Symbols in Raisin the Sun, the Necklace and Tell-Tale Heart Essay Example

Symbols in Raisin the Sun, the Necklace and Tell-Tale Heart Paper Symbols In The Necklace by Guy de Maupassant, Loisel is a character who is middle class and has an obsession over jewelry. She also seems to have a fantasy about living a life of extreme riches, high class, and a fancy lifestyle. One element Guy de Maupassant uses, as a symbol is the necklace itself. The necklace portrays the concept of false values and false appearances. The necklace symbolizes beauty but is false. When Loisel wore it to a party, it gave her a sense of extreme beauty and wealth. When Loisel lost the necklace, she lost her beauty and her â€Å"great† wealth but both were false nonetheless. The fact that it was a jewel, it allows Loisel to live in a fantasy that she thought was actually real. Not only was the jewel fake, but her socio-economic status was also pretentious. In the Tell-Tale Heart by Edgar Allen Poe, Poe uses the heart as a symbol. Towards the end, the sound of the heartbeat drives the narrator insane and full of guilt. Almost as if the heart is somehow telling the tale of what just occurred, reminding the narrator of what he has done, causing him despair. The heart symbolizes guilt and self-conscious in which is strong enough to make the narrator give in and confess that he committed the murder. Although the heart does not physically speak, it has â€Å"spoken† aloud, as if mentioning what the narrator performed, even though the narrator confessed for himself. We will write a custom essay sample on Symbols in Raisin the Sun, the Necklace and Tell-Tale Heart specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Symbols in Raisin the Sun, the Necklace and Tell-Tale Heart specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Symbols in Raisin the Sun, the Necklace and Tell-Tale Heart specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Symbols are used in order to represent greater abstract meanings and imagery within a work of literature. By using symbols, an author can continue to describe what is occurring in the story without disrupting the flow of his or her work by â€Å"pausing† to explain the actual concept he or she is trying to depict. Instead, authors use representation that allows the reader to decipher the icons and understand for him or herself, what is occurring within the work of literature. Join Now For Free

The Civil War and Failure to Compromise essays

The Civil War and Failure to Compromise essays The Civil War was not inevitable. It was not an unavoidable conflict of two opposing sides; rather, it was the result of extremism and failures of leadership on both sides of the conflict. The conflict was made up of the pro-slavery southerners and the anti-slavery northerners. Both sides felt very strongly about their position, and refused to see the opposite point. Failure of leadership that led to the Civil War was the passing of the personal liberty laws, the Kansas-Nebraska Act, and popular sovereignty by congress, while extremism that led to the Civil War included the Fugitive Slave law, and Harpers Ferry. Divisions caused by the slavery issue cut deep into America. Entire regions bitterly hated each other. Harriet Beecher Stowes abolitionist book Uncle Toms Cabin only furthered the hatred between the North and the South by adding an emotional aspect to the immorality of slavery (Document C). The rift even split political parties such as the Whigs. One half of the Whigs were Cotton Whigs, who believed that slavery was an essential part of the economy, and that slavery is good. The Conscience Whigs believed that slavery was wrong and should be ended. The political party of the Whigs soon dissolved, and disappeared from Congress (Document E). Abraham Lincoln may have thought of this political party when he said, A house divided against itself cannot stand.(Document F) Lincoln was of course referring to the civil war he saw looming ahead. People on both sides of the conflict who passed the personal liberty laws, the Kansas-Nebraska Act, and popular sovereignty showed lack of leadership. The passage of Personal liberty laws showed lack of leadership by the North because the laws impeded the enforcement of the Fugitive Slave Law. This infuriated the Southerners (Document I). The personal liberty laws were found unconstitutional and were repealed, because one state can not i...

What Is A Flat Character †Definition and Definitive Examples

What Is A Flat Character s What is a Flat Character? (And How to Fix One) â€Å"Riddled with flat characters† is perhaps the most damning thing you can hear from an editor or reviewer. An accusation that your characters read like a cardboard cut-outs is like a knife in the heart of any fledgling writer. But having a flat character or two isn't the end of the world  - or even the end of your story! And if you can learn how to turn a two-dimensional character into a three-dimensional one, you'll have a real leg up on all future character creation. Sometimes the hardest part is simply identifying when you  do  have a flat character on your hands... especially if you're not exactly sure what constitutes one. Which is why we want to illustrate exactly what is a flat character: with a clear definition, examples, and instructions on how to fix any flat characters you may come across in your writing. First off, let's talk about what this term means.What is a flat character?A flat character  is a character with little to no complex emotions, motivat ions, or personality. They also don't undergo any kind of change  to make them more well-rounded. In other words, they're the opposite of a "round character," who has a fully fleshed out profile and changes throughout the story. A flat character will typically:Have no internal conflictConform to a stereotypeNever experience character developmentLack a multi-faceted personalityWhereas a three-dimensional or round character will typically:Have internal conflictUndergo significant character developmentExperience mental and emotional changesHave a multi-faceted personalityFlat characters are also sometimes referred to as â€Å"one-dimensional† or â€Å"two-dimensional." Both of these monikers point to the same thing: a character who has very minimal complexity, and often renders the story less believable as a result. Are you accidentally writing a flat character? Learn more in this post Not all static characters are flatDon't make the mistake of conflating a flat character with a static character. â€Å"Static† (or its inverse, â€Å"dynamic†) strictly describes the amount of change that a character undergoes throughout the story. â€Å"Flat† is a referendum on the character's complexity. That means that, generally speaking, all two-dimensional characters are static, but not all static characters are two-dimensional. To learn more about the flip side of the equation, we wrote extensively about what makes a dynamic character here.Are flat characters bad?Again, having two-dimensional characters never spells automatic death for your book. And the occasional flat character can even benefit your narrative! Charles Dickens, for instance, was a genius at writing casts that were packed with memorable caricatures. Are Miss Havisham, Mrs Micawber, and Mr Jaggers flat characters? Absolutely - they have few complex characteristics and exist mostly to inter act with the main character of their respective stories. But does their flatness make them inherently uninteresting or irrelevant to the story? Not necessarily. Flat characters can fulfill a number of roles: they populate the environs of the protagonist’s journey, and can move the story along in a plot-driven book. You really just don't want your  main  character(s) to be flat, otherwise your audience will lose interest in them. Her animal friends are the most interesting thing about her. (Image: Buena Vista Pictures)6. Mary Jane from Spider-ManSummed up in one sentence: The girl next door who’s the object of Peter Parker’s affection. Purpose in the story: To be the damsel in distress whom Peter rescues time and time again.7. Karen Smith from Mean GirlsSummed up in one sentence: A popular high school student who isn’t the brightest bulb in the box. Purpose in the story: To be the comic relief. (Though, to be fair, she would unquestionably make a great weather reporter!)8. Mr Collins from Pride and PrejudiceSummed up in one sentence: A silly, pompous, vain, obsequious clergyman with narcissistic tendencies. Purpose in the story: To represent the stereotype of the silly, servile parts of British society that Jane Austen ends up eviscerating.So why do authors write flat characters?As you can see, authors utilize flat characters in a number of ways. Writers generally bring them out when:The story in question is extremely plot-driven. Genres such as detective novels and thrillers will feature more two-dimensional protagonists for this reason (i.e. Arthur Conan Doyle’s Sherlock Holmes and The  Da Vinci Code’s Robert Langdon.)The story is simple enough that complex characters are unnecessary.  This is the case in many children's movies, such as the  Cinderella  example above.Minor characters are needed. These characters don’t need depth, as they exist in order to further a three-dimensional protagonist along on their journey.So a flat character isn't necessarily a  bad  character; it's all about how you use them. Some very popular stories make almost everyone into flat characters except the protagonist(s). However, when it comes to standard literature, it's usually best to steer clear when possible. As a general rule, the more complex and multi-dimensional you make your characters, the deeper you'll pull readers into the vivid world of you r story - and that goes for all  characters, not just the ones we see the most.Do you have any favorite flat characters? Have you included any two-dimensional characters in your own work? Let us know in the comments below.

Four managerial function Term Paper Example | Topics and Well Written Essays - 1000 words

Four managerial function - Term Paper Example Planning can be defined as the process of selecting the course of action for the project. There can be different ways of achieving the same goal, with some incurring more costs than others. The purpose of planning is to identify such a course of action to achieve the goals that enables a manager to minimize the cost without compromising upon the quality. The need for planning originates in the fact that the market economies in which an organization has to establish itself, survive, and thrive are highly competitive and change is a norm in such market economies (Rao, 1988). Planning is a technical skill. To facilitate the managers in the present age, several planning software are available in the market. Such planning software include but are not limited to MS 2010 and Primavera. After the suitable course of action has been identified to achieve the goal, the next step is to schedule the project. Organizing is the second function of management. â€Å"Organizing is the process of linking and arranging activities in a sequence. It includes allocating work, authority and resources† (Rao, 1988). In this stage, the different steps identified in the plan are time-phased. The plan is divided into a range of activities that are assigned durations and relationships are established between them. A manager needs very good technical and intellectual skills in order to be able to execute this function successfully. Organizing, as the name implies, is also concerned with structuring and administering the organization in such a way that adequate channels for effective communication and execution of plans are formed. In the organizing function of management, the manager decides what kind of organizational structure should prevail in the organization so that the desired organizational culture, hierarchy, and channels of communication are formed. A manager needs to have a

