Tuesday, September 1, 2020

Biography of John Dickinson

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John Dickinson


John Dickinson was born on November 1, 17 in Maryland to Samuel and Mary Dickinson. At the age of eight, he moved to Delaware where he was privately educated. In 1750 he moved to Philadelphia in order to study law. After passing the Bar exam, he became a prominent lawyer in Philadelphia in 1757.


In 175 until 1760 Dickinson served at the Assembly of the Lower Three counties, representing Delaware. He gained a seat in the Pennsylvania Legislature as a Philadelphia delegate in 176. He attended The Stamp Act Congress of 1765 and was the author of the resolutions agreed to in the congress (Bradford 100).


Dickinson wrote The Late Regulations Respecting the British Colonies on the Continent of America Considered, which told people to repeal The Stamp Act. He wrote newspaper articles in the Pennsylvania Chronicle, which collectively became known, as his famous Letters from a Farmer in Pennsylvania. These letters informed the people of Britain's taxation policy and their unjust laws. They urged resistance, but emphasized the possibility of a peaceful resolution. These Letters were so popular that he received an honorary LL.D. from the College of New Jersey and public thanks from a meeting in Boston (Pickett). In 1770 Dickinson married Mary Norris and bore two daughters. In 1771, Dickinson returned to the Pennsylvania legislature and drafted a petition to the king, which was unanimously approved. He chaired the Philadelphia Committee of Correspondence and attended the First Continental Congress. In Continental Congress he was named one of the "cool devils" that tried to stall independence as much as possible (Bowen 58).


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Dickinson was the author of the Declaration and Resolves of the Continental Congress, and the "Song of the Farmer"- the Revolution anthem. In 1775 he served in the Second Continental Congress as a representative from Pennsylvania and wrote the Declaration of the Causes of Taking up Arms (Bradford 100). In July 1776, Dickinson voted against The Declaration of Independence. He believed that his countrymen were not yet ready for a complete separation from England and there could still be a possibility of a compromise. Thus, he did not sign the document.


Dickinson joined the military and was given the rank of Brigadier General, which was a big honor. When he was not reelected this rank, he resigned from the military and went to his home, "Popular Hall". In 177 he was sent to the Continental Congress as a delegate from Delaware. He wrote and signed the Articles of Confederation. Shortly afterwards, he returned to his home because of tragic problems with "Popular Hall." On November 6, 1781, Dickinson was elected President of Delaware (Pickett). One year later, he moved to Philadelphia and became president from 178 until 1785. The following year, Dickinson attended the Annapolis Convention representing Delaware (odur.let.rug). In 1787, he was sent by Delaware to the Constitutional Convention where he was one of the strongest advocates for a national government.


Since Dickinson was coming from a small state, he was in favor of equal representation. He did not want the bigger states to overpower the smaller states. After all, "we are a nation! We are a nation although consisting of parts or states" (Bowen 41). He declared that the


government be like that of the solar system. Let the general government be like the sun and the states like the planets, repelled yet attracted, and the whole moving regularly and harmoniously in their several orbits. [Or] Thirteen small streams, pursuing one course (Bowen 7).


Dickinson believed that the senate should be chosen by the state legislatures and not from the common people. This would "more intimately connect the state governments with the national legislature." The senate should have the most distinguished characteristics and have a strong likeness to the British House of Lords. It is more likely that the state legislatures will choose this type of person rather than the common people. The senate should be numerous in order to balance the popular branch (Van Doren 67).


Dickinson did not think that The Constitution should authorize the importation of slaves to the states. The men at the Convention could not abolish the importation all together, but they delayed the prohibition until 1808 (Bowen 04).


If he could, Dickinson would have made the government a limited monarchy. He thought it was the best type of government, but it was out of the question in America. He believed that the Legislative, Executive and Judiciary departments should be made as independent as possible. Each state should retain an equal voice in at least one branch of the national legislature (Van Doren 5).


