Interpersonal Relationship Analysis Characters of the Film Public Enemies Free Essays

string(173) " of progressing the relationship further by increasing self-disclosure to see if the other reciprocates the same level of disclosure and gain feedback on their impressions\." Communications 100 Interpersonal Analysis Effective interpersonal communication is crucial to development of all denominations of relationships between two or more individuals; from roll relationships shared between a doctor and patient, to platonic relationships shared between friends. Chiefly, interpersonal communication is arguably the most essential aspect contributing to the success or failure of a romantic relationship between a dyad. Communication directly influences the type of relationship participants share, how the relationship unfolds, and how satisfying that relationship is to the individuals sharing it. We will write a custom essay sample on Interpersonal Relationship Analysis: Characters of the Film Public Enemies or any similar topic only for you Order Now A lack of communication between individuals in an intimate relationship, such as one shared between a boyfriends and a girlfriend, typically results in mutual dissatisfaction which can lead to a decline in health of the individuals, both physically and emotionally, and ultimately, the disintegration of the relationship altogether. Read also Analysis of Characters in Flannery O’Connor’s â€Å"The Life You Save May Be Your Own† Romantic relationships develop and change over time as people communicate with one another. The evolution of the relationship can be depicted through four specific models; Irwin Altman and Dalmas Taylor’s Social Penetration Theory, Mark Knapp and Anita Vangelisti’s Knapp’s Stage Model, Leslie Baxter and Connie Bullis’s Turning Point Model and, Leslie Baxter’s Dialectical Theory. The progression of romantic relationships can easily be analyzed in films because they are vividly depicted and often over exaggerated. Michael Mann’s 2009 film, Public Enemies, an adaptation of the non-fiction book by Bryan Burrough, Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933-34, chronicles the progression of the romantic relationship between the notorious bank robber John Dillinger and Billie Frechette while he is pursued by FBI agent Melvin Purvis in the midst of the Great Depression. The relationship Frechette and Dillinger carry out in the film perfectly displays the natural progression of an intimate relationship through the first five steps of the staircase in Knapp’s Stage Model. Knapp’s Stage Model is a communication model that conceptualizes relational development as a staircase consisting of five steps, with each step representing a respective stage of the relationship, that lead up toward commitment followed by five steps that descend from commitment towards the end of a relationship. The five steps that lead upwards towards commitment in chronological order are: initiating, experimenting, intensifying, integrating, and bonding. John Dillinger and Billie Frechette met one night at the Aragon Ballroom in Chicago where the initiating stage occurred. Initiating is when the individuals try to establish as positive an impression of oneself as possible to appear likeable and pleasant. This stage is where the first impressions are made from a greetings and physical appearance. However, in order for the initiating stage to occur, the individuals need to signal interest in initiating contact at all. In our society, especially historically in time periods like the Great Depression, men typically initiate heterosexual romantic relationships, but only after the woman sends cues that they are single and interested primarily through kinesics nonverbal communication like eye contact and smiles. The excerpt from the movie script below shows the pre-initiation stage where Dillinger first sees Frechette and she sends nonverbal cues from across the crowded ballroom that she is both available and interested: ARAGON BALLROOM-NIGHT JOHN DILLINGER is watching a sexy young woman on the dance floor. He loses sight of her†¦ He’s expecting someone. Then, Dillinger sees her again: jet black hair in a bob, brown eyes, high and a great smile. She lights up a room. She is BILLIE FRECHETTE. She feels the stare and looks over. She studies him, then, looks away. Dillinger adjusts his chair to watch for the girl. Dellinger can’t see Billie anymore. Billie reappears, dancing with a young man. Dillinger keeps his eye on Billie. Music ends. Young man escorts her to her table. He tries to join her. She turns him down. Dillinger finishes his drink, approaches. He now sees how beautiful Billie is. She looks Dillinger straight in the eye. Clear skin, dark eyes with humor playing about the edges. He unexpectedly starts to feel nervous. He gives her his best grin. Next is the initiating stage where Dillinger initiates communication following a standard interpersonal script for meeting a new person consisting of an icebreaker and beginning an introduction. Billie forms a first impression of Dillinger based on her perceptions of