Waiting for Godot and Dumbwaiter Comparison

Waiting for Godot and Dumbwaiter Comparison Among the best plays which can be compared to one another in different ways are Waiting for Godot written by Samuel Beckett and The Dumb Waiter written by Harold Pinter. One of the common elements the two plays share is the waiting factor which leads the few characters of both plays to do many absurd activities to fill the passing of time. Pinter has used many of the characteristics of Waiting for Godot in his own play showing the absurdity of the world through an absurd waiting for someone or something that never arrives. In this short essay these two plays are compared focusing on the waiting factor shared by the two. Examples are also provided from both plays in a comparison table on page 8 to 11, on the factors that result to the absurdity. Plots The plot in Waiting for Godot is a desert with a tree in the middle and the characters come to the scene at the beginning and leave at the end of each day. The scene is one location and it doesnt change throughout the play. This resembles the small world we are living at and it means we are all trapped in a cage like prisoners that we either cannot leave or are afraid to do so as a result the only thing we do is to wait for someone dominant and powerful to help us who never arrives so the waiting goes on. Plot in The Dumbwaiter is a basement room with two beds, flat against the back wall, a serving hatch, closed, between the beds. Also a door to the kitchen and lavatory, left and a door to a passage, right. Many of Pinters plays, as in Samuel Becketts Waiting for Godot, take place in one location. The single location again takes on the form of a prison for the characters, a space from which they either cannot leave or are afraid to do so. Rather than bore the audience with lack of variation, the repetitive actions that come along with the single space generally constitute one of Pinters (and Becketts) main themes. The environment also assumes attributes beyond its scope. The serving hatch, for instance, becomes a symbolic channel to a higher power, or God, whom Ben fears, while the bathroom develops into a place of mundane repetition for Gus. The basement also functions as part of the mystery and betrayal of the Dumb Waiter. It makes us to think who owns the building? Is it still a ca fà ©? Is Wilson inside? (4) American Heritage Britannica concise Encyclopedia http://en.wikipedia.org/wiki/Harold_Pinter http://www.eng.fju.edu.tw/iacd_2003S/c_pm_lit/dumbwaiter.htm Characters Waiting for Godot has five characters as Estragon, Vladimir, Pozzo, Lucky and a messenger boy. The Dumbwaiter has two characters named Gus and Ben. As with Godot, in The Dumbwaiter the two characters are one dominant, one submissive, who share the amount of letters and syllables in their names (although Pinters Gus and Ben are simpler names-and simpler characters-than Becketts Vladimir and Estragon). Guss difficulty in putting on his shoe corresponds to a similar problem with a boot in Becketts play. In both plays, moreover, the characters have been stranded in one place with an unclear purpose, at least from the audiences perspective (1). In both plays, characters have not got any good communication. In Waiting for Godot plot is static. There is a lot of repetition, stability and progress. In The Dumb Waiter dialogues are non-sense of conversation. We see the scene as a room is his view of world. It is identical with Becketts view of the world. The world is going down, the drain. We see the toilet which smells very bad, dirty. And the feet of Vladimir and the breath of Estragon are stinky (2). In Waiting for Godot, the two characters are not satisfied and they both are waiting but in The Dumbwaiter, Ben is hopeful and satisfied with the world which is the room, while Gus is questioning everything and is not satisfied. Figure of Power (the Godlike) Pinters opinion of god is the man upstairs. He is the boss. He is the ruler, master. He is the figure of power. He comes with them and leaves. He doesnt get in touch. It could be anytime. This is direct influence of Beckett on Pinter with the idea of Godot who lives somewhere else nearby. In both plays the Godlike character is away and uses messengers to contact the characters on the scene. In Waiting for Godot, Beckett uses a boy as the messenger with the difference that in The Dumbwaiter Pinter uses the dumbwaiter as the messenger for Wilson (the figure of power). Central Action (Theme) Like a lot of theaters of the absurd, both