In “Geographies of Desire,” a chapter of the 2002 publication Dilemmas of Desire: Teenage Girls Talk about Sexuality, Deborah L. Tolman addresses the differences among perceptions of sexuality between teenage girls who grew up in urban and suburban areas. One of the primary overarching themes is that most teenage girls in both environments are conscious about themes of sexuality, and act in ways that demonstrate their understanding of the consequences and implications of engaging in sexual activity. They also showed that they were not naïve of sexual violence, and those who have experienced personal cases of sexual violence in the past have changed how they feel about sexuality in response to the encounter. One particular thing that stood out to me in the article is how the interviewed teenage girls responded to male sexual aggression: “virtually all of the girls held themselves responsible for what occurs in heterosexual relationships, especially sexual events; with the exception of Paulina, few in either group held boys or men accountable for their sexual aggression” (172). I was surprised to read this as their response, as I generally believed most people were split about half-and-half between blaming the victim and blaming the aggressor, with some holding a balanced position between the two. During my time as an undergraduate student at the University of Wisconsin-Madison, there was a widely publicized case of some fraternity members raping a young woman. This set off a movement that resulted in some people blowing the case out of proportion and attempting to force penectomies onto sexually aggressive males. These two cases – the teenage girls taking full responsibility, and the witch hunters placing fully responsibility on the males – seem to be the two extreme ends of the argument. Although it’s generally a good idea to let the over-enthused demonstrators do what they want and attempt to ignore them, I feel like letting the teenage girls maintain their current thoughts is not a good idea, and those who act as guidance figures to them should make sure they don’t feel they are fully responsible in the case that they are raped. When explaining the concept of who is at fault at rape, I like to make comparisons to other crimes that are less stigmatic to the victim, such as theft. For example, a teenage girl might leave her purse and other belongings exposed and unattended in a public location while she goes to get a snack at the vending machine. Upon her return, she realizes that her belongings have been stolen. In this situation, it is important to understand that the teenage girl is partially at fault because she should have been more cautious with her belongings. However, it is also important to understand that the criminal is also at fault, because (s)he should not be stealing in the first place and has committed an immoral act. Tolman’s findings during the interview with the teenage girls suggests that, in a situation like this theft, the girls only blame themselves for being careless, and do not think about blaming the criminal for being a bad person. It is vital for sexual health educators to implement this into their curriculum because teenage girls who experience sexual violence have shown signs of long-term sexual health damage: “suburban girls who had not reported sexual violence were almost six times more likely [than urban girls] to tell a narrative about their own desire with a central theme of pleasure” (182). By ensuring that victimized girls understand that they can safely blame the perpetrator, rather than keeping all the blame to themselves, it will allow them to achieve a level of absolution and comfort that will help them mature in a more positive direction. In summary, I was surprised that the girls Tolman interviewed for her piece did not have a clear perspective on who is at fault in a case of rape. I feel it is important for educators to instill into teenagers the ability to form a balanced judgment about the level of guilt of both parties. I believe this improved awareness will lead to better sexual health, as well as a decreased likelihood that a case of sexual violence will cause harmful long-term effects on sexuality.
