The film versions Essay Example for Free

The film versions Essay The setting in this version is very ominous. It begins with a boy, Pip walking along a road past the gallows, which gives the audiences the feeling that danger is about because gallows were we criminals were murdered so it hints that a criminal is about. The sky is gloomy and looks like it is going to rain. You can tell this even though it is not it colour. As Pip goes into the graveyard, you can see the empty moors in the background. The graveyard looks intimidating because of the gravestones that look like people so it seems like someone is watching Pip, this makes the audiences feel like someone is watching them too. As there is no one about, it makes it more frightening because there is no one to see what happens or anyone to look after Pip. This is exaggerated because there are no people around so it makes it daunting. All together the setting is a place that most people wouldnt go to unless there was a good reason or if they did go in they wouldnt go in alone. This makes the audiences fell nervous and part of the action. There is a lot of sound in the 1946 version, the wind is howling and you can hear the trees creaking, because of new technologies and special effects some people might say the it sounds fake but it would have sounded very atmospheric at the time it was made. The sounds make the audiences feel like they are in the situations where the wind is howling and the tress are creaking. When Pip speaks his voice sounds very innocent and childish which makes the audiences think he is more venerable, Magwitch voices is dark, menacing and forceful which would send a chill down the audiences spin. The differences in the voices and the atmospheric sounds build up the tensions in the first scene. Pip is dressed in poor-looking clothes but he still looks like he is well cared for because he is wearing warm clothes, we already know from the sounds that it was cold, the wind in the trees. Magwitch is wearing rags and looks poor and scruffy. We know that he is a criminal because of the shackles around his feet. Portraying them like this tells the audiences straight away who the people are so it doesnt need to be explained. The lighting is used to great effect and helps create the atmosphere which colour does now. Although there is not any colour they are still ably to show some things though light. You can tell if it is light black and white or dark black and white. The most effective part is when Magwitch has Pip on the gravestone, when you see the both together it looks like Pip is in the light and Magwitch is in the dark, this is trying to express that Pip is nice and innocent and Magwitch is the malevolence person, this is done by making the light and setting brighter behind Pip than it is behind Magwitchs this makes the audiences think Pip is nice and Magwitch isnt all though they my not notice it. Nonetheless the light helps you to feel what the setting is like for, example the dark sky suggests it gloomy, if you didnt use lighting it would make it harder to tell. Being in black and white some people say it looks boring but I think it creates a misty atmosphere that adds to build the tension. The camera changes between the two characters Pip and Magwitch and doesnt show them both together to start with, this is done quickly when each one is talking, doing these speeds up the pace of the first scene. It only showed part of their face to start with not all of it. Its also effective when Magwitch looks down at his feet, which shows us the shackles, this is done because it make the audience feel like they know what he is thinking. Having the camera change between the two doesnt give the audiences time to take in the face until it show them together, this makes the audiences eager to see what he looks like.

Patient Case Studies for Accurate Nursing Assessments

Patient Case Studies for Accurate Nursing Assessments Jon Teegardin Performing accurate nursing assessments on patients establishes a baseline of information regarding a patient’s complaint and history of present illness. The patients represented in this paper are not real, instead they are created to allow for examples of basic nursing assessments. This paper will assess two patients, one with chronic lower back pain and one with psychiatric and substance abuse complaints. Patient one The first patient is a 45 year old female who presents to the emergency room after arriving by private vehicle with a complaint of lower back pain with radiation down the right leg to the foot. My assessment of the patient begins when I go to the lobby and call the patients name. The patient ambulates with an even steady gait to the examination room. The patient does not require assistance ambulating. Once in the examination room, privacy is provided and an interview and full assessment are conducted. After introducing myself, the patient is identified using two identifiers, name and birthdate. The information provided by the patient is verified against the chart and an identifying wristband is applied. The chief complaint is then verified using an open ended question: Can you tell me why you are visiting the emergency room today? The patient’s response is â€Å"Back in 20012 I injured my back when my boyfriend was drunk and he slammed me against a wall. The doctor told me I had several ruptured discs in my back and it hurts so bad tonight I can’t stand it. The pain started about three days ago and has gotten progressively worse. I reassure the patient that