The Symbol of Ignorance :: Gun Control Freedom Essays

The Symbol of Ignorance Political emblems and logos can symbolize various things to various people. People see the same image but they do not look at it the same. To some, the representation may be positive, while to others it denotes a negative connotation. The National Rifle Association's emblem conveys ignorant ideologies. The National Rifle Association (NRA) founded in 1871 developed an icon that entails a n eagle grasping rifles in its feet while standing atop a shield painted like the American flag. To some, this icon displays pride and the rights granted to us by the United States Constitution. Some individuals are staunch believers that say gun control should have no restrictions and that anyone over the legal age should have the option of owning a firearm without questions asked. The NRA is comprised of these people who are under the assumption that they can justify their actions by shielding (like that the eagle is perched upon) behind the 2nd Amendment of the US Constitution which states that "a well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed." Despite this legal shield, gun control laws need to be enacted. "The right to bear arms" should be loosely interpretated. It was created in 1791 to prote ct the American colonists in times of crisis with either the Native Americans or the British soldiers. Instead, the members of the NRA take this right to the extreme and argue that any form of arsenal is appropriate to own. A few problems arise with this belief. No one can argue validly that owning a machine gun or an AK-47 is necessary. If a husband and his wife feel safer with a gun in the home in the case of burglary or other unsuspected catastrophes, by all means they should be able to have a hidden gun in their residence. If someone is an avid hunter, by all means they should be able to own a rifle. The key word in the last to sentences is "a." A small, hand-held gun would be appropriate for the family who lives in fear and feels safer and more protected. It is pure ignorance to argue that owning deadly guns is a "right" in the United States.

How does J.B Priestley use dramatic devices in An Inspector Calls? Essa

Coursework How does J.B Priestley use dramatic devices in An Inspector Calls to convey his concerns and ideas to the members of the audience as well as interest and involve them in his play? 23rd, February 2005 The main theme of â€Å"An Inspector Calls† is responsibility. J.B Priestley wants to show the Birlings’ and the audience that we all share responsibility for other people’s welfare, and that wealthy people have obligations to look after those less fortunate than themselves. Priestley uses Inspector Goole to put across his views on society by portraying himself as a character. Through Inspector Goole Priestley is able to emphasize that with privileges come responsibilities to help others. In the 1930’s Priestley’s main concern was the social inequality in Britain. Priestly set up The Commonwealth Party in 1942. Their main arguments were public land ownership, greater democracy, and a new "morality" in politics. In 1945 Priestley’s party joined the labour party. Priestley was particularly influential in developing the idea of the Welfare State, this finally took place at the end of World War Two. The play is set in 1912 but was written and performed in 1945. This is significant as it allows J.B Priestley to make Mr. Birling seem even more ridiculous and naà ¯ve. For example, he mentions how there is not going to be a war, however by 1945 when the play was first performed the audience know that there were two wars between 1914 and 1945, World War One and World War Two, which began in 1939. Mr. Birling also mentions how the ship Titanic will not sink, ‘unsinkable, absolutely unsinkable’. Again in 1945 the audience know that Titanic did sink, consequently the things that Mr. Birling says, the audienc... ...stley is also conveying his ideas here. The audience would realise that everyone is responsible for each other. Priestley interests and involves the audience by having a lot of tension in the play â€Å"An Inspector Calls†. Priestley also interests them by having an exciting plot and a wide range of characters. He involves the audience by using dramatic irony very early on in the play and using characters to put across his concerns, such as the inspector in his speech tells the Birling’s "each of you helped to kill her." This is not only aimed at the characters on stage but at the audience too. Priestley’s message in â€Å"An Inspector Calls† is responsibility and how everyone is responsible for other people, we are all linked in society. This message is still relevant today because we still have responsibilities for other people and our actions do affect others.

