Love in Shakespeares Sonnets

Love in Shakespeares Sonnets Introduction In his poem, Scorn not the Sonnet (Poetical Works, 1827), Wordsworth famously said that the sonnets were the key with which Shakespeare unlocked his heart and whilst this can certainly be seen to be the case, the sonnets do much more than that. Writing of various forms of love, and indeed of love itself, using the contemporary sonnet form, Shakespeare develops the aspects of love which the sonnets reflect into an all-encompassing discussion on the major themes of life itself that continue to inform and direct the human condition, a fact which is perhaps partly responsible for their continuing popularity with both public and critics alike. This dissertation sets out to discover, through close reading of carefully selected representative sonnets and critical context, the way Shakespeare accomplishes this. The sonnet form as Shakespeare, whose 154 sonnets were first published in 1609, and his contemporaries used it was introduced into England in the sixteenth century by Sir Thomas Wyatt who translated sonnets in the Petrarchan form from the original Italian: As we should expect in a period when he [Shakespeare] was beginning to write the sonnet, allusions to Petrarchism become increasingly common. (Whitaker, 1953, p. 88) The Shakespearian or Elizabethan sonnet form differs from the Italian, originally developed by Petrarch in the fourteenth century, principally in form. Both styles are usually comprised of fourteen lines but have a different rhyme sequence and structure. The Petrarchan sonnet consists of an octet (a sequence of eight lines in which the theme is opened) and the subsequent sestet (which reflects on the theme it has introduced), whilst the Shakespearian is structured in iambic pentameter in three quatrains and a couplet, the three quatrains rhyming in abab form and the final couplet rhyming cc. It is important to understand Shakespeares structure because it so often reflects the theme, with the three quatrains each addressing a different aspect of the sonnets focus and the couplet usually providing an epigram summing up the idea which the sonnet reflects. Indeed, Shakespeare does not only use the sonnet form in his poems but also within his plays, incorporating what a contemporary audience would recognise to be evidence of true and even holy love. The most famous example of this is in the first meeting between Romeo and Juliet, written in 1594, where their words are exchanged in sonnet form: Romeo: If I profane with my unworthiest hand This holy shrine, the gentle fine is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. Juliet: Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims hands do touch, And palm to palm is holy palmers kiss. Romeo: Have not saints lips, and holy palmers too? Juliet: Ay, pilgrim, lips that they must use in prayer. Romeo: O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. Juliet: Saints do not move, though grant for prayers sake. Romeo: Then move not while my prayers effect I take. (Shakespeare, William. 1954. Romeo and Juliet, Act I, Scene v, p. 30) This is an excellent example of the innovative way in which Shakespeare uses the sonnet form and it is therefore appropriate to look at it in detail in the introduction to this dissertation in order to show the aspects of love with which the discussion will be concerned: From the early poems to the young man of rank, urging him to marry and have a son, through the idealising attempts to negate the space of social difference in the mutuality of private love, to the bitter wit of the Will poems to the dark woman, the player-poet seeks to reduce the gap between addresser and addressee that is the very condition of the Petrarchan mode. It has not escaped commentators or audiences that in Romeo and Juliet Shakespeare represents a moment of reciprocity via the archetype of in commensurability: a sonnet, uniquely shared by Romeo and Juliet in Act 1. (Schalkwyk, 2002. p. 65) In the first quatrain, Shakespeare has Romeo, who was previously infatuated with Rosaline, a state we are given to understand that he has often found himself in before this, declare his feelings in holy imagery which Juliet, in the second quatrain, immediately picks up on and develops. Thus, though inversion of the traditional male role as director is not removed, Shakespeare gifts Juliet with an aspect of equality with Romeo, by making her his equal in wit, a gender specific imperative which is found in both his plays and sonnets alike. Moreover, in the third quatrain, the lovers share their feelings and the structure itself, with each taking separate lines of the sonnet. This mutuality reflects how the play will develop, with Juliet continuing to grow in strength, and also shows the importance of the connection between what appears to be love and what is true love, associated fundamentally with God, as evidenced by the religious imagery of pilgrims and saints and perhaps most impor tantly palmers, which signifies one who has made the pilgrimage to Rome. The contemporary audience would recognise this first dialogue between the lovers as emblematic of true love precisely because it is expressed in the sonnet form. Also, Shakespeare establishes the connective between true love and religion which, as will be seen in the dissertation discussion, is another feature of the sonnets as a whole and indeed the sonnet form. The way in which Romeo and Juliet share the sonnet is, as is noted above (Schalkwyk, 2002. p. 65), very different from the way that the older Petrarchan sonnet form implements the structure to address the theme or indeed object of love. Shakespeares concept of love as expressed in the sonnets is essentially based upon reality, human beings interacting or regarded as representative of love without the necessity to involve the idea of worship as is certainly the case with Petrarchs Laura. Although many of the sonnets are addressed to an unknown and somewhat generically enigmatic female, referred to as the Dark Lady by critics, the sense of the sonnets being concerned with human love in all its aspects is always primary, as Shakespeare writes in Sonnet CXXX: I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: (Shakespeare, William. 