she will be treated as soon as we can get the doctor in the room (Jarvis, 2012). The patient then asks for an emesis bag and states â€Å"I’m hurting so bad I think I’m going to throw up†. An emesis bag is provided. The patient retches several times and spits into the bag. No vomitus is noted . I continue with my interview by asking about the patients’ health history (Jarvis, 2012). I ask the patient about medication allergies. The patient states she is allergic to penicillin’s. Next I ask the patient about any medications she currently takes. The patient reports she takes the following medications: Xanax, 1 milligram 3 times per day, Gabapentin, 400 milligrams 3 times per day, Vicodin 10mg-325mg every 4 hours for pain, Lisinopril 20 milligrams, every day, Simvastatin 40 milligrams every day, Cyclobenzaprine, 20 milligrams every 6 hours, Ultram, 50 milligrams every 8 hours as needed for pain. When asked for a primary care physician, the patient states â€Å"I have recently switched doctors and I have an appointment on Wednesday with my new doctor. The patient presents an appointment card for a local physician. The patient is next asked about her medical history. The patient reports a history of hypertension, high cholesterol, anxiety, and ruptured discs in her lower back. The patient reports a surgical history of bilateral breast augmentation, bilateral tubal ligation, appendectomy, total hysterectomy, and tonsillectomy/adenoidectomy. When questioned about any surgical interventions for her back, the patient states â€Å"I don’t have insurance so I can’t afford to get any surgery on my back†. The patient reports a family history of hypertension, anxiety, and depression on her mother’s side. She also reports smoking 1 pack of cigarettes per day for 10 years but quit smoking 15 years ago. With my initial interview complete, the physical assessment begins (Jarvis, 2012). The patient is placed in a hospital gown for the examination. Vital signs are obtained. The blood pressure is 168/109 in the left arm, 166/106 in the right arm, heart rate is 79, oral temperature is 98.5, respirations are 16 per minute, oxygen saturation is 97% on room air, and the patient rates her pain on a numeric scale as a 10 out of 10 in her lower back. She describes the pain as a sharp, constant pain that is aggravated with movement, and helped with medication. She also relates radiation of the pain to her right leg as a burning sensation. The patient has shoulder length hair that is clean and well groomed. She denies any hearing problems, visual problems, congestion or cough. No drainage is noted from her ears, the eyes are clear with no redness or conjunctiva. Pupils are equal and reactive to light. Nares are clear bilaterally without swelling. The patient has good dentition with evidence of d ental intervention with fillings visible in three teeth. The lips, tongue, oral mucosa, and uvula are unremarkable. Facial symmetry is good with no drooping. The patient’s neck is supple with full range of motion and the trachea is midline. Respirations are clear and even bilaterally. The heart is auscultated and is strong and even at 78 beats per minute. Normal S1 and S2 are present. The patient denies any pain or mass in the breasts and reports that she self-examines monthly and her last mammogram was two years ago. Hand grips are strong and equal, radial pulses are strong and equal bilaterally. The abdomen is soft and non-tender to palpation. Bowel sounds are present in all four quadrants. A healed surgical scar is noted in the lower right quadrant. The patient denies any incontinence of bladder or bowel, and reports nausea and vomiting related to her back pain. The back is grossly unremarkable, and is tender to palpation in the area from L1 to L5. The patient denies any b urning or pain on urination, and denies flank pain. The patient reports a burning sensation down the right leg to the foot. Foot strength equal bilaterally, with strong bilateral pedal pulses. A scar is noted on the anterior right lower extremity distal to the patella. The patient reports that she accidently cut herself there as a child and required stitches to close the laceration. The patient’s mood and affect are appropriate for her age and the current situation. Her speech is clear. The patient is reassured that the physician will see her and the bed is verified to be in its lowest position with the wheels locked. The call light button is explained to the patient and placed within easy reach. The patient is reminded to request assistance prior to ambulating. Summary of findings My summary of finding is that the patient appears to be suffering from chronic back pain related to a traumatic injury in her past, and has uncontrolled hypertension related to noncompliance with her medication regimen. SOAP note S: Patient reports excruciating back pain radiating to the right leg, with nausea and vomiting prior to arrival. She also reports being out of her prescription medications which include a blood pressure medication. O: the patients’ blood pressure is elevated at 168/109, the lower back is tender to palpation. The patient ambulates without assistance but appears to be in mild distress. A: Nontoxic appearing white female that appears consistent with her stated age of 45 years old. EENT within normal limits. PERRLA at 3mm. Facial symmetry equal with no facial droop noted. The neck is supple and trachea is midline. Regular apical rate with S1 and S2. No S3 or S4 noted. Hand grips strong and equal bilaterally. Radial pulses strong and equal