The article to which I decided to respond is “We know some things: Parent-adolescent relationships in retrospect and prospect,” a 2001 work written by Laurence Steinberg, published in the Journal of Research on Adolescence. In his piece, he reviews the most important research done in the past 25 years in the realm of adolescent development in the family context – what’s considered a normal relationship, how variations in relationships affect the family, and how parents and other adolescent guardians can learn from this research. One of the topics Steinberg covers is the changes of family relationships adolescents and their parents experience as a result of conflict. He states that many adolescents, and even professional adolescence researchers, believe these conflicts are trivial, and don’t have much of a lasting impact on their relationship. This appears to be true for adolescents, as they seem (on a long-term scale) unaffected and unbothered by these tiffs, but their parents seem to have a harder time moving on from these fights. When looking closer at these types of fights, Steinberg concludes that the subject of these fights is perceived differently by the parent and the adolescent: “to a parent, maintaining a clean room is something that people do because it is the right thing to do … to the adolescent, how one keeps one’s room is one’s own business” (6). Thus, parents believe they are arguing about morals, while adolescents believe they are arguing about opinions and preferences. After reading this, I was able to see a clear connection with another work, “How Not to Teach Morality,” from William Kilpatrick’s 1992 publication Why Johnny Can’t Tell Right from Wrong. After explaining different strategies of moral instruction, Kilpatrick implies in his conclusion that the best way to teach morality is to take what’s right and essentially command children to follow by those guidelines. He also says that this is particularly important for parents because they care the most about their children, while others (including school teachers and the adolescents themselves) don’t necessarily agree with this method because teachers think it’s good for adolescents to engage in Socratic thinking, and adolescents perceive thought-provoking teachers as more fun than teachers who just tell them what to do. Linking this back to Steinberg, it appears like the parents of adolescents he studied to come to the difference-in-perception conclusion are already employing Kilpatrick’s recommended method of moral instruction. However, the core of the problem seems to come from two different sources – first that adolescents refuse to agree that learning by simply obeying commands is beneficial to them, and second that adolescents do not yet understand that these concepts pertain morals and not preferences. Although the first source may be difficult to fix, we may find progress by attacking the second source and being explicit with the adolescents that these matters, no matter how strongly may believe otherwise, do not pertain to opinions, but are instead ways of the society in which they live. Moving on, at the end of his article, Steinberg addresses the practical and real-world application of the content of his article in the section “Implications for Policy and Practice.” He shares his findings: “parents state that they want information on how to keep their teenagers healthy, but they often do not have access to the best and most scientifically grounded advice. … Misinformation and erroneous stereotypes about adolescence fill bookstores, flood the Internet, and dominate portrayals of teenagers and their parents in the [media]” (15). Although I agree that there is lots of deceptive and incorrect information available, I strongly disagree that parents “do not have access” to good information – instead, I believe the best information is in plain availability if parents know where to look. Steinberg states that a solution to this would be to develop a “systematic, large-scale, multifaceted, and ongoing public health campaign to educate parents about adolescence that draw on the collective resources and expertise of health care professionals, scientists, governmental agencies, community organizations, schools, religious institutions, and the mass media” (16). However, I feel as if this education is already readily available, but parents are not taking advantage of it. For example, going to the non-fiction section of a library will net plenty of books written by well-known developmental psychologists; searching through local community college course listings will yield affordable parenting classes taught by those who have earned doctorate degrees in their respective fields. As a result, I believe the better option to address this problem is to inform parents about how to use these already-available resources and why their use is important. For example, health professionals can offer parents lists of books, Internet articles, and videos that accurately outline adolescent development when the parents take their adolescent to the doctor’s office for a check-up. They could also attach some information letting parents know that their adolescent is undergoing natural biological and psychological changes, these changes will affect their relationship, and learning about these changes using the resources provided in the list will greatly improve the transition of adolescence. These two methods will address both parents who believe there is no good information available, and parents who believe adolescence is a myth. In summary, Steinberg takes the most important recent research and compiles it into a cohesive article outlining changes in family relationships during adolescence. The two aspects I analyzed were how small arguments are indicative of perceptual differences in terms of morals and preferences, and how parents can be better equipped to deal with the troubles that arise during their child’s period of adolescence. Overall, the best solution seems to be clear communication – communicating with adolescents to let them know of their parents’ thought processes and intentions, and communicating with parents to let them know of their children’s change.