2003. Shakespeares Sonnets. ed. Katherine Duncan Jones. p.375) This is a thought that he completes by following the colon with a couplet summation that despite this, or perhaps because of it, his love is as rare as any belied with false compare. It is clear that love for Shakespeare is as concerned with humanity as much, if not more, than the conception of love and the distant, silent, object of that love as divine. Thus, the idea that Romantic love has little to do with love as it is actually experienced is another aspect of love with which the sonnets are concerned and which this dissertation will address. Indeed, one imperative which seeks to involve a less direct form of love is the notion of Platonic love, or love as an ideal, as expressed in Sonnet CXVI: Let me not to the marriage of true minds/Admit impediments (Shakespeare, William. 2003. Shakespeares Sonnets. ed. Katherine Duncan Jones. p.343). It is generally accepted that the first seventeen of the sonnets are addressed to a young man and in these Shakespeare turns more frequently to the idea that marriage should be the object of a mans life. However, he then turns, in sonnets XVIII-CXXVI, to homoerotic expressions of love to a man, identified, simply because of the dedication on the first (possibly unauthorised) publication, by Thomas Thorpe, as Mr. W.H.: The interpretation of the expression only begetter is doubtful. Did Thorpe mean that Mr. W. H. was the fair youth of the sonnets (though on this reading the dark lady also has a claim as a begetter, to some of the sonnets), or was he merely the gentleman who gave Thorpe the manuscriptMr. William Harvey perhaps, who in 1598 married the widowed mother of Lord Southampton? The manuscript can only have come from one in the innermost circle of those who knew Shakespeare and his noble friend. If Southampton was the friend, William Harvey may have been the only begetter. (Alexander Nisbet, 1935, p. 94) Like the Dark Lady, the young man is not identified within the sonnets and the location of his identity has similarly exercised scholars across the generations. However, although it is certainly true that spurious identification is of passing interest: The identity of the fair youth matters much more to those who believe that the poems grew from personal experience than to those who believe that they are poetic fictions, influenced more by sonneteering convention than by life. (Bate, 2008, pp. 41-2) Bates point is well-taken since the actual identity of the object of love is indeed much less important to an appreciation of the sonnets than their importance as representative of aspects of love: Somehow the poems convince each reader that what he or she sees in them is what is really there. But somehow they then sneak up behind you and convince you of something completely different. (Bate, 2008, p. 43) It might be argued, in fact, that precisely because of the lack of knowledge concerning the individual to whom the sonnets are addressed, readers have formed a generic connective with them across the generations which is cathartic in its anonymity: How do we lesser mortals know to perform our lesser miracles of life? Again we face the enigma of all creation, which Shakespeare himself has simply accepted and has nowhere attempted to explain. What was there when there was nothing? And how does something more forever come from something less? Whether the creation be instantaneous, in six days, or in aeons of ages the miracle is no less. And in it we live, and move, and have our being. And perhaps, alas!, have in us too little of the poet to see that there is any miracle at all. (Baldwin, 1950, p. 384) Thus, the individual biographical aspects of the sonnets, though of interest, can never be a primary informative and this may, indeed, be beneficial, as we shall hope to see. Chapter One: The Marriage of True Minds Little is known about Shakespeares life and this has given rise to much speculation about his biographical background: It is one of the ironies attendant on the growth of Shakespeares reputation that even the most diligent scholarship has been able to uncover very little of the background of the poets personal or public life. However, the poverty of detail has merely spurred his biographers to increased scholarly, inferential, and imaginative activity. (Marder, 1963, p. 156) What is certain, since it is documented through baptism of the children, is that he was married to Anne Hathaway, a fairly well connected Stratford girl, older than himself, when he was eighteen, and they had three children: a daughter, Susanna, and twins, Hamnet and Judith. Despite this, or maybe because of it, he spent the vast majority of his life away from home in London where most of his writing took place. There has been a great deal written about how happy or otherwise the couple might have been, especially since he left Anne nothing in his will except his second best bed. Many have read this as an insult but perhaps a more appropriate reading is that the