Although Dickinson did not agree on all the forceful opinions of Madison and the other nationalists, he helped make the Great Compromise and wrote public letters supporting constitutional ratification.


Unfortunately, Dickinson had to leave early from the Convention because of illness. He appointed his colleague, George Read to sign his name in the Constitution. He wrote a series of essays titled The Letters of Fabius while the chairman of Delaware's constitutional convention in 171. The purpose of these letters was to produce a favorable feeling in the United States toward France, whose revolution he believed to be at an end. In 17, he was elected to the Delaware State Senate and served for two years. He decided not to serve any longer due to health reasons (Pickett).


Dickinson is referred to in history as the "Penman of the Revolution." He died at the age of seventy-five on February 14, 1808 at his home in Wilmington. He was a man of great moral courage, and stood for his beliefs. Many people have said that in the Constitutional Convention he did not live up to his infamous reputation.


BIBLIOGRAPHY


1.Bowen, Catherine Drinker. Miracle at Philadelphia. Boston Boston, Little, Brown, 166.


.Bradford, Melvin E. Founding Fathers. Kansas University Press of Kansas, 181.


.Bouman, Marianne. A Biography of John Dickinson (17-1808). 17. http//odur.let.rug.nl/~usa/B/jdickenson/johnd1.htm


4.Pickett, Russ. Delaware's Fifth Governor & Colonial Leader John Dickinson. http//www.state.de.us/facts/history/dicknbio.htm


5.Van Doren, Carl. The Great Rehearsal. Connecticut Greenwood Press Publishers, 148.


6.Vinci, John. John Dickinson. http//www.colonialhall.com/dickinson/dicksinson.asp.


7.A Biography of John Dickinson 17-1808.17. Department of Humanities Computing. http//odur.let.rug.nl/~usa/B/jdickenson/dickenso.htm.


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Friday, August 28, 2020

Crucible news

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A 40-year-old woman, later identified as Mrs. Ann Putnam, was rushed to the hospital today after neighbours found her unconscious in front of her house. Medical specialists later declared that she had suffered from mild suffocation. Upon regaining consciousness, Mrs Putman declared that before fainting she was desperately searching for the reason behind the deaths of her unborn babies.


This event forces many to believe that in the possibility that supernatural powers were used to kill the Putnam children as well as preventing their mother from finding their killer and avenging their deaths.


Reverend John Hale has been working with city police in a cooperative effort to find the source of this unholy act. So far they have arrested may women who are believed to be working with the devil, but none in connection with this case.


Sources tell us however that Mrs Rebecca Nurse is being investigated as a potential suspect, her motivation being her jealousy towards the Putnam family.


The first suspicions against Goody Nurse arose at an informal gathering at Reverend Parris' house, caused by his daughter's illness, at which time Goody Nurse was quick to refute all suspicions of witchcraft associated with Betty's illness.


In a press release Mrs Ann Putnam stated "The speed at which she brushed aside any possibility of witchcraft associated with my children's deaths was a sure sign of her quilt".


Furthermore, insiders inform us that Goody Nurse's affiliation with Mrs Putnam, as her midwife, is the crucial piece of evidence that could send her to death row.


However, others say that these tragic deaths are in no way a result of witchcraft, but are instead simply the will of God; something that must not be questioned or investigated.


Police say that potential protests in favour of Goody Nurse are to be expected due to her high standing in the town.


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Thursday, August 27, 2020

Jack Roosevelt Robinson

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Jack Roosevelt Robinson, the grandson of a slave, was born on January 1, 11 in Cairo, Georgia. He was the youngest of five children. His father deserted the family when Jackie was only six months old. His mother moved the family to California to look for work. (Jackie Robinson,


001)


Jackie displayed extraordinary athletic skills in high school. He excelled at football, basketball, baseball and track. He helped Pasadena Junior College win the Junior College Football Championship and in 1 became a top running back at the University of California at Los Angeles. He left college before graduating and in 14 was drafted into the U.S. Army. He was discharged as a lieutenant in 145 and that same year joined


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the Kansas City Monarchs of the Negro Baseball League. (About Jackie, 00)


On October , 145, Robinson signed a contract with Brooklyn Dodger president, Branch Rickey. Many owners and sportswriters were against this integration, claiming that it would destroy major league baseball. Spring training in Florida was rough for Robinson due to segregation


laws. He was forced to ride in the back of buses, and some games in which he was scheduled to play were canceled due to his presence. He was subjected to threats, racial insults and hate mail. Fans would yell obscenities


at him from the stands. Pitchers often threw balls directly at him and base runners would spike him with their cleats.