him. Billie categorizes him by labeling him in her mind as â€Å"Not a hustler† and interprets that â€Å"he’s holding something back† from the sensory input she selected to focus on. She then provides feedback showing her mutual interest to proceed to the experimenting stage. DILLINGER I don’t know what you said to your friend, but I sure am glad you did. What’s your name? Billie looks him over: a well-made man in a good suit with a great smile. And, paradoxes: he easily talks to women but he’s not a hustler. He’s young, but there’s a world of experience in his face. Open, but he’s holding something back. BILLIE Billie Frechette. DILLINGER Can I buy you a drink? Billie rises and they cross the bar. Is that French? BILLIE On my father’s side. There’s an â€Å"e† at the end. Do you have a name? DILLINGER Jack Harris. Music changes to â€Å"Bye Bye Blackbird. † The experimenting stage on relational development is when the participants try to learn more about each other by asking questions and start to self-disclose information to establish common interests. Typically, the proxemics observed between two people who are just beginning to become acquainted is at a personal distance of eighteen inches to four feet. However, because the progression of relationship between Dillinger and Frechette is depicted in a film that is just under two hours in duration, the experimenting stage is combined with the proceeding intensifying stage. Thus, Billie and Dillinger quickly move to an intimate distance while dancing to increase their connectedness. This stage is full of â€Å"tests. † First, individuals test the potential of progressing the relationship further by increasing self-disclosure to see if the other reciprocates the same level of disclosure and gain feedback on their impressions. You read "Interpersonal Relationship Analysis: Characters of the Film Public Enemies" in category "Papers" Billie tests Dillinger to see how he reacts to her ethnicity in era in which darker physical characteristics were not valued as highly on the social comparison scale of attractiveness. Billie expresses her self-concept perceptions that that been influenced by the reflected appraisals from society when she shares her primary identity by stating â€Å"I’m Menominee Indian,† and secondary identity by stating â€Å"I check coats at the Steuben Club. † BILLIE Do you dance, Jack? DILLINGER I don’t know how. BILLIE How come you don’t know how to dance? It’s easy. Follow me. This is a two-step. She smiles a pretty smile at him. She stays an inch or two distant in his arms. It’s slow and languorous. He follows her with little difficulty. DILLINGER My, but you are pretty. They look into each other’s eyes. He pulls her closer, wants to kiss her long smooth neck. He almost can’t resist†¦ Their lips are an inch apart. And then she rests her cheek on his shoulder and the kiss that wasn’t hangs in the air around them. He whispers†¦ Daddy’s French, what’s on the other side? BILLIE Im Menominee Indian OK. But most men don’t like that†¦ She glares at him. DILLINGER I’m not most men. BILLIE And I check coats at the Steuben Club. What do you do, Jack? DILLINGER I’m catching up. BILLIE Catching up on what? DILLINGER On life, meeting someone like you. Dark, beautiful, like the black bird in that song He touches her hair. She laughs at the flattery. Holds his eyes a beat with an ironic look. He returns the look. They look away. Say, how’d you like some dinner? Billy nods. He nods courteously to her girlfriends, grabs her coat, puts a hand around Billie’s waist and steers her out. It’s cold in the street. Dillinger pulls her close. Following, is the integration stage of relationship growth. During the fourth step, the deepest levels of self-disclosure begin signaling trust and intimacy and the individuals portray themselves as couple. Billie and Dillinger go to a restaurant together appearing to others as a couple. This scene also perfectly illustrates the three key factors necessary in the influence of one’s attraction to another: proximity, physical attractiveness, and similarity. GOLD COAST RESTAURANT – NIGHT Dillinger slips him bills. He and Billie are shown to a table. The clientele is North Shore old money and businessmen. Some of the women are in dazzling dresses even though it’s mid-Depression. A few stare at Billie. She’s out of her class. BILLIE What is it, exactly that you do for a living? She stares at him, ignoring her menu. He looks over the top of his menu DILLINGER. I’m John Dillinger. I rob banks. That’s where all these people here put their money. BILLIE Why’d you tell me that? You could have made up a story†¦ DILLINGER ‘Cause I ain’t gonna lie to you. BILLIE That’s a pretty serious thing to say to a girl you just met. DILLINGER I know you. BILLIE Well, I don’t know you†¦I haven’t been any place or done anything. DILLINGER Some of the places I been ain’t so hot. Where I’m going is a lot better. Wanna come along? BILLIE Boy, you are in a hurry. DILLINGER If you were looking at what I am looking at, you’d be in a hurry too. Laughs at his flattery, which she is also finding persuasive, then leans