plays are tragic and comic in nature. The plays are therefore referred to as a tragicomedy, or black comedy. As the very titles of the plays reveals their central action, in both of them people are waiting. And the major theme is the act of waiting for someone or something that never arrives. Because they have nothing to do in the meantime, time is a dreaded barrier, a test of their ability to endure (3). Because they repeat the same actions every day, time is cyclical. And time loses meaning when the actions of one day have no relevance or certainty on the next. http://www.archive.org/stream/pinteracriticale007278mbp/pinteracriticale007278mbp_djvu.txt http://www.soundofevil.com/ingilizce-hikaye-roman-kitap/14138-waiting-godot-amp-dumb-waiter-amp-end-game-samuel-beckett-harold-ingilizce-kitap-ozeti.html http://www.shmoop.com/waiting-for-godot/time-theme.html The Waiting In both plays the people are waiting for off-stage characters who exercise a powerful, god-like influence over the on-stage characters. No acceptable path existed for them to end their waiting and, therefore, they were forced to wait. Through this, the play showed that there are things for which one must wait and that no amount of initiative will end this waiting (1). Their situation, then, is that of people waiting for nothing much, in a universe that has nothing much to offer. As they wait, and we watch, we learn something about how man behaves under such circumstances. We see them devising, with diminishing success, games to play to pass the time; we see them try again and again to understand the unintelligible; we see them discuss committing suicide, but never without finding an excuse to put it off; we see them cling to each other for company while continually bickering and talking about how much better off they would be apart (specially in Becketts). Time Time in both plays is a dreaded barrier, a test for their abilities to endure. It is also cyclical and loses meaning when actions of one day have no relevance or certainty on the next. We see in Waiting for Godot that the characters even cannot tell the time of the year or the day. And also in The Dumbwaiter the room does not have a window so they guess the time and there are no words of a watch or looking at a clock in the play. Ben intentionally does not remember the emotional subjects and the times they spend together before or a fun they had and when Gus brings them up Ben tells him not to talk or asks him to do something or changes the subject so nothing stop him from what Wilson has asked him to do which is murdering Gus which happens at the end of the play. The time factor has relation to the next part which is Repetition as it is well explained as follows. And as Velissariou indicates: When reality is not measured by time and is not limited by spatial boundaries but lies in a n infinite time and an abstract space, then words can never be definite about a meaning which must perpetually elude them. (2) Repetition The repetition in the plays provides further evidence of the unimportance of time for Vladimir and Estragon and also for Ben and Gus. Both acts are identical excluding a few small deviations. With one day after another being basically the same during their wait, it is no wonder that Vladimir and Estragon had trouble telling one day from the next and that they had trouble remembering what happened during each day. Because of this lack of significant change, time had no meaning for them, and therein lays the larger theme that these scenes help to convey. If the day before was meaningless and if most of the periods before this were meaningless, time itself was meaningless for them as well. As Estragon said at the beginning of the second day in reference to that day, For me its over and done with, no matter what happens, which suggested his own realization of the meaninglessness of that day and of time itself. An example of a clearly cyclical pattern in Waiting for Godot that well introduces the repetition is when Estragon sings a song as follows: A dog came in the kitchen And stole a crust of bread, Then cook up with a ladle And beat him till he was dead. Then all the dogs came running And dug the dog a tomb And wrote upon the tombstone For the eyes of dogs to come: A dog came in the kitchen . . . . Questions while Waiting Estragon: (anxious). And we? Where do we come in? Estragons question is left unanswered by Vladimir. Note that these questions seem to bring pain or anxiety to Estragon. Beckett conveys a universal message that pondering