Despite the adversity he faced, Robinson led the league in stolen bases and was named Rookie of the Year. In 147 he was name the National League's Most Valuable Player. He went on to play Major League Baseball until his retirement in 157 and in 16 he was inducted into the Baseball


Hall of Fame. (Tygiel, 18)


Jackie Robinson made significant strides in bringing racial equality to not only the sports arena, but to other areas as well. By breaking the color barrier in baseball, he courageously challenged racial segregation in both the


North and the South. Jackie Robinson is honored as the man who stood against racial inequality. His life has had a profound influence on the American culture.


African Americans are the largest U.S. ethnic minority group. The African American population has been growing at a faster rate than the total population. They have experienced a long history of struggle yet with the educational changes that have been made their future is brighter and more optimistic. They are receiving more opportunities in employment, education and housing which will allow for an improved standard of living.


And educators are better trained in diagnostic approaches and individualized education, which will better equip African Americans to succeed in every area of life. (Manning and Baruth, 000)


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Tuesday, August 25, 2020

Oh Yeah!

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Searched the web for colonial similarities and differences. Results 11 - 0 of about 51,600. Search took 0.14 seconds.


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Monday, August 24, 2020

Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!

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Although every culture has its own distinct folklore and mythology, there are certain image patterns that seem to be universal. These image patterns, or archetypes, are closely related to both oral and written storytelling, and strike †'some very deep chord' in human nature (Guerin 158), eliciting a common response, whether conscious or subconscious, from the reader or listener. Archetypes appear time and time again in literature; their presence can determine whether or not a piece of writing is considered a classic. Charlotte Perkins Gilman's short story, †The Yellow Wallpaper, is a voyeuristic examination of the psyche of a woman suffering from †temporary nervous depression â€" a slight hysterical tendency (Gilman 1), who is driven to full-fledged hysteria after being trapped in a yellow-wallpaper-ed prison. Jungian Archetypal theory is an offshoot of psychological analysis, as Jung was one of Freud's students, and therefore the two theories are often closely linked in literary criticism. Archetypal analysis is appropriate for this psychological story because it includes aspects of Freud's theory while giving it a broader scope. †The Yellow Wallpaper contains several reversed or negative archetypes that appear as the narrator furthers her inverted ‘quest' to free her shadow, or her descent into insanity.


As archetypal analysis deals quite often with the conscious and subconscious mind, the two parts of the †Self (Jung ) figure greatly in this critical theory. In †The Yellow Wallpaper, the narrator is trapped in a prison-like room, and sees images in the wallpaper that come to look like a woman trapped behind bars. This †creeping woman is, in Jungian terms, the narrator's shadow,


or a dissociation of her Self. Shadows and dissociations often contain the darker, more aggressive or sexually liberated aspects of the person's psyche (Jung 7) in this instance a sort of freedom of thought as well as escapism. The trapped woman can get out in the daytime, creeping around the garden or †away off in the open country, creeping as fast as a cloud shadow in a high wind (Gilman, 1). The narrator, on the other hand, can only creep behind the locked doors of her prison, when she is completely alone.


The shadow could also be the woman's animus- †the male personification of the unconscious within a woman (Jung 18). Even though she is female, the shadow is more aggressive than the passive, nervous narrator, embodying what are traditionally considered more ‘masculine' traits. And while the animus does not quite represent the Jungian †demon of death (Jung 1), in this story, it does, in a way, herald the death of the narrator's sanity. Just as the woman behind the paper serves as a manifestation of the struggle between the two forces of the narrator's Self, her contradictory monologues and the swings in her mental state as shown through her journal entries are a written expression of her internal conflict that eventually leads to her losing her mind.