in. BILLIE Well, it’s me they’re looking at this time. DILLINGER That’s ’cause you’re beautiful. BILLIE They’re looking at me because they’re not used to having a girl in their restaurant in a three-dollar dress. He takes her hand DILLINGER Listen, doll, that’s ’cause they’re all about where people come from. Only thing important is where somebody’s going. She smiles excitedly BILLIE Where are you going? DILLINGER Anywhere I want. Let’s get out of here. She nods. They get up, get their things and he leads her with his hand on the small of her back. On their way†¦ a man intercepts Dillinger. (To Billie): Go wait outside. I’ll be right there. Billie turns and walks out of the restaurant. Finally, the fifth stage of the relational development incline towards commitment is bonding. The bonding stage is where the relationship is characterized by public commitment. STEUBEN CLUB- NIGHT Dillinger enters, sees Billie talking with another hostess checking coats and hats. BILLIE (Without looking up at Dillinger): May I check your coat, sir? DILLINGER You ran out on me. BILLIE You left me standing alone on the sidewalk. She places her hand on her hip DILLINGER If you’re going to be my girl, you have to swear you’ll never, ever do that again. A CUSTOMER comes up and puts his ticket on the counter. BILLIE (Ignoring customer) Hey! I’m not your girl! And I’m not going to say that DILLINGER I’m waiting. CUSTOMER So am I. DILLINGER (to Billie) â€Å"I am not ever going to run out on you again. † Say it. BILLIE No. DILLINGER Well, I ain’t ever gonna run out on you. And that’s a promise. CUSTOMER Well, I want to run out of here. So, lady, will you get my coat†¦? Dillinger swings him to the counter, grabs the man’s ticket, slams through the half door, finds the man’s coat, tosses it at him†¦ DILLINGER (To Customer): Hit the road Sport. Beat the tip. (To Billie): You ain’t getting other people’s hats and coats no more either. You’re with me now. He takes her coat and holds it for her. She doesn’t move. BILLIE I don’t know anything about you. DILLINGER I was raised on a farm in Mooresville, Indiana. My ma died when I was three. My daddy beat the hell out of me because he didn’t know no better way to raise me I like baseball, movies, good clothes, fast cars, and you. What else do you need to know? She gets into her coat. Dillinger opens the door for her. Although this interaction is fictional, John Dillinger and Billie Frechette really did carry out a relationship that progressed much like the one depicted above. However, their relationship did not decline down the staircase through the five steps of termination; differentiating, circumscribing, stagnating, avoiding, and terminating, because John Dillinger was shot and killed by FBI agent Winstead outside of the Biograph Theatre in Chicago. Billie was incarcerated on charges of being an accomplice to one of America’s most wanted criminals until 1936 and lived the rest of her life in Wisconsin. Works Cited Alberts, Jess K. , Judith N. Martin, and Thomas K. Nakayama. Communication Fundamentals. Boston, MA: Pearson Education, 2011. Print. Eiderman, Ann, Michael Mann, and Ronan Bennett. â€Å"Public Enemies Script. † The Internet Movie Script Database (IMSDb). N. p. , Nov. 2007. Web. 19 Mar. 2013. ;http://www. imsdb. com/scripts/Public-Enemies. html;. â€Å"Knapp’s Relational Development Model. † Wikipedia. Wikimedia Foundation, 16 Mar. 2013. Web. 19 Mar. 2013. ;http://en. wikipedia. org/wiki/Knapp’s_Relational_Development_Model. â€Å"Public Enemies (2009 Film). † Wikipedia. Wikimedia Foundation, Inc, 15 Mar. 2013. Web. 19 Mar. 2013. http://en. wikipedia. org/wiki/Public_Enemies_(2009_film). How to cite Interpersonal Relationship Analysis: Characters of the Film Public Enemies, Papers

Interpersonal Relationship Analysis Characters of the Film Public Enemies Free Essays

string(173) " of progressing the relationship further by increasing self-disclosure to see if the other reciprocates the same level of disclosure and gain feedback on their impressions\." Communications 100 Interpersonal Analysis Effective interpersonal communication is crucial to development of all denominations of relationships between two or more individuals; from roll relationships shared between a doctor and patient, to platonic relationships shared between friends. Chiefly, interpersonal communication is arguably the most essential aspect contributing to the success or failure of a romantic relationship between a dyad. Communication directly influences the type of relationship participants share, how the relationship unfolds, and how satisfying that relationship is to the individuals sharing it. We will write a custom essay sample on Interpersonal Relationship Analysis: Characters of the Film Public Enemies or any similar topic only for you Order Now A lack of communication between individuals in an intimate relationship, such as one shared between a boyfriends and a girlfriend, typically results in mutual dissatisfaction which can lead to a decline in health of the individuals, both physically and emotionally, and ultimately, the disintegration of the