the impossible questions that arise from waiting, cause pain, anxiety, inactivity and destroy people from within. Note that both Vladimir and Estragon ponder suicide, by hanging themselves from the tree, but are unable to act through to anxiety, as Estragon states, Dont lets do anything. Its safer (1). And also in the case of The Dumbwaiter whenever Gus tries to bring up something emotional, and to ask questions, Ben refuses to speak with him. This disconnection is the essence of their relationship. They do not speak with, but to each other. Silences and Pauses Both plays are filled with silences and pauses during the waiting. In theater of the absurd silences and pauses have three different applications. Either the characters are in a state of shock, or they are making time pass or they are hiding information from one another. Silences and pauses do carry meaning in these kinds of plays as if they are the same as using words to convey meaning. In Waiting for Godot, the silences are as a result of not having much to do trying to pass time until Godot comes and also lack of good communication. In the Dumbwaiter, silences and pauses are as a result of hiding information from Gus who will be the victim of the day at the end of the play when Ben shots him and the secrets are revealed. It is worth to mention Velissarious point of silences in Waiting for Godot here as: The silences in the play effectively Becket the terms an audience might adopt in order to understand them; the meaning is communicated by the intervals between words. In Didi and Gogos dialogue about the dead voices the silences are evenly distributed, atomizing the exchange into fragments of cross-talk. The empty stage is filled for a moment with the presence of dead people, worn out voices, fragmented whispers, murmurs and rustlings, and this sudden proliferation of the thoughts, speech, and noises of dead people suffocates Didi and Gogo because they themselves are emblematic of that dead humanity. Beckett stages the sounds of silence, the other side of language, and Didi and Gogo, in their yearning for authenticity, aspire to the point of overlap, to the zero, to the point where all difference is obliterated. It is a form of death-wish. The dead voices are heard inside their silences talking of the past, of dreams and hopes; presence is once again commensurate with absence. (1) Universality of the Waiting As human beings were all clinging to the hope of some kind of salvation, some kind of Godot to come and save us from our intolerable suffering, our poverty, our disease, our boredom, our quiet desperation (2) or a kind of Wilson to instruct us through our life. This hoping, this waiting, removes us from the potentially liberating awareness that the moment were actually suspended in, this moment between birth and death that glows so briefly, is ultimately more important than any vague better future we might desire. Life is a lengthy period of waiting, during which the passage of time has little importance. Each day the characters wait for the savior, and, if he doesnt come that day they will continue to wait. The amount of time that they had already spent doing this and the amount of time that would do so in the future is unknown, but neither is important because time is meaningless for them. Each day they would continue to wait for the unknown savior until he either came or time ended through their death. Sum up The plays confront the absurdity of existence and challenge us to figure out who we are and what were doing here. In this random universe, where everything who lives and who dies, whos up and whos down, is a matter of pure chance, and the odds arent necessarily in our favor, what do we do? Whats our purpose? The Dumbwaiter shows the same waiting as in Waiting for Godot with the difference that there is a more violent atmosphere which gives the sense of deceiving and murder. So Waiting for Godot and the Dumbwaiter are plays about waiting, about the repetition, the meaninglessness, the absurdity of waiting, of feeling (and being) suspended in time instead of moving forward in a meaningful direction and for the possibility of a better future that we are not quite fully convinced will ever arrive. You can find the comparison table with examples provided based on the factors mentioned above from the two plays as follows: EXAMPLES Factors Waiting for Godot Repeating actions VLADIMIR: Theres man all over for you, blaming on his boots the faults of his feet. ( He takes off his hat again, peers inside it, feels about