Cry, The Beloved Country Quotes

Cry, The Beloved Country is the famous African novel by Alan Paton. The story follows the journey of a minister, who travels to the big city in search of his prodigal son. Cry, The Beloved Country is said to have been inspired (or influenced) by Laurens van der Posts novel  In a Province (1934). Alan Paton started the novel in 1946, and the book was finally published in 1948. Paton was a South African author and anti-apartheid activist.   Quotes From Chapter One Through Chapter Ten There is a lovely road that runs from Ixopo into the hills... [T]hey go to Johannesburg, and there they are lost, and no one hears of them at all. One day in Johannesburg, and already the tribe was being rebuilt, the house and soul being restored. I have one great fear in my heart, that one day when they are turned to loving, they will find that we are turned to hating. All roads lead to Johannesburg. Now God be thanked that the name of a hill is such music, that the name of a river can heal. Quotes From Chapter Eleven Through Chapter Twenty for who is not silent when someone is dead, who was a small bright boy? Cry, the beloved country, for the unborn child that is the inheritor of our fear. Have no doubt it is fear in his eyes. You see, my brother, there is no proof that my son or this other young man was there at all. [W]e do what is in us, and why it is in us, that is also a secret. It is Christ in us, crying that men may be succoured and forgiven, even when He Himself is forsaken. Old man, leave him alone. You lead him so far and then you spring upon him. Quotes From Chapter Twenty Through Chapter Thirty It is not permissible to add to ones possessions if these things can only be done at the cost of other men. Such development has only one true name, and that is exploitation. The truth is, our civilization is not Christian; it is a tragic compound of great ideal and fearful practice, of loving charity and fearful clutching of possessions. In a land of fear this incorruptibility is like a lamp set upon a stand, giving light to all that are in the house. [T]his thing that is the heaviest thing of all my years, is the heaviest thing of all your years also. Nothing is ever quiet, except for fools. I shall care for your child, my son, even as if it were my own. I am a weak and sinful man, but God put His hands on me, that is all. Something deep is touched here, something that is good and deep. Forgive us all, for we all have trespasses. I have learned that kindness and love can pay for pain and suffering. Quotes From Chapter Thirty-One Through Chapter Thirty-Five When you go, something bright will go out of Ndotsheni. that is a small angel from God. Although nothing has come yet, something is here already. One thing is about to be finished, but here is something that is only begun. But when the dawn will come, of our emancipation, from the fear of bondage and the bondage of fear, why, that is a secret.

Flappers and Mothers New Women in the 1920s Essay

Flappers and Mothers: New Women in the 1920s Frederick Lewis Allen, in his famous chronicle of the 1920s Only Yesterday, contended that women’s â€Å"growing independence† had accelerated a â€Å"revolution in manners and morals† in American society (95). The 1920s did bring significant changes to the lives of American women. World War I, industrialization, suffrage, urbanization, and birth control increased women’s economic, political, and sexual freedom. However, with these advances came pressure to conform to powerful but contradictory archetypes. Women were expected to be both flapper and wife, sex object and mother. Furthermore, Hollywood and the emerging â€Å"science† of advertising increasingly tied conceptions of femininity to†¦show more content†¦There were few female doctors, lawyers, politicians, or professors, to be sure, but the list of acceptable jobs for women had lengthened. World War I also provided women with the means to finally achieve suffrage. Groups such as the National American Woman Suffrage Association, led by Carrie Chapman Catt, enthusiastically joined the war effort, thereby intertwining patriotism and women’s rights. After the House of Representatives passed the women’s suffrage amendment in January 1918, President Wilson told the nation, â€Å"We have made partners of the women in this war. Shall we admit them only to a partnership of suffering and sacrifice and toil and not to a partnership of privilege and right?