Chinese New Year Essay Example | Topics and Well Written Essays - 750 words

Chinese New Year - Essay Example I hope you would not ask me how this system works because aside from possibly taking me more than 60 minutes of your time, I am sure that the explanation would all put you to sleep. The purpose of my narrative discourse is to illumine your thoughts on the disparity of how we normally celebrate Chinese New Year from what I have observed during my stay in the United States. This year, Chinese New Year was celebrated last January 23 and has been marked as the year of the Water Dragon. We believe that in preparation for the New Year, all family members must participate in the event by observing old traditions and practices. We believe that to bring in good luck, our family must take out all old and dirty things by cleaning every nook and corner of the house and to bring out bad luck during the previous year. We observe placing specific decorations that include posting popular characters or symbols such as Luck, Money, Wealth, Happiness, Prosperity or Health on a diamond-shape red paper a nd paste them on the doors, windows, and money safety boxes. The best thing I enjoy during Chinese New Year is the dishes that are prepared for the celebration. There are also specific meanings for the foods that are prepared. For example, mother cooks meat dumplings for good luck; sweet rice cakes for more wealth every year; fish for plenty; vegetables with long noodles for long life; chicken for wealth; soup means everything better than last year; and shrimp for abundance. We also ensure that specific fruits are on the dining table, also with distinct meanings: tangerines for good fortune; apples for peace; orange for money and wealth. I sometimes think that the Westerners’ preparation for a bowl of fruit cocktail would be better to attract prosperity and good luck. Another custom that we never forget is giving Hong Bao which is a red envelope that contains brand new money. Parents and grandparents give Hong Bao to children and relatives also to signify good luck and prospe rity. In China, there are festivities that include watching dragon dances and paying our respects to our ancestors through offering foods and incense. While in the United States, we still get to pay our respects through observing adherence to these customs and traditions. I actually miss waiting patiently in vigil for the coming of the New Year, especially in locations where it is welcomed through a magnificent display of fireworks. The value of adhering to old traditions could not be ignored as they form an important part of one’s life. The way we celebrate New Year in China could be significantly different from the way New Year celebration is practiced in the United States. The disparity was eminent in distinct practices of warding off bad luck through age old traditions of cleaning, preparing selected foods and fruits, and giving away tokens for good fortune. Despite the differences, I admit that where ever and how ever people celebrate New Year, the important thing we re alize is that it is a time to leave our bad practices and mistakes and learn to move on with steadfast determination to do good in words and actions towards our fellow men. After reminiscing, I realize that I am most fortunate to have the opportunity of celebrating two New Years’ festivities every single year - I must have been and would still be the recipient of double doses of prosperity and go

Peace and Free

Peace and Freedom Essay General accounts that place the American combat experience in the broader context of the 1918 campaign can be found in literature. Authors provide sound overviews of the AEFs European combat experience. Accounts of specific battles contain an excellent general description of the Marine combat experience on the Western Front. Perhaps influenced by recent trends in military history, many authors have attempted to come to grips with the wars impact on the individual soldier. Authors look at the Armys treatment of its black soldiers and of those soldiers reactions. There are also more detailed works on the black experience. They provide a fine general account of the African-American experience in the U. S. military. At the same time historians focused on the very important role women played at home. In The Women and the Warriors, Carrie Foster looks at the early history of the Womens International League for Peace and Freedom. He finds that its experience during the World War I greatly shaped its view of the world and the strategies it pursued during this period. The important scholarship on women during the war challenges the traditional interpretation of the war as, on the whole, a liberating experience for women. For historians are important local studies, focusing on official policy toward women and workers in general. There is also the psychosocial impact of the war on gender relations. What happens when the men come home is described by historians. Historians investigated also the history of industrial workers. They focused on the militarization of labor and on the relations among union leaders, capitalists, and military authorities. Historians covered labyrinthine administrative arrangements that economic mobilization engendered and trade union organization. Recent scholarship on the working class in wartime features a great many local studies. The history of daily life among civilians during the World War I has been investigated chiefly via local case studies. Many historians propose that the experience of the war on the home front often came down to â€Å"steel and turnips†Ã¢â‚¬â€ever-increasing demands for work and â€Å"efficiency, † and less and less to eat in the bargain. It almost goes without doubt that a disproportionate number of those undergoing these experiences were women and children. Some writers focus on the ideological impact of war work for the womens movement and consider the related issue of â€Å"pronatalism† as an element of wartime mentality. As to the children for whom working women continued to care, historians have studied the day-to-day life of those still in school and considered youth movements within the middle class. One social group of importance to both women and children was doctors. The relationship of both politicians and soldiers with the press has drawn a number of scholars. They have concentrated upon the issue of control and censorship touching on both censorship and ownership. The press was naturally an instrument for propaganda. The impact of theatre, photography, the infant cinema and, especially, the pioneering wartime film has been the subject of detailed consideration. Today the World War I is in modern memory as an incredible experience of our parents and grandparents. Its places of battles are partially preserved. Its equipment and accoutrements exhibited in museums. A balanced account of the entire period is captured in excellent historical works that always will be read with curiosity and amazement, as well as a growing understanding. References Coffman, Edward M. (1968). The War to End All Wars: The American Military Experience in World War I. New York: Oxford. Foster, Carrie A. (1995). The Women and the Warriors: The U. S. Section of the Womens International League for Peace and Freedom, 1915-1946. Syracuse: Syracuse University Press. Kreidberg, Marvin A., and Merton G. Henry. (1955). History of Military Mobilization in the United States Army, 1775-1945. Washington, DC: Department of the Army. Perret, Geoffrey. (1989). A Country Made by War: From Revolution to Vietnam—The Story of Americas Rise to Power. New York: Random House. Plaschka, Richard Georg, Horst Haselsteiner, and Arnold Suppan. (1974). Innere Front: Militarassistenz, Widerstand und Umsturz in der Donaumonarchie, Vienna. Weigley, Russell F. (1973). The American Way of War: A History of United States Military Strategy and Policy. New York: Macmillan.

Gabriella :: Personal Narrative Russia Judaism Papers

Gabriella Sometimes I still say your name, just to hold it in my mouth, to twirl it past the curves of vowels and into the trill of the l, the lilt of the final a. Gabriella, I still see your sharp, strange face, in street crowds and in airports, the flutter of your long hands tracing my belly button. I can’t remember Gabriella’s last name, something quite Russian and excitingly foreign to the five year old self of mine who last saw her. I don't know which part of Russia she lived in before coming here as part of a refugee plan for Soviet Jews, never even thought to ask. In 1983, I only knew that Russians were communists, and communists were bad, which was why Gabriella (stop, wait, say the name again, slowly). Gabriieeelllaaa ran away. I am four years old and have to read one whole book with chapters before starting kindergarten next week at Ezra Academy, a Jewish day school in Woodbridge, Connecticut which requires all students to read and write both Hebrew and English at a basic level upon entrance. When we met the principal over the summer, he said that I would be the youngest pupil by more than a year. For my book, I pick Meet Dr. Martin Luther King Jr. from a shiny shelf at Stop n’ Shop while dangling over the front of the child seat in my mother’s shopping cart, already too round to fit in comfortably. That night, I curl into my pink flannel princess nightgown to read in my mother’s big maroon rocking chair. "Mommy, were the Jim Crow people commu..commm...communin,..cc...communinists?" "Communists?" She smiles, and I watch for the crinkles at her eyes to tell me if she noticed my tangled pronunciation. "Are the people who hated Dr. King the same people who hate Gabriella?" "Who?" My mother drawls over the who, dangling the word like the glass in her hand, one sip left of pale rose colored wine so perfect I want to place it like dew on my tongue "Wine is only for mommies" "If I’m not allowed to drink more than one glass of ginger ale why can you drink five glasses of wine?" "Because it’s different for grownups, our stomachs are bigger" "Big enough for the whole bottle?" "Don’t be silly. Who were you asking me about before?" "Remember! The girl who is going to be in my class who you said Rabbi Scolnik helped rescue from the cc.

