. The success of cognitive behaviour therapy depends on certain characteristics of the therapist, such as warmth, accurate empathy, nonjudgmental acceptance, trust and rapport with the client (Corey, 2005). Both theories rely on the concept of unconditional positive self-regard and empathetic listening. The caring is unconditional; it is not contaminated by evaluation or judgment of the clients feelings, thoughts, and behaviour as good or bad (Corey, 2005, p. 172). Cognitive therapy describes it as unconditional acceptance. Ellis states that, In addition to modeling unconditional acceptance for your client, it is vital that you actively teach the theory and practice of unconditional self-acceptance (USA) and unconditional other acceptance (UOA) (Ellis MacLaren, 2005, p. 85). Therapeutic Techniques Specific techniques that I would use come from multimodal therapy, REBT, and Adlerian therapy. With multimodal therapy technique, I would use the Multimodal Life History Inventory. The Multimodal Life History Inventory is a 15-page questionnaire used for problem identification and patient history pertaining to the seven major areas of personality, or the BASIC ID, which I described earlier in the paper (Corey, 2005). I would also use bridging, which is used when clients do not want to talk about their feelings. The bridging technique consists of entering the clients preferred mode (cognitions) and then, asking about a different (presumably more neutral) modality (e.g., imagery, or sensations) (Lazarus, 1997, p. 48). The Marital Satisfaction Questionnaire would be a technique I would use when working with couples, which covers major areas of concern that most couples have. These concerns include communication, sex, money, togetherness, friendship, parenting, etc. (Lazarus, 1997). Some specific techniques that I would use from REBT are disputing of irrational beliefs which would include the REBT Self-Help Form, humor, rational-emotive imagery, role playing, homework and educational materials. (Corey, 2005). Adlerian techniques I would use are the Lifestyle Assessment, early recollections and The Question (Corey, 2005). I like the concept of The Question. It is a subjective question of, How would you like your life to be different, and what would you do differently, if you did not have this symptom or problem (Corey, 2005). This is very similar to the miracle question in solution-focused therapy. Early recollection techniques ask the client to talk about their earliest memories. Early recollections use an assessment tool to see how clients feel about themselves and others, in order to discover the clients strengths and assets (Corey, 2005). In contrast, cognitive behavioural techniques focus on tailoring the therapy to suit the individual and focus on changing the thinking patterns and behaviour of the client. There are several techniques available to use with this theory. With existential therapy and person-centered therapy, very few techniques are used. A history of the client, questioning and probing, and testing are not used in person-centered therapy or existential therapy, whereas in cognitive therapy it is the basis for the therapy. Existential therapy does not appeal to me because it is not technique oriented and there is a lack of direction from the counselor. As far as similarities between the person-centered technique and cognitive behaviour therapy are concerned, I really do not see any. They are completely different types of therapies. Self-Awareness As far as my strengths as a therapist are concerned, I am very insightful and in tune with how people are feeling. I am not afraid to be myself as a therapist. Realizing my imperfections, I do not feel that I need to be perfect in my style of counseling. Trustworthiness is essential to me regarding my role as a therapist. Listening is one of my strong points. Realizing my limitations and accepting the fact that I will not be able to help every client or get along with every client, it is important that I refer them to seek help from another counselor. Boundaries are crucial in the therapy setting. Taking on the responsibility of the clients obligation is something that I would be very aware of and try to avoid. Something that I would like to add to my role as a therapist and something that I feel very strongly about is the role of spirituality. Incorporating clients religious and spiritual beliefs in the counseling process is important, and I feel it needs to be addressed. Regarding my limitations as a therapist, I tend to give people advice and I need to be careful with this. It will be difficult for me to deal with certain types of clients. I would not be able to work with sex offenders, pedophiles, abusive men or severely mentally ill patients. Helping people who do not want to be helped is also a difficult issue for me. I would need to learn some techniques on how to deal with this problem. At times, I like to tell my own story and share my own experiences in an attempt to show others how my experiences have affected me. Getting off track in thinking that this would be helpful to the client is something I need to be aware of. I still question my ability as a counselor and feel I have not had enough classes to make this judgment yet. Conclusion In concluding the paper, I realize the importance of trying to find my own unique style. Finding what fits with my personality and what I feel comfortable with is a thing that will make me a competent therapist. Cognitive behavioural therapy (multimodal and REBT) and Adlerian therapy are concepts I want to work with, and I would like to do more reading and research into these theories in order to learn more about the processes and techniques used. Learning about the variety of theories, the techniques used, the goals of therapy and view of human nature has really opened my eyes to the vast amount of information about the theories of psychology. The reason I called my theory active suggestive therapy is that I want to take an active role as a therapist and make therapy a learning process. I would like to make suggestions to clients on how they can deal with their problems and offer concrete ways of learning that they can apply outside of therapy. Some would say that suggestions would be giving advice, but I feel that it would be beneficial to some clients. The suggestions are presented in a way as to make the client feel responsible and active in coming up with a plan on how to use the suggestions given. This class has given me a well-rounded view of the theory and practice of counseling and psychotherapy. References Ansbacher, H. L. Ansbacher, R. R. (1956). The Individual Psychology of Alfred Adler. New York: Harper Perennial. Corey, G. (2005). Student Manual: Theory and Practice of Counseling Psychotherapy (7th Edition, p. 85). California: Brooks/Cole Corey, G. (2005). Theory and Practice of Counseling Psychotherapy (7th ed.). California: Brooks/Cole. Ellis, A. MacLaren, C. (2005). Rational Emotive Behaviour Therapy: A Therapists Guide (2nd Edition). California: Impact Publishers. Lazarus, A. A. (1997). Brief but Comprehensive Psychotherapy: The Multimodal Way. New York: Springer Publishing Company. Oberst, U. E. Stewart, A. E. (2003). Adlerian Psychology: An Advanced Approach Individual Psychology. New York: Routeledge.

Women in Latin America during the Colonization Essay -- essays researc

Women in Latin America during the Colonization The perception of inequality was evident in the colonial Spanish America, man belief that women were lacked in capacity to reason as soundly as men. A normal day for European women in the new world was generally characterized by male domination, for example marriage was arranged by the fathers, women never go out except to go church, women didn’t have the right to express their opinions about politic or society issues. Subsequent to all these bad treats European women try to find different ways to escape from man domination and demonstrate their intellectual capacities, for example women used become part of a convent, write in secret their desires and disappointments, and even dress as man to discover what was the real world. On the other hand native women were not treating the same way, because their enjoyed economic importances that place them far from being man victims. However, Europeans women were very discriminated and dominated during the colonial times; but little by l ittle women fight for their rights and become free of man domination.   Ã‚  Ã‚  Ã‚  Ã‚  In the year 1520 European women begin arriving to the New World; all these women were treat as minors and became adult at the age of 25 years old. At this time or before women were destined to get marriage. Marriages were controlled by fathers, fathers would make sure that the husband choose to their daughters were equal or better in economic matters. The issue of â€Å"inequality† of course, rarely arose on the top elite level, but to middle or low level classes it was a major issue. According to one of the stories of Tales of Potosi called The Strange Case of Fulgencio Orozco people from low classes pass throughout many difficulties to arrange a marriage for their daughters; in this story a Spanish man who lacked in economic matters experience many complications trying to organized a marriage for his daughter, he never obtain a good marriage for his daughter and finally became crazy, lost his faith in God and died. Cases like this one occur around all Spa nish America in low classes; marriage was an economic contract that almost always benefits top elite level class.   Ã‚  Ã‚  Ã‚  Ã‚  In a normal day a European women were required to stay home all day except to go to church. The church became a place of reunions to women of the top... ...European women could have all these freedoms was after the death of their husbands, the heritance from their husbands give to each women an economic base to managed business and be independent into society.   Ã‚  Ã‚  Ã‚  Ã‚  However, Europeans women were very segregated and under man control during the colonial times; but little by little women fight for their rights and become free of man domination. Today the status of women’s civil rights varies dramatically in different countries and, in some cases, among groups within the same country, such as ethnic groups or economic classes. In recent decades women around the world have made strides in political participation, as for example women acquired the right to vote, the right to become part of political issues, the right to marriage who they want, and the right to be free as an individual. Resources: Benjamin Keen, Keith Haynes. A History of Latin America Seventh Edition. Houghton Mifflin   Ã‚  Ã‚  Ã‚  Ã‚  Company. Boston New York, 2004. Bartolome Arzans de Orsua y Vela. Tales of Potosi. Providence Brown University, 1975. Emma Sordo. Latin American Civilization Class Notes. 5/25/05.