inside it, knocks on the crown, blows into it, puts it on again.) POZZO: (He puts the pipe in his pocket, takes out a little vaporiser and sprays his throat, puts back the vaporiser in his pocket, clears his throat, spits, takes out the vaporiser again, sprays his throat again, puts back the vaporiser in his pocket.) Repeating words Nothing to be done ESTRAGON: Why doesnt he put down his bags? POZZO: I too would be happy to meet him. The more people I meet the happier I become. From the meanest creature one departs wiser, richer, more conscious of ones blessings. Even you . . . (he looks at them ostentatiously in turn to make it clear they are both meant) . . . even you, who knows, will have added to my store. ESTRAGON: Why doesnt he put down  his bags? Killing Time VLADIMIR: That passed the time. ESTRAGON: It would have passed in  any case. VLADIMIR: Yes, but not so rapidly. VLADIMIR: Shall I tell it to you? ESTRAGON: No. VLADIMIR: Itll pass the time. (Pause.) Two thieves, crucified at the same time as our Saviour. Silence POZZO: (Silence.) Its the nicotine, one absorbs it in spite of ones precautions. (Sighs.) You know how it is. (Silence.) But perhaps you dont smoke? Yes? No? Its of no importance. (Silence.) But how am I to sit down now, without affectation, now that I have risen? Without appearing to -how shall I say- without appearing to falter. (To Vladimir.) I beg your pardon? (Silence.) Perhaps you didnt speak? (Silence.) Its of no importance. Giving irrelevant answers to the other person POZZO: True. (He sits down. To Estragon.) What is your name? ESTRAGON: Adam. POZZO: (who hasnt listened). Ah yes! The night. (He raises his head.) But be a little more attentive, for pitys sake, otherwise well never get anywhere. Not knowing the time the Godlike comes or sends message He said Saturday. (Pause.) I think. ESTRAGON: You think. VLADIMIR: I must have made a note of it. (He fumbles in his pockets, bursting with miscellaneous rubbish.) ESTRAGON: (very insidious). But what Saturday? And is it Saturday? Is it not rather Sunday? (Pause.) Or Monday? (Pause.) Or Friday? VLADIMIR: (looking wildly about him, as though the date was inscribed in the landscape). Its not possible! ESTRAGON: Or Thursday? Got used to waiting VLADIMIR: No further need to worry. ESTRAGON: Simply wait. VLADIMIR: Were used to it. Not doing what they say they would ESTRAGON: Well, shall we go? VLADIMIR: Yes, lets go. (They do not move). ESTRAGON: Then adieu. POZZO: Adieu. VLADIMIR: Adieu. POZZO: Adieu. (Silence. No one moves). VLADIMIR: (to Estragon). Give him his hat. ESTRAGON: Me! After what he did to me! Neve! VLADIMIR: Ill give it to him. (He does not move). Being promised that the master will come BOY: (in a rush). Mr. Godot told me to tell you he wont come this evening but surely tomorrow. Not remembering (or not wanting to Remember) the past Vladimir mentioned the time that he and Estragon had spent in Macon country picking grapes. Estragon did not remember this period, and even Vladimir has trouble remembering details of their time there, such as the name of the man for whom they worked. They couldnt remember the day before or even if it was the same place they were waiting for Godot Not knowing the time POZZO: What time is it? VLADIMIR: (inspecting the sky). Seven oclock . . . eight oclock . . . ESTRAGON: That depends what time of year it is. POZZO: Is it evening?

How George Eliot Presents the Role of Fatherhood in Silas Marner Essay

How George Eliot Presents the Role of Fatherhood in Silas Marner The novel Silas Marner is about a man who loses everything in his old hometown Lantern Yard, to the hands of his friend. He moves to a village called Raveloe which he stays at for 15 years. Being a weaver for so long, Marner has made himself a very small fortune, which becomes his life. When it is stolen by one of the other villagers, Silas feels he has once again lost everything until he finds a small girl which he names Eppie. The bond between these two characters is an essential part of the novel as it brings out a key theme in the novel which is fatherhood. In the novel itself, there are many fathers, some of which we do not see much of. The main fathers happen to be Squire Cass, his son Godfrey, Ben Winthrop, Mr Lammeter and later on, Silas Marner. There is much distinction between these characters and the one that sticks out the most is perhaps Godfrey Cass. Godfrey is a young man who was seemingly forced to marrying some drug taking vagrant after making her pregnant, this fact is of course his...