best bed was for guests and the second best the marriage bed therefore to bequeath this to his wife, far from being an insult, was a love token. Carol Ann Duffy writes of this in her sonnet Anne Hathaway: The bed we loved in was a spinning world of forests, castles, torchlight, clifftops, seas where he would dive for pearls. (Duffy, The Worlds Wife, 2000, p. 30) This tender version of love would seem much more appropriate, especially since the first seventeen of the sonnets, known as the procreation sonnets, are largely concerned with the recommendation of marriage to a young man. If Shakespeare was so violently against marriage then it seems unlikely that he would have recommended it. However, as always with the sonnets, this is not as straightforward as it seems with the directive to marry being somewhat complicated by other imperatives with which Shakespeare is clearly concerned, not least his affection for the Fair Youth. The early sonnets in the sequence should be considered as they pertain to the question of marriage itself, therefore, rather than as they relate to Shakespeares life: Shakespeares Sonnets raise a number of problems. We do not know when they were written, to whom they are addressed, nor even if they are certainly autobiographical. (Knight, 1955, p. 3) With this in mind it is not only preferable but essential, therefore, to qualify any discussion on the possible relationship between the sonnet topics and Shakespeares life with the reminder that we know so little about the latter that any inferences must be regarded as tenuously speculative at best. Thus, the marriage question which relates to the first seventeen sonnets cannot be seen as directed in any major sense by the poets own life: The greatest sonnets, those which are neither wholly conventional nor wholly autobiographical, preserve this balance between embroilment and detachment in a way which is truly dramatic. A personal experience may underlie each, but it is experience transmuted, as in the plays, into the correlative form of characters in action. To some degree these characters are the dramatic counterparts of actual people-the youth, the dark woman-though they are not the people themselves. Others belong, as personages, only to the microcosm of poetry: Time, for example, one of the most powerful villains among Shakespeares dramatis personae; and above all, Shakespeares own diverse masks and moods, fully realised and understood. (Mahood, 1988, p. 90) The idea that the sonnets are in any way biographical must, indeed, be questioned but it must also be remarked that the way the words are used within the sonnets might be attributable to Shakespeares personal consciousness: The nature of the wordplay in the Sonnets varies according to whether Shakespeare is too remote or too near the experience behind the poem or whether he is at a satisfying dramatic distance from it. When he is detached, the wordplay is a consciously used, hard-worked rhetorical device. When his complexity of feeling upon the occasion of a sonnet is not fully realised by him, the wordplay often reveals an emotional undercurrent which was perhaps hidden from the poet himself. But in the best sonnets the wordplay is neither involuntary nor wilful; it is a skilfully handled means whereby Shakespeare makes explicit both his conflict of feelings and his resolution of the conflict. (Mahood, 1988, p. 90) Thus, when in Sonnet CXVI he writes of the marriage of true minds (Shakespeare, William, 2003, p.343) he is perhaps inviting us to infer a connective between what he writes and what he feels, an altogether different kind of marriage, metaphorical rather than literal and certainly more of the mind than of the heart. As the sequence begins, the poet addresses the youth familiarly but in an almost didactic tone, of the older to the younger, as here in Sonnet I: From fairest creatures we desire increase, That thereby beautys rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou contracted to thine own bright eyes, Feedst thy lights flame with self-substantial fuel, Making a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel: Thou that art now the worlds fresh ornament, And only herald to the gaudy spring, Within thine own bud buriest thy content, And, tender churl, makst waste in niggarding: Pity the world, or else this glutton be, To eat the worlds due, by the grave and thee. (Shakespeare, William, 2003, p.113) The importance of this sonnet in establishing the poets themes throughout the sequence must be stressed, as here we see Shakespeare writing of the transience of beauty, the selfishness of the individual, the battle between desire and fulfilment, the beauty of the natural world and its comparative with human beauty (to which he will return in the well-known Sonnet XVIII and elsewhere) and the basic responsibility of man to procreate or, as the sonnet has it, increase and thereby beautys rose might never die. All of these relate to the human condition and also perhaps to Shakespeares own concerns: In the case of a poet, I suggest it is chiefly through his images that he, to some extent unconsciously, gives himself away. He may be, and in Shakespeares case is, almost entirely objective in his dramatic characters and their views and opinions, yet, like the man who under stress of emotion will show no sign of it in eye or face, but will reveal it in some muscular tension, the poet unwittingly lays bare his own innermost likes and dislikes, observations and interests, associations of thought, attitudes of mind and beliefs, in and through the images, the verbal pictures he draws to illuminate something quite