Pride and Prejudice Essay: The Faults of Pride and Prejudice

The Faults of Pride and Prejudice      Ã‚  Ã‚  Ã‚   If we investigate the themes, characters and setting of Jane Austen's Pride and Prejudice in an effort to find faults of logic, we must first recognize that the entire work is a fault of logic because Austen's world is a microcosm of one level of society, a level wherein everything and everyone turns out kindly, whether they be heroes or villains, rich or poor, or proud or prejudice.   This is because unlike conventional romantic novels, like Wuthering Heights, there is no deeply passionate love displayed in this novel, no horrific consequences of being left without an annual inheritance, and even the alleged villains of the piece, like Wickham, are sprinkled with enough of the milk of human kindness as to almost make them preferable over some of the non-villains in the work.   Psychologically, this type of mixed-trait character portrayal is realistic of reality because human development occurs as a continual process, one filled with both flaws and successes of c haracter behavior.   Richard Simpson (289)   explicates this point further in his essay, The Critical Faculty of Jane Austen:    Wickham, the modified villain of Pride and Prejudice, has so much charm about him that his sensible and epicurean father-in-law is almost disposed to like him better than his other and more honorable sons.   Miss Austen has a most Platonic inclination to explain any knavishness into folly.   Wickedness in her characters is neither unmixed with goodness, nor is it merely a defect of will; she prefers to exhibit it as a weakness of intelligence, an inability of the commonsense to rule the passions which it neither comprehends nor commands.   It is her philosophy to see not only the soul of goodness in ... ...rratic behavior in other romantic tales of love, but it is quite illogical to argue through characterization that typical human beings share a love for one another without being prone to any of the hyper-emotions and erratic behaviors love often manifests in real human beings.   Therefore, Austen's Pride and Prejudice appears to exhibit some pride and prejudice of its own, particular the fact that Austen seems to suggest people in her social circle are somehow better or more rational at least than typical human beings.      Works Cited Austen, J.   Pride and Prejudice.   New York, Oxford University Press, 1990. Oliphant, M.   "Miss Austen." In Pride and Prejudice, New York, Oxford University Press, 1990: 285-287. Simpson, R.   "The Critical Faculty of Jane Austen."   In Pride and Prejudice, New York, Oxford University Press, 1990:   287-290.

Macbeth - Murder At Inverness Castle :: essays research papers

On Macbeth’s day of success he was greeted by three weird sisters, the witches, and in turn they said, the first witch to him, all hail to the thane of Gladis, this came as no surprise to him as he already held this title, the second witch then said to him, all hail thane of Cawdor, this interested him, he wondered why would he be made thane of Cawdor when the current thane of Cawdor was a noble gentleman, then came the turn of the third and ultimate witch, she said to Machbeth, all hail to the King, at this instant Machbeth was fascinated he was immediately over come with his ambition to become the King of Scotland. The three weird sisters left. A matter of seconds later Macbeth was told that he was to be thane of Cawdor, Macbeth now realised that the next prophecy was him becoming king. Next he is told by the king that he will be staying In his castle Duncan the King was to stay in Machbeth’s castle, was this a sign set up by the witches, Macbeth was either to wait u ntil Duncan died naturally or was he to kill him. Machbeth wrote a letter to his wife, lady Macbeth to tell her of the happenings on his day of success, now lady Macbeth realised what must be done, that when Duncan came that night he was to be killed and she would be made queen, Queen of Scotland. At this point lady Macbeth uses the comparison of the raven the bird of darkness, of death and of hell. At this point lady Macbeth speaks to the spirits of the witches, In her famous un-sex me speech, she asks the witches that for one night to take all her feminine qualities such as remorse compassion regret and sorrow, she says, come to my woman’s breasts and take my milk for gall, she does not even want the female quality to be able to give milk, because she feels that a woman does not have the ability to kill an innocent man, she wants all her qualities which will dis able her to kill Duncan taken from her. Now Macbeth returns to greet his wife, Lady Macbeth tells him Duncan comes here to night and explains that he must die and they were to kill him, She tells him to look like the innocent flower but be the serpent under, meaning to kill Duncan and take pleasure from it, stab him when he is already dead, but when the body is found act astonished like it suprises you and disgusts you.

Themes in Tom Jones

Please read: a personal appeal from Wikipedia founder Jimmy Wales Read now Close The History of Tom Jones, a Foundling From Wikipedia, the free encyclopedia Jump to: navigation, search For other uses, see Tom Jones (disambiguation). This article consists almost entirely of a plot summary and should be expanded to provide more balanced coverage that includes real-world context. Please edit the article to focus on discussing the work rather than merely reiterating the plot. (March 2011) Tom Jones TomJonesTitle. pngTitle page from the 1749 edition Author(s) Henry Fielding Original title The History of Tom Jones, a Foundling Country Britain Language English Genre(s) Novel Publisher Andrew Millar Publication date 28 February 1749 Preceded by The Female Husband, or the Surprising History of Mrs Mary alias Mr George Hamilton, who was convicted of having married a young woman of Wells and lived with her as her husband, taken from her own mouth since her confinement – fictionalized pam phlet (1746) Followed by A Journey from this World to the Next (1749)The History of Tom Jones, a Foundling, often known simply as Tom Jones, is a comic novel by the English playwright and novelist Henry Fielding. The novel is both a Bildungsroman and Picaresque novel. First published on 28 February 1749, Tom Jones is among the earliest English prose works describable as a novel. [1] The novel, totaling 346,747 words, is divided into 18 smaller books, each preceded by a discursive chapter, often on topics totally unrelated to the book itself.It is dedicated to George Lyttleton. Contents 1 Plot introduction 2 Themes 3 List of Characters 4 Plot summary 4. 1 Book I 4. 2 Book II 4. 3 Book III 4. 4 Book IV 4. 5 Book V 4. 6 Book VI 4. 7 Book VII 4. 8 Book VIII 4. 9 Book IX 4. 10 Book X 4. 11 Book XI 4. 12 Book XII 4. 13 Book XIII 4. 14 Book XIV 4. 15 Book XV 4. 16 Book XVI 4. 17 Book XVII 4. 18 Book XVIII 5 Film, TV, operas, and theatrical adaptations 6 Release details 7 See also 8 Notes 9 References 10 External links Plot introductionTom Jones is a foundling discovered on the property of a very kind, wealthy landowner, Squire Allworthy, in Somerset in England's West Country. Tom grows into a vigorous and lusty, yet honest and kind-hearted, youth. He develops affection for his neighbour's daughter, Sophia Western. On one hand, their love reflects the romantic comedy genre that was popular in 18th-century Britain. However, Tom's status as a bastard causes Sophia's father and Allworthy to oppose their love; this criticism of class friction in society acted as a biting social commentary.The inclusion of prostitution and sexual promiscuity in the plot was also original for its time, and the foundation for criticism of the book's â€Å"lowness. â€Å"[2] Themes The main theme of the novel is the contrast between Tom Jones’ good nature, flawed but eventually corrected by his love for virtuous Sophia Western, and his half-brother Blifil’s hypocrisy. Secondar y themes include several other examples of virtue (especially that of Squire Allworthy), hypocrisy (especially that of Thwackum) and just villainy (for example Mrs.Western, ensign Northerton), sometimes tempered by repentance (for instance Square, Mrs. Waters nee Jones). Both introductory chapters to each book and interspersed commentary introduce further themes. For instance, introductory chapters dwell extensively on bad writers and critics, quite unrelated to the plot but apologetic to the author and the novel itself; and authorial commentary on several characters show strong opposition to Methodism, calling it fanatical, heretical, and implying association of hypocrites, such as the younger Blifil, with it.As a background, the author interweaves the Forty-Five, and characters bring in events from the attempts of restoration of Romanism as the established religion of England to the Glorious revolution. They even mistake Sophia Western for Jenny Cameron, the supposed lover of Bonn ie Prince Charles. Good-natured characters are often modestly loyalist and Anglican, even Hanoverian, while ill-natured characters (Mrs. Western) or only mistaken ones (Partridge) can be Jacobites or (like Squire Western) just anti-Hanoverians. List of CharactersCaption at bottom: SOPHIA WESTERN: Adorned with all the charms in which Nature can array her, bedecked with beauty, youth, sprightliness, innocence, modesty and tenderness, breathing sweetness from her rosy lips and darting brightness from her sparkling eyes, the lovely Sophia comes! This depicts the heroine of the novel, but shows her in the latest fashions of 1800, rather than in the very different historically-accurate hoopskirts of 1749—it would have been extremely difficult to jump rope in the clothing styles (and high-heeled shoes) of 1749†¦The dishevelment of her clothes in the picture was not meant to contradict the word â€Å"modesty† in the caption, but was supposed to be understood as being the accidental and unintentional effect of her strenuous physical activity. Tom Jones (bastard/ward of Squire Allworthy, eventually revealed his nephew and the son of a long-deceased parson’s son, Mr Summers) Squire Allworthy (a wealthy squire with an estate in Somerset, of irreprochable character and good nature, eventually revealed to having unknowingly been Tom Jones’ uncle) Mrs.Bridget Allworthy-Blifil (Squire Allworthy's sister, Tom Jones’ real mother) Captain Blifil (Captain in the navy and Bridget Allworthy's husband, with Methodist tendencies) Master Blifil (son of Captain Blifil and Bridget, a hypocrite and Tom Jones’ foe) Benjamin Partridge (a teacher, later