American Literature Order

As I lay dying by William Faulkner tells the story of the death of Addie Bundren and the trials her family undergoes as they carry her body to Jefferson, Mississippi, for her burial. Addie’s husband, Anse; her four sons, Cash, Darl, Jewel and Vardaman; her, daugter Dewey Dell; and several neighbors all reveal their relationship to Addie in the course of the story. A series of mishaps besets the family; in crossing a flooding river. The mules drown, Cash’s leg is broken, and the coffin is upset and rescued by Jewel.Later, in the story the family rests at a farmhouse, where Darl sets fire to the barn, in an  attempt to destroy the now-putrescent corpse; again the coffin is rescued by Jewel. The family reaches Jefferson to bury Addie; Karl is taken to the insane asylum, and Anse acquires a new wife. It is revealed in the course of the narrative that Jewel was born of Addies illicit affair with Whitfield, who is local preacher.Addie’s relationship to Anse had been spiritually and emotionally barren of feelings, and was based on words alone. Significally, Jewel is a silent man and is active and passionate, while Darl is sensitive and is perceptive, as he is living inside the world of his own mind.The story unfolds in some sixty short sections, each labeled with the name of the character who is to narrate his or her thoughts and perceptions next. Like THE SOUND AND THE FURY, Faulkner, utilizes the stream of conscious technique. AS I LAY DYING is a grim story of the ordeals of fire and water, the novel is often called comic, ending with the new wife, who is â€Å"Duck-shaped† and popeyed. The point of view in Faulkner’s AS I LAY DYING I find is an experiment in narrative Page 2 writing. The language in which Faulkner utilizes with each character as they turnsnarrating the story is highly subjective and highly. Each character having a recognizable change in their individual voice. Each character lends a different characteristic to t heir section from confessional to a stream of consciousness. The novel itself is a collection of inner monologues, which consists of fragmented passages that piece together Addie Brundren’s story of her death and the transport of her body to Jefferson. The story demonstrates unity, although the narrative appears fragmentary. The story is limited to the span of only a few days, and the sub-plots are interwovenlogically. It is to the reader’s advantage that the authors innovative unified set of events forces the reader to look at the story from different perspectives, from which are highly subjective. Faulkner made use some of this technique first in THE SOUND OF THE FURY. However in AS I LAY DYING, he provides the reader with an even greater range of voices. Additionally, THE SOUND AND THE FURY, also provides a clearer distinction between reliable and unreliable sources. The voices in AS I LAY DYING are many and ambiguous. Darl is the first narrator and most important o f the novel. He is alsosensitive, intuitive, and intelligent. His monologues are more eloquent and represent the most intricate representation of the process of thought. Some of the other interior monologues are straightforward, except Darl’s, which is more of a stream-of- consciousness. One of the challenges of the novel is the complete absence of an objective perspective. All we learn about the characters in the novel is told to us through the eyes of a subjective narrator, because of Darl’s sensitivity and isolation from the other Page 3 characters involved in the story. The readers relay on his version of the events happeningin the story. Darl is eloquent and intelligent and is also isolated. Isolation plays a recurring role in the novel. The novels unique structure highlights the characters isolation. An example of this is when Darl tells the readers what he alone can observe, and his isolation is the most poetic and the most tragic. The readers feel, from the ver y first section, the strong sensory and sensual images in Faulkner’s novel. Although the novel takes the form of interior monologues, each character in the novel is powerfully influenced, in their own way by the physicality of their own place in the world.The place in society, women have during the time of the novel are pieus, Isolated, lonely and annoying to the reader and the other characters in the book. Dewey’s Dell isolation is apparent in her narrative. The only daughter of the family, Addie’s death leaves her as the sole female. This role might explain the possessiveness she feels as she watches over Addie. She is lonely, isolated and is suffering from it. Some part of her excepts and enjoys this isolation. She resents and fears Darl because he intuitively understands her isolation and can see her secrets. Dewey Dell seems partial to Darl mostof the time. Both enjoy a closeness and love that is evident to the others in the family. However, she voices rese ntment in the first section; that explains her actions later in The in the novel. â€Å"And That’s why I can talk to him with knowing with hating because he knows. † (23) In the character of Cora Tull, Cora’s self-righteous and irritating piety comes through clearly. Her daughter Kate seems healthier in comparison as