different in the speech and thought of his characters. (Spurgeon, 1935, p. 4) Thus, the fact that the boy is referred to in relation to fairest creatures facilitates the poets directive that this places upon the individual a responsibility: beauty is not given to die but to be carried on by the tender heir. The register is imperative and commanding, with the poet adopting the voice of one who has the authority to instruct by reason of superior age and wisdom, hence perhaps the juxtaposition of riper and decrease in the preceding line to reference to the tender heir and memory. The youth is instructed that he is, in common parlance, his own worst enemy, Thy self thy foe, since he does not see the waste of his beauty which lies in his refusal to share his gifts with posterity via procreation. This accusatory tone is extended to the self-abuse of masturbation in Within thine own bud buriest thy content, which also bears the pun of pleasure and substance, and the youth referred to as a glutton and tender churl, the latter implying an indulgence in the chiding of t he boy. This is, of course, the supreme image of the waste with which the poet is concerned since to make a famine where abundance lies is almost seen as a blasphemy, refusing, selfishly, to procreate and eat the worlds due by the selfish pursuit of personal indulgence: contracted to thine own bright eyes, as with Narcissus, in love with his own reflection and failing to see the self-destruction that is inherent in this. In addition, by referring to the boy in terms of a rose, the poet introduces the classic Romantic emblem of love as well as re-emphasising the transience of the poets beauty. This idea of beauty and its connective with nature is again related in terms of a comparative with natures beauty and inveterate perishability in Sonnet XVIII: Shall I compare thee to a summers day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summers lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed, And every fair from fair sometime declines, By chance, or natures changing course untrimmed: But thy eternal summer shall not fade, Nor lose possession of that fair thou owst, Nor shall death brag thou wanderst in his shade, When in eternal lines to time thou growst, So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. (Shakespeare, William, 2003, p.147) The comparison of the transience of natures beauty with that of the youth to whom the poem is addressed is clear, yet the rhetoric of the opening seems to imply an equivocal nature to the connective of the extended metaphor that follows. The tentativeness of the image is also emphasised by this questioning in the first line and it enhances both the intimacy of the register of address and the relationship of the poet with the wider readership. This latter is important because it is so much a concern in the poem, with the idea of immortality attached here to writing as it was previously attached to procreation. The common denominator here is the idea of creation itself and its connective with the eternal. This is perhaps one of Shakespeares more famous sonnets, if not the most famous, therefore it is fitting that in a dissertation concerned with the aspects of love which the sonnets present, attention should be paid to the aspect of the writing which pertains to the process of creation and its connective with the reader. It is interesting to note, indeed, that the poet chooses to stress the importance of the eternal lines which he is composing and how this overcomes the basic transience of life and beauty whether in nature or humanity. Indeed, the punctuation of this sonnet is indicative of its imperative since there is frequent usage of the colon throughout, implying a thought begun and completed in each quatrain, functioning almost as enjambment and enhancing the idea that the many aspects of beauty and life which this sonnet covers are embodied within one thought as evidenced in the single extended metaphor which informs the sonnet as a whole. The poets almost godlike assimilation of the power to grant immortality appears dangerously hubristic in abstract and indeed encourages the inference that Shakespeare was aware of the strength of his poetic gifts and their ability to confer a kind of immorality on the object of love, who by the end of the sonnet has become subject to the sonneteer rather than in command. As the poet is also using his gifts to describe the loved one via nature, the features of the numinous within nature become connected with this hubristic stance. Thus, natures changing course and Chance, which significantly begins a line, are to some extent negated, or at least qualified, by the poets art. Features of life which terrify, therefore, such as death cannot brag in the face of the eternal nature of Art: Shakespeare prophetically felt the immortality and universality of his plays even though he seems to have made no great effort toward their preservation in print. (Marder, 1963, p. 361) This might, this sonnet would seem to suggest, also be extended to the sonnets. Indeed, in daring to criticise the glories of nature, Shakespeare appears to place creative Art above it, since it, unlike all that is natural, survives, only, though, as long as it is appreciated, as the final couplet significantly testifies: So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. In this way, Shakespeare demonstrates an awareness of the fundamental importance of the connection between writer and reader, reinforced perhaps by his experience as an actor and writer of drama. Hence, the voice of the actor may be perceived in the words of the sonneteer