Help with essay on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!


These two forces of the narrator's Self come together in a very symbolic scene, where the two women meet at the bars and work together to get †the poor thing out (Gilman 1). From then on the narrator says †I and not †she, having completely identified with her woman behind the wallpaper, and declined into complete madness. With this, Gilman suggests that a person can release the


dark recesses of his or her psyche and combine the different aspects of the self, but not retain stability, as an imbalance is created.


One of the most important and commonly seen Jungian Archetypes is the Hero archetype of transformation or redemption, who comes in three stages Quest, Initiation and Sacrifice (Guerin 167). The narrator in Gilman's story falls into the latter Hero archetype (transformation), going through her own personal quest, initiation and sacrifice, although not as a scapegoat or atonement. Her


quest is inverted, more of a descent, really, as she spends the summer in the room with the hideous yellow wallpaper and becomes increasingly ill despite her physician husband John's protestations of †Really dear you are better (Gilman ). At first the narrator finds the paper †repellent, almost revolting; a smouldering unclean yellow (Gilman ), but gradually feels that she is the only one who can understand it and not be affected by it. Her quest changes as she sees the image of a trapped woman in the paper, and she devotes her attentions to getting this woman out, eventually realizing that she herself is trapped. Her impossible initiation tasks are not epic or mythological in the conventional literary sense, but her internal struggle is no small feat. The sacrifice at the end is of her mind. She has been driven to this hysterical state by the repressive nature of her husband's care and the sheer pressure and intensity of her physical and psychological prison. Unlike the typical Jungian Heroic sacrifice, however, nothing is achieved at the end of the story; the land is not restored to fruitfulness by her sacrifice.


Gilman, Charlotte Perkins. †The Yellow Wallpaper and Other Stories.


Mineola, New York Dover Trift Editions, 17.


Guerin, Wilfred L., et al. A Handbook of Critical Approaches to Literature.


New York Oxford University Press, 1.


Jung, Carl G. Man and His Symbols. New York Dell Publishing Co. Inc., 164.


Please note that this sample paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!, we are here to assist you. Your cheap custom college paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! will be written from scratch, so you do not have to worry about its originality.


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Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!

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Although every culture has its own distinct folklore and mythology, there are certain image patterns that seem to be universal. These image patterns, or archetypes, are closely related to both oral and written storytelling, and strike †'some very deep chord' in human nature (Guerin 158), eliciting a common response, whether conscious or subconscious, from the reader or listener. Archetypes appear time and time again in literature; their presence can determine whether or not a piece of writing is considered a classic. Charlotte Perkins Gilman's short story, †The Yellow Wallpaper, is a voyeuristic examination of the psyche of a woman suffering from †temporary nervous depression â€" a slight hysterical tendency (Gilman 1), who is driven to full-fledged hysteria after being trapped in a yellow-wallpaper-ed prison. Jungian Archetypal theory is an offshoot of psychological analysis, as Jung was one of Freud's students, and therefore the two theories are often closely linked in literary criticism. Archetypal analysis is appropriate for this psychological story because it includes aspects of Freud's theory while giving it a broader scope. †The Yellow Wallpaper contains several reversed or negative archetypes that appear as the narrator furthers her inverted ‘quest' to free her shadow, or her descent into insanity.


As archetypal analysis deals quite often with the conscious and subconscious mind, the two parts of the †Self (Jung ) figure greatly in this critical theory. In †The Yellow Wallpaper, the narrator is trapped in a prison-like room, and sees images in the wallpaper that come to look like a woman trapped behind bars. This †creeping woman is, in Jungian terms, the narrator's shadow,


or a dissociation of her Self. Shadows and dissociations often contain the darker, more aggressive or sexually liberated aspects of the person's psyche (Jung 7) in this instance a sort of freedom of thought as well as escapism. The trapped woman can get out in the daytime, creeping around the garden or †away off in the open country, creeping as fast as a cloud shadow in a high wind (Gilman, 1). The narrator, on the other hand, can only creep behind the locked doors of her prison, when she is completely alone.