bilaterally. Respirations are even and unlabored. Lungs clear to auscultation bilaterally. The abdomen is soft and non-tender. Bowel sounds present in all four quadrants. Tender in the lower back region from L1 to L5 with radiation of pain to the right leg. No vomiting noted during assessment. Denies diarrhea. Denies urinary symptoms. Leg strength strong and equal bilaterally. Ambulates without difficulty or assistance. Pedal pulses present with no edema noted in lower extremities. P: Patient placed on non-invasive blood pressure monitoring and positioned for comfort. Expect MD orders for oral anti-hypertensive to reduce blood pressure and intramuscular injection of narcotic pain medication with antiemetic to control nausea and vomiting. Prepare patient for X-ray of lumbar spine region, and possible CT of the same area. A urine pregnancy test is contraindicated because of history of hysterectomy. Potential for admission to hospital for consult with orthopedist and surgical intervention. Patient two The second patient is a 62 year old female who has a chief complaint of alcohol dependence, benzodiazepine dependence, and depression. This patient is called from the lobby and ambulates to the exam room with an even, steady gait. Once in the examination room, privacy is provided and an interview and full assessment are conducted. I identify myself and the patient is identified using two identifiers and an identification band is placed on her wrist. I begin by obtaining a social history of the patient (Jarvis, 2012). She states she has never seen a psychiatrist and has been treated for depression by her primary healthcare provider. The patient is currently employed as a nurse practitioner/midwife with a county health department. She thoroughly enjoys her job and is fearful of losing her position due to chronic absenteeism related to her alcohol abuse. She reports consuming approximately one half gallon of liquor daily and has smoked one pack of cigarettes per day for twenty years. In her spare time she says that she enjoys sewing and gardening. The patient describes childhood as â€Å"normal†, had a â€Å"great relationship† with her father, but states â€Å"my mother loved my brother more than me, and nothing I did was good enough for her, even though I got straight a grades in school, and was active in church and band†. She further states â€Å"my mother used to beat me for waking up in the morning, becau se she said that I would eventually get into some kind of trouble†. †My brother is gay, but very successful working in Atlanta. I don’t see him enough, and I don’t hold what my mother did against him. I wish we saw more of each other. I got divorced over my drinking, so that was that, I could deal with all of it, up until my daughter died. Any other night I would have watched TV with her, but I was so tired that night. I went straight to bed and she decided to drive down to her brothers, 2 miles away. She made it about halfway, and was killed when she went off the road and hit a culvert, causing her car to roll several times. She died instantly†. Having obtained a social history, I begin obtaining medical history from the patient. The patient reports that she is allergic to codeine, Demerol, sulfa drugs, and Zithromax. She reports having a hysterectomy, cholecystectomy, and left foot ORIF. She is currently taking clonazepam, Lexapro, singular, and Xanax. She reports her mother and father had a history of alcohol abuse and are both deceased. My next assessment is a mental status examination. Having built a therapeutic relationship with the patient, I ask the patient if she has considered harming herself or had any command hallucinations (Jarvis, 2012). The patient denies any suicidal ideation or any hallucinations of any sort. The patient is well dressed, clean, pleasant, and cooperative. Her thought process is coherent with no ambivalence. The patients affect is calm and her appropriateness of mood to thought is normal. There is no depersonalization. The patient does not appear to be delusional, obsessive, or display ideas of reference. She is oriented to person, place, time, and situation. Vital signs are obtained and are all within normal limits. The patient denies any pain. Summary of finding My summary of finding is that this patient is suffering from depression, related to her divorce and the death of her daughter. Her needs include counseling, detox, and peer support. The patient’s education is an asset to her treatment. She has the support system of two sons. Stressors include her divorce due to her alcoholism and the sudden death of her daughter. Her coping methods include alcohol abuse, benzodiazepine abuse, and social isolation. SOAP note S: The patient reports feeling depressed and abusing alcohol and benzodiazepines. She denies suicidal ideation. O: The patient is well dressed, clean, pleasant, and cooperative. Her thought process is coherent with no ambivalence. The patients affect is calm and her appropriateness of mood to thought is normal. There is no depersonalization. The patient does not appear to be delusional, obsessive, or display ideas of reference. She is oriented to person, place, time, and situation. Vital signs are obtained and are all within normal limits. The patient denies any pain. A: The patient is suffering from depression related to her divorce and the death of her daughter. She could benefit from an inpatient rehab program. P: Prepare patient for lab draws to obtain baseline values, presence of drugs of abuse, and medical clearance. A call to the Georgia Crisis Access Line is anticipated for placement of the patient in an inpatient detoxification/rehabilitation program. Referral to grief counselor is also a possibility. References Jarvis, C. (2012). Physical Examination and Health Assessment [VitalSouce bookshelf version]. Retrieved from http://digitalbookshelf.southuniversity.edu/books/978-1-4377-0151-7/outline/5