and universality as well as the eternal perceived in both: On this planet the reputation of Shakespeare is secure. When life is discovered elsewhere in the universe and some interplanetary traveler brings to this new world the fruits of our terrestrial culture, who can imagine anything but that among the first books carried to the curious strangers will be a Bible and the works of William Shakespeare. (Marder, 1963, p. 362) Thus, Shakespeare may be seen, via the sonnets and plays, to transcend what is perceived as immediate in aspects of love and engage with the eternal. Chapter Two: I do believe her though I know she lies The potent sexual content of the sonnets becomes a major directive following the romantic turning point of Sonnet XVIII. The sequence moves powerfully from restrained yet poetic discussion of aspects of love to explicit sexual references which are concerned more with lust than love and often deceit is linked to this and this duplicity is most often associated with the heterosexual sonnets. Importantly, the passion is not directed solely towards heterosexual love, instead it involves an equal, if not stronger, reflection of homoerotic desire, with the Fair Youth and the Dark Lady equally powerful in the poets passion, indeed, often the two overlap producing an androgynous aspect to the passion which also appears in the plays: The first thing that startles the reader about the sonnets is the emotional virtuosity of the protagonist. The poems appear to have been composed over a longer period of years, and to cover a greater range of passionate experience, than any one of the plays. In recognizing the variety of moods and attitudes Shakespeare accumulates in the sonnets, we may choose either to admire his protean nature as an actual passionate friend and lover, or to stress his dexterity in accumulating such an extraordinary range of amatory motifs from literary sources. Either his own nature was unusually flexible and susceptible, or he deliberately chose to display the full scope of literary permutations of which emotional relationships are capable. Probably both views are true: he dexterously coordinated first-hand experience with the accumulated resources of the sonnet tradition, from the solemn and sentimental to the cynical and outrageous. (Richmond, 1971, p. 19) This is particularly noticeable in Sonnet XX where the poet longs for the youth to be a woman and the homoerotic replaces the marital directive which appeared in the didactic tone of the first sonnets in the sequence: A womans face with natures own hand painted, Hast thou, the master mistress of my passion; A womans gentle heart, but not acquainted With shifting change, as is false womens fashion: An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth; A man in hue all hues in his controlling, Which steals mens eyes and womens souls amazeth. And for a woman wert thou first created; Till Nature, as she wrought thee, fell a-doting, And by addition me of thee defeated, By adding one thing to my purpose nothing. But since she prickd thee out for womens pleasure, Mine be thy love and thy loves use their treasure.(Shakespeare, William, 2003, p.151) Shakespeare confronts directly here the clear belief that women are duplicitous and deceitful and that the master mistress of his passion, though gifted with a womans gentle heart is not acquainted/With shifting change, as is false womens fashion. The eye, the traditional window of the soul, is more bright but less false. Thus, the poet suggests that the beautiful youth has all a womans best gifts but none of her faults, a state of perfection to be idealised in desire. Shakespeare develops this by writing directly of the sexual difference where the punning prickd is clearly a reference to the redundancy of the penis for the poet. Nature here is the enemy, even the jealous sexual predator, having me of thee defeated thus frustrating the desires of the poet by changing what he perceives to be the original intention, to create a woman, in the addition of the male organ of procreation. The amorphous image appears to be the ideal with neither male nor female specifics to obscure or defeat the perfection of the union. Whether this desire is linked to Shakespeares own desire is equivocal as are all inferences of autobiographical content, it is tempting but dangerous to make too may autobiographical assumptions. However: In depicting this blend of adulation and contempt, and in all those sonnets where verbal ambiguity is thus used as a deliberate dramatic device, Shakespeare shows that superb insight into states of strangely mixed feelings which enabled him to bring to life a Coriolanus or an Enobarbus. Like Freud, he found the causes of quibbling by studying his own quibbles; and the detachment which such an analysis implies imparts to the best of the Sonnets that objectivity we look for in the finest dramatic poetry. (Mahood, 1988, p. 110) Certainly, there is a Freudian homoerotic subliminal here but there is no evidence to suggest that this was an actual experience of the poet any more than we can say that he wrote Hamlet therefore he must have experienced being the Prince of Denmark. To do either is to ignore Shakespeares imaginative genius and his ability to transmute the fancy into the creative, with both forming then a reality which has little if any connection with fact. So, although Shakespeare may have had sexual liaisons with both sexes and been crossed in love, the genius is in producing what can be seen to be unrelated to what might possibly have occurred in fact into an emblem of a generic tendency in humanity to which most of