The White Mans Burden - 1574 Words

What was once perceived to be ‘the white man’s burden’ has engulfed all developed nations – we’re all quixotic fools of imperialism. If you think that you’ve heard of ‘the white man’s burden’ before you’re correct, it is a poetic piece by Kipling; written in 1898 for the purpose of the US (United States). The finale verse is poignant to all: Take up the white man’s burden, have done with childish days, the lighter proffered laurel, the easy, ungrudged praise. Comes now, to search your manhood through all the thankless years, cold edged with dear bought wisdom, the judgement of your peers! If you find it deficient of beauty and description it’s because the expansion of its meaning shifts in an emporium tenor. I wish to pass this on to Alexis Tsipras. Greece or any other Eurozone member shouldn’t be a scapegoat of the failed project - Norman Lamont and his counterparts the so called pioneers of Federal Europe are equally responsible. I don’t expect any correspondence back as I know Tsipras has a lot on his Greek plate and has the insurmountable task of jumping through Olympic hoops for the foreseeable future, for that I offer my deep condolence. My stance is far from engaging in ‘housekeeping’ idiosyncrasies on grounds that my background allows me to distinguish what is valid in the tangible force of economics. No, sensible economic editor would claim that a nation’s monetary mechanism is anything resembling housekeeping’s expenditure. On another note, whether politics orShow MoreRelated â€Å"White Man’s Burden† Essay905 Words   |  4 PagesRudyard Kipling’s 1899 poem â€Å"The White Man’s Burden† epitomizes the European man’s view on imperialism, Euro-centrism and social Darwinism. Four centuries before 1899, such ideas were briefly hinted in the letter from Christopher Columbus to King Ferdinand and Queen Isabella, however by 1899 t hese attitudes strengthened and developed fully into their complete meaning. The U.S and Europe’s imperialism in the nineteenth century were the most influential ever in the history of human civilization. TheRead MoreEssay of the White Mans Burden976 Words   |  4 PagesEssay of â€Å"The White Man’s Burden† (1980), Jan Needle. This is a short story by Jan Needle. We follow the teenager Tony Robertson, who really wants to be friends with immigrants and thinks very positive of the multi-cultural society. It is pretty ironic that although his amiable behavior, two Paki-stanis eventually end up beating him up. Tony is liberal, he thinks that everyone should have the same chances, and he doesn’t prejudice anyone. â€Å"He’d brought Tony up to be liberal, to reckon onRead MoreEssay The White Mans Burden and The Recessional529 Words   |  3 PagesThe White Mans Burden and The Recessional In â€Å"The White Man’s Burden† and in â€Å"The Recessional†, Kipling outlines his idealistic concept of empire which is based on service and sacrifice. England sends some of their best man to defend and help India. The white man has the mission to civilize the Indians. It is their responsibility to culture them, to put them on the right path. They are there to make India a better place to live and bring the population up to date on the style of living. ThisRead MoreImperialism: the White Mans Burden890 Words   |  4 PagesImperialism: The White Mans Burden and the The Real White Mans Burden Well in order to show how imperialism was used in the nature of those two poems, I have to define it. Imperialism is the extension of sovereignty or control by one people or state over another. The objective is the exploitation of the controlled people or state. Imperialism has four major components: economic, military (strategic), political, and humanitarian. Imperialist powers are not bound to follow the laws, internationalRead MoreWhite Mans Burden1523 Words   |  7 PagesWhite Man s Burden The movie we watched in class was called White Man s Burden. According to some sociologists the white man s burden is an unwanted burden that white men, who are in the upper part of society, must bring the minority classes up to their status. For example, if it were applied today white folks would have to help bring black folks up into a higher class. While this theory was used many years ago, it is still in consideration today. This movie took a very unique approachRead MoreEssay on Colonialism and Imperialism - The White Mans Burden1602 Words   |  7 PagesImperialism: The White Mans Burden      Ã‚  Ã‚  Ã‚   In one of his most famous poems, Rudyard Kipling said, Take up the white mans burden! (146). He was only one of many who believed in the virtues of imperialism in the late nineteenth and the early twentieth centuries. During that period, imperialism was on the rise, and Africa was being swallowed up by competing European nations. The imperialists had many arguments supporting imperialism. They said it was beneficial and, in some cases, essentialRead MoreAnalysis Of Conrad s The Heart Of Darkness794 Words   |  4 Pagesan ox to till his field. When the people â€Å"sickened, became inefficient†, they went to a grove to die (Conrad). Another stereotype shown was that imperialism hurts the conquerors and those being conquered. â€Å"White Man’s Burden† by Rudyard Kipling was originally titled â€Å"The White Man s Burden: The United States and The Philippine Islands† (GMU). America took control of the Philippine government. This led to political turmoil which escalated into the Philippine-American war. In the the war, thousandsRead MoreThe Height Of Colonialism Between The 18th And 20th Century2818 Words   |  12 Pagespaintings and writings, helped construct this image of native populations as lesser beings. One such piece, a poem â€Å"The White Man’s Burden† written by English poet Rudyard Kipling in 1899 was originally written to address the dangers of empire building, but has also been taken at face value and used by imperialists as a way to promote colonialism as a noble cause: Take up the White Man s burden Send forth the best ye breed Go bind your sons to exile To serve your captives need; To wait in heavy harnessRead More Comparing Colonialism and Imperialism in Heart of Darkness and Kiplings Poetry1515 Words   |  7 PagesImperialism in Heart of Darkness and Kiplings Poetry   Ã‚  Ã‚   Imperialism sprung from an altruistic and unselfish aim to take up the white mans burden1 and â€Å"wean [the] ignorant millions from their horrid ways.†2 These two citations are, of course, from Kipling’s â€Å"White Man’s Burden† and Conrad’s Heart of Darkness, respectively, and they splendidly encompass what British and European imperialism was about – at least seen from the late-nineteenth century point of view. This essay seeks to exploreRead MoreHeart of Darkness Imperialism, Hegemony, and Othering1570 Words   |  7 Pagesangry, he could have been killed. He simply did not have a win- win situation. So he chose what he thought was best for him. One of the more famous lines in â€Å"Shooting an Elephant† is, â€Å"When the white man turns tyrant it is his own freedom that he destroys.† What I perceived from this quote was when a white man becomes tyrant he destroys his own free will. Orwell will constantly be doing what he thinks the Burmans want. He will live as a fake. When he put himself in a hierarchy over the Burmans and