relationship altogether. Read also Analysis of Characters in Flannery O’Connor’s â€Å"The Life You Save May Be Your Own† Romantic relationships develop and change over time as people communicate with one another. The evolution of the relationship can be depicted through four specific models; Irwin Altman and Dalmas Taylor’s Social Penetration Theory, Mark Knapp and Anita Vangelisti’s Knapp’s Stage Model, Leslie Baxter and Connie Bullis’s Turning Point Model and, Leslie Baxter’s Dialectical Theory. The progression of romantic relationships can easily be analyzed in films because they are vividly depicted and often over exaggerated. Michael Mann’s 2009 film, Public Enemies, an adaptation of the non-fiction book by Bryan Burrough, Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933-34, chronicles the progression of the romantic relationship between the notorious bank robber John Dillinger and Billie Frechette while he is pursued by FBI agent Melvin Purvis in the midst of the Great Depression. The relationship Frechette and Dillinger carry out in the film perfectly displays the natural progression of an intimate relationship through the first five steps of the staircase in Knapp’s Stage Model. Knapp’s Stage Model is a communication model that conceptualizes relational development as a staircase consisting of five steps, with each step representing a respective stage of the relationship, that lead up toward commitment followed by five steps that descend from commitment towards the end of a relationship. The five steps that lead upwards towards commitment in chronological order are: initiating, experimenting, intensifying, integrating, and bonding. John Dillinger and Billie Frechette met one night at the Aragon Ballroom in Chicago where the initiating stage occurred. Initiating is when the individuals try to establish as positive an impression of oneself as possible to appear likeable and pleasant. This stage is where the first impressions are made from a greetings and physical appearance. However, in order for the initiating stage to occur, the individuals need to signal interest in initiating contact at all. In our society, especially historically in time periods like the Great Depression, men typically initiate heterosexual romantic relationships, but only after the woman sends cues that they are single and interested primarily through kinesics nonverbal communication like eye contact and smiles. The excerpt from the movie script below shows the pre-initiation stage where Dillinger first sees Frechette and she sends nonverbal cues from across the crowded ballroom that she is both available and interested: ARAGON BALLROOM-NIGHT JOHN DILLINGER is watching a sexy young woman on the dance floor. He loses sight of her†¦ He’s expecting someone. Then, Dillinger sees her again: jet black hair in a bob, brown eyes, high and a great smile. She lights up a room. She is BILLIE FRECHETTE. She feels the stare and looks over. She studies him, then, looks away. Dillinger adjusts his chair to watch for the girl. Dellinger can’t see Billie anymore. Billie reappears, dancing with a young man. Dillinger keeps his eye on Billie. Music ends. Young man escorts her to her table. He tries to join her. She turns him down. Dillinger finishes his drink, approaches. He now sees how beautiful Billie is. She looks Dillinger straight in the eye. Clear skin, dark eyes with humor playing about the edges. He unexpectedly starts to feel nervous. He gives her his best grin. Next is the initiating stage where Dillinger initiates communication following a standard interpersonal script for meeting a new person consisting of an icebreaker and beginning an introduction. Billie forms a first impression of Dillinger based on her perceptions of him. Billie categorizes him by labeling him in her mind as â€Å"Not a hustler† and interprets that â€Å"he’s holding something back† from the sensory input she selected to focus on. She then provides feedback showing her mutual interest to proceed to the experimenting stage. DILLINGER I don’t know what you said to your friend, but I sure am glad you did. What’s your name? Billie looks him over: a well-made man in a good suit with a great smile. And, paradoxes: he easily talks to women but he’s not a hustler. He’s young, but there’s a world of experience in his face. Open, but he’s holding something back. BILLIE Billie Frechette. DILLINGER Can I buy you a drink? Billie rises and they cross the bar. Is that French? BILLIE On my father’s side. There’s an â€Å"e† at the end. Do you have a name? DILLINGER Jack Harris. Music changes to â€Å"Bye Bye Blackbird. † The experimenting stage on relational development is when the participants try to learn more about each other by asking questions and start to self-disclose information to establish common interests. Typically, the proxemics observed between two people who are just beginning to become acquainted is at a personal distance of eighteen inches to four feet. However, because the progression of relationship between Dillinger and Frechette is depicted in a film that is just under two hours in duration, the