awakening :: essays research papers

The Awakening - Morality or Self-sacrifice? The Awakening, by Kate Chopin, takes one back to an earlier time while still provoking the questions of morality and self-sacrifice that exist today. Edna Pontellier, the protagonist of the story, places herself in the position to be the individual going against society from the beginning of the novel. In the beginning chapters of the novel, Edna’s characteristics and actions worthy of rebuke lead to a breakdown of her moral integrity. These behaviors eventually lead her to become a woman that not only the Creole culture rejects, but civilization in general can no longer accept. Edna’s plight throughout the novel perfects her status as that individual going against society. Her reserve toward her children places her in abnormal standing. Her behavior, not necessarily of neglect but rather of apathetic involvement in their lives, contrasted the ideal motherly figure of the age. Madame Ratignolle, Edna’s friend, maintains quite a different air about her. She possesses the dependent attitude which the Creole society seems not only to encourage, but in some aspects requires. Although Edna loves her children dearly, and in spells needs them with fervor, she was more accustomed to leaving them with the nanny or a friend rather than looking after them herself. She would give anything for her children, but she would not give of herself. In an age of expected domestic dependence, Edna’s rejection of her obligations as a mother and a wife go against the tacit rules of the world in which she lives. Although Edna was outwardly performing the duties of her life, her heart was busy thinking other thoughts. Throughout the course of the summer, she falls in love with Robert Lebrun. Yes, he previously established he â€Å"third wheel† status in the families at Grande Isle, but this was another aspect of Edna’s life that pits her against her surroundings. As Robert falls in love with Edna, and she with him, her independent longing is inflamed, and her passions begin to overpower her self-control. Edna’s husband, Leonce, is more in love with the idea of a wife for himself and a mother for his children rather than Edna herself. This makes it easier for Edna to let go. When Robert suddenly leaves for Mexico on a business excursion, Edna becomes despondent and unfocused. Maybe through the severe longing for him and grief at his absence she becomes intensely connected to herself.

The Social and Ethical Implications of Assisted Reproductive Technologi

The Social and Ethical Implications of Assisted Reproductive Technologies Test tube babies have long been stigmatized by society as the unnatural results of scientific dabbling. The words `test tube baby' have been used by school children as an insult, and many adults have seen an artificial means of giving birth as something perhaps only necessary for a lesbian woman, or a luxury item only available to the elite few. The reality is that assisted reproductive technologies (ART) have been helping infertile couples have children since 1978.1 The methods of in vitro fertilization, it's variants, and the other ART procedures are ways for persons that would otherwise have no hope of conception to conceive and, in a rapidly growing percentage of cases, give birth to healthy babies. As the technology has developed, the quality and range of assistance has developed as well. At present, the means of assisted reproduction and the capabilities of these procedures has grown at a somewhat dizzying pace. However, thought to the repercussions of the applications of ART a re being disregarded to some extent while the public's knowledge and the understanding of embryologists and geneticists surges forward. It is possible given consideration to things such as the morality of these techniques, the unexplored alternative uses of these procedures, and the potential impact they posses that further development is unnecessary and possibly dangerous. As of 1995, 20,000 babies had been born as a result of ART treatments.2 Since then, many women and couples have sought the services of IVF clinics all over the world with hopes of the miracle of conception. These people are usually ones who suffer from some sort of condition that renders them inferti... ... available today, his goal would have been easily attainable through the technology that is presently seen as giving hope to millions of couples who seek simply to exercise their right to raise a child. Is the development if such technology ethical? Is the possibility that it could do greater harm than good enough to terminate the development of such technology? These questions are most likely too much to answer, given what is known and understood about genetic engineering, assisted reproduction, and DNA cloning. But perhaps the best answer is to say that before things are taken any further, we stop to look at what we have, attempt to understand and evaluate those things, and determine whether it is truly necessary to make advances in the technology. Perhaps we are at a point where the most important thing is slow down the pace of change before it gets away form us.