barber/surgeon, erroneously suspected to be Tom Jones’ father due to the extreme ill-nature of his first wife) Mrs.Jenny Jones-Waters (the Partridges' servant, a very intelligent woman who is used by Mrs Allworthy-Blifil to deflect suspicions on Tom Jones’ maternity from herself) B lack George Seagrim (gamekeeper to Squire Allworthy & later Squire Western, recipient of many benefits from Tom Jones but eventually betrying him in an hour of need) Molly Seagrim (Black George's second daughter, Tom Jones’ first lover and having a bastard, possibly by him) Mr. Thwackum (Reverend/school teacher to Tom and Master Blifil, a hypocrite who hates Tom Jones, favors Master Blifil and conspires with the latter against the former) Mr.Square (Philosopher/school teacher to Tom and Master Blifil, also a hypocrite who hates Jones and favors Blifil, but who refrains from conspiration and eventually repents) Squire Western (Hunter/wealthy squire who owns neighbouring estate to Squire Allworthy, a simpleton who wants to marry his daughter Sophia to Squire Allworthy’s heir, first Blifil and then Jones, against her will, with quite violent, if not physically, means) Sophia Western (the Squire's only daughter, the model of virtue, beauty and all good qualities) Honour (S ophia's maid, egotistical and inconstant to her employer) Mrs.Harriet Fitzpatrick (ward of Mrs Western and wife of Fitzpatrick, an Irishman, abused by him, a cousin and friend of Sophia but lacking her virtue) Miss Western (the Squire's unmarried sister, who wrongly believes herself to ‘know the World‘ both in international and national politics and in social mores, tries to impose Blifil to Sophia but with less violent means than her brother’s) Mr. Dowling (a Lawyer) Lady Bellaston (Tom's lover and a leading figure in London society, who tries to force Sophia into marriage to a Lord by having her raped by him, so she would have Jones to herself) Mr.Nightingale (a young gentleman of leisure, who is saved from ruining his first true love by Jones’ entreaties) Lord Fellamar (a peer and socialite, who unsuccessfully conspires with Lady Bellaston to rape Sophia so as to force her into marriage) Mrs. Miller and her two daughters, Nancy (later Mrs Nightingale, a good-natured girl who is imposed on by Mr Nightingale and would be ruined by him, together with her family, by lack of constancy in virtue) and pre-adolescent Betty Mr. Summer (son of a clergyman and revealed to be the father of Tom Jones) Plot summary The novel's events occupy eighteen books. Book ISquire Allworthy and his sister Bridget are introduced in their wealthy estate in Somerset. Allworthy returns from London after an extended business trip and finds a baby sleeping in his bed. He summons his housekeeper, Mrs Deborah Wilkins, to take care of the child. After searching the nearby village, Mrs Wilkins is told about a young woman called Jenny Jones, servant of a schoolmaster and his wife, as the most likely person to have committed the deed (she is also considered above herself for studying Latin with the schoolmaster). Jenny is brought before them and admits being the baby's mother but refuses to reveal the father's identity.Mr Allworthy mercifully gives her a lecture of mor als and removes Jenny to a place where her reputation will be unknown. Furthermore, he promises his sister to raise the boy, whom he names Thomas, in his household. Two brothers, Dr Blifil and Captain Blifil, regularly visit the Allworthy estate. The doctor introduces the captain to Bridget in hopes of marrying into Allworthy's wealth. The couple fall in love and marry. After the marriage, Captain Blifil begins to show a coldness to his brother, who eventually feels obliged to leave the house for London where he soon dies ‘of a broken heart'.Book II Eight months after celebrating their wedding, Mrs Blifil has a baby boy and Mr Allworthy states that he and Tom will be raised together. The plot then turns to Mrs Partridge, wife of the schoolteacher, who has discovered that Jenny gave birth to a bastard and had mistakenly thought that she had left their service of her own free will. Mrs Partridge immediately suspects her husband and physically assaults him. Captain Blifil informs Mr Allworthy, and Mrs Wilkins is dispatched once more to Little Baddington to ascertain the truth of the matter.Partridge is put on trial before Mr Allworthy and denies paternity. Mr Allworthy, wanting to prove his innocence, sends for Jenny but she cannot be found, having left her place of residence in company with a recruiting officer. Partridge is found guilty and deprived of his annuity by Mr Allworthy. Now that they are poor, Mrs Partridge regrets her accusations, and begs Mrs Blifil to intercede with her brother to restore Mr Partridge's annuity, but he refuses. Mrs Partridge dies soon after and her husband, being deprived of his annuity, his school and his wife, leaves the area.Captain Blifil and his wife start to grow cool towards one another, and the former is found dead from Apoplexy one evening after taking his customary evening stroll prior to dinner. Two doctors arrive to debate the cause of his death and Mrs Blifil, struck with grief, remains bed-ridden for a month. M eanwhile, Mr Allworthy commissions a generous epitaph for the Captain's grave. Book III Tom, who goes from fourteen-years-old to nineteen-years-old by the end of Book III, gets into trouble for killing a partridge on a neighbour's land.In fact he did it at the instigation of Black George, Allworthy's gamekeeper, but he refuses to tell Mr Allworthy who his partner-in-crime was. He is beaten by his master, Mr Thwackum, who resides at the house with another schoolmaster, a philosopher called Mr Square. Later, Blifil reveals that Black George was Tom's partner and Mr Allworthy is pacified by Tom's sense of honour. To make amends, Mr Allworthy gives Tom a young horse but dismisses Black George from his position. Tom sells the horse a year and a half later at a fair.Mr Thwackum finds out and asks Tom what he has done with the money but the latter refuses to tell him. He is about to be beaten when Mr Allworthy enters. Tom confesses that he sold the horse and gave the money to Black George and his family, now in financial straits after being dismissed. Mr Allworthy feels ready to re-employ Black George, but he blots his copybook by poaching a hare on Squire Western's land and this is confirmed by Master Blifil. Tom resolves to have George employed by Mr Western by speaking to the seventeen-year-old Sophia and getting her to persuade her father on the matter.Book IV An incident occurs in which Master Blifil lets go the small bird of Sophia's, given to her by Tom as a young boy. Tom tries to retrieve it but, in doing so, falls into a canal. This incident turns Sophia against Blifil but puts Tom in her favour. Tom speaks to Sophia about George, and she persuades her father to drop any charges and to employ him. Sophia is falling for Tom but his heart is given over to Molly, the second of Black George's daughters and a local beauty. She throws herself at Tom, and he gets her pregnant and then feels obliged to offer her his protection.Molly wears a dress to church — given to her mother by Sophia Western — to show off her beauty. The Somersetshire parishioners are infuriated by her vanity and assault her in the churchyard afterwards. Tom comes to her defence and she is taken home by Square, Blifil and Tom. In the meantime, Sophia has taken pity on Molly and requests her father to ask her to be her maid, but the family council decides to put everything on hold until Tom's intentions become clearer. Squire Western, the local parson, Tom and Sophia are having dinner when the parson informs Western of Molly's condition, at which Tom leaves the dining table.Squire Western immediately jumps to the conclusion that Tom is the father of the bastard, much to Sophia's consternation. Tom returns to his home to find Molly in the arms of a constable and being taken to prison. He bids him free her, and they go to speak to Mr Allworthy where Tom reveals he is the father, saying the guilt is his. However, Mr Allworthy is ultimately forgiving of Tom's sow ing his wild oats: ‘While he was angry, therefore, with the incontinence of Jones, he was no less pleased with the honour and honesty of his self-accusation.He began now to form in his mind the same opinion of this young fellow, which, we hope, our reader may have conceived. And in balancing his faults and his perfections, the latter seemed rather to preponderate. ‘ An incident now occurs in which Tom comes to the aid of Sophia. She goes out hunting with her father and, on her way home, is thrown by her horse. Tom, who is riding close behind, is able to catch her but breaks his left arm in the process. The accident brings them closer and there is the first stirring of love.Tom is seen by a surgeon and ordered into bed and Sophia is bled at her father's orders. Book IV concludes with a conversation between Sophia and Mrs Honour, her maid, who is extolling Tom's virtues to the former and Sophia becomes annoyed by her presumptuousness. Book V Tom thinks about his love for S ophia but knows that her father would not agree to any union; so his thoughts turn back to Molly who he believes is ‘in all the circumstances of wretchedness. ‘ Tom, once he is recovered, makes his way to Molly's home only to discover her in bed with his teacher, Square.Tom still feels some affection for her until he is told by Betty, Molly's older sister, that her innocence had been taken before Tom by Will Barnes, a country gallant. In the meantime, Mr Allworthy has become ill and is told by his doctor that it may be fatal. He summons all his relatives and household servants to his bedside and informs them of his will — Blifil will inherit the estate and Tom will be given a ? 1,000 lump sum and ? 500 per annum (Thwackum and Square will get a ? 