With this false sense of confidence, Macbeth orders the killing of his family, but his wife commits suicide instead. Not long after, the English forces begin marching towards Macbeth for revenge, and in a final battle between Macduff and Macbeth, Macbeth gets beheaded as predict-ed by the witchesâ deceptive riddles. Impressions: This is the fourth time Iâve read Macbeth â once early in high school because it was on a recommended reading list, once late in high school for a literature course, once early in college for a different literature course, and once now. Itâs unfortunate to say that I still do not fully under-stand Shakespeareâs English syntax, even after reading it this many times, but I was lucky enough to get Sparknotesâ republished version with a modern-English translation in the side for assistance. It seems that this play is getting moderately better each time I read it. I think this can be attributed to a few things. The most obvious is that, after reading it so many times and getting such a good grasp on how the plot progresses, I essentially have a skeleton or template that I can fill while reading the play again, so Iâm able to focus more on the small details while still being able to keep the big picture in the back of my mind. Another reason is that I might be picking up some of Shakespeareâs syntax and becoming more alert to the small, interesting things he put into the play that I might not have noticed before. Overall, I enjoyed reading the play again. Although I might make a generic statement that I dislike Shakespeare, the reality is that I specifically dislike only his pre-modern English syntax. The actual plot of his plays are still attention-grabbing and compelling. Critical Analysis: In Shakespeareâs Macbeth, one of the biggest recurring themes throughout the book is the conflict between the desire for power versus the moral and ethical values confining the extent to which one demonstrates this ambition for power. From their actions, it is clear that Lady Macbeth, and later, Macbeth himself, are prime examples of individuals who take their power-hungry nature and follow through without much self-control. Unfortunately for them, their internal sense of morals seems to be absent, so there must have been some sort of external factor that ended up controlling them. I believe that their hallucinations were this external factor; I decided to analyze the situations surrounding the presence of their hallucinations and demonstrate that the hallucinations were symbolic substitutions of morals. Macbeth encounters his first hallucination when he is on his way to murder King Duncan. He sees a bloody knife and states, âIs this a dagger which I see before me, / The handle toward my hand? â¦ / And on thy blade and dudgeons gouts of blood.â This bloody knife is representative of the consequence of murdering Duncan, and makes Macbeth pause to think about his action. Although he later declares âI go, and it is done,â it still triggered thoughts in Macbeth. Macbethâs second hallucination occurs when he sees Banquoâs ghost, as noted by âEnter the ghost of Banquo, and sits in Macbethâs place.â The fear that the ghost strikes into Macbeth makes him think back to what he did â ordered the murder of his former friend. This is once again a reality check for Macbeth, and makes him demonstrate less of his aggressive side and more of his weaker side when the guests see his strange behavior. The third hallucination is observed by Lady Macbeth when she attempts to wipe away blood stains from her hand. This is once again a difference from her murderous past actions, and makes her think about her responsibility regarding the death of many other people. The fact that the blood stains do not wash away from her hands implies that the consequences of her actions are permanently attached to Lady Macbeth, and she needs to understand that being a proxy killer is not something morally acceptable. In summary, the hallucinations found throughout Macbeth force Macbeth and Lady Macbeth to take a step back in their ambitious actions and look at the bloody mess they are leaving behind. Because of this, the hallucinations always emphasize the contrast of the drive for more power, and thus are symbolic of the moral and reserved end of the power spectrum. - If you would to read other response papers I wrote for my literature course, or other papers I have written for other classes, feel free to check out the “Academics / Homework” category index.
Like it or not, crime is a part of our society, and as a result, society must react to crime. There are a variety of different ways of dealing with the individuals who choose to commit crimes; these methods reflect how members of a particular society view crime and criminals. There are four basic different ways that a society can react: deterrence, retribution, incapacitation, and rehabilitation.
Deterrence, or more commonly known as punishment, is providing a negative consequence to a particular deviant action to discourage people from doing the deviant action. Members of society who support deterrence believe that people will not commit a crime if the punishment is too great. As long as the benefit of committing the crime is less than the harm done by suffering the punishment, people will opt to take the better route (which is to not commit the crime). This method of dealing with criminal behavior assumes that there is an easy and concrete way to measure the costs and benefits of crimes and punishments, when in fact it is actually quite abstract and difficult to do. On top of that, not all people might make these rational comparisons as expected by the society; people who are not emotionally sensitive to these punishments might not abide by the system as society plans.
Retribution, better known classically as the âeye for an eyeâ concept, is the idea that when someone hurts someone else in some way, the victim has the right to hurt the attacker in return via the same method. Expanding off the classical term, if a man were to stab another manâs eye and turn him blind, the blind man would then have the right to stab the original stabber in his eye, thus turning him blind as well. This encourages people to only do actions that they would be comfortable having others to do them as well. Societies that support retribution believe that all people are equal, and when one person commits a crime, the society should be able to get even with the criminal. Unfortunately, this method of crime control only encourages further violence or crime, and doesnât take into consideration the fact that the particular action itself is still a crime, regardless of if it is being done as an assault or as revenge. This form of punishment is also very inflexible, as oneâs punishment is defined distinctly by oneâs actions. It leaves out the important aspect of motivation behind oneâs actions; someone who commits a crime intentionally receives the same punishment as one who commits the same crime accidentally, or as a side effect of good intentions.