The Corrupt Patriarchal Society of Jane Smileys A Thousand Acres :: Smiley Thousand Acres Essays

The Corrupt Patriarchal Society of A Thousand Acres      Ã‚   Jane Smiley's A Thousand Acres tells a dark tale of a corrupt patriarchal society which operates through concealment.   It is a story in which the characters attempt to manipulate one another through the secrets they possess and the subsequent revelation of those secrets.   In her novel, Smiley gives us a very simple moral regarding this patriarchal society: women who remain financially and emotionally dependent on men decay; those able to break the economic and emotional chains develop as women and as humans.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Roots of A Thousand Acres can be seen in numerous novels and plays, the most obvious of which is King Lear.   The parallels are too great to ignore. Smiley is successful because she fills in so many of the gaps left open in the play.   She gives us new and different perspectives.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   One of the particular strengths of the novel lies in its depiction of the place of women in a predominantly patriarchal culture.   In this male dominated culture, the values privileged in women include silence and subordination.   Ginny is acceptable as a woman as long as she remains "oblivious" (121).   She is allowed to disagree with men, contingent upon her doing so without fighting (104).   Ultimately, her opinion as a woman remains irrelevant.   Ginny remarks, "of course it was silly to talk about 'my po int of view.' When my father asserted his point of view, mine vanished" (176).   When she makes the "mistake" of crossing her father, she is referred to as a "bitch," "whore," and "slut" (181, 185).      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   It could be argued that many of the male characters in the novel are suffering from a type of virgin/whore syndrome.   As long as the women remain docile receptacles they are "good"; when they resist or even question masculine authority, they are "bad."   Rose complains, "When we are good girls and accept our circumstances, we're glad about it....When we are bad girls, it drives us crazy" (99).   The women have been indoctrinated to the point that they initially buy into and accept these standards of judgem ent.   The type of patriarchy described by Smiley simply serves to show the inscription of the marginalization of women by men in the novel and in our society.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Another strength of the novel is its treatment of secrets and appearances.

Concept map

Take for example, peer pressure from bad associates. They eight pressure us to ditch classes, cheat, drink alcohols, smoke, try taking drugs and influence us to disobey our parents. Another is peer pressure from our own wrong desires. Its given since in our teenage stage, we youth are adventurous. We wanted to try something new we haven't experience yet and we crave on something we don't have. Thus, being attentive can help us to caution ourselves from dangers.If we see troubles coming in our way, don't walk right in to it find another way. Secondly, think about the consequences. Why not ask yourself? For instance: How lives feel later if I give in? What may be the outcome? How can it affect the others, specially, to your love ones? Remember, bible says at Proverbs 14: 1 5, smart people watch their steps. Doing right decisions requires a lot of time to meditate. For this, we just don't jump in to any conclusions. Use your imaginations.Third step, we must plan ahead. Proverbs 24: 5, à ¢â‚¬Ëœwith knowledge a man increases his power'. If we know why we don't do those something and the reasons why it's bad, we can have the strength to say No. There are two ways to do that, strengthen your convictions and seek good explanations. Know how to distinguish right from wrong and give them the right reason for them to to bother you again. Finally the fourth step, take action. Now, we don't have to lecture them. Just say ‘No', clearly and confident.Stand firm in our beliefs for they are not theories but facts. Granted that, those beliefs are all according from the scriptures. Each time we show determinants to resist pressure, we grow strong and stronger. It'll be easier for us to resist peer pressure the next time. Therefore, reacting to peer's pressure depends on us. If we remain weak and unable to stand firm, well never get rid of it. Yes, they are inevitable but by following those steps, you'll see things differently.