1,000 each and the household servants some token payments which displeases Mrs Wilkins, the housekeeper).However, Allworthy recovers; and Tom is so pleased that he gets drunk in his pleasure which displeases Blifil who is in mourning after receiving news that his mother has died. A scuffle ensues, but the two are parted and made to make peace with each other. After this fight, Tom, still drunk, is wandering the gardens thinking about Sophia when Molly makes an appearance. After a quarter of an hour's conversation, the two disappear into the bushes. Blifil and Thwackum likewise take an evening stroll, and Blifil spots Tom with a woman.He informs Thwackum who becomes furious and is determined to punish Tom. Tom guards the entrance to the shrubbery to prevent them seeing who the girl is, and, while Molly escapes, a fight ensues which Tom starts to lose until Squire Western intervenes to make it two against two. Sophia faints at the sight of all the blood, and Tom carries her to a nearby brook, giving her a caress which she does not spurn. Sophia recovers much to her father's delight. Tom returns to Western's house and Blifil and Thwackum to theirs. Book VI Miss Western is the cultured sister of Squire W estern and Sophia's aunt.Although unmarried herself, she recognises the signs of love and notices that Sophia is showing these. She informs her brother that his daughter is in love with Blifil — Miss Western had noted Sophia's behaviour in his presence — and Squire Western informs Allworthy when he visits for dinner. Allworthy says he will give his approval if the young couple agree and consults Blifil who, thinking of Sophia's fortune, agrees to his uncle's request. (No one knows of Sophia's love for Tom. ) Miss Western then speaks to Sophia to reveal her amour, and is enraged when she finds out it is not Blifil but Tom.With her aunt agreeing to keep the whole thing a secret, Mr Western tells Sophia about his intentions and she is obliged to meet Blifil that afternoon. Sophia is determined to go through with the meeting, even though she hates and despises Blifil. After a difficult meeting, in which Blifil thinks he has won her heart, he is accosted by Squire Western b efore he leaves and Blifil announces that he is satisfied with Sophia, much to the father's delight. However, once he is gone, Sophia reveals her true feelings for Blifil, but he ignores her pleadings and grows enraged.Tom is in the house and is asked by Western to go to Sophia to encourage her to marry Blifil. The two young lovers are in agony and reveal they can never part from each other as they take each other's hands. However, whilst they have been conversing, Miss Western has revealed all to the Squire, who threatens to assault Jones but is only prevented from doing so by the parson. Mr Western then visits his neighbour Allworthy and informs him of the situation in heated tones. After his departure, Mr Allworthy asks Blifil if he still wants to proceed with the marriage, and the latter replies in the affirmative, mainly to spite Tom.Blifil also takes the opportunity to inform his uncle about the bust up in the shrubbery, saying that Tom assaulted his tutor, Thwackum. Allworthy summons Tom before him to plead his case, but Tom is sunk too low from hearing the news about Sophia to make a robust defence. As such, he is commanded by his foster father to leave the house immediately after being given a sum of ? 500. Tom walks about a mile and, thinking beside a little brook, is resolved to quit Sophia rather than bring her to ruin.He pens a letter from a neighbouring house but discovers, in searching his pockets for his wax, that he has lost his wallet and returns to the brook to look for it. Here he meets George and together they look for it although George has already picked it up on coming to the same spot earlier. Tom asks him to deliver his letter for Sophia to Mrs Honour and, on doing so, George receives one back for Tom. In it, Sophia professes her affection for him but also warns him to steer clear of her father, ‘As you know his temper, I beg you will, for my sake, avoid him. ‘Sophia is locked up in her room by her father but Honour manage s to give her Tom's letter. She also tells her that the squire ‘stripped him half naked and turned him out of doors! ‘. Sophia gives her all the money she has — amounting to a purse of sixteen guineas — telling her to give it to Tom. Honour gives the money to Black George, who is tempted to steal it like the ? 500 earlier — but the danger of the theft being discovered outweighs his greed, and he delivers the money to Jones. The Book ends with the return of Miss Western to the house and her being informed of Sophia's captivity.She rebukes her brother and sets Sophia free. Book VII Tom receives a note from Blifil along with his effects, informing him that his uncle requires him to immediately quit the neighbourhood. Sophia speaks to her aunt who tries to persuade her of the advantages of marrying Blifil. However, Mr Western overhears their conversation and storms into the room. He and his sister get into a furious argument over his behaviour, and she t hreatens to quit the house. However, on the sound advice of Sophia, she is recalled by Mr Western who makes efforts to pacify her.Having become reconciled, both are determined to have Sophia married as quickly as possible, and Blifil makes a second visit. Mr Allworthy is satisfied by what his nephew and Western tell him concerning Sophia and the marriage treaty is set two days hence. Sophia is now fixed on avoiding the marriage and in a conversation with Honour says she will quit the house and stay with a lady of quality in London who is her close acquaintance. Honour agrees to accompany her and agrees to get herself discharged so that their clothes can be packed for the journey without any undue suspicion.Honour deliberately provokes the chambermaid of Miss Western by abusing her mistress, and the lady herself is told of their conversation and vows to have Honour discharged for her impudence. There follows a dispute between Mr Western and his sister over the legality of dismissing Honour, but in the end the latter has the satisfaction of seeing Honour turned away. Sophia is conscience-stricken about her infidelity to her relations, but her love for Tom prevails. Tom is on the road to Bristol, being determined to take to sea. However, his guide gets lost, and they take shelter at a public house on the advice of a Quaker.The Quaker gets into a conversation with Tom, even though the latter wants to be alone, telling him about his own misfortune of having his daughter run off with a penniless man of low birth — vowing he will never see them again, and Tom pushes him out of the room. A company of soldiers enter the ale-house as Tom is sleeping on a chair, and, getting into a dispute over who will pay for the beer, Tom agrees to cover the bill. He strikes up a conversation with the sergeant who tells him they are marching against the Roman Catholic rebels who had invaded England, expecting to be commanded by the glorious Duke of Cumberland.Tom, being â€Å" a hearty well-wisher to the glorious cause of liberty and of the Protestant religion†, agrees to join them as a volunteer. The soldiers march off, and that evening Tom is introduced to the lieutenant, a man who is sixty years of age. Looking like a gentleman, he is invited to dinner with the small company of officers. Tom gets into an argument with Ensign Northerton, who then proceeds to abuse the good name of Sophia after Tom has proposed a toast to her. Tom rebukes him, saying ‘you are one of the most impudent scoundrels on earth,' and Northerton responds by throwing a bottle at Tom's head which poleaxes him.The lieutenant proceeds to put Northerton under close arrest, and a surgeon is called to stem the bleeding. Tom is put to bed and the lieutenant visits him, promising he will get his satisfaction against his adversary. Later that night, Tom, who is feeling much better, wakes the sergeant and purchases a sword from him before making his way to Northerton's room. He is shot at by the guard, who thinks he is a ghost (his coat is bloodied as is the bandage around his head) and then faints. However, the bird has flown (with the connivance of the landlady), and Tom returns to his room whilst the lieutenant has the sentinel put under arrest.Tom tells the lieutenant that he is to blame for the disturbance, and the latter agrees to drop the charge against the soldier. Book VIII The landlady visits Tom after the soldiers have left and is courteous to him until he shows her his purse which has very little in it. He then dismisses the doctor, who insists on bleeding him so he can get a decent fee,and finally is able to get up and dressed. He calls for a barber to shave him after a dinner of ‘buttock [beef] and carrot' and Little Benjamin turns out to be Mr Partridge, the schoolmaster.Tom reveals his whole story to him, and Partridge agrees to accompany him on his journey, secretly hoping that he can convince Tom to return to Allworthy (whom he is c onvinced is Tom's real father) so that he can get back into Allworthy's favour once more. They make their way on foot to Gloucester and stay at the Bell. However, there is a pettifogger (a lawyer of low status, who engages in mean practices) present who besmirches Tom's name to the landlady, Mrs Whitefield, after Tom has left their company. With Tom's name now mud, the landlady's welcome grows cold, and he is resolved to quit the house the same evening.They make their way on foot on a freezing night toward some hills that they have been informed lie not far from Worcester. Tom begs his companion to leave him, telling him he is resolved to die ‘a glorious death in the service of my king and country,' but the latter refuses to leave him. Partridge eventually sees the glimmer of a light, and they make their way to an isolated house. Whilst warming themselves by the fire and conversing with the housekeeper, the owner returns and is set upon by two robbers. Tom rushes outside with a broadsword and drives them off and helps the old gentleman into the house.This gentleman, called the Man of the Hill, then recounts his life story to Tom and Partridge. A prudent and industrious student, he fell into bad company at Oxford and had to flee to London with his mistress to escape being expelled. Here, both destitute, the woman betrays him to one of her former lovers at Oxford and he is thrown into gaol, where he reflects on his sinful life. He is eventually released but, still poor, falls in with an old Oxford acquaintance, Watson, who introduces him to his gambling crowd.He lives precariously for the next two years pursuing this profession. However, he is re-united with his father, who has come to London to look for him and has been assaulted by thieves. They are re-united by chance as the son, who is walking down the same street, comes to his father's aid after the affray. He returns with his father to Somersetshire, and spends the next four years in contemplation of the works of Aristotle and Plato, and of God. His father dies, and he, being the younger son, finds it difficult to live with his brother who lives entirely for sport.He is sent to Bath by his physician to take the waters and manages to save a man from committing suicide by drowning — the very same Watson, his friend from London. Both