† (James and Wells, 67-68). True political equality did not result from the ratification of the Nineteenth Amendment—very few female candidates were elected in the 1920s—but, in the words of Allen, â€Å"the winning of the suffrage had its effect. It consolidated woman’s position as man’s equal† (96). The 1920s also brought American women increased personal and sexual freedoms. As the United States steadily urbanized—for the first time more than half of all Americans lived in cities—women could escape the yoke of parental control or repressive marriage by moving intoShow MoreRelatedHow Did Flappers Change The View Of Women During The 1920 S1003 Words   |  5 PagesHow did Flappers change the view of women in the 1920 s Before flappers came along women were very modest. They were brought up to be lady-like and did not even date men unless their parents came along. They would wear clothes that were long and fancy and would cover their bodies head-to-toe, because they were not allowed to even show their ankles. Flappers went against all theses customs. Their irresponsible actions included: around kissing men, dancing on men provocatively, and just not caringRead MoreEssay about Freedom of the Flapper1618 Words   |  7 Pagesthe life of a flapper. While these descriptions are accurate, they do not inform people of the advantages and gains flappers made for the female gender. The flapper embodied the idea of freedom from the usual duties of a young female in the 1920s. These women were no longer tied down with the expectation that they immediately become a wife and mother, as well as being conservative and modest. By diving into a look at the fashion, music, and lifestyle of the flapper during th e 1920s it will becomeRead MoreEssay on How Did American Culture Change During the Jazz Age?1140 Words   |  5 Pagesand new styles of dances were being created. Women began to wear shorter clothes, cut their hair, and some even had jobs, while the Flapper girls gave other young women an outlook of freedom. People began to go see films and movie stars became famous worldwide. During the Jazz Age, American culture was changing and Americans were becoming more finically affluent. Dancing skyrocketed during the 1920s. Many styles of dance that were created before the era did not become popular until the 1920s. ForRead MoreAmerican Women in the 19201617 Words   |  7 PagesAmerican Women in the 1920s The 1920s was a decade full of challenges, opportunities, and new outlooks on the world for American women. They experienced drastic changes in politics, education, and even within their own homes. The â€Å"new women† were independent, confident, and no longer afraid to fight for their rights. Being isolated in their own homes, getting married and having children was no longer the only option, and many women chose different life paths, whether it would be pursuing a careerRead MoreThe Women Of The 1920 S1125 Words   |  5 PagesSpecifically the women of the 1920’s created the most discussion. They made great strides in women’s suffrage, they became a mass culture, and there was a cultural civil war between the generations. There is more to the ‘20’s woman than just being a flapper. She is free, she is outgoing, and she is rebellious. The flapper woman is just one kind of woman in the 1920’s and in this paper I hope to educate you a littl e bit more about her as a whole, and argue that in the twenty-first century women are becomingRead MoreWomen s Rights Of Women1590 Words   |  7 Pagesuntil the 1920s, women were ignored in every aspect of their life. From politics, to social situations, women were constantly looked at as lesser. The 20s was a decade of women ready to fight for their rights. From gaining social freedoms, to getting political rights, the 20s was the first decade of feminism. Many women played key roles in the fight for women s rights through speeches, marches, and much more. The women that fought for their rights in the 1920s completely changed how women live theirRead MoreWomen in the 1920s802 Words   |  4 PagesWomen In The 1920s The lifestyle of women changed drastically in the 1920s. They gained liberties in all aspects such as marriage, politics, jobs and even self expression, along with various other features. Still limited, the liberties gained outweighed the restrictions that still occurred. This gave women the freedom needed and ability to show that they were independent and could stand on their own, making their own decisions. It started with a group of rebellious women known as flappers.Read MoreThe Book Flapper by Joshua Zeitz1169 Words   |  5 PagesFlapper by Joshua Zeitz is a book that tells an epic story about the American women during the time of the 1920’s. For a better understanding, a flapper would typically be a young girl who blurred the gender roles by taking on a more masculine lifestyle. They wore their hair short, drank and smoked frequently, and explored their sexuality. With this behavior, it didn’t destroy their femininity; it just simply provided the society’s perception of what a woman should and should not be. The story startsRead MoreFlappers in the 1920s Essay658 Words   |  3 Pages Flappers in the 1920s where the girls and women that dressed less modestly. They also disobeyed the rules that most women and girls