Symbols in the Mayor of Casterbridge

AP English Literature and Composition Miss Hodge 19 March. 2013 Symbolism in The Mayor of Casterbridge A symbol is an object, person, or figure that is used to represent a concept in the story. Throughout the novel The Mayor of Casterbridge, there are three key symbols. All three symbols Hardy uses are objects. These three objects all represent something about the main character, Henchard. One of the three symbols also pertains to Farfrae, another character in the novel. The three symbols are the collision of wagons, the bull, and the caged goldfinch.All three of the symbols play a large part in this novel and further help the reader understand the concepts of the characters. The first of the symbols is the collision of wagons. The two wagons that collide are grain wagons; one owned by Henchard, and the other wagon owned by Farfrae. The wreck happens at night, and both of the wagons are filled to the brim with hay. One of the wagons gets stuck and has to be left overnight. The violen t collision of the two wagons is more than just a wreck which Farfrae’s waggoner thinks â€Å"[he] must have done [that] a purpose† (Hardy 179).This action symbolizes the ongoing struggle of Henchard and Farfrae’s relationship (college prep). In the beginning of their relationship, Henchard is very pleased with Farfrae, but as their lives go on together, Farfrae begins to become more well-liked by the townspeople than Henchard. After more time passes, Henchard grows very jealous of Farfrae and despises him. They are building up great tension between one another, and the collision just adds to it. The wagon collision also symbolizes the traditional ways in which Henchard does his business.These practices may be outdated and ineffective, but they are what Henchard stands for and values. On the other hand, Farfrae is very modern in his business, and therefore more effective. Farfrae and his modern attitude have caught the eye of townspeople, and they are intrigued by his way of business. The second symbol is the bull. The bull enters the novel when it chases down Lucetta and Elizabeth into a barn and onto the loft. As they try to get away, Henchard is there to save their lives, mainly Lucetta’s. He gets a old of the bull and guides it to the ground. The bull becomes paralyzed, and its nose begins bleeding. Lucetta is crying and feels blessed she was being saved, but Henchard more so because â€Å"[she] once saved [him]† (Hardy 193). Through this action, the reader may begin to feel more sympathetic towards Henchard in the showing of his strength and courage. The bull in the novel also symbolizes the brute forces in the world that threaten human life. Bent on destruction, it seems to embody the unnamed forces Henchard carries.The third symbol is the caged goldfinch. This object is given to Elizabeth at her wedding, from Henchard. Henchard never actually gives the goldfinch straight to Elizabeth, but he leaves it there in the corn er of the room. The bird is forgotten there after Elizabeth coldly greets Henchard, which he takes harshly. When the maid finds the goldfinch, Elizabeth then realizes she needs to set out and find Henchard, but she does not know Henchard is with Able being cared for at Able’s cottage.The only reason for Able doing this is because; Henchard once cared for his mother. Able feels he needs to return the favor. When Elizabeth finally catches word of Henchard, he is already dead. Henchard â€Å"didn’t gain strength, for you see, ma’am, he couldn’t eat† (Hardy 304). The goldfinch symbolizes Henchard in his last days. Both Henchard and the goldfinch are not eating and starve themselves in their last days. Hardy ties Henchard’s fate and the goldfinch’s fate together. Both Henchard and the goldfinch live and die in a prison.Though Henchard’s was not literal like the goldfinches, he was still imprisoned by his personality and his past. He nchard cannot escape what he has done in the past, and this is being shown with the symbol of the goldfinch. Even Though Elizabeth reaches out to Henchard in the end trying to weather the storm, Henchard still dies isolated and alone (Holtsberry). All three of the symbols play a large part in this novel and farther help the reader understand the concepts of the characters. Therefore the use of the symbols can be understood clearly.All the symbols reflect an abstract concept. By using the collision of wagons it shows the concept of Henchard and Farfrae’s relationship, and how it takes a turn for the worst. When Hardy uses the bull as a symbol in the novel, it shows the strength and courage of Henchard. The bull also shows the brutal forces surrounding them in their lives. The last symbol is the caged goldfinch. This symbol shows how Henchard lives his life imprisoned in his own actions. Most of the choices Henchard makes that imprison him, he made in the past and when he was a young man.Even though one of Henchards biggest mistakes he makes is while he is a wise old man. This mistake is when he lies to Elizabeth about being her father. By Hardy using the symbols in The Mayor of Casterbridge the uncommon moods of Henchard are accepted by the reader. Works Cited Hardy, Thomas. The Mayor of Casterbridge. New York: Barnes & Noble Classics, 2004. Print. Holtsberry, Kevin. The Mayor of Casterbridge. Blogcritics. org. Technorati, Inc, 21 May. 2004. Web. 16 March. 2013. Literary Analysis Essay. Collegepreppappers. blogspot. com. 12 March. 2012. Web. 16 March. 2013.