Look at the significance of chapter five to the novel as a whole. Essay

Look at the significance of chapter five to the novel as a whole. Focus on the relevance and effect of writer’s use of language to describe setting and character and what it shows about social and historical influences. ‘Frankenstein’ by Mary Shelley is a complex horror novel that was written during the age of Romanticism. It contains many themes common to a Romantic novel such as death, tragedy, and loneliness. These themes have all arrived through Mary Shelley’s background as the events in this novel have been influenced greatly by her life. We can see that this novel has been written as a warning to tell the reader what the consequences are of playing with nature. This is highly relevant to today as even now scientists feel they can experiment with nature, for example, cloning. A highly crucial part of this novel is Chapter five. It is where the story really begins as now Frankenstein has reached his goal and realizes the horror of what he has done. This essay will be discussing how chapter five is made so significant to the novel and will look at why certain language is used to describe setting and character and to see what this shows us about social and historical influences. From a very young age, Victor Frankenstein shows a clear interest in science and in Chapter two of the novel Shelley focuses on Victors desire to be a discoverer, when he declares, â€Å"It was the search of heaven and earth that I desired to learn.† In this chapter it is clear that Victor’s ambitions are entirely noble as all he wants is to help mankind, which is also what Robert Walton wanted when discovering unknown lands. When we see two men like this who are clearly obsessed with discovery it shows us how important the pu... ...uel treatment of the creature stands in stark contrast to both his parents’ devotion and Clerval’s care for him. If we conclude to look at Chapter five compared to the rest of the novel we can see it is a central part to the story as it is where the horror really begins. The later chapters in the novel all show the disastrous consequences of Frankenstein’s actions. The purpose of this novel is to teach all a lesson as it shows us what might happen if we continue to play with nature and ‘play God.’ It also tells us the importance of not judging on appearance, as the creature although kind and benevolent was punished because of the way it looked. It is through the language that we are able to understand the significance of Chapter five as it tells us more about life in the 19th Century, more about the life of Mary Shelley and the way the novel came about.

The Hunters: Moonsong Chapter Forty

Damon was moving fast, and Elena and the others had to almost race to keep up with him as they headed for the library. â€Å"Typical Stefan, sacrificing himself,† he muttered angrily. â€Å"He could have asked for help when he realized something was going on.† He stopped for a second to let the others catch up and glared at them al . â€Å"If Stefan can't handle a few newly made vampires by himself, I'm ashamed of him,† he said. â€Å"Maybe we should just leave him after al . Survival of the fittest.† Elena touched his hand lightly, and, after a moment, Damon hurried on toward the library. She didn't for an instant believe he would leave Stefan a captive. None of them did. The taut, strained lines of his face showed that Damon was entirely focused on the danger his brother was in, their rivalry temporarily forgotten. â€Å"It's not just a few vampires,† Matt said. â€Å"There are about twenty-five of them. I'm sorry, you guys, I've been a moron.† He swung the stave Meredith had given him – Samantha's stave – determinedly in one hand. â€Å"It's not your fault,† Bonnie said. â€Å"You couldn't have known your frat – or whatever – was evil, could you?† If anyone had spotted them as they crossed the campus, Elena was sure they would have been an alarming sight: she and Bonnie were clutching the large, sharp hunting knives Meredith had given them only half concealed under their jackets. Matt was holding the stave, and Meredith had her own stave in one hand. But it was past midnight, and the path they were fol owing was deserted. Only Damon wasn't carrying a weapon, and he clearly was a weapon. His human fa?ade seemed to have lifted, and his angry expression could have been carved out of stone, except for the glimpse of sharp white teeth between his lips and the seemingly bottomless darkness of his eyes. When they reached the closed library, Damon didn't pause, forcing its metal doors open with the grinding sound of splitting metal. Elena glanced around nervously. The last thing they needed was campus security showing up. But the paths near the library were dark and empty. They al fol owed Damon down to the basement and into the hal ways of administrative offices. Final y, he stopped outside the door marked Research Office where he and Elena had once met Matt. â€Å"This is the entrance?† he asked Matt and, at his nod, efficiently broke the lock on the door. â€Å"You're al staying up here. Just Meredith and I are going down.† He looked at Meredith. â€Å"Want to kil some vampires, hunter? Let's fulfil your destiny, shal we?† Meredith slashed her stave in the air, and a slow smile tugged at the corners of her mouth. â€Å"I'm ready,† she said at last. â€Å"I'm coming, too,† Elena said, keeping her voice steady. â€Å"I'm not waiting up here while Stefan's in danger.