experimenting stage is combined with the proceeding intensifying stage. Thus, Billie and Dillinger quickly move to an intimate distance while dancing to increase their connectedness. This stage is full of â€Å"tests. † First, individuals test the potential of progressing the relationship further by increasing self-disclosure to see if the other reciprocates the same level of disclosure and gain feedback on their impressions. You read "Interpersonal Relationship Analysis: Characters of the Film Public Enemies" in category "Papers" Billie tests Dillinger to see how he reacts to her ethnicity in era in which darker physical characteristics were not valued as highly on the social comparison scale of attractiveness. Billie expresses her self-concept perceptions that that been influenced by the reflected appraisals from society when she shares her primary identity by stating â€Å"I’m Menominee Indian,† and secondary identity by stating â€Å"I check coats at the Steuben Club. † BILLIE Do you dance, Jack? DILLINGER I don’t know how. BILLIE How come you don’t know how to dance? It’s easy. Follow me. This is a two-step. She smiles a pretty smile at him. She stays an inch or two distant in his arms. It’s slow and languorous. He follows her with little difficulty. DILLINGER My, but you are pretty. They look into each other’s eyes. He pulls her closer, wants to kiss her long smooth neck. He almost can’t resist†¦ Their lips are an inch apart. And then she rests her cheek on his shoulder and the kiss that wasn’t hangs in the air around them. He whispers†¦ Daddy’s French, what’s on the other side? BILLIE Im Menominee Indian OK. But most men don’t like that†¦ She glares at him. DILLINGER I’m not most men. BILLIE And I check coats at the Steuben Club. What do you do, Jack? DILLINGER I’m catching up. BILLIE Catching up on what? DILLINGER On life, meeting someone like you. Dark, beautiful, like the black bird in that song He touches her hair. She laughs at the flattery. Holds his eyes a beat with an ironic look. He returns the look. They look away. Say, how’d you like some dinner? Billy nods. He nods courteously to her girlfriends, grabs her coat, puts a hand around Billie’s waist and steers her out. It’s cold in the street. Dillinger pulls her close. Following, is the integration stage of relationship growth. During the fourth step, the deepest levels of self-disclosure begin signaling trust and intimacy and the individuals portray themselves as couple. Billie and Dillinger go to a restaurant together appearing to others as a couple. This scene also perfectly illustrates the three key factors necessary in the influence of one’s attraction to another: proximity, physical attractiveness, and similarity. GOLD COAST RESTAURANT – NIGHT Dillinger slips him bills. He and Billie are shown to a table. The clientele is North Shore old money and businessmen. Some of the women are in dazzling dresses even though it’s mid-Depression. A few stare at Billie. She’s out of her class. BILLIE What is it, exactly that you do for a living? She stares at him, ignoring her menu. He looks over the top of his menu DILLINGER. I’m John Dillinger. I rob banks. That’s where all these people here put their money. BILLIE Why’d you tell me that? You could have made up a story†¦ DILLINGER ‘Cause I ain’t gonna lie to you. BILLIE That’s a pretty serious thing to say to a girl you just met. DILLINGER I know you. BILLIE Well, I don’t know you†¦I haven’t been any place or done anything. DILLINGER Some of the places I been ain’t so hot. Where I’m going is a lot better. Wanna come along? BILLIE Boy, you are in a hurry. DILLINGER If you were looking at what I am looking at, you’d be in a hurry too. Laughs at his flattery, which she is also finding persuasive, then leans in. BILLIE Well, it’s me they’re looking at this time. DILLINGER That’s ’cause you’re beautiful. BILLIE They’re looking at me because they’re not used to having a girl in their restaurant in a three-dollar dress. He takes her hand DILLINGER Listen, doll, that’s ’cause they’re all about where people come from. Only thing important is where somebody’s going. She smiles excitedly BILLIE Where are you going? DILLINGER Anywhere I want. Let’s get out of here. She nods. They get up, get their things and he leads her with his hand on the small of her back. On their way†¦ a man intercepts Dillinger. (To Billie): Go wait outside. I’ll be right there. Billie turns and walks out of the restaurant. Finally, the fifth stage of the relational development incline towards commitment is bonding. The bonding stage is where the relationship is characterized by public commitment. STEUBEN CLUB- NIGHT Dillinger enters, sees Billie talking with another hostess checking coats and hats. BILLIE (Without looking up at Dillinger): May I check your coat, sir? DILLINGER You ran out on me. BILLIE You left me standing alone on the sidewalk. She places her hand on her hip DILLINGER If you’re going to be my girl, you have to swear you’ll never, ever do that again. A CUSTOMER comes up and puts his ticket on the counter. BILLIE (Ignoring customer) Hey! I’m not your girl! And I’m not