us can relate: If Shakespeares speaker fictionalized the young man, so too he fictionalizes himself (Berry, 2001, p.1). Having said that, Sonnet XX has been seen as offering significant clues not only to the nature of Shakespeares own sexuality but also to the identity of the Fair Youth himself and certainly to the reality of the human image even in its placing, as Kathryn Duncan Jones has pointed out in her notes to her 2003 edition of the Sonnets (the edition used throughout this dissertation): The placement of this anatomical sonnet at 20 may allude to a traditional association of this figure with the human body, equipped with twenty digits (Duncan Jones, 2003, p. 150). The direct connection which Duncan Jones makes between anatomy and imagination in this sonnet is interesting in that it breaches the gap between what might be seen to be metaphorical and what is actually a human figurative. Indeed, she goes on in her Introduction to expand on this: Many more numerological finesses may be discerned. For instance, the embarrassingly anatomical sonnet 20 [which] probably draws on primitive associations of the figure with the human body, whose digits, fingers and toes, add up to twenty (Duncan Jones, 2003, p. 101). As to the identity of the youth to which clues are supposedly to be found in this sonnet, they largely attach to the usage of the word, or name it is suggested, of hue and hues (spelt Hew and Hews in the Quarto). This, it has been mooted, might relate to a specific individual, especially as critics have noted that the name appears in one form or another, even if only in disparate letters, throughout the sonnet. As with much of the investigation into a connective between Shakespeares life and his Art, the link is at best speculative and at worst spurious and in either case somewhat superfluous: The sonnets have an extraordinary capacity to elicit categorical statements from their interpreters. It is announced that the youth is Southampton, the youth is Pembroke, the youth is nobody, the dark lady is Mary Fitton, she is Aemilia Lanyer, she is nobody, the sonnets are based on experience, they are not based on experience, the love was not homosexual, the love was homosexual, the love was a dramatic fiction which ha

Goldeneye and computer

American cinema has changed as American culture has changed. This can be observed by focusing on genre movies produced during different time periods. A fantastic example is to analyze different James Bond movies. The James Bond franchise began with Sean Connery starring in the movie Dr. No in 1962 and is currently still very popular with Daniel Craig starring as James Bond, most recently in Casino Royale. There are some things that never change with James Bond, he always drives stylish cars, uses gadgets and gets the girl or girls.But stylistically the movies have changed as American culture has changed. An excellent example of this is by comparing From Russia with Love (1963) and Golden Eye (1995). Both plot lines deal with Russia and Soviet agents and involve travel to exotic locations. Many plot points are actually almost identical, Sean Connery seduces a Soviet defector and Pierce Brosnan has relations with a Soviet government worker. Both movies deal with finding or stopping an important device, the Lektor and the Golden Eye. Both films also contain unknown evil organizations, S.P. E. C. T. R. E. and Janus. (Broccoli, A. , 1963, Broccoli, B. , 1995) One of the largest differences is the roll of women. The females in Goldeneye are very active in the story line not only as love interests. Xenia Onatopp is the main assassin and second in command to Alec Trevelyan. Nataylia is a Russian computer programmer working with Goldeneye who first appears to be passive as she is the only innocent survivor from the massacre at her work. From Russia with love also has females but their actions are not on par with the men.Tatiana is a Soviet spy that eventually defects because she has fallen in love with Bond, but she doesn’t actually save Bond, her image is much more of the perception of woman from the mid 1900s. The woman was just beginning to become independent and self-reliant. During Goldeneye and the future modern Bond films woman can take care of themselves and they even save Bond! During the Bond era of For Russia with Love women were still very much eye-candy and caused trouble, they haven’t gotten to the point of saving Bond. (Broccoli, A. , 1963, Broccoli, B. , 1995)Do to the advancement of cinematography the stunts are bigger and louder and the gadgets are even more complex and cool. In For Russia with Love James Bond is looking for Lektor a cipher machine used by the Soviet’s. In Goldeneye Bond is trying to find the Goldeneye, a satellite system with killer capabilities. Pierce Brosnan manages to take out Russian buildings with a tank and a Russian armored train. This really is an example of how technology has developed and been incorporated into films.Computers play a large part of Goldeneye and computer usage had not become popular yet during the 1960s and is not featured in From Russia with Love. At the time of From Russia with Love a cipher machine would be very important, where as during Goldeneye space technol ogy has advanced and weapons threat has become very advanced. Bond and Tatiana do travel by train but it is a passenger train, no secret armored vehicle. The clothes, cars and music of the times are incorporated into the films.Despite the fact that Golden is supposed to take place in the mid 1980s the clothes, except for the uniforms are very modern from ten years or so in the future. During From Russia