Incapacitation is best known in modern society as placing people in jail or prison. The idea behind this method of reacting to crime is to protect the rest of society by preventing the criminal from committing more crimes. Societies that believe in incapacitation believe that criminals are outliers in their community, and as a result, it should be designated in a physical manner by separating their existence from the rest of the people. A clear problem of incapacitation, as seen by research and statistics, is that those who are incapacitated once are usually incapacitated again in the future as a result of committing more crimes. Thus, while they are incapacitated, many people do not change their way of life; once they are reintroduced into the society, they return to their old ways, and for many criminals, societyâs method of crime control ends up not accomplishing anything.
Rehabilitation has been increasingly supported recently and can be broken down as a moral and ethical school for criminals. When individuals commit crimes, they enter a program where their goal is to understand why their behavior is deviant. Societies that support rehabilitation view criminals as human beings who are still worthy of living with everyone else in a society, but need to be temporarily separated while they learn what is acceptable and what is not. The main goal of rehabilitation is to change criminals such that when they reenter the community from which they came, they live a life that follows all the societyâs norms and laws, and no longer engage in deviant behavior. Although, by definition, this is the most humane method of crime control, it still has its problems â individuals who are persistent in remaining criminals will not benefit from this program, as an internal motivation and desire to change oneâs self is very important during rehabilitation.
In summary, as society evolves, the methods of dealing with criminal behavior evolve with it. A variety of different methods has been developed and is being used, but there is no single strategy that is better than the others. Rather, instances of crime should be analyzed on a case-by-case basis, and proper reactionary measures should be taken in a specialized manner, rather than applying a generalized society view or theme on all crimes and possibly not providing some criminals the consequences or treatment that would work best for them.
âSonnet 116â by William Shakespeare is about how love is not affected by obstacles and persists throughout all challenges it may face.
âA Valediction: Forbidding Mourningâ by John Donne tells about a man who has to leave his lover, but does not believe the event is one that should prompt mourning. He instead thinks that the separation will be an expansion to their love and will make the bond firmer.
âTo His Coy Mistressâ by Andrew Marvell is told by a man who is attempting to acquire the love of a woman by elaborating on, emphasizing, and complimenting the positive aspects of the woman.
âElegy Written in a Country Churchyardâ by Thomas Gray takes place in a churchyard that is described in great visual detail. The narrator then shifts focus over to a poet by telling about his separated life and describing his grave in the churchyard.
âThe Tygerâ by William Blake tells of the Tyger, a being that is described as being aesthetically appealing. The poem goes on to ask what other being is powerful enough to be able to construct the Tyger with such excellence.
âA Red, Red Roseâ by Robert Burns is a poem about the narratorâs love; it is compared to various pleasant things. Towards the end, he is separated by his love, but he assures that he will once again be reunited.
âI Wandered Lonely as a Cloudâ by William Wordsworth is about the narrator who wandered around like a cloud when he encountered a field of flowers, where he enjoyed the scenery. Now, when he is lonely, he thinks back to this scene and is happy again.
âOzymandiasâ by Percy Byssche Shelley tells of an interaction with someone who traveled to an ancient land and came across a stone sculpted to resemble a king, which, according to the corresponding inscription, was powerful. There was nothing else around the sculpture.
âOde on a Grecian Urnâ by John Keats tells of various things that have happened, including a group of people being pursued, someone playing melodies on a pipe, some people being sacrificed, the lesson that âBeauty is truth, truth beauty.â
âAnnabel Leeâ by Edgar Allan Poe is told by a narrator who was the lover of Annabel Lee. One day, the angels got jealous of the love between the narrator and Annabel Lee and sent a wind that chilled Annabel to death. She was taken away by her family members. However, the narrator says that because their love was so strong, there is no way that even death can separate him from Annabel.
While reading through the first nine poems listed, I generally had a difficult time understanding the implied meanings of the poems, as I generally have a hard time interpreting syntax that is changed from conventional standards to add artistic value. However, when I got to the last poem, âAnnabel Leeâ by Edgar Allan Poe, I felt like all the literary beauty was still intact and the rhythm was pleasant, but it still flowed nicely and was easy to understand and visualize what was happening. Thus, it was my favorite poem out of the set for this week.