Paul Gauguin

Paul Gauguin Danielle Arnold L. Scott Roberts Art Appreciation 11 November 2011 Paul Gauguin Like so many artists one studies, the life of Paul Gauguin was filled with internal struggles on daily matters and beliefs. Gauguin was not dealt an easy life from the very beginning. Born to French journalist and half Peruvian mother, Gauguin came to know the cruelty of life at a very young age. In 1851, he and his family moved to Peru due to the climate of the period. On the voyage to Peru, his father died; leaving him with his mother and sister to survive on their own.The family lived in Peru for four years and during that time, Gauguin came under the influence of certain imagery that would affect the rest of his life. His family then moved back to France where Gauguin excelled in academic studies. He went on to serve two years in the navy and then became a stockbroker. He married a woman by the name of Mette Sophie Gad, and proceeded to have five children. (â€Å"Paul Gauguin†). Ga uguin always enjoyed art in its many forms and soon purchased his own studio to show off Impressionist paintings.He moved his family to Copenhagen to continue being a stockbroker, but felt as if he was to pursue the life of an artist full time. He moved back to France to follow his passion for art, leaving his family behind. Just like many artists, he suffered from depression and had several suicide attempts. Gauguin soon became very frustrated with the art of the 1800’s and sailed to the tropics to escape life. He then used what he saw there as inspiration for many of the works that he produced. In 1903, he got in trouble with the government and was sentenced to jail for a short time.At the young age of 54, Gauguin died of syphilis, probably contracted from the natives in Tahiti. Gauguin left a rather large impact on the world of art. He rubbed shoulders with some of the most world renown French artists. His biography states, â€Å"[Gauguin was] the first artist to systemat ically use these [Primitivism] effects and achieve broad public success† (â€Å"Paul Gauguin†). He created some very successful paintings such as â€Å"Fragrant Earth,† â€Å"Barbaric Tales,† â€Å"The Loss of Virginity,† â€Å"Yellow Christ,† and â€Å"Tahitian Women with Flowers. All of these paintings have specific Gauguin signatures on them in style, color, subject, and reality. Gauguin lived in the time of Impressionist art. This art movement was mainly lead by Paris based artists. At first, Gauguin embraced the essence and characteristics of Impressionism. The early works of Gauguin, as John Gould Fletcher tells us in his book, have disappeared. However, there have been descriptions of his early works by Felix Feneon (Fletcher 44). These descriptions prove and show that Gauguin was already miles ahead of Impressionism and would become a very promising and influential leader in the next movement of art.While the art of his time was char acterized, by small, visible brush strokes that allowed colors to harmonize and blend together to create different and changing qualities of light of ordinary subject matters, Gauguin put his own interpretation of Impressionism. His tones were very separated from each other, creating a new way at painting landscapes. Fletcher states, â€Å"Gauguin was treating landscape at this period already as a synthesis, a decorative whole. . . not as an exercise in the analysis of atmosphere vibration† (Fletcher 45).People did not appreciate the new beginnings of this Post- Impressionism movement of art lead by Gauguin. This did not stop Gauguin at all. He continued on in finding new theories and creating his own tradition that went against the old decorative tradition. Wright and Dine share, â€Å"Gauguin was not content with the landscapes of civilization. He wanted something more elemental – scenes where an unspoilt and untamed nature gave birth to a race of simple and colourf ul character. He felt the need of harmonizing his people with their milieu† (Wright and Dine 300).Thus, Gauguin sought an entire new movement of art and found his inspiration in Tahiti. By using vivid colors that popped out and a thick of application of paint, Gauguin began to open the world to Post-Impressionism where real life was recorded through geometric forms. Ultimately, this lead to the Synthetist movement of art. Along with a few colleagues, this movement was created to synthesize the appearance of natural forms, the feelings of the artist on the subject matter, and the purity of line, color, and form (Wright and Dine 190). Gauguin also paved the way to Primitivism in his later years.Through the exaggerated body proportions and stark contrasts of color, Gauguin helped the return to the pastoral (â€Å"Paul Gauguin†). All of Gauguin’s paintings share similar characteristics. After Gauguin’s experience in Tahiti, he made the natives his main subject matter. Full of bright and bold colors, these women are placed in their natural surroundings with their womanly nature being exposed and exalted. Through his paintings, the truths about these women are revealed and their beauty proclaimed through the bold colors and contrasts and dark, defining lines. The beauty and popularity of Gauguin’s