† Damon drew a breath, and she thought he was going to argue with her, but instead he sighed. â€Å"Al right, princess,† he said, his voice gentler than it had been since Matt told them what had happened to Stefan. â€Å"But you do what I – or Meredith – tel you.† â€Å"I'm not waiting up here,† Matt said stubbornly. â€Å"This is my fault.† Damon turned on him, his mouth twisting into a sneer. â€Å"Yes, it is your fault. And you told us Ethan can control you. I don't want to get your knife in my back while we're fighting your enemies.† Matt dropped his head, defeated. â€Å"Okay,† he said. â€Å"Go down two flights of stairs, and you'l see the doors to the room they're in.† Damon nodded sharply and pul ed up the trapdoor. Meredith fol owed him down the stairs, but Matt caught Elena's arm as she headed after them. â€Å"Please,† he said quickly. â€Å"If any of the pledges stil seem rational, even if they're vampires, try to get them out. Maybe we can help them. My friend Chloe†¦Ã¢â‚¬  In the grim lines of his face, his pale blue eyes were frightened. â€Å"I'l try,† Elena said, and squeezed his hand. She exchanged a glance with Bonnie, then fol owed Meredith through the trapdoor. When they reached the entrance to the Vitale Society's chamber, Meredith and Damon pressed their backs against the elaborately carved wooden doors. Watching, Elena could see a similarity for the first time between them. Now that they were facing a battle, Meredith and Damon were both wearing eager smiles. One †¦ two †¦ came Damon's silent count †¦ three. They pushed together. The double doors flew inward, and the chains that had held them closed went flying. Damon stalked in, stil smiling a vicious gleaming smile, Meredith erect and alert behind him, her stave poised. Dark figures rushed at them, but Elena was looking past them, searching for Stefan. Then her eyes found him, and al the breath rushed out of her. He was hurt. Tied firmly to a chair, he raised a pale face to greet her, his leaf-green eyes agonized. From his arm, dark red blood dripped steadily, pooling on the floor beneath his chair. Elena went a little mad. Charging across the room toward Stefan, she was only half aware of one of the hooded figures leaping at her, and of Damon catching it in midstride, casual y snapping its neck and letting the body fal to the floor. Absently, she registered the smack of wood against flesh as Meredith caught another attacker with her stave so that it fel in convulsions as the concentrated essence of vervain from the stave's spikes hit its bloodstream. And then she was crouching next to Stefan, and, for a moment at least, nothing else mattered. He was shaking slightly, just the faintest tremors, and she stroked his hand, careful of the wound on his forearm. Raised red ridges ran around his wrists below the rope, spots of blood on their surface. â€Å"Vervain on the ropes,† he muttered. â€Å"I'm okay, just hurry.† And then, â€Å"Elena?† Below the pain in his voice, a dawning note of joy. She hoped he could read al the love she felt in her eyes as she met his gaze. â€Å"I'm here, Stefan. I'm so sorry.† She took out the knife Meredith had given her and began to saw at the ropes that held him, careful not to cut him, trying not to pul the ropes any tighter. He winced in pain, and then the ropes around his wrists snapped. â€Å"Your poor arm,† she said, and felt in her pockets for something to staunch the blood, final y just pul ing off her jacket and holding it against the cut. Stefan took the jacket from her. â€Å"You'l have to cut through the rest of the ropes, too,† he said, his voice strained. â€Å"I can't touch them because of the vervain.† She nodded and went to work on the ropes holding his legs. â€Å"I love you,† she told him, concentrating on her work, not looking up. â€Å"I love you so much. I hurt you, and I never wanted to. Never, Stefan. Please believe me.† She finished cutting through the ropes around his knee s and ankles and chanced a glance up at Stefan's face. Tears, she realized, were running down her own face, and she wiped them away. The thud of another body hitting the floor and a screech of rage came from behind them. But Stefan's eyes held hers unwaveringly. â€Å"Elena, I†¦Ã¢â‚¬  he sighed. â€Å"I love you more than anything in the world,† he said simply. â€Å"You know that. No conditions.† She took a long, shuddering breath and wiped the tears away again. She had to be able to see, had to keep her hands from shaking. The ropes around his torso were looped and twisted together. She pul ed at them, finding where there was enough give to start cutting, and Stefan hissed in pain. â€Å"Sorry, sorry,† she said hurriedly, and began to slice through the rope as rapidly as she dared. â€Å"Stefan,† she began again, â€Å"the kiss with Damon – Well, I can't lie and say I don't feel anything for him – but the kiss wasn't anything I'd planned on. I didn't even mean to be with him that night, it just happened. And when you saw us, that kiss, he'd just saved my life†¦Ã¢â‚¬  She was stumbling over her words now, and she let them trail off. â€Å"I don't have any real excuses, Stefan,† she said flatly. â€Å"I just want you to forgive me. I don't think I can live without you.