English †Book Report: The Green Mile Essay

I originally read this book when it was first published as a complete volume in 1998 and it has been my favourite book ever since. I have never read another book that has evoked such emotion, and I have been known to have trouble seeing a few of the pages through my tears. At first glance it is a long book (453 pages), with a rather imposing picture of ‘Old Sparky’, the electric chair, on the front cover. As you read the blurb on the back it manages to fill you with questions about the characters and a taste for more. Like most of Stephen King’s books, The Green Mile is widely considered to be in the horror genre. But personally I don’t think that quite does the book justice and certainly isn’t what I would consider to be classic horror. There are no monsters or zombies, and although there are serial killers and death it is all in context, Death row at Cold Mountain Penitentiary, Southern USA, in the 1930s. The first edition consisted of six thin, low-priced paperbacks, published a month apart in 1996. The story is told form the perspective of Paul Edgecombe, head guard on ‘E Block’ of the penitentiary. Paul is now retired, living in a nursing home, trying to get rid of some of the ghosts from his past by writing a retrospective account of his time working on death row. He has a friend at the nursing home, a fellow resident named Elaine Connelly, who he likes to share his time and thoughts with. Paul comes across as a wise and gentle man who is very sensitive to others feelings. Other than Paul there are five guards that work on E block. Brutus Howell is next in command to Paul, a tall and well built but gentle man, who is not violent unless absolutely necessary. His nickname is, ironically, ‘Brutal’. Then there is Dean Stanton, Harry Terwilliger and Bill Dodge, who are ‘floaters’ and not permanent staff. Lastly is Percy Wetmore. Percy is the nephew of a state warden and the other guards have to be civil to him despite their dislike of him, and Percy knows he is pretty much untouchable and uses it to his advantage. He is young, arrogant and extremely sadistic guard who enjoys goading and tormenting the prisoners when he can – he shouts things like â€Å"Dead man walking† when moving prisoners. The book revolves around John Coffey, a black man of formidable size who is convicted of raping and killing two small white girls. He is very quiet and keeps to himself. He cries an awful lot, and is even afraid of the dark – â€Å"do you leave a light on after bed time† is the first thing he asks when he arrives on E Block. Coffey appears to be of very low intelligence and is the calmest and mildest prisoner the guards have ever seen. Despite this he is imprisoned for allegedly luring the girls away from their home, killing the family guard dog in the process and then committing a very violent and depraved double rape and murder. Other than John Coffey, there are five other prisoners on the cell block over the duration of the book focuses on: Arlen Bitterbuck, nicknamed â€Å"The Chief† because of his Cherokee heritage, convicted of killing a man in a drunken fight; Arthur Flanders, nicknamed â€Å"The Pres†, an insurance executive who killed his father; William Wharton, nicknamed ‘Wild Bill’ by the guards and ‘Billy the Kid’ by himself, an extremely dangerous and unpredictable trouble-maker due to be executed for multiple murders he committed during a robbery; and Eduard Delacroix, a Cajun who is on death row for arson and the murder of seven people. Despite his crimes he is very meek and cowardly which makes him a target for Percy’s abuse. While on death row Delacroix befriends a very intelligent mouse with a penchant for peppermint sweets and names him Mr Jingles. Delacroix teaches the mouse to do tricks and he appears to follow his commands. At first the guards try to kill him, but then everyone becomes rather fond of Mr Jingles. Mr. Jingles shows the loneliness that the men feel on the Mile. They are even willing to take in a mouse. Only Percy still holds a grudge against the mouse, and one day he steps on it. After Percy steps on Mr. Jingles, Coffey uses his powers to save him. After Delacroix is executed, John takes care of the mouse, and a little of his power transfers into it. The other characters are: Hal Moores, The Warden at Cold Mountain Penitentiary and his wife Melinda who is dying of a brain tumor; and Jan Edgecombe, Paul’s Wife. The name of book comes from the nickname given by the guards to the corridor with a green linoleum floor that leads from the cells where the prisoners live to the execution room beyond Paul’s office. Paul finds out Percy is prepared to leave Cold Mountain once he has had the chance to ‘be out front’ and play a key role in an execution. Seeing the bigger picture Paul goes against his instinct and agrees he can be in charge of Delacroix’s execution, with horrendous consequences. Delacroix has several run-ins with Percy and in return, Percy deliberately sabotages Delacroix’s execution by not wetting the sponge on the man’s head before the execution begins, and as a result the electric causes the dry sponge and his head to catch fire leading to a very gruesome death. Paul comes to learn of Coffey’s extraordinary healing abilities when one quiet evening he asks him down to his cell. Paul goes against everything he knows and goes into Coffey’s cell. Coffey touches Paul and in the process heals his urine infection, letting out from his mouth what looks like a cloud of gnats. When asked to explain what he had done could only say that he knew he had helped it. After this and the resurrection of Mr Jingles Paul begins to believe Coffey is innocent of his crimes and was in fact trying to save the little girls he has been accused of murdering. Wanting to help the terminally ill wife of his friend Warden Moores, and with the help of the other guards they drug Wild Bill lock Percy into the padded restraint room, before smuggling Coffey out of the prison site and take him to heal Melinda’s deadly brain tumor using his magical powers. As John Coffey is being smuggled out of E Block, Wild Bill grabs his arm and Coffey senses that Wharton is the true killer of the two girls, the crime for which Coffey has been falsely convicted and sent to death row. When they return to E block, Coffey grabs Percy through the bars of his cell and presses their mouths together. Coffey gives Percy the same ‘sickness’ he drew from the warden’s wife. Whilst in a trance like state Percy shoots Wild Bill six times, killing him. After which Percy falls into a comatose state in which he will stay for the rest of his life. Percy ends up as a patient at the very asylum to which he promised Paul he would transfer after Delacroix’s execution. Despite Coffey’s innocence and incredible ability, he is still executed, partly because of the very racist attitudes of 1930s southern USA. The story then returns to the present, where it is revealed that those healed by Coffey gain an unnatural lifespan. Mr Jingles is revealed as being still alive though he dies at the nursing home. Paul is now 108 and dreads to think how long he himself has left to live, especially after the death of his friend Elaine. As he puts it at the very end, â€Å"We each owe a death, there are no exceptions, I know that, but sometimes, oh God, the Green mile is so long†. Throughout the story, Stephen King’s magical use of description brings the story to life and helps to build up a strong rapport with the characters. The flitting from Paul’s time at the penitentiary back to his time in the nursing home adds depth and gives Paul the opportunity to reflect, which I feel is an important part of the story. Although the book deals with some dramatic and very violent ideas, it does so in a very matter-of-fact way. I think this is mostly down to Paul’s matter-of-fact personality, for example when they are doing a ‘practice’ execution for Arlen Bitterbuck using another man Paul comments on how an inmate’s leg is usually shaved to aid the flow of current and mentions â€Å"Indians have very little body hair as a rule, but we would take no chances†. I would certainly recommend this book to anyone who likes fantasy books or just fancies a bit of a darker read, from young adult upwards. The book explores the realm of the supernatural and opens the possibility that such forces may exist in our world – it certainly gives the imagination a workout. I always have problems putting it down – but then maybe I am a little biased being a hardened fan already.