she complains Page 4 about the insensitivity of the rich. Cora’s attitude of acceptance seems kind at first, however turning out to be self-righteous and angry in the end.Cora continues to tell the reader about the cakes, thinking about them again without reason and continuing to take comfort in the power of God â€Å"Who can see into the heart. † (4) Cora’s interior monologue is she does not have to judge the rich because God will. Kate, and Eula are preoccupied with Cash, Darl, and Jewel and the possibility of future matrimony. Kate speaks with some scorn about Jewel’s fiery nature. Kate also speaks with scorn about Ans e, predicting that if Addie dies Anse will find a new wife before cotton-picking time. Darl narrates the death of Addie Brundren.He tells the readers that Addie wanted to see Jewel. Anse informs her Jewel and Darl have gone off to ship lumber. Addie calls out to Cash, he fits two boards together for her to see. She looks at Vardaman, and it seems as if the light leaps back into her eyes, then suddenly goes dead. Weeping hysterically, Dewey Dell throws herself on her mother’s dead body while Vardaman, terrified, slips out from his mother’s room. Religion plays a role in these characters lives by way of the author who is critical of the religious characters of the book in a sense they are often blinded by theirown piety. Many of the characters muse about God and man throughout the novel. Faulkner seems to be critical of simplistic Christianity. Eg: Minister Whitfield is revealed as a self-satisfied hypocrite who is hiding his transgression with Addie and yet is maintains that he has wrestled with devil and won. Cora’s piety grows increasing annoying throughout the novel especially when it becomes clear she ignores any fact which will contradict her beliefs. The Tulls and Peabody’s provide valuable outsider Page 5 perspective. They universally condemn Anse, for his laziness and weakness. Tullnotes that one can always tell Anse shirts apart: â€Å"There are no sweat stains, the implication being that Anse never works. † (27) Meanwhile the Bundren’s opinions vary. Cora is extremely fond of Darl, she sees a sensibility and gentleness in him than any other Bundren. So much so that she seems to have illusions about him. She believes he begged to stay with Addie instead of delivering the lumber. She claims in her monologue that Vernon had told her too, while in Vernon’s own monologue we get the exchange with Darl. As Vernon’s Tull’s monologue depicts it, Darl hesitates and seems sad aboutleaving while Addie dies, however he does not beg. This example highlights the complexity of the characters In AS I LAY DYING. The readers listen to the strong opinions of how each character feels about the other. Interior monologue is usually emphasized far more than dialogue. While dialogue is used to reveal the way the characters would provide more objective evidence, we would lose the psychological complexity of the character portraits. Faulkner depicts the structure of what the novel suggests, real intimacy and tenderness are close to impossible in the Bundren family.Work and reality of poverty darken all aspects of life, hope, and longing are always expressed alone. The family lives in squalor with cramped conditions, and yet isolation is one of the families trademark. For eg: Darl reflects on his boyhood, and the first time he’s masturbated. Cash is sleeping not a few feet away, however Darl does not know if Cash is doing the same thing. Solitary masturbation in the dark is the only glim pse we get of Darl’s and sexuality. Addie’s death reminds us again of the harshness of rural poverty. The Page 6 themes of poverty and work run through the novel.Motherhood depicted in the novel is is life-destroying venture, without life or happiness. Peabody says of Addie and her fierce unspoken insistence that he leave the room: â€Å"Seem them women like Addie, drive from the room them coming with sympathy and pity, with actual help, and clinging to Trifling animal to which they never were more pack-horses† (41) Even more striking is the description of Addie’s hands. â€Å"The hands alone still with any semblance life, are curled, gnarled inertness; a spent yet alone quality from which weariness, exhaustion, travail has not departed, as though they doubted even yetthe actuality of rest, guarding with horned and penurious alertness the cessation which they know cannot last. † (46). Addie’s hands bear the mark of her hard life on Earth. De wey Dell’s thoughts are very muddled in the book. She doesn’t speak with the complicated, and eccentricity of Darl, however instead in a voice near-hysterical with worry. Her mother’s death is deeply painful to Dewey Dell. She throws herself upon Addie’s dead body, with an unexpected intensity. She has lost her lover, who has abandoned her and left her pregnant. Dewey Dell’s isolation is clear however she is soUsed to being alone that she begins to resent people’s intrusions. Darl earns her resentment for example, because of how intimately he understands her. Even more Intrusive is the baby growing in her womb, which leads Dewey Dell to realize she must begin to worry about finding a way to end her pregnancy. The third section of the