One thing that I particularly liked about the poem was how it was organized well as what one would expect from a conventional story. The poem starts with a description of the context and setting, which allowed me to visualize a fundamental structure upon which I could illustrate more details in my mind as the poem progressed. By the end of the poem, I was able to produce a short video in my mind and be able to really experience the poemâs message, which was difficult for many of the other poems.
There are a handful of symbolic items in Edgar Allan Poeâs âAnnabel Leeâ which form a gestalt that gives a deeper meaning to the poem.
One of the most redundant forms of symbolism found throughout the poem is the sea. It is mentioned in many different contexts: âkingdom by the sea,â âdemons down under the sea,â âsepulcher there by the sea,â and âtomb by the side of the sea.â In all of these situations, the sea is present when there is a connection between the narrator and Annabel, which leads me to conclude that the sea is symbolic of their love and union. The kingdom is near the sea because they both live in the same area, and are connected by area of residence. The demons are down under the sea, weighted down by the water, because no evil force can disrupt the link between the narrator and Annabel. After Annabel dies, her dead body is placed next to the sea because, as the narrator states, even death is not enough to pull them apart.
Another point of symbolism is the age of the narrator and Annabel. This is also a recurring item of interest â the narrator admits that âShe was a child and I was a child,â but later clarifies that ââ¦ our love it was stronger by far than the love / Of those who were older than weâ / Of many far wiser than weâ.â At first, one might think that this love is just adolescent or teenage infatuation, but, as evidenced by the dedication shown by the narrator to Annabel, even after she dies, their age is not symbolic of foolishness, but actually of the true power and dedication of their love. Even when covered by the cloak of immaturity, their love still shines brightly through.
Finally, one last symbolic object that I thought was interesting was the wind. The wind is mentioned twice, once during the recount of what happened (âA wind blew out of a cloud by night / Chilling my Annabel Lee), and once when justifying Annabel being taken away (ââ¦ the wind came out of the cloud, chilling / And killing my Annabel Leeâ). The wind here seems symbolic of an omen of evil; although it was sent from the heavens, it still inflicted Annabel with an illness (most likely a common cold) that went out of hand and ended up taking her life.
Overall, the symbols in Poeâs poem helps link together the different sections of the poem. They act as threads that allow us to tie together the different parts of the plot and find a theme that integrates one segment to the next.
Blake, William. âThe Tyger.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 35. Print.
Burns, Robert. âA Red, Red Rose.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 36. Print.
Donne, John. âA Valediction: Forbidding Mourning.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 9. Print.
Gray, Thomas. âElegy Written in a Country Churchyard.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 28. Print.
Keats, John. âOde on a Grecian Urn.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 57. Print.
Marvell, Andrew. âTo His Coy Mistress.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 23. Print.
Poe, Edgar Allan. âAnnabel Lee.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 61. Print.
Shakespeare, William. âSonnet 116.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 8. Print.
Shelley, Percy Bysshe. âOzymandias.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 51. Print.
Wordsworth, William. âI Wandered Lonely as a Cloud.â 250 Poems: A Portable Anthology. Ed. Peter Schakel and Jack Ridl. Boston, MA: Bedford/St. Martinâs, 2009. 37. Print.
âThe Horse Dealerâs Daughterâ by D.H. Lawrence tells the story of Mabel, the horse dealerâs daughter, who is currently struggling to make ends meet after the death of her mother. When visiting her mother to tidy up her grave, she gets overwhelmed by her feelings and almost commits suicide by drowning. Nearby, Jack, a doctor, comes to save her life by extracting her from the water and nursing her back to health. From Mabelâs perspective, Jack did this because he loved her; from his perspective, Jack did this because he is a doctor. As the story comes to a close, Mabel realizes that Jack doesnât actually love her, but Jack decides to marry her anyway and proposes to her before he returns to his senses.
âFlowering Judasâ by Katherine Anne Porter is about Laura, a young woman living near Xochimilco. She works for Braggioni, a large man who sings to Laura when she returns home. He is a man with great self-esteem who is not told of how bad he is at singing because of peopleâs fear of his retaliation. He is dissatisfied with his wife and chooses to go away for an extended period of time. During this leave, Laura meets a prisoner named Eugenio. When Braggioni returns home, his wife apologizes; that night, Laura dreams of Eugenio.