She Stoops to Conquer

————————————————- She stoops to conquer ————————————————- ————————————————- Characters * Charles Marlow  Ã¢â‚¬â€œ The central male character, who has set out to court the young attractive Kate Hardcastle. A well-educated man, â€Å"bred a scholar†, Marlow is brash and rude to Mr. Hardcastle, owner of â€Å"Liberty Hall† (a reference to another site in London), whom Marlow believes to be an innkeeper. Because Marlow's rudeness is comic, the audience is likely not to dislike him for it.Marlow is sophisticated and has travelled the world. Around lower-class women Marlow is a lecherous rogue, but around those of an upper-class card he is a ne rvous, bumbling fool. Thus, his interview with Kate exploits the man's fears, and convinces Miss Hardcastle she'll have to alter her persona drastically to make a relationship with the man possible. The character of Charles Marlow is very similar to the description of Goldsmith himself, as he too acted â€Å"sheepishly† around women of a higher class than himself, and amongst â€Å"creatures of another stamp† acted with the most confidence. George Hastings  Ã¢â‚¬â€œ A close friend of Charles Marlow and the admirer of Miss Constance Neville. Hastings is also an educated man who cares deeply about Constance, with the intention of fleeing to France with her. However the young woman makes it clear that she can't leave without her jewels, which are guarded by Mrs. Hardcastle, thus the pair and Tony collaborate to get hold of the jewels. When Hastings realises the Hardcastle house isn't an inn, he decides not to tell Marlow who would thus leave the premises immediately. * Tony Lumpkin  Ã¢â‚¬â€œ Son of Mrs.Hardcastle and stepson to Mr. Hardcastle, Tony is a mischievous, uneducated playboy. Mrs. Hardcastle has no authority over Tony, and their relationship contrasts with that between Hardcastle and Kate. He is promised in marriage to his cousin, Constance Neville, yet he despises her and thus goes to great effort to help her and Hastings in their plans to leave the country. He cannot reject the impending marriage with Neville, because he believes he's not of age. Tony takes an interest in horses, â€Å"Bet Bouncer† and especially the lehouse, where he joyfully sings with members of the lower-classes. It is Tony's initial deception of Marlow, for a joke, which sets up the plot. * Mr. Hardcastle  Ã¢â‚¬â€œ The father of Kate Hardcastle, who is mistaken by Marlow and Hastings as an innkeeper. Hardcastle is a level-headed countryman who loves â€Å"everything old† and hates the town and the â€Å"follies† that come with it. He is ve ry much occupied with the ‘old times' and likes nothing better than to tell his  war stories  and to drop names, such as the  Duke of Marlborough, into conversations.Hardcastle cares for his daughter Kate, but insists that she dress plainly in his presence. It is he who arranges for Marlow to come to the country to marry his daughter. Hardcastle is a man of manners and, despite being highly insulted by Marlow's treatment of him, manages to keep his temper with his guest until near the end of the play. Hardcastle also demonstrates a wealth of forgiveness as he not only forgives Marlow once he has realised Marlow's mistake, but also gives him consent to marry his daughter. * Mrs. Hardcastle  Ã¢â‚¬â€œ Wife to Mr.Hardcastle and mother to Tony, Mrs. Hardcastle is a corrupt and eccentric character. She is an over-protective  mother  to Tony, whom she loves, but fails to tell him he's of age so that he is eligible to receive ? 1,500 a year. Her behaviour is either over-th e-top or far-fetched, providing some of the play's comedy. She is also partly selfish, wanting Neville to marry her son to keep the jewels in the family; she's blissfully unaware however, that Tony and Neville despise each other, and that Constance is in fact planning to flee to France with Hastings. Mrs.Hardcastle is a contrast to her husband, which provides the humour in the play's opening. She loves the town, and is the only character who's not happy at the end of the play. * Miss Kate Hardcastle  Ã¢â‚¬â€œ Daughter to Mr. Hardcastle, and the play's stooping-to-conquer heroine. Kate respects her father, dressing plainly in his presence to please him. The formal and respectful relationship that she shares with her father, contrasts with that between Tony and Mrs. Hardcastle. Kate enjoys â€Å"French frippery† and the attributes of the town, much as her mother does.She is both calculating and scheming, posing as a maid and deceiving Marlow, causing him to fall in love with her. * Miss Constance Neville  Ã¢â‚¬â€œ Niece of Mrs. Hardcastle, she is the woman whom Hastings intends to court. Constance despises her cousin Tony, she is heir to a large fortune of jewels, hence her aunt wants her to remain in the family and marry Tony; she is secretly an admirer of George Hastings however. Neville schemes with Hastings and Tony to get the jewels so she can then flee to France with her admirer; this is essentially one of the sub-plots of  She Stoops to Conquer. Sir Charles Marlow  Ã¢â‚¬â€œ A minor character and father to Charles Marlow; he follows his son, a few hours behind. Unlike his son, he does not meet Tony Lumpkin in the Three Pigeons, and thus is not confused. He is an old friend of Mr. Hardcastle, both of them once having been in the British military, and is quite pleased with the union of his son and his friend's daughter. Sir Charles enjoys the follies of his son, but does not understand these initially. However, he is quite upset when his son t reats Kate as a maid. [1] ————————————————-Short summary of she stoops to conquer? Answer: She stoops to Conquer is a comedy by the Irish author Oliver Goldsmith. The play was initially titled as Mistakes of a Night and the events in the play, indeed, happen during the time frame of one night. Mr. Hardcastle, a rich countryman plans to marry his daughter Kate to the son of his old friend, Sir Charles Marlow. Hardcastle's second wife is determined in marrying her spoiled son, Tony Lumpkin to her niece, Constance Neville in order to keep her fortune, a casket of jewels within the family.But Miss Neville has plans to marry Hastings, a friend of young Marlow. While Hardcastle's family is eagerly awaiting the arrival of Marlow and his friend, Hastings, the friends stop at the village Inn to inquire their way. Tony Lumpkin, who is present there, realizes their identity and plays a joke by telling them that they are far away from their destination and asks them to stay at an inn, recommending Hardcastle house as the best Inn around there. Thus the friends arrive there and treat Mr. Hardcastle as mere Inn keeper.This enrages Mr. Hardcastle and is convinced that Marlow is not suitable for his daughter. On the other hand, Young Marlow who is nervous in the presence of ladies of his own social status, yet quite the quite opposite with lower-class women doesn't look properly at Kate on their first meeting. Kate realizes this and stoops to conquer him, by posing as bar maid and putting Marlow at his ease so that he falls for her in the process. However, he changes his mind when he realizes the truth behind Marlow's behaviour. The play concludes with Mr.Hardcastle realizing the truth behind Marlow's behaviour and changing his mind; Kate succeeding in her plan and getting engaged to Marlow; Tony Lumpkin discovering he is of age and receives his entitled money, whic h his mother hides from him. He refuses to marry Ms. Neville, who then gets her entitled jewels and gets engaged to Mr. Hastings. So all is well that ends well. Summary She Stoops to Conquer  opens with a prologue in which an actor mourns the death of the classical low comedy at the altar of sentimental, â€Å"mawkish† comedy.He hopes that Dr. Goldsmith can remedy this problem through the play about to be presented. Act I is full of set-up for the rest of the play. Mr. and Mrs. Hardcastle  live in an old house that resembles an inn, and they are waiting for the arrival of  Marlow, son of Mr. Hardcastle's old friend and a possible suitor to his daughter Kate. Kate is very close to her father, so much so that she dresses plainly in the evenings (to suit his conservative tastes) and fancifully in the mornings for her friends. Meanwhile,  Mrs.Hardcastle's niece Constance is in the old woman's care, and has her small inheritance (consisting of some valuable jewels) held un til she is married, hopefully to Mrs. Hardcastle's spoiled son from an earlier marriage,  Tony Lumpkin. The problem is that neither Tony nor Constance loves the other, and in fact Constance has a beloved, who will be traveling to the house that night with Marlow. Tony's problem is also that he is a drunk and a lover of low living, which he shows when the play shifts to a pub nearby.When Marlow and  Hastings  (Constance's beloved) arrive at the pub, lost on the way to Hardcastle's, Tony plays a practical joke by telling the two men that there is no room at the pub and that they can find lodging at the old inn down the road (which is of course Hardcastle's home). Act II sees the plot get complicated. When Marlow and Hastings arrive, they are impertinent and rude with Hardcastle, whom they think is a landlord and not a host (because of Tony's trick). Hardcastle expects Marlow to be a polite young man, and is shocked at the behavior. Constance finds Hastings, and reveals to him th at Tony must have played a trick.However, they decide to keep the truth from Marlow, because they think revealing it will upset him and ruin the trip. They decide they will try to get her jewels and elope together. Marlow has a bizarre tendency to speak with exaggerated timidity to â€Å"modest† women, while speaking in lively and hearty tones to women of low-class. When he has his first meeting with Kate, she is dressed well, and hence drives him into a debilitating stupor because of his inability to speak to modest women. She is nevertheless attracted to him, and decides to try and draw out his true character.Tony and Hastings decide together that Tony will steal the jewels for Hastings and Constance, so that he can be rid of his mother's pressure to marry Constance, whom he doesn't love. Act III opens with Hardcastle and Kate each confused with the side of Marlow they saw. Where Hardcastle is shocked at his impertinence, Kate is disappointed to have seen only modesty. Kate asks her father for the chance to show him that Marlow is more than both believe. Tony has stolen the jewels, but Constance doesn't know and continues to beg her aunt for them. Tony convinces Mrs.Hardcastle to pretend they were stolen to dissuade Constance, a plea she willingly accepts until she realizes they have actually been stolen. Meanwhile, Kate is now dressed in her plain dress and is mistaken by Marlow (who never looked her in the face in their earlier meeting) as a barmaid to whom he is attracted. She decides to play the part, and they have a lively, fun conversation that ends with him trying to embrace her, a move Mr. Hardcastle observes. Kate asks for the night to prove that he can be both respectful and lively. Act IV finds the plots almost falling apart.News has spread that  Sir Charles Marlow(Hardcastle's friend, and father to young Marlow) is on his way, which will reveal Hastings's identity as beloved of Constance and also force the question of whether Kate and Ma rlow are to marry. Hastings has sent the jewels in a casket to Marlow for safekeeping but Marlow, confused, has given them to Mrs. Hardcastle (whom he still believes is the landlady of the inn). When Hastings learns this, he realizes his plan to elope with wealth is over, and decides he must convince Constance to elope immediately.Meanwhile, Marlow's impertinence towards Hardcastle (whom he believes is the landlord) reaches its apex, and Hardcastle kicks him out of the house, during which altercation Marlow begins to realize what is actually happening. He finds Kate, who now pretends to be a poor relation to the Hardcastles, which would make her a proper match as far as class but not a good marriage as far as wealth. Marlow is starting to love her, but cannot pursue it because it would be unacceptable to his father because of her lack of weatlh, so he leaves her. Meanwhile, a letter from Hastings arrives that Mrs.Hardcastle intercepts, and she reads that he waits for Constance in th e garden, ready to elope. Angry, she insists that she will bring Constance far away, and makes plans for that. Marlow, Hastings and Tony confront one another, and the anger over all the deceit leads to a severe argument, resolved temporarily when Tony promises to solve the problem for Hastings. Act V finds the truth coming to light, and everyone happy. Sir Charles has arrived, and he and Hastings laugh together over the confusion young Marlow was in. Marlow arrives to apologize, and in the discussion over Kate, claims he barely talked to Kate.Hardcastle accuses him of lying, since Hardcastle saw him embrace Kate (but Marlow does not know that was indeed Kate). Kate arrives after Marlow leaves the room and convinces the older men she will reveal the full truth if they watch an interview between the two from a hidden vantage behind a screen. Meanwhile, Hastings waits in the garden, per Tony's instruction, and Tony arrives to tell him that he drove his mother and Constance all over in circles, so that they think they are lost far from home when in fact they have been left nearby.Mrs. Hardcastle, distraught, arrives and is convinced she must hide from a highwayman who is approaching. The â€Å"highwayman† proves to be Mr. Hardcastle, who scares her in her confusion for a while but ultimately discovers what is happening. Hastings and Constance, nearby, decide they will not elope but rather appeal to Mr. Hardcastle for mercy. Back at the house, the interview between Kate (playing the poor relation) and Marlow reveals his truly good character, and after some discussion, everyone agrees to the match.Hastings and Constance ask permission to marry and, since Tony is actually of age and therefore can of his own volition decide not to marry Constance, the permission is granted. All are happy (except for miserly Mrs. Hardcastle), and the â€Å"mistakes of a night† have been corrected. There are two epilogues generally printed to the play, one of which sketche s in metaphor Goldsmith's attempt to bring comedy back to its traditional roots, and the other of which suggests Tony Lumpkin has adventures yet to be realized. Suggested Essay Questions 1.Explain the meaning and significance of the title  She Stoops to Conquer. Even without reading the play, the irony of the title is obvious, since the â€Å"she† in question is lowering herself in order to prove herself superior. In context of the play, the title could be argued to refer both to Kate's plan to trap Marlow and to Goldsmith's purpose of using â€Å"low comedy† to convince his audience to embrace it. The former is a good description of the irony of Kate's plan: in order to convince herself she is a worthy match for Marlow, she has to first convince him she is of a low class.However, the title also describes Goldsmith's purpose: he wishes to convince an audience to embrace this â€Å"low† or â€Å"laughing† comedy, and by indulging in it, he might convince them that it is superior to â€Å"sentimental† comedy. Regardless of which description one uses, the irony of the title expresses Goldsmith's view of humanity: while we pretend to be of impeachable high class, we all have a â€Å"low,† base side that we should celebrate rather than try to ignore. 