paintings are not just skin-deep.To truly understand the meanings and symbolism of the paintings, one must understand the man who held the brush. In his biography â€Å"Noa, Noa,† one comes face to face with a man who held such high dreams yet never achieved them. Every painting of Gauguin’s was almost a poem laced with symbolism of life, faith, and death. In Gauguin’s Paradise Lost, Wayne Anderson quotes Gauguin in saying, â€Å"In a way, I work like the Bible, in which the doctrine announces itself in a symbolic form, presenting a double aspect, a form which first materializes the pure idea in order to make it bette r understandable . . this is the literal superficial, figurative, mysterious meaning of a parable; and then the second aspect which gives the spirit of the former sense. This is the sense that is not figurative any more, but the formal, explicit of one of the parable† (Anderson 8). Gauguin always tried to veil his symbolism within his paintings. To the untrained eye and mind, his symbolism falls on blind eyes. However, those who are trained in his ways of symbolism appreciate the tension between the romantic sensibility and the dark drama of romantic primitivism.The emotions conveyed through his works all vary depending upon the nature and subject of the particular piece. He does have a central theme in all of his paintings and even some of his carved work. He wishes to conjure ideas of divinity and question the aspects of humanity in order to leave one with a sense of mystery and wonder (Anderson 19). The colors Gauguin uses pulls one into a life of bright and bold contrasts and tones. Someone how Gauguin uses definitive black lines that leave room for imagination in finishing the story that is told on the canvas.Gauguin was an island when it came to mentors. He did not feel the need to imitate any kind of art. If his art was imitative of any artist, it was because he had not been able to freely convey his emotions and arrive as his refined instincts (Anderson 29). Many of his artistic peers did reach out to Gauguin and try to influence his art. When he was younger, he met Camille Pissarro. These two worked together as part of an Impressionist group. For the longest time, Gauguin accepted and practice the styles of Manet, Renoirs, Monets, Cezannes, and Pissarro.Until he moved and stayed to Pont-Aven and met Emile Bernard and became a part of the Pont-Aven school. With the influence of artists, Charles Laval, Maxime Maufra, Paul Serusier, Charles Filiger, Jacob Meyer de Haan, Armand, Seguin, and Henri de Charmalliard, the birth and movement of Synthetism where bold colors were used for super spiritual subjects came about. (Fletcher 50). However, Gauguin always had a horrible temper and resulted in turning his friends into borderline enemies especially those who still clung to the Impressionist art forms and traditions.For two weeks, Van Gogh and Gauguin painted together. Their relationship was a rather weird one. Fletcher comments on this in saying, â€Å"For Van Gogh the future only held the liberating spiritual worship of the sun, which was to raise his art to its highest pitch of lyric ecstasy and to destroy the brain that had created it. For Gauguin the future held a long and stoic struggle . . . that left . . . his work only a broken fragment of what he had dreamed† (Fletcher 55). Consequentially, their art reflected these two different paradigms.Yet it was due to Van Gogh that Gauguin began to realize that great art came from a great love of life – and with that, Gauguin turned to religion, which fueled the majo rity of his art. Van Gogh’s art always hinted of a hope or centered upon a light. Where Gauguin used his subjects as the portrayal of light or the absence of light in the comparison to the dark and dense backgrounds. Over all, Gauguin’s works paved the way for new modern art to emerge. Some would say that Picasso was one of the most important people in the realms of abstract art.However, Gaugin married together the worlds of abstract and representational art with his works on the Tahitian women and the natives. As Gauguin’s biography reports, Gaguin left a huge and notable connection to Arthur Frank Matthews in his intense use of color palette. His works influenced many other artists but does not leave a protege to assume his role of leader in Primitivism and Synthetism (â€Å"Paul Gauguin†). Paul Gauguin was a genius with both the brush and the chisel. He believed in art as a way of life and not a mere enjoyment. He rallied for a day when symbolism would reign and art would become a synthesis.His works of the Tahitian natives and women opened up the world of naturalism and called back for a time where the pastoral would once again be enjoyed. Works Cited Andersen, Wayne. Gauguin’s Paradise Lost. The Viking Press Inc. New York, New York. 1971. Print. Fletcher, John Gould. Paul Gauguin, His Life and Art. Nicolas L. Brown. New York. 1921. eBook. â€Å"Paul Gauguin Biography. † Paul Gauguin – Complete Works. 2002-2011. 31 October 2011. Web. http://www. paul-gauguin. net/biography. html Wright, Williard Huntington and S. S. van Dine. Modern Painting, It’s Tendency and Meaning. John Lane Company. New York. 1915. eBook.