are then caught up in Bonnie Prince Charlie's rebellion, and, when captured, the stranger tells Tom and Partridge that he was denounced by Watson. However, he manages to escape his captors and ends up living at the present house on an annuity, an exile from the world of humanity. The Book ends with the old man and Tom taking a walk together to enjoy the sight of some fine prospects in the early hours of the day. Book IXWhilst observing the view, they hear a woman screaming, and Tom rushes down the hill to help. He comes upon a woman, half-naked, being throttled by a man whom Tom knocks down. It is Ensign Northerton. Tom restrains his hands with a garter and goes back to the Man of the Hill for advice. Tom is told to take her to Upton, the nearest town. When Tom returns to the woman, Northerton has made his escape on foot, and Tom and the lady make their way to the town. On the way, Tom is sneaking peeps at her uncovered breasts at which he has gazed earlier. They eventually find an inn, and Tom instructs the lady to wait whilst he fetches her some clothes.The landlady and landlord think that something immoral is taking place and assault Tom — who is only saved from a beating by the arrival of Partridge. Susan, the hefty chambermaid joins in, and it is only the arrival of a young lady and maid that ends the battle. A sergeant arrives with his men and recognises the woman to be Mrs Waters, his Captain's wife, and the inn's hosts make their apologies and peace is restored around a bowl of liquor. Mrs Waters then retires with Tom upstairs and proceeds to make a pass at him, finding her savior extremely attractive.They end up in bed together. In the meantime, an argument takes place downstairs when the landlord abuses officers of rank in the army. The sergeant takes offense and offers to fight ‘the best man of you all for twenty pound' and the coachman of the young lady takes him on, saying he is as good as any man in the army, and offers to box for a guinea. He is well mauled by the sergeant and so unable to convey the young lady on her journey. An account is then given of how Mrs Waters ended up in ‘the distressful situation' from which Jones rescued her.Her husband, having accompanied her as far as Worcester, had proceeded onwards, and Northerton had joined her for an assignation. He tells her of the incident with Jones, and they decide to make for Hereford, then a Welsh seaport so that he can make his escape abroad. Mrs Waters has ? 90 and her jewelry to finance their journey. However, it was in the wood at the foot of Mazard Hill that Northerton tried to kill her but she, being â €˜not of the weakest order of females,' was able to fend him off until Tom came to her rescue. Book X An Irishman arrives at the Upton inn, a Mr Fitzpatrick, who is desperately looking for his wife.He speaks to Susan, the chambermaid, who shows him up to Mrs Water's room. He sees Tom and then a lot of women's clothes strewed around the room, and he and Tom proceed to blows until Mrs Waters cries out ‘murder! robbery! and more frequently rape'. An Irishman staying in the room next door now enters the bedroom, a Mr Maclachlan, who lets his friend know that he has the wrong woman. Fitzpatrick apologises to Mrs Waters but says he will have his blood in the morning. Mrs Waters screams rape again to divert attention away from her and Tom being in the same room together, and all the men depart.Two young women in riding habits now arrive at the inn and one of them is immediately recognised as being a lady of quality. The lady retires to bed, and the maid, Mrs Honour, returns downst airs and demands food. She falls into conversation with Mr Partridge and learns that Tom is staying in the same inn. She tells Sophia that Tom is in the house and, returning downstairs, finds out from Partridge that Tom is with a woman and cannot be woken. Honour goes back upstairs and Sophia decides to leave her muff (with her name written on it for Tom to let him know she was there) and departs.Tom finds the muff and determines to give chase to Sophia. Western now arrives with some of his followers at the inn. The narrator mentions here that if he had come two hours earlier he would not only have found Sophia but also his niece — for such was the wife of Mr Fitzpatrick, who had run away with her five years before, out of the custody of Mrs Western. In fact, Mrs Fitzpatrick had heard the voice of her husband and paid the landlady for horses to make her escape at the same time as Sophia's departure. Western see Jones with Sophia's muff in his hands and tries to assault him bu t is restrained.Fitzpatrick, whom it turns out is married to the niece of Mrs Western, decides to help his uncle by showing him what he believes is Sophia's room, which turns out to be Mrs Waters'. A magistrate in the inn hears the case but refuses to convict Tom; and Western, in a fury, departs in pursuit of his daughter. The plot now reverts back to when Sophia left her father's house. Sophia decides to take a zigzag route before hitting the London road to avoid her father. It turns out that their guide is the same as who conducted Tom, and Sophia bribes him to take them on the same route along the Bristol road.They spend a night with Mrs Whitefield in Gloucester before ending up at the Upton inn. Book XI Sophia, making her way past the Severn, is joined by another young lady, her maid (Abigail Honour, Mrs Honour's sister) and a guide. As it is night-time, they do not speak much and can hardly see each other. However, in daylight they recognise one another — the other lady is Harriet, Sophia's cousin and another niece of Mrs Western. They determine to wait until they arrive at an inn before they tell each other their stories.Once at the inn, Sophia and Harriet share a bed as do the two maids, everyone being exhausted from their journey, and the landlord and his wife come to the conclusion that they are supporters of the rebel Charles Stuart, fleeing the Duke of Cumberland, and that Sophia is Jenny Cameron herself (the daughter of a highland supporter of Charles). Once they have rested, Mrs Fitzpatrick recounts her story to Sophia. She met Fitzpatrick whilst staying with her aunt, Mrs Western, in Bath. He paid court to her aunt, but was also very kind to herself, until he eventually professed his love for her.The aunt left Bath, and she married Fitzpatrick. However, he says they will have to return to his estate in Ireland which she is very reluctant to do, and by accident finds a debtor's letter from his tailor in which he recalls Fitzpatrick saying h e would soon marry either the aunt or the niece which would settle his debts, preferring the niece as he would have quicker access to the money. Harriet reveals all to her husband but he fobs her off, and they travel to Ireland. His house is very dismal and he proves the opposite of the gallant in Bath; he is aggressive and boorish in his behaviour to her.Eventually, he imprisons her in her bedroom, but, whilst on a three month trip to England, she is able to make her escape with the help of a neighbouring aristocrat. She intended to make for Bath to plead with her aunt, and this is how she ran into Sophia. There is also an interlude when Mrs Honour assaults the landlord when she finds out that he thinks Sophia is Jenny Cameron. It happens that the same Irish peer that helped Harriet is staying at the inn, on his way to London. He pays them a call and offers them a ride in his coach-and-six to London.Whilst preparing herself, Sophia discovers that she has lost a ? 100 note which her father had given her, believing it fell out of her pocket. The party arrive in London but Sophia is desirous of looking up her acquaintance, having suspicions that Harriet intends to make for Bath in order to have an alliance with the Irish nobleman. She makes her farewell, repeating their aunt's maxim to Harriet that ‘whenever the matrimonial alliance is broke, and war declared between husband and wife, she can hardly make a disadvantageous peace for herself on any conditions' ut Mrs Fitzpatrick contemptuously dismisses this advice. Sophia then repairs to the house of Lady Bellaston who promises she will do everything in her power to protect her. Book XII Squire Western is in pursuit of his daughter but gets waylaid by a hunt and ends up returning home. Tom and Partridge come across a lame fellow in rags to whom Tom gives a shilling. The beggar offers Tom something he has found, and it turns out to be Sophia's pocket book with the ? 100 note tucked inside.Tom gives the man a guinea, promising more later, and they leave him very discontented. They eventually come to an ale-house, and Partridge is keen to see the puppet-show which is playing the Provoked Husband. The landlady berates her chambermaid for having a sexual dalliance with Merry Andrew, the youth who beats the drum to announce the shows. Tom retires to bed but is awoken by the sound of the master of the puppet-show beating his Merry Andrew. Tom intervenes, and the Merry Andrew mentions the puppet master trying to rob a lady in a fine riding habit the day before.Tom realizes this was Sophia and instructs the youth to show him the spot where this would have happened. He and Partridge then procure horses from the inn and also recognise the same boy who guided Sophia to the last inn. Accepting some money, he is persuaded to guide them to the same place; and they try to get post-horses at the same inn, but there are none to be had. At the same time, Tom is saluted by Mr Dowling, the lawyer with who m Tom had dined at Gloucester, and he and Partridge prevail on Tom to spend the night at the inn.Jones and Dowling share a bottle of wine, and Tom informs him of how Blifil has tried to ruin him, ‘I saw the selfishness in him long ago which I despised; but it is lately, very lately, that I have found him capable of the basest and blackest designs. ‘ Tom also assures the attorney of his deepest respect for Mr Allworthy, and not his money. Tom then takes leave of Dowling and sets forth for Coventry. He and Partridge make their way but are caught in a storm and forced to take shelter in a barn, in which a gypsy wedding feast is taking place. They are made welcome by the King of the Gypsies.Jones and Partridge then travel post in pursuit of Sophia, ending up at St Albans where they just miss Sophia. As they make their way into London, they meet a fellow traveler on horseback who, on hearing that Tom has ? 