2. How is Kate an example of moderation?Explain how her personality stands as the way of life Goldsmith most recommends. The play is organized into a series of conflicting philosophies: high-bred aristocrats vs. low-bred common folk; city life vs. country life; wealth vs. poverty, etc. Much of the absurdity that fuels Goldsmith's comedy comes from exploiting the way most people engage in contradictions even when they pretend to be examples of virtue. The best example is Marlow, and his bizarre contradictory attitudes towards women depending on their class.Kate stands at the center of most of these, and as such is the best depiction of Goldsmith's message. As a country girl wh o has spent time in town, she is an example of what Marlow calls â€Å"refined simplicity,† and knowing as much as she does about humanity, is able to also enjoy and be amused by the contradictions rather than disgusted by them (as most of the elder characters are). 3. In what ways is Tony Lumpkin a hero in the play? Use historical/social detail to explain why this heroism is unconventional. Tony Lumpkin would traditionally have been considered nothing but comic relief.Consider most Shakespeare plays, where the poor, common characters might have wisdom, but are primarily used to comedic effect, and are rarely engaged in the main plots. Tony is presented this way initially in  She Stoops to Conquer, but we quickly see that there is a great wisdom to his lifestyle, which prizes enjoyment of life over heavy considerations of it. When his parents discuss the way to live in Act I, Tony takes off quickly for the Three Pigeons, where he sings a song that expresses a desire for tru e life rather than the hypocrisy of overly-educated or overly-religious lifestyles.Tony perhaps has more agency than any other character in the play, setting in motion the confusions that ultimately allow everyone to be happy. The message, of which Tony is the best representative, is that by engaging in the confusions and contradictions of human nature, we can find our best happiness. 4. For a comedy,  She Stoops to Conquer  has a serious vein of commentary of class. Explain. In a traditional sentimental comedy, money would ultimately be shown to be irrelevant in the face of true love, so as to stress the characters’ virtue.Of course, the characters would have almost all been high-bred and money not a serious issue in their lives. In this play, there are characters, like Tony or Constance, who really do need money if they want a strong future. Even in what is perhaps the most cliche romantic subplot – that between Constance and Hastings – money becomes an in escapable force, and in the end they turn to the virtue of asking Hardcastle's permission not because of some innate virtue, but because they acknowledge that they will need money.In another way, Marlow's class contradictions are certainly meant to be amusing, but there is a serious criticism in the way that a class system has led him to despise what he enjoys. He considers himself inferior for his love of unpretentious women, and assumes that he ought to love a â€Å"modest† woman. Part of the lesson Kate teaches him is that the substance of a person is what matters, and not the way one gauges her behavior as high or low class. 5. How does the device of dramatic irony facilitate the play's major themes and comedy?The play is a masterpiece of dramatic irony, which is a device where the audience has information and knowledge that the characters do not. From the moment Tony plays the practical joke on Marlow and Hastings, the audience learns secrets that will grow more complica ted and hence create confusion that leads to hilarious situations. The best example is perhaps the way Marlow and Hastings treat Hardcastle, because they think him a landlord. Because we understand the details of the confusions, we understand the jokes whereas the characters only grow more offended.However, the behavior wrought by the dramatic irony reveals much of Goldsmith's view on humanity and class. The same example listed above is funny, but also shows the cruelty that comes from a rich man's entitlement. Throughout the play, much of the class commentary derives from the behaviors people show when they don’t' realize they are being judged. Kate exploits this to try and find out what kind of person Marlow actually is. 6. In what ways are the characters of the play comic archetypes? How does Goldsmith deepen these stock characters?At the beginning of the play, it seems as though all the characters fall into traditional comic patterns. Hardcastle is the old curmudgeon who hates modern life, Mrs. Hardcastle a vain old lady, the young men are handsome heroes, Kate is the pretty young heroine, and Tony is the comic drunkard. Very quickly, Goldsmith explores the depth of class, money and human contradictions by putting those qualities in broader contexts. Hardcastle turns out to be not entirely incorrect about the impertinence of the young (which he discovers because of Tony's trick), but turns out to be forgiving.Mrs. Hardcastle is frankly never deepened, and stays who she is throughout. Hastings remains a valiant young man, but Marlow is obviously full of absurd contradictions very much connected to the very aristocratic virtue that seems to define him in the beginning. And Kate, of course, is perhaps the deepest and fullest character of all, not a simple heroine to be won by the young man. 7. Does the play's ending undercut Goldsmith's attempt to write a â€Å"low† and not â€Å"sentimental† comedy? Explain. Mrs.Hardcastle perhaps speaks to Goldsmith's own concern over the ending when she remarks that â€Å"this is all but the whining end of a modern novel. † It is clear from both the prologue and his â€Å"Essay on the Theatre† that he wishes to write a play that mocks vice rather than praises virtue. And yet the ending of the play finds not only all the characters ending up happy, but happy because of very clear-cut lessons. In a way, even the most grievous characters (like Marlow, whose contradictions lead him to some rather unsavory behavior) are forgiven for their vices.However, one can argue that Goldsmith provides an entertaining end for his audience while not diving fully into the conventions. For one, Constance and Hastings's realization about the necessity of money adds a pragmatic reality to the otherwise sentimental end. Further, the play's end does not suggest that the absurd contradictions of humanity will go away, which could lead to the belief that such problems will never go away, eve n if the play wraps up nicely within its five acts. 8. Define what â€Å"town† and â€Å"country† mean in the context of this play, using characters as examples.There is a strong conflict between town and country set up from the very opening of the play, when Mr. and Mrs. Hardcastle argue about the virtues and vices of town and country. The town is associated with several elements: wealth and pretension, education, style, and in the broadest sense, living life for itself. The country is associated with simplicity and a slower, more considered way of life. The characters who come from town are certainly to be admired, and would be by Goldsmith's audience.And yet they are shown to have serious faults, particularly in terms of their pretensions and cruelty towards Hardcastle when they think he is a landlord and not their host. Likewise, while the theatre audience at the time would probably consider the country characters to be overly simple, there is a great kindness reve aled in the way Hardcastle is willing to forgive everyone despite how he is treated. The best character overall is Kate, who shows a moderation in her way to find â€Å"refined simplicity† by embracing the best of both worlds. . Explain how much of Goldsmith's comedy relies on his ability to set-up a joke. Most of the comedy in  She Stoops to Conquer  comes from the deep dramatic irony wherein characters do not realize quite who one another are. However, for the audience to clearly understand all the complications, Goldsmith has to set up the details of the jokes to come. He does this masterfully in Act I. For instance, it is set up that the old Hardcastle home resembles an inn, important so that we believe Marlow and Hastings could believe as much.Further, the strange behavior whereby Kate dresses plainly in the evenings is important so as to understand Marlow's confusion over her class standing. Throughout the play, elements are introduced, or â€Å"set-up,† so t hat our expectations can be manipulated later. The use of the jewels, of Tony and his mother's relationship, and of who is lying to whom are all examples of set-ups that produce great comic dividends. 10. How can one make a Freudian analysis of this play?Though it is folly to suggest an explicitly Freudian intent in this play (since it was written so much earlier than Freud's day), the same could be said about  Oedipus Rex  or  Hamlet, both of which stand as seminal texts in Freud's theories. There are definitely Freudian undercurrents in the Oedipal complex suggested as existing between Tony and Mrs. Hardcastle, and more implicitly between Marlow and his mother. The former is expressed in Tony's professed hatred of his mother, though it is a hatred that makes him insistent on constantly waging war with her.If he truly despised her, he could simply blow her off, but he takes too much pleasure in wickedly tormenting her through his tricks and behavior. Many characters remark on how they spoil one another, which parallels a sort of destructive romantic relationship, all of which can be interpreted through a Freudian lens. In terms of Marlow, his strange behavior can be linked to a self-hatred, an inability to appreciate his own love of â€Å"immodest† woman and inability to speak to â€Å"modest† woman whom he feels he ought to appreciate.At one point, he mentions that his mother was the only â€Å"modest† woman he could ever speak to, which could suggest that their relationship has polluted him somewhat, led him to compare other women to her and hence to grow into a bumbler when attempting to woo them romantically. Quotes and Analysis 1. â€Å"Let school-masters puzzle their brain, With grammar, and nonsense, and learning; Good liquor, I stoutly maintain, Gives genius a better discerning. † Tony Lumpkin's song, Act I, pg. 6 This opening to Tony's song helps to establish one of Goldsmith's aims – to properly appreciate â €Å"low† behavior.Here, Tony sets two different lifestyles in opposition: proper life versus base life. While the play has a conservative streak that keeps it from entirely embracing baseness as the key to life, it does propose that moderation ought accept that a life of â€Å"good liquor† can grant us a perspective into human absurdity and folly, whereas a life solely dedicated to proper education would not provide such insight. 2. â€Å"So I find this fellow's civilities begin to grow troublesome. But who can be angry at those assiduities which are meant to please him! † Hastings, about Hardcastle, Act II, p. 8 Hastings speaks this to himself about Hardcastle, whom Hastings still thinks is the landlord. Hardcastle's attempts to speak with Hastings and Marlow are annoying the latter two. To some extent, the quote is a great indication of the dramatic irony that gives most of the weight to the play's comedy. However, it also touches on the confusion of class, be havior, and expectation that is central to the play's themes. What Hastings asks could be argued to be true of all aristocratic folk who are particular and picky about what is â€Å"acceptable† to their standard of living.Goldsmith suggests a view of humanity that is far more complex, contradictory, and nuanced, and finds amusing and absurd the nature of humankind that leads high-class folk to look down upon the fun part of life that is meant to please them. 3. â€Å"Pardon me madam. I was always willing to be amused. The folly of most people is rather an object of mirth than uneasiness. † Marlow, to Kate, Act II, pg. 20 Marlow speaks this in his first meeting with Kate, the conversation in which he cannot look her in the eye.This quote is very much a statement of Goldsmith's perspective on the world, and a defense of his purpose in vaulting â€Å"laughing comedy† above â€Å"sentimental comedy. † Part of what both defines Goldsmith's perspective and mark s Kate as the heroine is the ability to laugh at folly, rather than judging harshly a person's lapse from virtue. 4. â€Å"True madam; those who have most virtue in their mouths, have least of it in their bosom. † Marlow to Kate, Act II, pg. 22 Marlow speaks this in his first meeting with Kate, the conversation in which he cannot look her in the eye.It is a straightforward yet profound declaration about the hypocrisy and contradictions of people. While Goldsmith finds these contradictions and the absurdity engendered by them amusing (consider Marlow's different behaviors and how so much comedy comes from them), he equally finds the hypocrisy of sanctimony unattractive. It is this sanctimony that offends him about sentimental comedy, and which also infects his â€Å"high†' characters. The truth is that Marlow and Hastings love pub food over more refined fare, or that Mrs. Hardcastle's virtue hides greed for her son. . â€Å"It's very odd, I can read the outside of my l etters, where my own name is, well enough. But when I come to open it, it's all – buzz. That's hard, very hard; for the inside of the letter is always the cream of the correspondence. † Tony, about the letter that's arrived from Hastings, Act IV, pg. 45 Tony cannot read the letter that arrives from Hastings (bearing the news that Hastings is waiting for him in the garden). However, this quote produces a great symbol for one the play's themes: the absurd contradictions that truly define people.Where high-minded folks (and the sentimental comedy Goldsmith believes they prefer) tries to praise their superficial virtue, he believes that people deep down are actually full of contradictions and attractions to more â€Å"low† interests. In the same way that the outside of the letter is recognizable and suggests an easy identity, while the inside is more complicated and harder to read, so it is that the characters in Goldsmith's play are recognizable comic types at first but far more complex when investigated. 