“An absolutely ordinary raibow” by Les Murray Essay

In Les Murray’s ‘An Absolutely Ordinary Rainbow’, there is a clear unconventional portrayal of the hero, and he shows many heroic concepts as a result of the dramatic techniques used to convey the notion of the weeping man not being society’s ‘conventional perception’ of a hero. The poems persona is simply an un-named ‘observer’ who tells the story, in a third person present tense narrative form (â€Å"they†) which assists in portraying the notion that a weeping hero actually did walk the earth and that its just not an event created in the mind, of the peoples and society’s reactions to this weeping man and the affects he has had on the people. The subject matter of this poem is the nature of this weeping man. A concept of the hero this poem communicates is that a hero is strong, he possesses the heroic quality of power. Les Murray develops this notion of a hero through un-conventional heroic forms. The first technique employed by Les Murray is listing. This technique is used to highlight the superiority and power the weeping man has over the people- heroic quality’s which come under the notion of his strength. because there is no actual description of the man’s physical superiority, his heroic strength lies in more mental aspects( uconventional heroic traight). This makes he’s quality of power even greater and more heroic because he has something which not everyone else can obtain and is thus harder to come by, he’s quality is special, unique and because of its power it is greatly feared (the strength which lies in a persons mind). The power and strength held in the man’s mind is so great that even â€Å"The fiercest manhood, the toughest reserve, the slickest wit amongst us trembles with silence(at the man)†. This listing emphasizes that he’s strength is greater than any other that exists. Evidence of the man’s immense mental strength is shown through listing and contrasting. The result of the sheer extent of his mental power is highlighted through him converting the once pessimistic skeptics of him,  Ã¢â‚¬Å"ridiculous, says a man near me†, into â€Å"believers†. What shows the power within his mind is so great and heroic, is in the way he executes and uses he’s quality. Through unconventional methods, rather than he speaking words to the people, he’s mind is so strong that he needs only show he’s mighty emotions to get his message across â€Å"he cries out†¦ not words but grief, not messages but sorrow†. Les Murray has contrasted the two opposites of communication, verbal(words,messages) and non verbal(grief,sorrow), ‘not’ and ‘but’, emphasize the superiority of the non verbal means. Therefore, the mans mighty power is he’s emotions, his weeping. The second concept of the hero put forward in the poem is of normality, it defies the orthodox visions of a hero which make him out to be a supernatural being. This poem presents that a hero is human and as the name of the poem suggests he is â€Å"ordinary† on the outside, however â€Å"he’s heroic qualities lie within-George V Higgins- Studies of poetry 2nd edition†. The hero’s normality is shown in the juxstapositioning of the allusion to Christ and supernatural beings through symbols which they are renowned for â€Å"some will say a halo or force stood around him† and the short blunt statement of â€Å"there is no such thing†. The specific positioning of the dogmatic statement â€Å"there is no such thing† boldly eliminates any truths behind the hero having any of these supernatural powers of halos and forces. Another technique used to emphasize the hero’s normality and to show that he is just an ordinary person is the use of diction and syntax in the final stanza. â€Å"He simply walks between us mopping his face†¦.man who has wept†. The word choice of ‘simply’ indicates connotations of naturalness, plainness and commonness towards the hero, while the position of ‘simply’ adds emphasis to the meaning that he is just an ordinary man among them, and â€Å"with his writhen face and ordinary body† has done something incredible, he has wept. Through he’s spontaneous weeping Les Murray presents a 3rd concept of the hero which is of a hero being mysterious and attention grabbing. The heroes mystery to the people is what he has to say or show, which in this case is hidden inside his weeping and furthermore the reason for his weeping. His ability to grab peoples attentions is shown through the observers constant curiousness and apprehensiveness. This is shown through the repetition of allusions to very popular social meeting places in Sydney and curious talk of this weeping hero going round and round these places reaching the minds of so many people â€Å"the word goes round repins, the murmur goes round Lorenzinis†. Also, the peoples immense desires to uncover the mysteriousness of the hero are shown through the metaphor where by the people are so enthralled with the weeping man that they yern and long his â€Å"tears† (his message, his reasons for weeping) â€Å"as children for a rainbow†. Through the hero’s use of his mysteriousness he achieves the heroic deed of being able to grab a sceptic peoples undivided attention, and have them in a position where he places himself in power to influence them in whatever means he wants. Through the use of techniques, Les Murray communicates interesting concepts of this unconventional hero effectively. The weeping man’s quality’s of being able to influence others and attain their attentions through his strength in sending across messages in unconventional ways make him heroic because he is just but a simple and ordinary man. Whether or not the weeping man achieved his un mentioned purpose is irrelevant, he is still a hero because he’s purpose may of just been to cause this widespread feeling of belief among disbelievers, which he accomplished and is shown in the last line â€Å"evading (converted) believers†.