with Love the clothes are very mush from the 1960s and traditional of what one thinks of when they picture Russia. Large thick coats with fur collars, very Dr. Zhivago. (Broccoli, A. , 1963, Broccoli, B. , 1995) Even the quality of the picture and influence of new cameras has an effect on the style of film. Both films are good quality but the more modern films are sharper, you can almost see the influence and advances made using digital images.It is a fascinating time to watch the James Bond films in succession as you see how American culture influences almost all parts of the film e ven down to the costumes. The basic plot lines contain some very similar scenarios but the role of women, influence of technology and advancement of weapons make it possible to place the time period in which each movie was produced. References; Broccoli, A. , (producer), Young, T. , (director), From Russia with Love, USA, MGM, 1963 Broccoli, B. , (producer), Campbell, M. , (director), Goldeneye, USA, MGM, 1995

Us and Them Essay

The story of â€Å"Us and Them† consists of three types of irony: situational, dramatic, and verbal. These types make the story more interesting as a reader. Irony can be used in the sense of tricking the reader into one thing happening, but a completely other event takes place. This keeps the reader intrigued and is excited to see what happens next due to the fact that nothing is predictable.In the story, the child uses a variety of irony, an example of dramatic irony is when Sedaris is spying on the Tomkeys and they are not aware of this. This is an example of dramatic irony because the author of the story knows something that the characters don't. This can entertain the readers by going into the Tomkeys lives without them knowing it.The second type of irony is situational, an example in the story is when the Tomkeys show up at the Sedaris's house a day after Halloween, the author's mom makes him and his sisters go get their candy wanting not to be rude, the author starts ra ting the candy, rating from best to least. After a couple minutes of stalling, his mother barges into his room and starts gathering the candy herself, he starts to stuff his face with the chocolate where he has mentioned before that he gets bad headaches from this candy.This is a type of situational irony because you would not have expected Sedaris to eat the candy that would make him have a terrible headache just so that the Tomkeys couldn't have it. The third type of irony is verbal, an example in the story is when the author's mother tells him to look at himself, the reader would probably expect something else as in a mirror, but the author actually takes a moment to reflect on his behavior and look at how he has acted toward the Tomkeys all because they don't watch TV.This is a good example of verbal irony because this keeps the reader entertained by seeing a new side of the author thats not completely indulged in the Tomkeys's lives. All of these different types of irony can ma ke almost any story interesting and hard to put down, the reader may find it intriguing to expect one thing and completely have another event take place. In this story you will get three different types of irony all at different points in the story, so never will the story be a boring read.

With The Advancement Of Technology It Has Changed The Entire

With the advancement of technology it has changed the entire world and with it the criminal justice system. With Technology becoming a part of peoples everyday lives it is to be expected that technology would cross over into the world of crime. New computer crime has escalated in the past 10 years. As with the advancement of crime it has also made advancements in crime fighting aspect of criminal justice, these advances help criminal justice professionals in the community while on duty and during the investigatory stage. The advent of technology in the criminal justice system has not only changed crime and law enforcement but also changed the way criminal investigation is done and the way the legal system interacts with the criminal†¦show more content†¦One of the biggest computer crimes is Distributed Denial of Service attacks (DDoS) defined as â€Å"techniques or actions involving the use of one or more damaged computers to damage another computer or a targeted computer s ystem in order to shut the computer or computer system down and deny the service of the damaged computer or computer systems to legitimate users† by the Arkansas code. These DDoS attacks are one-way attack someone by affecting their computer network. DDoS attacks send a message to the people running the network that they can be affected, many people use DDoS attacks to make a political statement. One recent DDoS attack against the Luxembourg government was made in late February of this year â€Å"According to reports from the Luxemburger Wort, the attack started at 9.30 am, forcing the web servers of many state authorities offline or difficult to reach. Just over an hour later, the state-owned IT operator Centre des Techniques de l information de l Etat (CTIE) sent a message via Twitter, to confirm that the network was the victim of a DDoS attack† (Millman, 2017) there cannot be a sure reason for the attack but these types of attacks are used in a political context to protest the actions of that nation. Computer crime can be more than just for money it can be a political statement, a warning, or threat of worse to come. It is clear that computer crime is not slowing down or going to slow down â€Å"In theShow MoreRelatedIs Technology Beneficial Or Dangerous?1541 Words   |  7 Pagesinformation