going to say that DILLINGER I’m waiting. CUSTOMER So am I. DILLINGER (to Billie) â€Å"I am not ever going to run out on you again. † Say it. BILLIE No. DILLINGER Well, I ain’t ever gonna run out on you. And that’s a promise. CUSTOMER Well, I want to run out of here. So, lady, will you get my coat†¦? Dillinger swings him to the counter, grabs the man’s ticket, slams through the half door, finds the man’s coat, tosses it at him†¦ DILLINGER (To Customer): Hit the road Sport. Beat the tip. (To Billie): You ain’t getting other people’s hats and coats no more either. You’re with me now. He takes her coat and holds it for her. She doesn’t move. BILLIE I don’t know anything about you. DILLINGER I was raised on a farm in Mooresville, Indiana. My ma died when I was three. My daddy beat the hell out of me because he didn’t know no better way to raise me I like baseball, movies, good clothes, fast cars, and you. What else do you need to know? She gets into her coat. Dillinger opens the door for her. Although this interaction is fictional, John Dillinger and Billie Frechette really did carry out a relationship that progressed much like the one depicted above. However, their relationship did not decline down the staircase through the five steps of termination; differentiating, circumscribing, stagnating, avoiding, and terminating, because John Dillinger was shot and killed by FBI agent Winstead outside of the Biograph Theatre in Chicago. Billie was incarcerated on charges of being an accomplice to one of America’s most wanted criminals until 1936 and lived the rest of her life in Wisconsin. Works Cited Alberts, Jess K. , Judith N. Martin, and Thomas K. Nakayama. Communication Fundamentals. Boston, MA: Pearson Education, 2011. Print. Eiderman, Ann, Michael Mann, and Ronan Bennett. â€Å"Public Enemies Script. † The Internet Movie Script Database (IMSDb). N. p. , Nov. 2007. Web. 19 Mar. 2013. ;http://www. imsdb. com/scripts/Public-Enemies. html;. â€Å"Knapp’s Relational Development Model. † Wikipedia. Wikimedia Foundation, 16 Mar. 2013. Web. 19 Mar. 2013. ;http://en. wikipedia. org/wiki/Knapp’s_Relational_Development_Model. â€Å"Public Enemies (2009 Film). † Wikipedia. Wikimedia Foundation, Inc, 15 Mar. 2013. Web. 19 Mar. 2013. http://en. wikipedia. org/wiki/Public_Enemies_(2009_film). How to cite Interpersonal Relationship Analysis: Characters of the Film Public Enemies, Papers

The Theme of Love in Romeo and Juliet Essay Example Essay Example

The Theme of Love in Romeo and Juliet Essay Example Paper The Theme of Love in Romeo and Juliet Essay Introduction â€Å"Here’s much to do with hate but more with love† This quotation from Romeo can in fact describe the whole play. The word â€Å"more† shows the power of love to overcome hatred. However, in Romeo and Juliet there are several different types of love demonstrated. For example, characters such as Mercutio can be seen using sexual innuendos and bawdy language. In the play, there is evidence of brotherly love, shown to Romeo by Benvolio; motherly love from the Nurse towards Juliet; and fatherly love shown by Friar Lawrence towards Romeo; a suitor who offers wealth and power, is shown in the character of Paris. On one hand there is Romeo and Juliet who show a very passionate and romantic form of love. Romeo and Juliets love is different from everyone elses thoughts. For them, marriage is completely based upon true love. Others, it may be for power, wealth and recognition.Romeo is one of the protagonists in the play. He comes across as a very romantic and mature tee nager who feels the in the deepest love for Juliet who he met at Lord Capulet’s party. â€Å"O she doth teach the torches to burn bright.† â€Å"What is her mother?† These are his words to Nurse and her answer reveals that his to see if only love has come from his only hate.But this is not the first time Romeo was â€Å"in love†.He loves Rosaline in the beginning of the play because that is what he thinks is the manly thing to do. But later he falls in love with Juliet. But once he has set his eyes on her, he completely forgets about Rosaline. Romeo presents Rosaline as having â€Å"wit† and being â€Å"strong†, as â€Å"she† will not be hit with Cupid’s arrow(Act 1 scene 1, lines 203-204), she lives unharmed(line 205) which means secure against his advances is rich in beauty.Mercutio’s attitude towards love is very sarcastic; it is uses bawdy humour and innuendo. Mercutio is always twisting words so that they become rud e. One innuendo he uses would be†An open-arse, thou pop’rin pear.† Mercutio is not at all a the person who would show any sign of affection, but a person who would joke about love and feelings. He mocks Romeo when he hears about Romeo’s love for Rosaline. Sampson, Gregory and the Nurse all use bawdy humour, but Mercutio is the wittiest. â€Å"this is the hag, when maids lie on their backs, That presses them and learns them first to bear, making them women of good carriage. This is she-† He is constantly punning, this shows how he generally behaves. Mercutio does not provide much help to the love of Romeo and Juliet mainly because he doesn’t know about their secret love, but even if he did know he is the kind of character who would mock. He thinks that Romeo is wasting his time with Rosaline, and mocks him.At the beginning of Act 2 Scene 3, Friar Lawrence thinks that Romeo. He treats Romeo like a son, as Friar has known him since he was born.