The shadow could also be the woman's animus- †the male personification of the unconscious within a woman (Jung 18). Even though she is female, the shadow is more aggressive than the passive, nervous narrator, embodying what are traditionally considered more ‘masculine' traits. And while the animus does not quite represent the Jungian †demon of death (Jung 1), in this story, it does, in a way, herald the death of the narrator's sanity. Just as the woman behind the paper serves as a manifestation of the struggle between the two forces of the narrator's Self, her contradictory monologues and the swings in her mental state as shown through her journal entries are a written expression of her internal conflict that eventually leads to her losing her mind.


Help with essay on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!


These two forces of the narrator's Self come together in a very symbolic scene, where the two women meet at the bars and work together to get †the poor thing out (Gilman 1). From then on the narrator says †I and not †she, having completely identified with her woman behind the wallpaper, and declined into complete madness. With this, Gilman suggests that a person can release the


dark recesses of his or her psyche and combine the different aspects of the self, but not retain stability, as an imbalance is created.


One of the most important and commonly seen Jungian Archetypes is the Hero archetype of transformation or redemption, who comes in three stages Quest, Initiation and Sacrifice (Guerin 167). The narrator in Gilman's story falls into the latter Hero archetype (transformation), going through her own personal quest, initiation and sacrifice, although not as a scapegoat or atonement. Her


quest is inverted, more of a descent, really, as she spends the summer in the room with the hideous yellow wallpaper and becomes increasingly ill despite her physician husband John's protestations of †Really dear you are better (Gilman ). At first the narrator finds the paper †repellent, almost revolting; a smouldering unclean yellow (Gilman ), but gradually feels that she is the only one who can understand it and not be affected by it. Her quest changes as she sees the image of a trapped woman in the paper, and she devotes her attentions to getting this woman out, eventually realizing that she herself is trapped. Her impossible initiation tasks are not epic or mythological in the conventional literary sense, but her internal struggle is no small feat. The sacrifice at the end is of her mind. She has been driven to this hysterical state by the repressive nature of her husband's care and the sheer pressure and intensity of her physical and psychological prison. Unlike the typical Jungian Heroic sacrifice, however, nothing is achieved at the end of the story; the land is not restored to fruitfulness by her sacrifice.


Gilman, Charlotte Perkins. †The Yellow Wallpaper and Other Stories.


Mineola, New York Dover Trift Editions, 17.


Guerin, Wilfred L., et al. A Handbook of Critical Approaches to Literature.


New York Oxford University Press, 1.


Jung, Carl G. Man and His Symbols. New York Dell Publishing Co. Inc., 164.


Please note that this sample paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!, we are here to assist you. Your cheap custom college paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! will be written from scratch, so you do not have to worry about its originality.


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Thursday, August 20, 2020

Loot by Joe OrtonThe Central Concerns of the Play and How they are Dramatised

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Loot by Joe Orton


The Central Concerns of the Play and How they are Dramatised


Loot is a satire the normal moral conventions of behaviour in civilised, Western, society are turned upside down and the rules are broken down. This is epitomised by Truscott as a symbol of law and authority doing what he should not do. He does not uphold the law and he breaks the law in his investigation by deception, violence and dishonesty and corruption. Orton wrote the Play in the 160's which was a time of social re-evaluation and he attacks all the bastions of the Western world religion, law and order, love and marriage, and respect for the dead. He relies on dramatic irony and the collusion of the audience to understand the moral message hidden in the comedy of the Play.