6. â€Å"Ha, ha, ha, I understand; you took them in a round, while they supposed themselves going forward.And so you have at last brought them home again. † Hasting, to Tony, Act V, pg. 53 Literally, the quote concerns the way Tony drove Mrs. Hardcastle and Constance around haphazardly so that they wouldn't be too far from the Hardcastle home. However, it is a great symbol for the structure of the play as well. At the beginning, everyone's goal is clear: Marlow and Kate are meeting to judge each other as potential mates; Hastings wants to see his beloved; and the parents are interested in securing favorable matches for their children.The one exception is Tony, whose conception of life is that fun and liveliness are the guiding principles. However, Goldsmith wishes us to see that such a philosophy is more than just hedonism, but rather can lead to greater happiness and truth. Because of Tony's tricks (the biggest of which is that which he plays on Marlow and Hastings), everyone has a crazy night of mistakes but ends up â€Å"home† again, grounded and happier than they otherwise would have been. 7. â€Å"Prudence once more comes to my relief, and I will obey its dictates. In the moment of passion, fortune may be despised, but it ever produces a lasting repentance.I'm resolved to apply to Mr. Hardcastle's compassion and justice for redress. † Constance, to Hastings, Act V, pg. 56 In Constance's idea of how she and her beloved should proceed, we get a glimpse of the pragmatism that keeps Goldsmith's play from ever veering into cliche sentimental territory even if the ending is somewhat a conventional â€Å"happy ending. † The truth is that, while in plays and entertainments lovers will happily choose one another at the expense of money, Goldsmith wishes us to see that in real life, fortune cannot be so easily written off for those who lack sufficient income.Constance cannot run off into the sunse t with Hastings – life requires money – and so she must apply to Hardcastle for help. It's a pragmatic truth that colors and deepens the play. 8. â€Å"I have lived, indeed, in the world, madam; but I have kept little company. I have been but an observer upon life, madam, while others were enjoying it. † Marlow, to Kate, Act II, pg. 20 Marlow speaks this in his first meeting with Kate, the conversation in which he cannot look her in the eye.Though Marlow is stammering, he touches upon one of the central questions of the play: whether it is better to stay removed from life, judging it, or to live in all of its complexity and absurdity? Obviously, Goldsmith answers with the latter option, though his full response values moderation more than a simple choice. The best option is to live life but also to be able to judge and laugh at it. Kate is able to do this because she appreciates both the country and the city way of life, whereas most other characters pay for vee ring too strongly in one or the other direction. . â€Å"Ask me no questions, and I'll tell you no fibs. I procured them by the rule of thumb. If I had not a key to every drawer in mother's bureau, how could I go to the alehouse so often as I do? An honest man may rob himself of his own at any time. † Tony, to Hastings, Act III, pg. 29 Literally, Tony is explaining to Hastings how he was able to steal the jewels he passes on to them. But this quote further illustrates his philosophy of life, which espouses a more complex idea of virtue and vice than that assumed by the high-class characters.For Tony, a man is allowed to â€Å"rob himself,† which could mean more than just taking money or jewels, but also engaging in baseness for oneself (such as he does at the alehouse). In fact, to engage in our baser nature is not only acceptable but preferable since it acknowledges a truth of who we are. He would not go so far as to harm or â€Å"rob† others, as he says, meani ng he engages in such behavior not to harm anyone else, but just to enjoy his own life. Many of the characters play around with this theme, in coming towards their acceptance of their real human, base natures.Tony stands as the central proponent of this philosophy. 10. â€Å"Pshaw, pshaw! This is all but the whining end of a modern novel. † Mrs. Hardcastle, Act V, p. 59 Mrs. Hardcastle snidely makes this observation as both couples are arranging their happiness in the play's final moments. It is a useful observation to consider, since it also serves as a bit of commentary on the play itself, perhaps sculpted by Goldsmith to provide awareness that his play is veering into the very territory he professed it would eschew: that of the sentimental comedy that praises virtue rather than mocking folly.Whether or not his play is guilty of the trespasses it seeks to condemn is open to interpretation, but the fact that Goldsmith is deliberately confronting these questions of how to cra ft an entertaining, satisfying work while trying not to undercut his message and theme is undeniable, as this quote shows. He is aware that the end could be construed that way, and is attempting to address it. Having this complaint come from the least discerning character in the play shows that Goldsmith might believe a more discerning audience would see his ending is not quite so sentimental. She Stoops to Conquer is a master piece in using dramatic irony . Explain? The play is a masterpiece of dramatic irony, which is a device where the audience has information and knowledge that the characters do not. From the moment Tony plays the practical joke on Marlow and Hastings, the audience learns secrets that will grow more complicated and hence create confusion that leads to hilarious situations. The best example is perhaps the way Marlow and Hastings treat Hardcastle, because they think him a landlord.Because we understand the details of the confusions, we understand the jokes whereas the characters only grow more offended. However, the behavior wrought by the dramatic irony reveals much of Goldsmith's view on humanity and class. The same example listed above is funny, but also shows the cruelty that comes from a rich man's entitlement. Throughout the play, much of the class commentary derives from the behaviors people show when they don’t' realize they are being judged. Kate exploits this to try and find out what kind of person Marlow actually is. 2. discuss humor in she stoops to conquer The second play of Goldsmith ‘She Stoops to Conquer' was produced in 1771. This play marks a departure from the first play and practically introduces the reign of humour in comedy. The entire play with its fun and humour, its intrigues and sparkling dialogues, its mischievous tricks and roguish attempts by Tony Lumpkin deals a direct blow on the sentimental comedy. A piquant observation, elements of ingenious and new realism, a welling froth of pleasantry that nev er dries up, bathe even the rare movements when emotion could rise all go to make this charming comedy an unalloyed source of amusement.The principal characters of this comedy are Mr. Hardcastle who loves everything that is old; old friends, old times, old manners, old books, old wine etc. Mrs Hardcastle and Miss Hardcastle their daughter; Mrs Hardcastle’s son by a former marriage, Tony Lumpkin, a frequenter of ‘The Three Pigeons’, idle and ignorant, but cunning and mischievous, and doted on by his mother; and young Marlow, one of the most bashful and reserved young fellows in the world except with barmaids and servant-girls.Marlow’s father, Sir Charles Marlow has proposed a match between young Marlow and Miss Hardcastle and the young man and his friend, Hastings accordingly travel down to pay the Hardcastles a visit. Losing their way they arrive at night at ‘The Three Pigeons’, where Tony Lumpkin decides to play a prank on them. He directs th em to a neighbouring inn, which is in reality the Hardcastle’s House. The fun of the play arises largely from the resulting misunderstanding, Marlow treating Mr Harcastle as the Landlord of the supposed inn and making violent love to Miss Hardcastle, whom he takes for on of his servants.This contrasts with his bashful attitude when presented to her in real character. The arrival of Sir Charles Marlow clears up the misconception and all ends well, including the subsidiary love affair between Hastings and Miss Hardcastle’s cousin, Miss Neville, whom Mrs Harcastle destines for Tony Lumpkin. The play is a charming one in which the rough edges of the world are ground smooth, in which faults turn out to be virtues and mistakes to be blessings. Its characters are particularly delightful. Tony Lumpkin is a genuine child of the soil and is said to be a monitor.Tony Lumpkin is loved by the readers of the comedy for his pleasant fun and nice jokes. Mr Hardcastle is another charac ter whom we all like because he loves everything that is old. Mrs Hardcastle who appears more like a sentimental mother becomes pathetic because of the way in which she is treated by her son, Tony Lumpkin. Young Marlow and Miss Hardcastle come out as fine lovers and this pair of lovers is well matched by Hastings and Miss Hardcastle’s cousin. In ‘She Stoops to Conquer’ Goldsmith succeeds in introducing the humour of the finest type.The plot also is well-knitted and the characters have everything of comedy about them. The old mawkish sentimentality is driven out and sense of pathos is supplanted by mirth and delight. Tony’s treatment of his mother, particularly when he drives her round and round the house, would have been extremely pathetic. Goldsmith drives out pathos from the scene and makes it truly comic. Thus everywhere in ‘She Stoops to Conquer’ Goldsmith introduces the qualities of a true comedy. 3. She stoops to conquer is a comedy of m anners. DiscussThough it is only explicitly referred to in the prologue, an understanding of Goldsmith's play in context shows his desire to reintroduce his audience to the â€Å"laughing comedy† that derived from a long history of comedy that mocks human vice. This type of comedy stands in contrast to the then-popular â€Å"sentimental comedy† that praised virtues and reinforced bourgeois mentality. Understanding Goldsmith's love of the former helps to clarify several elements of the play: the low scene in the Three Pigeons; the mockery of baseness in even the most high-bred characters; and the celebration of absurdity as a fact of human life. . Compare between Marlow and Hasting? Marlow is a shy young man, who has a hard time communicating with ladies. He's a gentleman and considered to be honorable, but when put to the task of proposing to a young woman of quality†¦.. he becomes tongue tied and unable to speak. Note†¦.. he has no trouble speaking to those he believes are not up to his own standards. Hasting, on the other hand, is a confidant and well-spoken young man, no matter who he speaks with. He could charm just about any woman of any class†¦Ã¢â‚¬ ¦. he might want to give marlow some lessons. Major ThemesClass While the play is not explicitly a tract on class, the theme is central to it. The decisions the characters make and their perspectives on one another, are all largely based on what class they are a part of. Where Tony openly loves low-class people like the drunks in the Three Pigeons, Marlow must hide his love of low-class women from his father and â€Å"society. † His dynamic relationship with Kate (and the way he treats her) is defined by who he thinks she is at the time – from high-class Kate to a poor barmaid to a woman from good family but with no fortune.Hastings’ and Marlow’s reaction to Hardcastle is also a great example of the importance of class—they find him impudent and absurd, because they believe him to be of low class, but his behavior would be perfectly reasonable and expected from a member of the upper class, as he truly is. Money One of the factors that keeps the play pragmatic even when it veers close to contrivance and sentiment is the unavoidable importance of money. While some of the characters, like Marlow and Hardcastle, are mostly unconcerned with questions of money, there are several characters whose lives are largely defined by a lack of access to it.Constance cannot run away with Hastings because she worries about a life without her inheritance. When Marlow thinks Kate is a poor relation of the Hardcastles, he cannot get himself to propose because of her lack of dowry. And Tony seems to live a life unconcerned with wealth, although the implicit truth is that his dalliances are facilitated by having access to wealth. Behavior/Appearance One of the elements Goldsmith most skewers in his play's satirical moments is the aristocratic emp hasis on behavior as a gauge of character.Even though we today believe that one's behavior – in terms of â€Å"low† versus â€Å"high† class behavior – does not necessarily indicate who someone is, many characters in the play are often blinded to a character's behavior because of an assumption. For instance, Marlow and Hastings treat Hardcastle cruelly because they think him the landlord of an inn, and are confused by his behavior, which seems forward. The same behavior would have seemed appropriately high-class if they hadn't been fooled by Tony.Throughout the play, characters (especially Marlow) assume they understand someone's behavior when what truly guides them is their assumption of the other character's class. Moderation Throughout the play runs a conflict between the refined attitudes of town and the simple behaviors of the country. The importance of this theme is underscored by the fact that it is the crux of the opening disagreement between Hard castle and his wife. Where country characters like Hardcastle see town manners as pretentious, town characters like Marlow see country manners as bumpkinish.The best course of action is proposed through Kate, who is praised by Marlow as having a â€Å"refined simplicity. † Having lived in town, she is able to appreciate the values of both sides of life and can find happiness in appreciating the contradictions that exist between them. Contradiction Most characters in the play want others to be simple to understand. This in many ways mirrors the expectations of an audience that Goldsmith wishes to mock. Where his characters are initially presented as comic types, he spends time throughout the play complicating them all by showing their contradictions.Most clear are the contradictions within Marlow, who is both refined and base. The final happy ending comes when the two oldest men – Hardcastle and Sir Charles – decide to accept the contradictions in their children. In a sense, this theme helps to understand Goldsmith's purpose in the play, reminding us that all people are worthy of being mocked because of their silly, base natures, and no one is above reproach. Comedy Though it is only explicitly referred to in the prologue, an understanding ofGoldsmith's play in context shows his desire to reintroduce his audience to the â€Å"laughing comedy† that derived from a long history of comedy that mocks human vice. This type of comedy stands in contrast to the then-popular â€Å"sentimental comedy† that praised virtues and reinforced bourgeois mentality. Understanding Goldsmith's love of the former helps to clarify several elements of the play: the low scene in the Three Pigeons; the mockery of baseness in even the most high-bred characters; and the celebration of absurdity as a fact of human life. Deceit/Trickery Much of this play's comedy comes from the trickery played by various characters.The most important deceits come from Tony, including his lie about Hardcastle's home and his scheme of driving his mother and Constance around in circles. However, deceit also touches to the center of the play's more major themes. In a sense, the only reason anyone learns anything about their deep assumptions about class and behavior is because they are duped into seeing characters in different ways. This truth is most clear with Marlow and his shifting perspective on Kate, but it also is true for the Hardcastles and Sir Charles, who are able to see the contradictions in others because of what trickery engenders.