† The last of the ropes parted, and she eased them from around him before she looked up, frightened and hopeful. Stefan was gazing at her, his sculpted lips turning up in a half smile. â€Å"Elena,† he said and pul ed her to him in a brief, tender kiss. Then he pushed her to the wal . â€Å"Stay out of this, please,† he said, and limped toward the fight, stil weak from the vervain, but reaching to pul a vampire away from Meredith and sinking his own fangs into its neck. Not that she needed his help. Meredith was amazing. When had she gotten so good? Elena had seen her fight before, of course, and she'd been strong and quick, but now the tal girl was as graceful as a dancer and as deadly as an assassin. She was fighting three vampires, who circled her angrily. Spinning and kicking, moving almost as fast as the monsters she was fighting, despite the fact that their speed was supernatural, she knocked one off his feet, sending him flying, and, in a smooth fol ow-up blow, bashed another in the face, leaving the vampire staggering backward with his hands up, half blinded. There were bodies littered across the floor, evidence of Meredith's skil and Damon's vicious rage. As Elena watched, Stefan tossed down the drained body of the vampire he had been fighting and looked around. Only Ethan and the three vampires surrounding Meredith remained on their feet. Damon had Ethan on the run, backing nervously away as Damon stalked toward him, peppering him with sharp open-handed blows. â€Å"†¦ my brother,† she heard Damon muttering. â€Å"Insolent pup. You think you know anything, child, you think you want power?† With a sudden, violent movement, he grabbed Ethan's arm and jerked. Elena could hear the bone snap. Stefan passed Elena, heading toward Meredith again, and paused for a moment. â€Å"Ethan was laying a trap for Damon,† he told her dryly. â€Å"I don't know why I was worried. Clearly, he didn't know what he was trying to catch.† Elena nodded again, suppressing a grin. The idea of any brand-new vampire getting the better of Damon, with al his experience and cunning, seemed ridiculous. Then the tide of the battle suddenly turned. One of the vampires Meredith was fighting dodged her blow and, half bent over, flung itself at her, knocking the slender girl into the air. There was an endless moment where Meredith looked like she was flying, arms akimbo, and then she slammed headfirst into the heavy altarlike table at the front of the room. The table wobbled and fel over with a heavy thud. Meredith lay stil , her eyes closed, unconscious. Elena ran to her and knelt down, cradling her head in her lap. The three vampires Meredith had been fighting were worse for the wear. One had blood steadily streaming down his face, another was limping, and the last was doubled over as if something had been injured inside her, but they could stil move fast. In an instant, they had surrounded Stefan. As Damon growled and turned, shifting his stance to help his brother, Ethan saw his chance and launched himself at Damon. Faster than Elena's eye could fol ow, his teeth were gouging at Damon's throat, bright spurts of blood flying up. He had a knife in one hand and was trying to cut at Damon at the same time as he bit. With a cry of pain and shock, Damon clawed at Ethan, trying to fling him away. Elena picked up her knife again and rushed toward them. But two of the remaining vampires were on Damon in a split second, pul ing his arms back. One caught Damon's midnight dark hair in his hand, yanking the older vampire's head back to expose his throat more ful y to Ethan's teeth. Off balance, Damon staggered backward and for a moment caught Elena's eye, his face soft with dismay. Terrified, Elena grabbed at the back of one of the vampires, and it threw her to the floor without even looking at her. Stefan, meanwhile, was caught in a struggle with another vampire, desperate to get to his brother. Damon was a better and a more experienced warrior than any of the vampires attacking him. But if they pushed their momentary advantage, used their superior numbers, they might bring him down before he could recover. She clutched her knife tighter and jumped to her feet again, knowing in her heart that she'd be too late to save him but that she needed to try. A snarling blur shot past her, and Stefan, free of his adversary, slammed into Ethan, throwing him across the room, sending his knife flying. Without pausing, he ripped one of the other vampires from Damon's arm and snapped his neck. By the time the body hit the floor, Damon had neatly dispatched the other one. The brothers, both panting, exchanged a long look that seemed to carry a lot of unspoken communication. Damon wiped a smear of crimson blood from his mouth with the back of his hand. Suddenly an arm was around Elena's throat, and the knife was wrenched out of her hand. She was being dragged upward. Something sharp was poking her in the tender hol ow at the bottom of her neck. â€Å"I can kil her before you could even get over here,† Ethan's voice said, too loud by her ear. Elena flailed an arm backward, trying to grab at his hair or face, and he kicked viciously at her legs, knocking her off-balance, and pul ed her closer. â€Å"I could snap her neck with one arm. I could stab her with her own knife and let her bleed out. It would be fun.