followed. They did what others would not ever think of doing in this time period. From coast to coast people were reading the exploits of a new type of woman called flapper. Prior to World War 1 Victorian ideals still dictated the behavior of American women and girls. Frederick Lewis Allen describes the traditional role of women. Women were the guardians of moralityRead MoreImprovement of the Position of American Women by the End of 1920s839 Words   |  4 PagesImprovement of the Position of American Women by the End of 1920s I believe that the following statement the position of all women in the USA had improved by the end of the 1920s is not true because only a small percentage of womens lives changed, these were usually the upper or middle class and those who lived in the cities. I intend to prove my beliefs in the following paragraphs by evaluating the different aspects of their lifes, work, home, society and clothing

Theme of Mortality in Hamlet free essay sample

The Revenger’s Tragedy also shares the same, if not more punishing theme of death throughout; again, countless characters die on the protagonist’s quest for revenge. The play, that is a comment on the corruption within the Jacobean court, is almost infatuated by the concepts of death and vengeance. In the opening scenes of Hamlet, the audience are presented with the apparition of the Ghost who tells Hamlet â€Å"I am thy father’s spirit†. Arguably – the importance of the Ghost is that it sets the note of the play – death. We become aware that the ghost is â€Å"doomed† to â€Å"walk in the night† until his â€Å"most foul and unnatural murder is revenged†. This could perhaps be perceived as the Ghost being trapped in purgatory, where he will continue to suffer until Hamlet has sought revenge against Claudius. Critics tend to argue with regards to Hamlet that ‘its themes were quintessentially those of the Renaissance and Reformation’  and the idea of Purgatory is certainly no exception. During the Reformation many Protestants questioned the existence of Purgatory. For Catholics, however, the concept of purgatory endured; one catholic account describes it as a place where â€Å"confined and imprison’d soul must, till expiated endure†. This corresponds to the ghost’s description of the â€Å"sulphurous and tormenting flames† in his â€Å"prison-house†. What is perhaps most important with regards to the theme of mortality is that the Ghost is responsible for introducing the idea of retributive justice – an idea well accepted during the Elizabethan period and commonly known as â€Å"blood-feuds†. Although in â€Å"The Revenger’s Tragedy† there is no explicit reference to Purgatory, the theme of the supernatural does run throughout alongside the theme of death, with reference to â€Å"devils† and â€Å"hell and torment†. Critics have described Hamlet as â€Å"the ambassador of death walking amid life†: in many respects, it is Hamlet’s consciousness of death and the consequent bitterness, cruelty and inaction that not only grows in his mind disintegrating it as we watch; they also force him to question his existence or more than one occasion as we witness in the â€Å"to be or not to be† solioquy. Referring back to the subject of the Ghost, Hamlet states â€Å"The spirit I have seen may have been the devil†. Arguably, the Ghost was the devil, metaphorically speaking, it was the devil of the knowledge of death – the knowledge that led to Hamlet’s demise. Hamlet is questioning the Ghost’s motive here and he perhaps seems somewhat willing to accept that the Ghost may be trying to get Claudius murdered under false-pretences. Hamlet’s consciousness of death spreads outwards like a blighting disease and as the play progresses it insidiously undermines the health of the state, adding victim upon victim. Something is rotten in the state of Denmark† becomes particularly apt here, and furthermore it could be argued that the consciousness of mortality is fundamental to the corruption. Similarly, in â€Å"The Revenger’s Tragedy† Vindice sets about avenging the murder or his lover, Glorianna. Vindince’s consciousness of Gloriann a’s death, like Hamlet’s, takes over him on his quest to give â€Å"Revenge her due† and spreads outwards. Vindice states â€Å"when the bad bleeds then the tragedy is good† which can also be applied to the perception of mortality in Hamlet: both plays were such successful Revenge Tragedy’s as a result of this prominent theme. Gertrude tells Hamlet that â€Å"all that lives must die† when he is struggling with his grief as â€Å"Clouds hang over him still† with Claudius adding, â€Å"your father lost a father†. Shakespeare is attempting here to present death as somewhat natural concept; the fact Gertrude states â€Å"all that lives must die† plays on the idea that it doesn’t matter who you are – we will all be reduced to dust. Hamlet remains haunted by the theme of death until the