novel has Vardaman narrating. He is disturbed by the idea of shutting Addie up in the coffin. He speaks as if confused about the wonders of town and the mysteries of his mother’s death. He doesn’t understand he’s a country Page 7boy and why there is a difference between the city life and the country life. He doesn’t understand the idea of death and his thoughts are confused when he compares Addie’s dead body to a dead fish. He feels the need to get Vernon, because he thinks Vernon saw the fish. A storm has began as Tull narrates. He is woken by Peabody’s passing team. Cora hears the noise and thinks Addie has passed. She wants to hitch up and go to help, but Tull prefers to wait until they are called. Vardaman, arrives at the door dripping wet and speaking incoherently about fish. His babbling is strange and eerie, andTull shares in the reader’s reaction. â€Å"I’ll be durn if it didn’t give me the creeps. † (63). Both Vardaman and Darl are taken by questions of being, consciousness, and identity. His mother’s death has only added confusion to these questions; Vardaman does not understand how something that  "is† can become a â€Å"was. † In other words destructive power of time. The terror of morality, and the mystery of no longer ceasing to exit on Earth becomes it is too much to handle for Vardaman. In his mind, his mother has become something else. Vardaman, turns death into a transformation. Eg: his mother is a fish.He imagines her as a rabbit, because she has gone far away, just like rabbits. He is also disturbed by the fact that they are going to eat the fish. Vardaman struggles to find teleology for the events around him. He tries to connect what happens to reasons, when in fact often things happen for no good reason at all. He blames his mother’s death on Peabody, because he believes Peabody’s arrival preceded his mother’s death. His reasoning though clearly incorrect, however it is much more reasonable than the rest of the characters explanations and thoughts in the novel. Reference Site: AS I LAY DYING By William Faulkner.

UCLA Applicants 4 Main Steps to Follow When Applying for College

It is never too early to start prepping for the college application process. Just like any other big step in life, and perhaps more so, the success of the outcome will depend on the level of preparation one puts into it. When applying to UCLA especially, it is important to note that this is the university that receives the most applications in the US, and one with some of the most selective processes. In order to get in, here are some things you must consider. 1. Goal and Needs Assessment Ultimately, there is a reason in every important step taken in one’s life; this is the same for college. When beginning UCLA application process, it plays a huge role to assess and understand your goals and the reason for choosing a particular field. Think about your career goals, where you want to live, religious affiliations, whether you might thrive in an environment that has more or fewer students and the kind of educational experience you would like to have there. This is important because UCLA will ask questions and consider your goals and needs when evaluating your application. For instance, they will ask you personal insight questions about what you have done and are hoping to do to stand out as a candidate and a student at the university. 2. Gather Information In order to gain admission at such a prestigious university, it is important to have as much information as possible about your prospective course, department and the application process. There are many resources online that help with the application process. For the prospective UCLA students, though, the university website provides a lot of information on what one can do to heighten their chances of admission. For freshman applicants, there is information available about the tests you have to take as well as information you have to provide. 3. Admission Tests Most universities require some sort of tests be done for one to be able to make the formal application. At UCLA, the application tests considered are SAT or ACT. Scores from these tests play a huge role in determining whether one is accepted into their college of choice. 4. The Application Process This is what comes to most people’s minds when they think about applying for a college. In truth, it is simply one of several steps during the application process. UCLA considers the following when evaluating your actual application Official high school transcripts, in most cases, have to be in English. UCLA calculates academic Grade Point Averages (GPA) using courses they have approved from the 10th and 11th grades; The strength of the program chosen in the context of your high school; Whether you have been ranked within the top 9 percent in your school and/or the top 9 percent across the state; Your sustained participation in activities that develop your academic or intellectual abilities. There is no single formula for application and admission into UCLA, and this makes it a particularly popular school for applicants. With the high numbers of people applying, following these steps will help you stand out from the crowd and increase your chances of acceptance.