technology is that it empowers people to do what they want to do. It lets people be creative. It lets people be productive. It lets people learn things they didn t think they could learn before, and so in a sense it is all about potential† (Ballmer, Steve. Steve Ballmer: AACIS Unlimited Potential Grant Announcement). Technology revolutionizes the way in which procedures are completed. As the technological movement continues to spread, many ask the question: is the expansion of technology beneficialRead MoreThe Bombing Of Oklahoma City1623 Words   |  7 Pagesindustry also experienced drastic changes between this time frame and analyzing these cha nges is pivotal in understanding the history of America and may assist in predicting the changes to be expected within the next one decade. Evolution and advancement in technology are also a crucial part of the discussion of American history and the emergence of the digital era. It is, therefore, worth appreciating and acknowledging the past since it forms part of our identity. Timothy McVeigh was the main accuserRead MoreThe History of Digital Technology860 Words   |  3 PagesDigital Technology What really sparked the growing intelligence of mankind was the ability to record history. The ancient Sumerians, Egyptians, and Babylonians are now known as the first civilizations precisely because theirs are the first to have left a record of their own existence. The advancement of technology through the ages, and with it alphabets and languages, brought about entire eras of change. For instance, ancient Rome was a place where religion was developed from the stories of theRead MoreTechnological Change And Their Effects On Global Market Research1480 Words   |  6 Pagespast years, the technological advancement has changed the entire world and way of work environment. Businesses in today s extremely competitive market must not take too lightly the importance of high-tech working environment, capable, well-trained employees with verified skills and capabilities. Most people may be dimly aware of technological revolution, but fundamental changes are being shaped by extraordinarily n etworked world, and they are being transforming to entire businesses as well in the worldRead MoreModern Technology1463 Words   |  6 Pages The debate of modern technology is one that reaches out to almost everyone in the modern era living in the United States, since it is a first world country, everybody living in the country at one point has interacted with a piece of modern technology. The evolution of technology in the last two decades has been exponentially fast, changing evolution of almost an entire generation in the way that they view things and interact with the world around them. Things such as virtual reality haveRead MoreImpact Of Social Media On Society1443 Words   |  6 PagesTechnology has always played a role in society. From politics, economics, and culture, it has shaped how the world into what we see today. Major advancements in military technology, healthcare, communication and production have led the way to unprecedented growth not only in the United States, but in emerging countries as well. However, with advancements, comes drawbacks; and some are massive. From social media, medicine, to communications, even to the atomic bomb; the advantages are noticeable,Read MoreTechnology: The Development of Civilization1040 Words   |  4 Pageslong as there have been people in this world, technology and science have existed. Technology is a powerful force which helped in the development of civilization and is a part of our system of culture that reflects its values. Technology has become very complex over the years and today it is known to be a social enterprise that includes all aspects such as research, design, finance, manufacturing, labor etc. In todays world, the real meaning of technology is not understood and known by all. TechnologicalRead MoreHow has Technology Changed the field of Radiology? Essay1414 Words   |  6 Pagesdiscoveries in radiology today? Since the start of X-rays in 1895 significant advancements have revolutionized the field of radiology. One illustrates how different scanners have improved, in addition how picture archiving communication system can assist doctors, and finally the outlook on the future of radiology. To begin with, how has technology changed the field of radiology? Since the discovery of X-radiation there has been a need and desire for studying the human body and the diseases withoutRead MoreThe Influence Of The Industrial Revolution953 Words   |  4 PagesThe Industrial Revolution was an extreme advancement in technology, business, machinery and more. It showed the revolutionary practices and abilities of big business. The revolution shows us what can happen if you let greed struck corporate owners have influence and control over a country, because power and materialism corrupted their minds they began to create some of the greatest economic empires in the world. This lead to them underpaying their workers from the desires to become theRead MoreThe Effects Of Health Care On Healthcare1497 Words   |  6 Pages Health care has changed significantly from it has used to be in the past and is still continuing to change and progress rapidly. The entire system has done a complete evolution from what it used to be and now the amazing technology, advances in medicine and health care economics are contributing factors to its rapid progression. We also need to remember that health care has become a booming business and patients have shifted into consumers changing the health care delivery models in a variety of