100, attempts to hold them up but is overcome by Tom. The highwayman c onfesses that it was his first robbery, and he only did it out of great need. Tom takes pity on him and gives him two guineas, and the man is overcome by his generosity. Book XIII Jones and Partridge arrive in London; but, being unfamiliar with its streets, retire to the Bull and Gate in Holborn.Tom then finds out where the lord's residence is. After bribing a footman, Tom is admitted into the presence of Mrs Fitzpatrick. She, thinking that he is the suitor Sophia is trying to avoid, dissembles, and Tom leaves the house but stands watch nearby. Mrs Fitzpatrick communicates her suspicions to her maid, Abigail, and is informed that the man was Jones himself. Tom is admitted once more to see Mrs Fitzpatrick, and Lady Bellaston joins them — as does the noble lord, who ignores Tom. Mrs Fitzpatrick designs to get rid of Tom.He then thinks about the gentlewoman at whose house Mr Allworthy is accustomed to lodge when in town and dispatches Partridge to the house where he is able to s ecure two rooms. The landlady is Mrs Miller, and she has two daughters: Nancy is seventeen and Betty ten. There is a young gentleman lodger, a Mr Nightingale, who gets into a fight with his footman. Tom intervenes to save him from being throttled, and the two become friends over a shared bottle of wine. Tom then receives a bundle inside which is a domino, a mask and a masquerade ticket and a card signed the ‘queen of the fairies'.He is determined to go to the masque, thinking that he might find Sophia there, and Nightingale lends him some of his clothes and offers to accompany him. Tom talks to a variety of women who look or sound like Sophia, until he meets a lady in a domino who talks to him about Sophia. Afterwards, she quits the masquerade to return home, forbidding Tom to follow her. He, however, ignores her warning and follows her chair to a street near Hanover Square and walks in after her, suspecting her to be Mrs Fitzpatrick. The woman turns out to be Lady Bellaston, and they sleep together.Lady Bellaston promises Tom she will try to find out Sophia's whereabouts. Returning to his lodgings, Mrs Miller tells the household about a cousin of hers whose family is living in extreme poverty. Tom, after hearing her narrative, gives her his purse containing ? 50, asking her to use it for the poor people, and she joyfully takes ten guineas. Tom tries to find out from Lady Bellaston where Sophia is but cannot (the latter now seeing Sophia as a rival in love). He is also in a very difficult position as she is now supporting him financially.He receives a note from her asking for a meeting at her house, having arranged for Sophia, Mrs Honour and her own maid, Mrs Etoff, to see a play together. Tom meets Mrs Miller's cousin who turns out to be the highwayman who tried to rob him, and the man is effusive in his thanks for Tom's kindness to his family who are now all restored to health. Tom goes to Lady Bellaston's house, but she is not there. He is waiting in the drawing-room when Sophia enters, having left the play early in distaste under the protection of a young gentleman.Both are as surprised as each other. After reprimanding him for bandying her name around in inns, with Tom protesting it was Partridge, not he, she starts crying; and Tom kisses away her tears. Lady Bellaston enters, and Sophia makes the pretence that Tom has only come to return her pocket-book and the banknote. Tom takes the opportunity to leave, asking Lady Bellaston for permission to pay another visit to which she politely consents. The Book concludes with Sophia attempting to ward off her cousin's questions about the young gentleman. Book XIVLady Bellaston pays a surprise visit to Tom's apartments. However, they are interrupted by the arrival of Mrs Honour bearing a letter for Tom from Sophia, and Lady Bellaston is forced to hide behind a curtain. Honour assures Tom of her mistress' regard, and, after she has left, Lady Bellaston emerges from her place of conceal ment as, ‘streams of fire darted from her eyes, and well indeed they might, for her heart was all in a flame. ‘ However, Tom makes his peace with her and they agree that future visits to her house will appear as though they are for Sophia's sake, Bellaston being convinced that Sophia possessed the first place in Jones's affections† and â€Å"†¦ she submitted at last to bear the second place. † Mrs Miller talks to Tom about the house getting a reputation of one of ill-fame. Tom assures her that he will change his place of lodgings. Nightingale tells him that he too has resolved to quit the house, although Tom reminds him that Nancy, the eldest daughter, is in love with him; but Nightingale is not unduly concerned, liking to boast about his skill at gaining women, much to Tom's dismay.Nightingale, however, quits the house, and Mrs Miller is distraught, revealing to Tom that Nancy is with child by him. All he has left her is a note stating that he cannot m arry her as his father has insisted on his paying his addresses to a young lady of fortune whom he has chosen for him as a wife. Jones promises to go and talk to Nightingale and attempts to persuade him to change his mind. During the conversation, he resolves to speak to Nightingale's father and inform him that Nightingale is already married to Ms Miller, a proposal to which the son readily assents.A farcical conversation takes place in a coffee house with Tom speaking about Nancy Miller whereas the father presumes he is talking about Miss Harris, and Tom saying he is already married. Old Mr Nightingale's brother then makes an appearance and also helps to persuade his brother against a union with Miss Harris, for, as he is her neighbour, he knows her to be â€Å"very tall, very thin, very ugly, very affected, very silly, and very ill-natured. † Jones finally agrees to conduct the uncle to his nephew in Mrs Miller's house.Mrs Miller informs Jones that all matters are settled b etween Nightingale and Nancy and that they are to be married the next day. The uncle, however, takes his nephew upstairs and, on finding out that he is not married, tells him to call off the wedding as it is both foolish and preposterous. They return downstairs and the others feel that something is amiss, especially Tom as the uncle departs with Nightingale. However, Tom receives a visit from Mrs Honour who informs him she has dreadful news regarding her mistress. Book XVLady Bellaston is now determined to get Sophia out of the way. The young nobleman who escorted Sophia from the play, Lord Fellamar, approaches Lady Bellaston and declares his love for Sophia, and she says she will promote his cause with her father, although pointing out that he has a rival for her affection — ‘a beggar, a bastard, a foundling, a fellow in meaner circumstances than one of your lordship's own footmen. ‘ She persuades an acquaintance, Tom Edwards, to announce in front of Sophia that Jones has been killed in a duel, and Sophia retires to her room in dismay.Bellaston and Fellamar then hatch a plan for the latter to ravish Sophia the next evening whilst the servants are out of the house and whilst Lady Bellaston is in an apartment distant from the scene. Despite having scruples, Fellamar falls in with her scheme and throws himself at Sophia; but the rape is interrupted by the arrival of Squire Western and his parson. The lord believes the father will accept him as his future son-in-law but is brushed aside by Western who removes Sophia to his own lodgings. Lady Bellaston is not too perturbed by the failure of her scheme with Fellamar, since at least Sophia is now out of the way.The plot now reverts back to how the Squire discovered his daughter's whereabouts. Mrs Fitzpatrick, hoping to reconcile her aunt and uncle, sent a letter to Mrs Western informing them of Sophia's present location. The lady passes the letter to her brother, and he is resolved to go to London with his sister following a day later. Honour, as mentioned earlier, comes to see Tom with the bad news. Whilst she is speaking to him, Lady Bellaston's arrival is announced, and Mrs Honour this time is forced to hide. Lady Bellaston comments on Jones' attractiveness, but he cannot reply in kind as Honour is present in the room.However, his embarrassment is ended when Mr Nightingale stumbles drunk into the room and Lady Bellaston is forced to share the hiding place with Honour. The Lady, after assuring the maid of her friendship in order to stop her repeating what she has heard, takes her leave in a fury. Mrs Honour also berates Tom for his infidelity to her mistress, but he eventually manages to calm her down. Nancy and Nightingale are married at Doctors' Commons and Tom then receives three letters from Lady Bellaston requesting his presence at her home. Nightingale confronts Tom and tells him about her reputation around town.Tom also reveals his deep love for Sophia whom he now i dolizes. Jones and Nightingale (‘his privy council') proceed to hatch their own plan so that he can be rid of Bellaston. Nightingale knows that she turned away a former young man when he proposed marriage to her, and he suggests that Tom does the same. The latter is reluctant in case she agrees to his proposal, but Nightingale believes the young man in question — angered by the ill offices she had done him since — would show Tom her letters, the knowledge of which he could use to break off the affair.Tom writes a letter, and Lady Bellaston writes back banishing him from her home. Mrs Miller receives notice from Mr Allworthy that he is coming to London, and Tom, Mr and Mrs Nightingale remove to new apartments. Tom, having dispatched Mrs Honour to give him more news about Sophia's state, receives a letter from her saying she now has a position with Lady Bellaston and can tell him nothing. A few days later Mr Partridge bumps into Black George and, over a few pots of beer, learns that he is working for Squire Western and can convey letters to Sophia in order to help Tom. Tom sits down to write his epistle.Book XVI The scene shifts to Squire Western's lodgings in Piccadilly, recommended by the landlord at the Hercules Pillars at Hyde Park Corner, where Sophia is locked in her room. An officer asks to be presented and informs the Squire and parson he has come on behalf of Lord Fellamar who wants to visit his daughter on the footing of a lover, but Western throws him out. Sophia, hearing the noise below her, starts screaming and her father enters her room, asking her to fulfill his demands but she once more refuses and her father storms out, once more ignoring her pleas and tears.However, Black George is able to slip Sophia Tom's letter, hidden inside a pullet, and she muses over it. Mrs Western now arrives and is highly indignant over Sophia's imprisonment. She demands that she be given complete control over the niece and, with the support of the parson, the Squire finally agrees and Mrs Western conducts her to her own more salubrious lodgings. Tom now receives a letter from Sophia, written from her aunt's lodgings and begging him to give her up in order that he may be reconciled to Mr Allworthy, and enclosing the ? 