† He was holding her knife, Elena realized, pressed against her throat. His other arm hung loose, and curiously bent. Damon had broken it, Elena remembered. Stefan and Damon froze and then very slowly turned toward Elena and Ethan, both their faces shuttered and wary. Then Damon's broke into a rictus of rage. â€Å"Let her go,† he snarled. â€Å"We'd kil you the second she hit the ground.† Ethan laughed, a remarkably genuine laugh for someone in a life-or-death standoff. â€Å"She'l stil be dead, though, so I think it might be worth it. You're not planning to let me leave here anyway, are you?† He turned to Stefan, his voice mocking. â€Å"You know, I heard all about the Salvatore brothers from some of Klaus's other descendants. They said you were aristocratic and beautiful and terribly hot tempered. That Stefan was moral, and that Damon was remorseless. But they also said that you were both fools for love, always for love. It's your fatal flaw. So, yeah, I think my chances are a lot better when I've got your girlfriend in my power. Whose girlfriend is she, actual y? I can't tel .† Elena flinched. â€Å"Wait a second, Ethan.† Stefan held out his hands placatingly. â€Å"Hold on. If you agree not to bring back Klaus and let Elena go safely, we'l give you whatever you want. Get out of town, and we won't come after you. You'l be safe. If you know about us, you know we'l keep our word.† Behind him, Damon nodded reluctantly, his eyes on Elena's face. Ethan laughed again. â€Å"I don't think you have anything I want anymore, Stefan,† he said. â€Å"The rest of the Vitale Society, including our newest initiates, wil be coming back soon, and I think they'l tip the scales back in my favor.† He tightened his arm around Elena's throat. â€Å"We've kil ed so many students on this campus. Surely one more won't be missed.† Damon hissed in rage and started forward, but Ethan cal ed out, â€Å"Stop right there, or – â€Å" Suddenly, he jerked, and Elena felt a sharp, stinging pain in her throat. She squeaked in horror and grabbed at her own neck. But it was only a scratch from the knife. As Stefan and Damon stood helpless and furious, Ethan's arm loosened from around her throat. He made a hideous gurgling noise. Elena yanked away as soon as his grip weakened. Blood was running in long thick rivulets from Ethan's torso, and his mouth opened in shock as he clutched at himself and slowly fel forward, a round hole in his chest fil ing with blood. Behind him, Meredith stood, hair flying, her usual y cool gray eyes burning like dark coals in her face. Her stave was coated in Ethan's blood. â€Å"I got him in the heart,† she said, her voice fierce. â€Å"Thank you,† Elena murmured politely. She was feeling†¦ real y †¦ very peculiar, and it wasn't until she was actual y starting to fal that she thought, Oh no, I think I'm going to faint. Blurrily, she saw both Damon and Stefan rushing forward to catch her, and when she came to a moment later, she was held tightly in two pairs of arms. â€Å"I'm okay,† she said. â€Å"It was just †¦ for a second, I was†¦Ã¢â‚¬  She felt one pair of arms pul her closer for a moment, and then they released her, shifting her weight over to the other set. When she looked up, Stefan was clutching her tightly to him. Damon stood a few feet away, his face unreadable. â€Å"I knew you'd come to save me,† Stefan said, holding Elena but looking at Damon. Damon's lips twitched into a tiny, reluctant smile. â€Å"Of course I did, you idiot,† he said gruffly. â€Å"I'm your brother.† They looked at each other for a long moment, and then Damon's eyes flicked to Elena, stil in Stefan's arms, and away. â€Å"Let's put out the torches and go,† he said briskly. â€Å"We've stil got about fourteen vampires to find.†

Essay Question: Examine How Steinbeck Presents the Character of Curley’s Wife in ‘of Mice and Men’

Essay Question: Examine how Steinbeck presents the character of Curley’s wife in ‘Of Mice and Men’ The famous novella ‘O Mice and Men’ was written by John Steinbeck, in which all characters play an immense role. Firstly the time in which this novel was written has a direct impact on the characters life style and personality. As we know, this novel was written during the time of the great depression, which was based in 1929. It was known as the great depression, because it lasted for up to 10 years. During this time women had no rights and were abounded and isolated from social activities.They were known to be the possession of their husband. In this novella Steinbeck shows us two view on the character of Curley’s wife, however our perception of her changes without herself actually changing. As a reader we know how she is without even seen her. She was first mentioned by Candy, as he was describing her to George. Through her description we know that â€Å"she got the eye†, meaning that she is a person who can cause danger to others. Furthermore Candy described her as a â€Å"tart†, â€Å"tramp† and a â€Å"bitch†.Before actually seeing her we know that she is the only women in the ranch and that she is a flirtatious person as well as a promiscuous person. Also Steinbeck describes her as a â€Å"girl† instead of a â€Å"woman†. This shows that he is informing the reader about her personality and how she is. Girls are mainly described as immature and innocent and that they don’t have enough knowledge about the world, where as a woman is a much mature person with a wider knowledge about the world and life. Curley’s wife is described as a girl, because she is being looks down at and not respected as she should be it also emphasises her vulnerability.