âA Country Love Storyâ by Jean Stafford tells the story of Daniel and May, husband and wife, who choose to purchase a house in the country. The particular house they select happens to have an antique sleigh in the front lawn; at first, they have a strange impression of it, but eventually, they just let it be and decide not to get rid of it. As the story progresses, Daniel and May have a conflict, the first of its kind in their five years of marriage, after Daniel has a hallucination indicating that May has been unfaithful. Daniel remains in his room working, while May is lonely. The sleigh begins to take a symbolic role, as it represents Mayâs loneliness, as well as acts as the residing place of Mayâs hallucinations. Eventually, Daniel realizes that his hallucinations were what was fueling the arguments, and Daniel and May proclaim their love for each other again.
âFlightâ by John Steinbeck features Pepé, a boy who lives with his mother and siblings in Mexico. Pepéâs mother always berates him for not being a man, but one day, still sends him off to get some medicine, which is a manâs job. During the trip, Pepé acquires the medicine, but also gets in a physical confrontation while he and others are consuming wine. When he returns home, the fact that he stabbed a man initiates another journey where he heads off into the mountains. During his trip, his horse gets injured by some people who are pursuing Pepé; eventually, he dies after being buried by an avalanche.
âWhy I Live at the P.O.â by Eudora Welty is narrated by Sister, a woman whose sister, Stella-Rondo, recently moved back into her house with her adopted daughter to live with family after she got a divorce. Upon Stella-Rondoâs arrival, Sister suspects that her daughter is not adopted, but biological. This insults Stella-Rondo and motivates her to turn the entire family against Sister. Stella-Rondo spreads rumors about Sister to Papa-Daddy and Uncle Rondo to make them believe that Sister has been bad-mouthing them. Eventually, Sister becomes fed up with Stella-Rondo and decides to move out to live at the post office.
When reading âThe Horse Dealerâs Daughter,â although it is somewhat apparent that it was supposed to be a sad story at first due to the sully setting and the poor situation in which Mabel is, I sort of thought it was partially a comedy in disguise. I thought the plot revolved around a perfect example of different perspectives gone wrong. Most of us have experienced a situation where two different people with two different backgrounds or levels of experience see the same scenario differently, and end up having some sort of humorous misunderstanding. I felt Lawrence integrated this concept well into this story, and twisting a developing love relationship into the confusion made it even more compelling.
I decided to expand upon my initial interest with the idea of differing perspectives and take a closer look at the primary conflict present in the story by extracting and analyzing the motivation and implications behind each characterâs actions and connecting it to the conclusion of the story. The primary conflict of perspectives is how Mabel and Jack perceived the fact that Jack rescued Mabel from drowning, as illustrated by, ââ¦ the small black figure walked slowly and deliberately towards the cent[er] of the pond â¦ gradually moving deeper into the motionless water.â
From Jackâs perspective, he identified a figure that was intentionally walking into the water to commit suicide. As a doctor, he sensed someone in danger and felt the urge to help them â his intuition is noted when it says âthe doctorâs quick eye detected a figure in black passing through the gate of the field, down towards the pond,â and later, âWhen he rescued her and restored her, he was a doctor, and she was a patient. He had had no single personal thought of her.â It can thus be concluded that, for Jack, this was just his normal work outside of regular working hours, and he was helping a person in need.
To Mabel, however, the fact that Jack saved her was something completely else. She was told of this novel experience unfolding from Jackâs perspective because her inquiry of ââWhat did I do?ââ implies she does not remember what happened. However, rather than seeing it from a perspective paralleling Jackâs, she applied her own opinions and emotions to the recount. From a normal personâs point of view, it is understandable to interpret someone risking their own life to save yours as an act of altruism so powerful that only love could motivate someone to do such a thing. To make the situation more intense, Jack undressed Mabel so she would cease to lose body heat from the cold, drenched clothing; to Jack, this was standard doctoral procedure, but to Mabel, she interpreted this as an act of intimacy.
So what made Jack cave in and decide to propose to Mabel? In Mabelâs flurry of confusion, she overwhelmed Jack with actions symbolic of love, such as forcing him to admit his love through words and kiss her. As a result, Jackâs own personal emotions took over and made him just as confused as Mabel, causing him to change his position from a professional doctor to a dutiful man. In essence, the conflict of perspectives was âresolvedâ when Jack took on the same perspective to the rescue as Mabel.