â € Young son, it argues a distemper’d head† which means that Romeo, a young man should be getting sleep and shouldn’t be disturbed†Ã¢â‚¬ But where unbruised youth with unstuff’d brain† meaning Romeo shoudn’t have any worries when going to sleep unlike an older man like Friar Lawrence that stay awake with worries.Friar Lawrence is happy when Romeo says â€Å"I have forgot that name† when he is asked about Rosaline. Young Romeo then tells Frair Lawrence that he is certain he loves Juliet. Friar Lawrence then goes to mock Romeo by saying†Not truly in their hearts, but in their eyes† Friar Lawrence does not believe Romeo is really in love, but only cares about their appearance i.e. their looks. Friar Lawrence shows love in this scene towards Romeo by taking great interests in what he is doing, but also by doing the type of things a father would do. â€Å"The sweetest honey is loathsome in his own deliciousness† T he Friar says this to Romeo suggesting that anticipation is more than what it turns out to be.Friar Lawrence marries the couple and tries to help them whenever possible. He wants the best for them and thinks that if they marry then possibly the feuding will end; â€Å"In one respect I’ll thy assistant be: for this may so happy prove, to turn your households’ rancour to pure love†The Nurse in Romeo and Juliet is a character who is treats Juliet as her own child. She has always been looking after Juliet since she was a baby. Even though Juliet’s real mother is Lady Capulet, she does not seem to be so interested in her. People only hired people like the Nurse if they were very wealthy and powerful. Juliet and the Nurse are closer to each other than Juliet and lady Capulet have ever been. The nurse has a blunt attitude towards love and sex, but s affectionate and loving woman who wants Juliet to be happy. In the beginning, the nurse aids Juliet’s love for Romeo but in the end she tries to persuade Juliet to marry Paris.Old Capulet has a certain type of love towards his daughter Juliet; he has never really bonded with her a lot. Capulet was saying just before how his daughter is really young to be married â€Å"and soon marr’d are those so early made† but Paris is arguing and saying that there are girls younger than Juliet that have got married. This means that Capulet, as a concerned father thinks those who get married too young could end up being hurt, and if Juliet does not choose Paris as the one she loves, he should love her anyway. I think he shows a caring side here because he is worried about the age of Juliet. He also says if Juliet picks Paris out as someone she loves then Capulet will agree. When the audience hear Lord Capulet in act 4, scene 5 and act 5 scene 4 they would be shocked because due to his sudden reaction when he hears that Juliet refuses to marry Paris. He is so angry that he can’t kee p his feelings in.Benvolio is Romeo’s cousin, and is also one of his closest relatives. He definitely shows a very caring character treating Romeo with respect, as if he was his brother. He is always advising Romeo what to do. â€Å"Be rul’d by me, forget to think of her, by giving liberty into mine eyes, examine other beautiesTybalt is part of the Capulet family and is very protective over what his family represent. He is willing to fight for his life, as we can see with an incident occurring with Romeo. When Tybalt realises that his most hated enemies are attending their party, he goes straight to the head of the house (Capulet) and complains he wants them to leave at once. â€Å"Tis he, that villain Romeo.† Capulet considers the ideas of Tybalt but realises that there will be an uproar and the party will most likely be spoilt. â€Å"Content thee, gentle coz, let him alone, ‘A bears him like a portly gentleman.†Paris is the man whom Capulet wants Juliet to marry. Paris explains his feelings for Juliet to Capulet. It seems that Paris does love Juliet because when Romeo kills him he asks to be put in her tomb, â€Å"If thou be merciful, Open the tomb, lay me with Juliet.†In conclusion, the play of Romeo and Juliet, shows many different types of love. Romantic and true love compared with courtly unrequited love and the sexual love of Mercutio. It also compares the fatherly love of the Friar with that of Capulet and the motherly love of the nurse with that of Lady Capulet. Benvolio and Tybalt meanwhile illustrate brotherly love and the extreme love of the family name. In the play, it is less to do with love and more about wealth and family status. In act 5, scene 3, Romeo resolves to kill himself that night in Capulet’s monument. I think this is a brave decision, because it shows the depth of his love for Juliet. It is extremely romantic act â€Å"this love feel I, that feel no love in this.† The Theme of Love in Romeo and Juliet Essay Thank you for reading this Sample!