100 banknote as she knows Tom requires money.The plot now switches back to the past when Blifil was informed by Western about his daughter's flight to London. Blifil's case that Sophia loves him is now more uncertain. Allworthy agrees to Blifil's insistent demands that he accompany him to London but warns his nephew, I will never give my consent to any absolute force being put on her inclinations, nor shall you ever have her unless she can be brought freely of compliance. Once in London, Squire Western and Blifil barge into his sister's house, and she is furious at the incivility of their entrance.Sophia, who turns pale at the sight of Blifil, is allowed to retire to her room whilst her aunt castigates Squire We stern for his rude country manners — and at the same time suggests to Blifil that perhaps he can visit Sophia again in the afternoon. Blifil now quite rightly, as the narrator points out, suspects that Mrs Western may have turned against his cause. Lady Bellaston sees Lord Fellamar and advises him to have Jones somehow pressed and sent on board a ship. She then meets Mrs Western (they are cousins), and the former tells the latter about Lord Fellamar's attachment to Sophia.It is agreed they will pursue his case. Mrs Western refers to Blifil as ‘a hideous kind of fellow' with nothing but fortune to recommend him. Jones pays a visit to Mrs Fitzpatrick, who encourages him to make a sham address to Mrs Western (just as Fitzpatrick did) in order to win Sophia; but he outrightly declines the undertaking, just as he does the advances now Mrs Fitzpatrick now makes towards him. Fitzpatrick has now come up to London from Bath and sees Jones coming out of his wife's house. Having s uspicions about Jones and Mrs Fitzpatrick, he draws his sword, but Jones manages to stab him with his.He ‘†¦ sheathed one half of his sword in the body of the said gentleman' — but is arrested by the gang employed by Lord Fellamar and taken before a magistrate who commits him to Gatehouse. Here, he receives a letter from Sophia stating she has seen his letter with his proposal of marriage to Bellaston. Book XVII Mr Allworthy is informed by Mrs Miller of how kind-hearted Tom has been towards her and her family. However, Blifil informs his uncle that Tom has killed a man, but the conversation is interrupted by the entrance of Mr Western who complains to his neighbour about Lord Fellamar.Mr Allworthy, commenting on Sophia's good character, tells Western he will not have Sophia forced into a marriage. After finding out the true inclinations of Sophia towards Blifil, Mr Allworthy informs Western that the marriage will not proceed. Mrs Western now tries to persuade Sophi a to marry Lord Fellamar, but she tells her aunt how he tried to force himself on her in Lady Bellaston's house. Thus a truce is called, and her aunt is in a better temper. Mrs Miller visits Sophia and tells her how well Tom has behaved towards her penniless cousin, Mr Anderson.She manages to make Sophia read his letter, but it does not change her attitude towards him. Fellamar pays a visit to Sophia, but she rejects his love and is berated by her aunt after the lord has left for receiving letters from Tom (she has learnt this from Mrs Miller). The action now switches to Tom in prison. Nightingale visits him and informs him that the only witnesses to the fight were from a man-of-war crew lying at Deptford; and they said that Tom had struck the first blow. Mrs Waters hen visits Tom telling him to cheer up and giving him the good news that Fitzpatrick is not dead and is likely to recover. Having lived with Fitzpatrick as his wife in Bath, she is also doing so in London so she knows ex actly what is happening. Book XVIII Partridge now visits Tom and, seeing Mrs Waters's face for the first time, informs Tom that he has been a-bed with his own mother, that Mrs. Waters and Jenny Jones are one and the same. Whilst he is dispatched by Tom to find her, Tom receives a letter from her that she has a matter of high importance to communicate to him.Mrs Miller and Jack Nightingale speak to Mr Allworthy about Tom's merits, and the latter says he might start to think better of the young gentleman. Mr Allworthy then receives a letter from Mr Square stating that he is dying and saying that Tom was innocent and that this young man hath the noblest generosity of heart, the most perfect capacity for friendship, the highest integrity, and indeed every virtue which can ennoble a man. Mr Partridge is now summoned before Mr Allworthy's presence, and he tells him his history since the time he lost his school.He also tells him about Tom's sleeping with his mother, at which Allworthy expr esses shock, but Mrs Waters enters the room desiring to speak with him. She states that Partridge was not the father of the child but a young man named Summer, the son of a clergyman who was a great friend of Allworthy's. Summer came to reside at Allworthy's house after completing his studies and died shortly afterwards. Allworthy's sister became pregnant by him and bore the child found between the sheets in his bed.It turns out that Miss Bridget went to the house of Mrs Waters' mother, and it was arranged that mother and daughter would attend her (with Mrs Wilkins being sent to Dorsetshire to be out of the way). Having given birth, Mrs Waters was instructed to take the child to Allworthy's bed. Once her story is complete, Mr Allworthy recollects that his sister had a liking for Summer but that she had expressed the highest disdain for his unkind suspicion — so he had let the matter drop. Mrs Waters then mentions to Mr Allworthy that she had been visited by a entleman who, ta king her for Fitzpatrick's wife, informed her she would be financially assisted by a worthy gentleman if she wanted to prosecute Jones. She found out from Mr Partridge that the man's name was Dowling. Mr Western now appears, berating that fact that a lord now wants to marry Sophia; and Allworthy says he will try to speak with her once more. Mrs Waters then says she was ruined ‘by a very deep scheme of villainy' which drove her into the arms of Captain Waters, whom she lived with as a wife for many years even though they remained unmarried.Dowling then appears, and Mr Allworthy confronts him in the presence of Mrs Waters. He learns the truth that it was Blifil who sent him to talk to her. Dowling also reveals that he was given a letter by Blifil's mother on her deathbed, and he also was instructed by her to tell Allworthy that Jones was his nephew. However, as Allworthy had been ill at the time, he delivered the letter into Blifil's hands who said he would convey it to Allworth y. Allworthy leaves to have his interview with Sophia at Western's house.After assuring her that she will not have to marry Blifil owing to his villainy, he proposes to have another young man visit her. Sophia is bemused but, on being informed that it is Jones, refuses outright to meet him, saying it would be as disagreeable as a meeting with Blifil. Squire Western bursts into the room and, on being informed by Allworthy that Tom is his nephew, now becomes as eager for Sophia to marry Jones as he was about Blifil. Allworthy returns to his lodgings and his reunion with Tom now takes place.To compound his joy, Tom is also informed by Mrs Miller that, after speaking with her son, she has told Sophia all about the Bellaston letter and that Tom had also refused a proposal of marriage from a pretty widow called Hunt (which occurs earlier in the novel). Tom informs Mr Allworthy that his liberty had been procured by two noble lords, One of these was Lord Fellamar who, on finding out from Fi tzpatrick that he took all the blame and that Tom was the nephew to a gentleman of great fortune, went with the Irish peer to obtain Tom's release.Mrs Miller asks Allworthy about Blifil, and the latter replies that I cannot be easy while such a villain is in my house. Tom pleads with him to be lenient, but Allworthy sends him to Blifil's room. Tom tells him he has to leave but that he will also do everything in his powers to help his younger brother, â€Å"and would leave nothing unattempted to effectuate a reconciliation with his uncle. † Jones, now fully kitted-out as a young gentleman of wealth, then accompanies his uncle to Mr Western's house.Sophia is also decked out in all her finery, and the two are left alone by the uncle and father and are eventually reconciled when Tom kisses her on her dear lips. Western once more bursts into the room, and Sophia says she will be obedient to her father by agreeing to marry Tom. The pair are privately married the next day in the cha pel at Doctors' Commons but a joint wedding feast is held afterwards at Mrs Miller's house with Nightingale and his bride, Nancy (who have been reconciled with old Mr Nightingale through the mediation of Mr Allworthy). So, the story reaches its conclusion.The narrator informs his reader of the fate of his characters. Allworthy refused to see Blifil; but he settled an annual income of ? 200 on his nephew. The latter moved to one of the northern counties, hoping to purchase a seat in the next parliament and turning Methodist in the hope of ensnaring a rich wife. Mrs Fitzpatrick divorces her husband and maintains a close friendship with the Irish peer who aided her escape from Ireland. Mr Nightingale and his wife purchase an estate in the neighbourhood of Jones. Mrs Waters receives a ? 