Gucci Case Essay Example

Gucci Case Essay Example Gucci Case Essay Gucci Case Essay Group A Anna Abrell, Lottie Batchelor, Ankita Choudhary, Yuou Du, Marianne Halmela, Martin Zirfas Table of Contents Guccis strategy! The luxury goods sector! Gucci SWOT analysts: Strategic group analysis! Future predictions Is Gucci good at strategy? When Tom Ford was in charge, the business was more design-focused control was centralised there were disputes between Tom De Sol regarding managerial control With the appointment of Robert Polet, control became decentralised and each brand was given direct control over its label appointed relatively unknown designers # very controversial move PPR bought back the 20% stake that LVMH owned, acquired more brands and entered into franchising Although some brands in the Gucci Group portfolio are not very profitable, they still have a high brand equity, which contributes positively towards the strategic advantage # Although Guccis strategy was controversial and risky at the time of its conception, it has influenced current businesses and helped the company become more profitable # Gucci is good at strategy The Luxury Goods Sector Products Apparel, leather goods, shoes, fragrance, cosmetics, Jewellery, watches # Accessory pending to experience most growth, whilst watch cosmetics cons umption has slowed (Bain Company, 2013) Geographic scope USA, Europe, Central South America, Asia, Middle East Buyers High-class middle. class. Intelligent, individualistic individuals with strong values principles. Are demanding, have high expectations a disposable attitude. : Competitors Kering, LVMH, Richemont Group, smaller niche brands (eg Goyard) Suppliers Specialised, often family-run production sites East Substitutes Wines Spriits Potential entrants High-tech luxury goods Level of profitability but also factories in Asia Middle- Revenues expected to grow 50% faster than global GDP 4-5% growth expectancy for 2013 5-6% annual average growth expectancy through 201 5 (Bain Company, 2013) Long-term profitability Predicted to be 5x larger in 2025 than it was in 1995 Recent likely future changes China to become highest consumer of luxury goods Middle east south-east Asia sales growing Importance of menswear to increase E-Tailers that sell luxury goods to create own-brand luxury good offerings? Aspects that may be affected by competitors, new entrants or potential entrants Importance of customer experience Retail management Talent within the company Threat of new entrants Low Bargaining power of suppliers Medium high High switching costs for industry players Medium to low degree of product differentiation Low supplier substitute availability Low threat of forward integration into the industry High capital requirements High demand-side benefits of scale economies of scale Rivalry among existing competitors Medium High amount of Medium High exit barriers High rival familiarity Medium price competition Threat of substitutes High High offer of attractive priceperformance tradeoff Low switching costs Bargaining power of buyers Medium brand loyalty (more brand loyalty is at the very high end of the luxury sector) High fixed costs Medium to high product standardisation High importance of product Medium to low price sensitivity Stable There is relatively litt le threat of new entrants Longitudinal the industry is not as gravely affected by economic downturn Difficult supply-chain management because there is a trade-off to having sustainable, specialised suppliers # they have higher negotiating power High threat of substitutes Customers are loyal and do not have as much bargaining powers as they do in the high-street sector Rivalry between competitors is not as high as it is in the high- street sector What does this imply about the strategy Gucci should adopt? Strengthen the brand image to combat the threat of substitutes Strengthen the relationship with their suppliers Gucci SWOT Analysts Strengths Worlds third largest luxury retailer Strong managerial presence since the arrival of Polet Brand portfolio is easy to handle Perceived quality value of the leather goods Strengths of brands such as Bottega Venetta, Alexander McQueen etc that have recently established themselves Shift to decentralised control (with 3-year business plans ) Opportunities Expansion into the growing luxury Enter the technological sector Update store concept retail experience more technology Collaborations with other brands celebs Weaknesses Less diversified brand portfolio than other competitives in the sector Residue of cheapened brand image YSL being unprofitable Timing of new strategy implementation Appointment of relatively unknown designers Disruption when three dozen managers left upon Tom Fords leave Robert Polets lack of experience in the ashion sector or luxury markets Threats Economic downturn/instability Imitability fast fashion Less licensing Prada entering into the technology sector LVMH, especially Louis Vuitton Strategic group analysis Hermes Luxury Bottiga Venetta Burberry Celine Givenchy GUCCI LV Kenzo Loewe Traditional Innovative Marc Jacobs Ralph Lauren Longchamp Affordability Michael by Michael Kors How should Gucci adapt its strategy to maintain its position? It might be the time to change the strategy again! Should position themselves to become more innovative make their product offering more varied (include more very high riced, limited items) Refresh their image become more edgy and contemporary ! Eg create cooperations between different brands within the portfolio ! Strengthen the Gucci brand further before adding even more brands to the portfolio ! Celebrity endorsements Prediction for the future of Gucci The brand needs some help to reinvent itself its image through contemporary advertising campaigns, better visual store concepts, social media techniques etc otherwise it may run the risk of losing its brand voice Create a new values Thank you! If you have any questions please feel free to ask

What does it really cost to attend Princeton University?