Englands Motives of Colonizat essays

Englands Motives of Colonizat essays Christopher Columbus, considered one of the greatest explorers of all time. Like every other explorer, Columbus had many reasons for his exploration. However, it is made obvious by studying the history of Columbus' explorations that his main motive for exploration was greed. Columbus had the same desires as many explorers both before and after him. He yearned for gold. He wanted land. He wanted power. The whole purpose for his first voyage to what he thought was India, but turned out to be Central America, was to gain land for Spain. It took quite a bit of sweet talking from Columbus to get the money and ships needed for this voyage from Spain's Queen Isabella. But in the end, Columbus had the chance to reach a goal brought on by greed: to gain riches. Queen Isabella had the same motive. She wanted land for Spain, and that is the only reason that she ever gave him the money and ships The English, like other countries, voyaged to the Americas in search of riches. It wasn't until they got there that they realized that people already lived there. It was at that point that greed took over the English. The English did something, that by today's standards would be considered inhuman. They used a method of mass murder called extermination. They used whatever it took to kill the most Native Americans possible in the smallest amount of time. The English would not have done this had it not been for extreme greed. They wanted the land that the Native Americans had and they wanted it as soon as possible. This greed among the English did accomplish their task of taking land quickly, but it also accomplished the murder of thousands Although it doesn't seem obvious at first thought, new laws in Europe helped with the effort in nation building. With the new laws were the guidelines as to were the laws were in effect. Often, a new ...

What Is the ACT Out Of

What Is the ACT Out Of SAT / ACT Prep Online Guides and Tips You may have heard of this standardized test calledthe ACT. What's this test out of? What's the highest and lowest ACT score? And what score should you try to get? I'll answer allof these questions below. What Is the ACT Out Of? When you get your ACT score report, you'll see several numbers including your composite ACT score and your individual section scores (there are four sections: English, Math, Reading, and Science). The composite ACT score is the primary number that colleges look at.The composite ACT score is out of 36.Scores range from 1 to 36. Each section is also out of 36, with scores ranging from 1 to 36 in the individual sections. To give you a sense of the range of ACT scores in the US, I've assembled this chart with approximate national ACT percentiles: Percentile ACT Score 25th 16 50th 20 75th 24 Your final ACT composite score is calculated by average the 4 section scores and rounding to the nearest whole number. For further explanation, read How Do You Calculate ACT Score? What Score Should You Aim for in theRange? You don't necessarily need to aim for a perfect 36.You should choose your target score for the ACT based on what score will get you into your target schools. Find out what the average ACT score is for accepted students to your target schools by search â€Å"[College Name] ACT† in Google. You'll likely find the school’s 25th/75th percentile scores. What are these numbers? The 25th percentile ACT score means that 25% of admitted freshmen received a score at or below that number (75% of admitted students scored higher). The 75th percentile score means that 75% of admitted freshmen received a score at or below that number (25% of admitted students scored higher). Well, what should you aim for in the 25th/75th percentile range? You should aim for a score at or above the 75th percentile score to have the best chance of being admitted. For a more in-depth explanation of what your target ACT score should be, read What is a good ACT score? A bad ACT score? An excellent ACT score? What’s Next? Learn more about the ACT test format and prepare to rock the ACT: What is the ACT? A Complete Explanation of the Test The Ultimate Study Guide for ACT Science: Tips, Practice, and Strategies The Ultimate Prep Guide to ACT Reading: Strategies, Tips, and Practice The Ultimate Study Guide for ACT English: Tips, Rules, Practice, and Strategies Want to improve your ACT score by 4+ points? Download our free guide to the top 5 strategies you need in your prep to improve your ACT score dramatically.

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