60 annual pension from Allworthy and marries Western's Parson Supple.Partridge sets up a school and a marriage to Molly Seagrim is on the cards. Mr Western moved out of his country seat into a smaller ho use, liking to play with his granddaughter and grandson, while Tom and Sophia love Mr Allworthy as a father. And, as for Tom: â€Å"Whatever in the nature of Jones had a tendency to vice, has been corrected by continual conversation with this good man, and by his union with the lovely and virtuous Sophia. He hath also, by reflection on his past follies, acquired a discretion and prudence very uncommon in one of his lively parts. † Film, TV, operas, and theatrical adaptations 963 saw the release of Tom Jones, a film directed by Tony Richardson and starring Albert Finney as Tom. The book was also three times used as the basis for an opera, by Francois-Andre Philidor in 1765 (see Philidor's opera), by Edward German in 1907 (see German's opera), and by Stephen Oliver in 1975. A BBC adaptation was broadcast in 1997 with Max Beesley in the title role, dramatised by Simon Burke. Release details Fielding (28 February 1749) (First ed. ), UK: A Millar. ————à ¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€ (1809) (Two volumes hardback ed. ), St. Paul's Church Yard, London, ENG, UK: J Walker, Paternoster Row and J Harris. ———————— (1950) (hardback ed. , UK: Modern Library. ———————— (February 1973) (hardback ed. ), UK: William Collins, ISBN 978-0-00-423529-5. ———————— (1975) (paperback ed. ), USA: Wesleyan University Press, ISBN 978-0-8195-6048-3. ———————— (May 1992) (paperback ed. ), UK: Wordsworth Editions, ISBN 978-1-85326-021-6. ———————— (2 February 1998) (paperback ed. ), USA: Phoenix Press, ISBN 978-0-460-87833-3. ———————— (30 September 2002), Modern Library (paperback ed. ), USA: Random House, ISBN 978-0-8129-6607-7. à ¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€ (2004), Classics (paperback ed. ), USA: Barnes & Noble, ISBN 1-59308-070-0. ———————— (28 April 2005) (paperback ed. , UK: Penguin Books, ISBN 978-0-14-043622-8. See also Portal icon Novels portal Illegitimacy in fiction Notes ^ Yardley, Jonathan (9 December 2003). â€Å"‘Tom Jones,' as Fresh as Ever†. The Washington Post: p. C1. Retrieved 2006-12-31. ^ Fielding, H (1950), â€Å"Introduction†, The History of Tom Jones, a Foundling, New York: Modern Library, p. viii. References Tom Jones, Wordsworth Classics, Introduction and Notes Doreen Roberts, Canterbury: Rutherford College, University of Kent, 1999 [1992], ISBN 1-85326-021-5. Words, Words, Words: From the Beginnings to the Eighteenth Century, La Spiga languages, 2003. Battestin, Martin.The Providence of Wit: Aspects of Form in Augustan Literature and the Arts. Oxford: Clarendon, 1974. Hunter, J. Paul. Before Novels: The Cultural Context of Eighteenth-Century English Fiction. New York: WW Norton and Co. , 1990. McKeon, Michael. The Origins of the English Novel, 1600–1740. Baltimore: Johns Hopkins University Press, 1987. Paulson, Ronald. Satire and the Novel in the Eighteenth Century. New Haven: Yale University Press, 1967. Richetti, John. â€Å"Representing an Under Class: Servants and Prolatarians in Fielding and Smollett. † The New Eighteenth Century: Theory, Politics, English Literature. Eds. Felicity Nussbaum and Laura Brown.London: Routledge, 1987. Richetti,

Individual Differences Essay

INTRODUCTION: The individual differences are a cornerstone effective area in modern psychology, it is referred for the psychology of the person that the differences between the individuals and their similarities. 2000 years ago Plato stated that the two persons are born exactly alike but each differs from the other by natural endowments, where one will be exited for occupation purpose and where as other will be for another perspective. According to the western psychology approach to individual differences is assumed as: Persons will be different in range of psychological attributes. It is possible to measure and study the behaviour of an individual. In history we have come across many theories on individual differences that are Psychology, survival of the fittest, by applying the principles of behaviour scientifically and some by the body language principles. INDIVIDUAL DIFFERENCES: In this we can classify the people in psychological forms according to their intelligence and personality characteristics. There are many conflicting theories about individual differences psychology. People have been aware of individual differences in history by gender differences, intelligence differences by religion, status and by education etc†¦ and by the personality differences i.e. by their job satisfactions and organisational competence. In modern psychology it has formalised that the individual differs from their values, personality, self-esteem and attitudes. In this contemporary world the individual differences are fully based on the bonds of organisational sequences like birth, education, work and death. Where a French philosopher Jean Jacques Roussean (1712 – 1778) states that â€Å"man is born free, but everywhere he is in chains†. Where the individuals are shaped by the liberty, equality and fraternity. Where individuals is the concept of identity which cannot be defined easily, other than saying that it refers to the person who is in relation with others in this world by the way he constructs, interprets and understand himself and others. In an organization managers understand the individual differences of their employees by their experience, knowledge and technologies. If manager is capable of understanding the differences of individuals then he can achieve the goals of him as well as the organization goals. Even organizations have their distinct identities. Example: There are two  brothers one like pets and other does not like pets, they both being from one family the likes are different. This tells that human tendencies will not be same in form of thinking and admires. IMPORTANT INDIVIDUAL DIFFERENCES: Values Personality Attitudes VALUES: It is defined about the individual or group about their ethical beliefs for something for which they are emotionally attached. It can also be defined as a set of beliefs and goals that serve as guiding principle in one’s life. Where for managers value is the achievement i.e. values for personal success in a social standards, it may be power also where the managers think about their prestige, status and dominance’s over people. Example a manager of well-known organization thinks about his status and prestige and his control over the people for him these are the values whereas for manager of other organization may not be the same. Where individuals give there more priorities to their values which may differ from one individual to other but everyone has their own values and beliefs. PERSONALITY: It is defined as the stabilised patterns and psychological states of the mind, which explains about the behaviour of the person. Example if there are two persons one is Joe who is extroverts and other person Sam who is introvert, people have tendencies to judge Joe as open minded person and he his fully interactive and all without knowing him. So depending upon personality and behaviour the individuals differ. Where Sam who is introvert can be more intelligent than Joe but his personality is introvert so the attraction goes towards Joe. ATTITUDE: It is known as the collection of feelings and beliefs of a human. There are components of attitude which are: Affective component: where it tells about the feelings of individuals. Cognitive component: individuals have different ways thinking. Behavioural component: the behaviour of individual is different from others. Example a manager has different attitude towards his employees where as he has different attitude towards his f amily and friends because in front of employees there will be a question of prestige and status. SELF – AWARENESS: In an organisation if manager develops the self – awareness in  his employees by motivating them then the relationship between the employees will be better and they will be fulfilling the needs of their and organisations also. If a person comes to know about his self – awareness then he will be having a good relationship with others and his thinking will be in positive way towards one another which indeed help the organisation to achieve the goals. If a manager is capable of knowing his self –awareness and taking the feedback from his staff about his work and behaviour if it is in negative form also and improving on that negative things then he is a successful manager. If a manager keeps the friendly environment with his staff by motivating them and talking with them personally and telling to overcome their demerits and encouraging them in front of everyone for their work then the manager can easily achieve his and organizational goals. If a manager keeps his prestige and status aside and works with a team as one of the member of the team then the team members also feel comfort and the productivity will be enhanced and that type of managers are successful managers. THEORIES OF INDIVIDUAL DIFFERENCES: This theories are based on the personality of an individual and they are: Trait theory Big five theory Myers – Briggs type indicator theory (MBTI) Socio – cognitive theory Psychoanalytical theory Humanist theory. In this theories the widely used theory is Myers – Briggs type indicator theory (MBTI) which tells about the differences and the similarities of the individual which in turn helps to improvise the self – awareness. This has 4 preferences which helps to know about the individuals that are: Extroversion or Introversion Sensing or Intuition Thinking or Feeling Judgement or Perception. MANAGING DIVERSITY: It is defined as â€Å"the variety of experiences and perspectives which arise from differences in race, religion, culture, mental or physical abilities, heritage, age, gender, sexual orientation, gender  identity and other characteristics†. There are some dimensions which affect performance, motivation, success and interactions with others which is important to understand. Example If you have good relations with your colleagues and with the supervisors of your organisation then you’re managing your diversity. Do you immediately take actions against the people who behaves in a form of disrespect like unwanted talking’s and using offensive terms, if you’re doing this then you are successful manager and with that you are managing diversity. CONCLUSION: This reports says that the individual differences should be accompanied to individual decision to perform organization behaviour. It suggest that if a person follows his value or norms, they would be more likely to perform organizational behaviour. If the managers have the capability to face the problems and come up with the solutions for that problem by team work and forming a self-awareness in his team then the organizations goals can be easily achieved and the manger is successful manager. It says that every individual has his own ethics, values, personality, self – esteem and attitudes and if a person knows about all this then he makes a good relation with his staff and he will be successful human being. REFERNCES: Clegg S., Kornberger M. and Pitsis T. (2011). Managing and organizations. London: Sage. Hickson D. (1997). Exploring Management Across The World. London: Penguin Group. George J. and Jones G. (2006). Contemporary Management: Creating Values in Organizations. McGraw-Hill (in New York).