The structure of the Play mirrors a detective story in many respects. A crime has been committed and a detective has to solve it. Truscott is a parody of the detective novel detective with his pipe and magnifying glass and pedantic language. In Act One the exchange between Truscott and Fay reads like an Agatha Christie or Sherlock Holmes novel with the totally unrealistic reading of clues


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TRUSCOTTMy methods of deduction can be learned by anyone with a keen eye and quick brain. When I shook your hand I felt a roughness on one of your wedding rings. A roughness I associate with powder burns and salt. The two together spell a gun and sea air. When found on a wedding ring only one solution is possible.


The characters are mainly stereotypes and the dialogue offers no insight to their feelings. They have no psychological depth and are merely over-simplified images used to comment on the institutions or conventions they represent. Fay is a nurse who kills rather than heals and is the archetypal hypocritical religious plaudit who uses Catholicism for her own ends. This is acknowledged by her comment on Mrs McLeavy believing in some of the Ten Commandments. Hal represents truth in that he cannot tell a lie and McLeavy represents innocence. Truscott is the law, justice and authority. Dennis is less easy to categorise as he is a truly dishonest and totally unsympathetic character.


Orton uses the audience's feelings to create a contrast. They presumably have decent moral feelings that react to the complete absence of feelings in the characters on the stage. One would expect certain emotions from a son whose mother has just died, but they are not present. McLeavy shows some regret, but the audience cannot take his sentiments seriously when he shows more feeling and interest in the flowers for the hearse than he does for his wife. This collusion with the audience is part of the technique and nature of satire, but Orton goes further by using as his material the subject of the death of a mother and wife while showing no respect for the dead and no grief. He dramatises the fact that he is dealing with the conventions associated with the situation and not with the emotions.


One of the central concerns of the Play is hypocrisy and this is neatly dramatised by the lack of emotion while following the conventions and formal rites of religion associated with death the pageantry of the funeral car procession, the flowers, the black dress (borrowed from the dead woman), the veil of mourning and the book of the Ten Commandments. Orton criticises almost every sacrosanct element of religion with his priest who cannot keep confidences after confession and his religious fanatic nurse who is a murderer. Orton is also questioning the matter of the truth. Hal is unable to tell a lie and he always speaks the truth, but he is not honest. Sometimes he is not believed and on other occasions he does not tell all


TRUSCOTTBut he is stupid. He's just admitted it. He must be the stupidest criminal in England. Unless - unless, unless he's the cleverest.


Orton uses simple dialogue and everyday vocabulary in a realistic way, however, it does not always say what it appears to and one of the frequent comedy techniques of his writing is verbal misunderstandings and double meanings. He uses dramatic irony in that the audience know of Hal and Dennis' guilt and of Fay's intentions. What is not clear until the end of the Play is that it is a form of double irony as it appears that Truscott knew more than we thought.


There is a consistent motif in the Play concerning deception and how things are seen. There are symbolic tools and non-verbal messages representing hiding and disguise, such as the coffin, the wardrobe and the screen and much of the comedy derives from hiding the body and the potential discovery. But this is more than a comic device, it is part of the satire and the attack on social norms and hypocrisy. It is dramatised especially effectively by the false eyes of the corpse being false and of the wrong colour. If eyes are taken to represent the windows to the soul, as well as being the most identifiable part of the body then this is still more shocking. The corpse is no longer a person as it has no innards (no heart) and no eyes and truly is just the 'dummy' that Hal and Fay pretend it is. Yet, this is how most bodies are buried. There is all the pomp and ceremony of the funeral and 'respect for the dead' over a body that has already been defiled and rendered neutral.


A repeated conflict in the Play is that between truth and honesty - how things appear and how things really are. In a Shakespearean play this would be represented by two different worlds, but Orton shows us the world beneath the surface in one world and asks us to reflect upon ourselves and our society. Orton is saying that the innocent and the 'meek' shall not inherit the earth and that the winners are those who know the rules. However, with the expert cut of his satire the audience knows that his message to us is that this is not how life should be. Although the title of the Play is "Loot" this does not seem to be a central concern of satire unless one takes it to mean that money and the desire for wealth have overturned all moral values, displacing respect for the dead as it displaces the body in the coffin.


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