As one of the top universities in the nation, Princeton University is an extremely attractive option for high-achieving students. If your student plans on applying to Princeton, you’re probably wondering if your family will be able to afford the cost of education or if your student will end up burdened with debt. Although prestigious private colleges often have higher costs than public institutions overall, very few students pay the listed â€Å"cost of attendance.† Instead, you’ll want to look at the net cost to you—what families like yours typically pay out-of-pocket—and how different types of aid will contribute to your net cost. We’re breaking down what it really costs to attend Princeton University, and we’ll show you how your net cost may differ depending on your household income or if your student is a resident of New Jersey. We’ll give you the information you need so you can make an informed decision about whether Princeton is an affordable option for your family. If you were to take a look at Princeton’s website , you may experience some sticker-shock when you see the estimated cost for one year of attendance. When you multiply it by three to five years, depending on how long your student plans on being in college, the price can really add up! The cost of attendance, or what we affectionately call the list price, includes tuition, room, board, and other miscellaneous costs of living. For the 2016-2017 year, the estimated cost of attendance for in-state and out-of-state students at Princeton was the same, around $63,690. That said, most families do not pay the list price at any institution, whether it’s Princeton or another school. Typically, families with an annual household income over $175,000 tend to pay list price; if merit aid is offered at the school and their student qualifies, families can expect to pay less than list price. (As a heads up, Princeton doesn’t offer merit aid) In this post, we’ll go over some other ways to save that can help any family, regardless of income, reduce their net cost. Hopefully knowing that you’re unlikely to pay the full list price has offered some relief. So what can you expect to pay once you factor in financial aid? Again, based on the 2016-2017 data, the average net cost for students with financial aid, either in-state or out-of-state, was $51,920. Your particular net cost is highly dependent on your household income, which will qualify your student for more or less financial aid. These are the average net prices for a student based on annual household income: There are generally two broad types of financial aid: merit aid and need-based aid. If you’re unfamiliar with the term â€Å"merit aid,† it’s a form of financial aid offered to students who have performed exceptionally well academically—like having a high GPA or standardized test score—or who have some other exceptional personal accomplishment. These could be for students’ accomplishments in activities like sports and art, for their demonstrated leadership, or for completing a high number of community service hours. As we said before, Princeton does not offer merit aid to any students , since most of the students who are admitted to Princeton are similarly accomplished both academically and personally. This means that if your family does not have any demonstrated financial need, you can expect to pay the full list price. Because of its strict need-based policy, Princeton ranks 927th out of over 1000 schools we analyzed for merit aid generosity. You can review Princeton’s financial aid policies on their website . Even students with only a moderate level of need will often need to find a way to cover the remaining educations costs. Just over half of the students at Princeton take out loans, around 55% of students, and the average size of the federal loans per undergraduate is $427. Many students find other ways to cover the cost of their education without taking on a large amount of debt, which we cover in greater detail below. Given the significant financial investment that you would be making if your student chooses to attend Princeton, you might be curious to know whether most students graduate and how much they can expect to earn after graduation. Luckily, 96% of students at Princeton graduate within 6 years, and graduates tend to earn a higher salary in the long term. After ten years, the average Princeton graduate earns around $74,700 a year.   Estimating your chance of getting into a college is not easy in today’s competitive environment. Thankfully, with our state-of-the-art software and data, we can analyze your academic and extracurricular profile and estimate your chances. Our profile analysis tool can also help you identify the improvement you need to make to enter your dream school. For some, it may still seem that the price of a Princeton education is too high a cost to justify. However, we’ve only looked at two main sources of aid so far: institutional and federal aid, which in Princeton’s case are both need-based. That said, your student can supplement the cost of college by applying for private scholarships with the help of their high school counselor or by working with a company like . These scholarships, which are often merit-based, are administered by corporations and nonprofit organizations and will award scholarships to students with high academic potential or extraordinary talent. You may even want to ask your employer if there are scholarships available specifically for the children of employees. One example of a nonprofit-hosted scholarship is the prestigious National Merit Scholarship . In order to qualify, your student must: Not only could scoring well on the PSAT lower the cost of attendance, but it can also help them perform well on the SAT, which can open up other scholarship opportunities. Another thing to consider when determining the affordability of a school is the area’s cost of living and the local economy. New Jersey, as a whole, has a higher cost of living index than other states in the country at 132.6, and Princeton’s cost of living index is even higher at 217.8, meaning it’s nearly twice as expensive to live in Princeton than it is in the United States in general. Princeton requires all students to live on-campus during their first and second years of college, after which they may choose to move off-campus. Many students choose to live on-campus all four years, but for the students who move off-campus they can expect to pay a premium to live in Princeton. Here are the average monthly rents for apartments in Princeton: Although the rent may seem high, some students find it more affordable to live off-campus if they split the cost with friends. For example, if we add Princeton’s room charge and residential fee and divide it by 12, we find that students are paying about $918 a month for on-campus housing. If they rent a three-bedroom apartment and split it with two friends, they will pay about $808 a month. If your student might consider living off-campus, it’s important to have an informed conversation about how this decision might impact the costs to your family. According to the Economic Policy Institute , the hourly minimum wage in New Jersey is currently $8.85. According to the Bureau of Labor Statistics , the average hourly wage across all occupations is $20.43. It’s difficult for students to cover the cost of their education with a part-time job, especially if they are enrolled full-time and pursuing extracurricular activities on-campus. However, every little bit helps reduce the net cost to your family. When it comes to helping your student select and apply for college, there are so many factors to consider. Along with affordability, you’ll want to consider the educational opportunities that schools like Princeton provide for students, and if the school makes sense for your student’s specific goals. That’s where can help. As a part of our College Applications Program, we help students figure out how to make any school more affordable using our Finances tool, which can show the ROI of different schools and majors and help students identify scholarships to apply for. On average, our students earn about $83,000 in scholarships, which can really help make their academic dreams a reality. Find out if working with our Financial Aid Tools is right for your family!

Creating, Financing, and Marketing a Business Essay - 1

Creating, Financing, and Marketing a Business - Essay Example In addition, the distribution of losses and profits and the design of the organization are more flexible than in other modes of businesses, for example, corporations. Third, partnerships have the capacity to pool funds. This decreases the financial weight of an individual operating a business and increases the rate of growth for the business. Nonetheless, partnerships have disadvantages. First, Conflicts between partners can cause disorders which may hinder the partnership from staying focused and achieving its objectives. Also, conflicts can make the partners want to leave the partnership. This may create uncertainty over the future of the partnership. Second, a partner is considered an agent of a partnership. Therefore, a partner’s inadequate management ability, inadequate decision making, inadequate negotiation ability, or inadequate judgment may have a negative impact on the partnership and cause every partner significant burdens. Third, partnership law does not adequately safeguard a partner’s investment in the business, except if a partner can give evidence of a partner violating partnership terms (Mohan, 2005). Finally, it can be difficult to make decisions. Partners in a business partnership may not come to an agreement on the undertakings of the business. Part b Venture Capital Venture capital can be helpful to small businesses when they want to expand or increase their operations. Venture capital comprises trading interest in the business (Mohan, 2005). Moreover, the interest is sold with a finance group or company, not individuals, devoted to assisting the business increase its operations. Debt Financing A small business may be set up through loans. An individual with a decent credit and is recognized with a bank may get a business loan from a credit company or bank (Mohan, 2005). If a small business is unable to get a loan from a bank, a person may get a loan from the federal small business administration. It helps small business owner s acquire funds. Equity Equity entails getting investors to finance a business. A small business may grow by selling a share of the business. Investors can be partners known to the business, for example, local entrepreneurs, business associates, and family members or private partners. Family and friends are the greatest source for equity and loan deals. These people are less strict on loans and anticipated earnings on investment (Mohan, 2005). Part c Managerial accounting refers to the comprehensive figures utilized for inner company or organization members. Managerial accounting comprise things such as cost of turnover, cost of the product, cost of employee benefits, cost of shipping, and every data that is of importance to a company. Managerial accounting can assist managers utilize the numbers to perform their jobs effectively and effectively, taking into account budgeting, product costing, and incremental analysis. Human resources managers can utilize the benefits and cost of tu rnover to give improved salaries and ascertain the budget. General Managers can employ the figures to evaluate product costing and perform incremental analysis. If a General Manager requires establishing if the prices of products are rightly set, he may review the data on sales to determine if demand has been met by supply. If the sales are low, the company may make additional products, buy less, or reduce the price of products (Mohan, 2005). In addition, managerial accounti