very end of the play, before, ironically, he does realise his Mother was right. Perhaps the most significant scene within the play with regards to the theme of mortality is the Graveyard scene: here, Hamlet holds his Father’s former jester’s skull. Hamlet is captivated of the transition Yorick undergoes after death as he is reduced to â€Å"dust of earth† from a state of â€Å"infinite jest†. Arguably, Shakespeare is conveying that if somebody as vibrant as a jester can be reduced to nothing – so can anybody else. This scene marks a rapid change in Hamlet’s character, one symbolised by his recognition of â€Å"Imperious Caesar† as â€Å"dead and turn’d to clay†. If one of the greatest men that lived, in Hamlet’s view Julius Caesar, has now been reduced to nothing, then he realises so has is Father. This scene is fundamental in allowing Hamlet to purge the Ghost and lose his anxieties surrounding death. Comparatively, within â€Å"The Revenger’s Tragedy† we are never presented with the same overpowering sense of contemplation over death from our Protagonist. Vindice seems understanding of the fact â€Å"then those that did eat are eaten†, perhaps because he has held the skull of his most beloved. Vindice’s mindset is simple: he is out to kill the Duke, achieve revenge and once he has completed this he states â€Å"Tis’ time to die†, a clear contrast in the two protagonists. The concept of suicide within the play is also important to note with regards to the theme of mortality. Hamlet wishes â€Å"his flesh would melt† because his Mother’s betrayal of his Father has made him believe the world is corrupted. In â€Å"The Revenger’s Tragedy† Vindice presents a similar view of the world because of his Mother’s deceit as he states â€Å"weren’t for gold and women, there would be no damnation†. In the lineâ€Å"His canon ‘gainst self-slaughter! † conveys Hamlet lamenting in the fact suicide is a sin. The Elizabethan’s would have perceived suicide as inherently wrong due to the belief â€Å"God gives life and only God takes life away†. In the â€Å"To be or not to be† soliloquy, although many regard Hamlet as still being suicidal here, some critics have argued that Hamlet is in fact here simply contemplating why people in general do not commit suicide: the evidence for this argument is that this soliloquy does not contain any first person pronoun. Hamlet concludes this soliloquy with the thought that the reason people do not commit suicide is not because of religious belief, but more simply, because they are in fear of what comes after death. He states that it is in â€Å"dread of something after death / The undiscovered country†. Elizabethan’s would have known what was waiting for them after death, so perhaps here Shakespeare presents a somewhat agnostic viewpoint. Contradictory to this however, towards the end of the play Hamlet appears to embrace the idea of Divine fate – stating â€Å"there’s a divinity that shapes ur ends†. The Church denies Ophelia a proper Christian burial based on the grounds that she killed herself. This would have been well received by Elizabethan audiences as this was a principle engrained into religious doctrine. Although Gertrude states Opheila â€Å"fell in the weeping brook† and more over that her death was an â€Å"accident†, she may, as many cri tics have pointed out, have been trying to spare Laertes or trying to diffuse another tantrum on his part. However, the verb â€Å"fell† is very passive, which would fit the presentation of Opheilia throughout the course of the play, leading us to perhaps question whether Ophelia would have even tried to save her own life. The Priest tells us â€Å"should be in ground unsanctified log’d† which does however support the idea of her suicide pretty solidly and also illustrates the religious ideology surrounding suicide at the time Hamlet was written. Ophelia was led to kill herself due to the death of both her Father and her relationship with Hamlet. In The Revenger’s Tragedy we are also presented with an account of female suicide: Antonio’s wife who’s â€Å"honour first drunk poison, and her life†. Arguably, Antonio’s wife has a more just reason for committing suicide, as she was raped; during the 16th and 17th centuries if a woman was raped, the only way to â€Å"pledge her honour† was to commit suicide. In  Hamlet, suicide is a motif, but it is an act that Hamlet himself cannot commit in order for the story to be a Revenge Tragedy. In conclusion, the theme of mortality is one threaded throughout Hamlet: almost every main character and relationship suffers from some form of physical or metaphorical death. Death begins the play, death drives the play and most importantly death ends the play. Both Hamlet and The Revenger’s Tragedy would not have been as successful as they are if they were not characterised by mortality and ultimately – without it they would simply be bland and lacklustre.