Human Service Organization Profile Department Of Public...

Tincen Vithayathil HSER 100.WB1 HSO Profile 6/8/2015 Human Service Organization Profile: Department of Public Safety and Correctional Services A human service organization that is interesting to me is the Department of Corrections. I chose this group because it relates closely with my major which is criminal justice. In this profession, there are various positions that can provide opportunities to work with those who struggle to obey the law. Some of these positions include admin specialists, program assistants, records analyst, correctional officers, program coordinators, wardens, chaplains, and many more. Here in Maryland, we have the Department of Public Safety and Correctional Services. DPSCS is one of the largest agencies in Maryland†¦show more content†¦These agencies of the DPSCS also offer various services to the public. For instance, they have a sex offender registry to find sex offenders who work or live near your family, or to receive assistance if a child has is a victim of sexual abuse. The DPSCS offer crime victims guidance and support during the corrections, and community supervision and detention st ages. DPSCS also offer links to offender’s families so they know how to keep in touch with offenders through telephone calls and visiting hours. Services also include the rehabilitation of offenders and the reintegration of offenders back into society. To accomplish this, there are programs that offer education and employment opportunity within the prison. There is also treatment offered for inmates who suffer from any medical or psychological issues. For the purpose of this class, I believe that a few aspects of DPSCS’s vision are timely to this course. Part of DPSCS’s vision states, â€Å"The Maryland Department of Public Safety and Correctional Services will be known as an organization that focuses on its mission and takes care of its people.† This statement shows that their ultimate goal is to help people whether they are convicted criminals, employees, or families of inmates. After learning more about the Department of Public Safety and

Evolution Of Rap Music Essay Example For Students

Evolution Of Rap Music Essay THE EVOLUTION OF RAP MUSICRap is a form of urban music, which emerged from the ?hip-hop movement of the South Bronx, New York, in the early 1970s. The hip-hop culture was comprised of the popular street activities of African-American youth during the 1970s such as: styles of language, ?street-slang? colloquialisms, graffiti, break dancing, music and their colourful attitude and fashion. Rap music is therefor a subculture to the hip-hop movement, or what many describe as ?the soundtrack to accompany the other facets of the hip-hop culture? . This means that any changes that take place within the hip-hop culture itself will be reflected in the subculture of rap music. Since the 1970s styles of dancing, talking and graffiting have changed, not to mention the dramatically noticeable change in urban fashion. So subsequent to all aspects of the hip-hop culture having changed since its advent in the 1970s, it seems only logical that rap music to change also, and evolve alongside the hip-hop culture. In fact, almost every aspect of popular rap music has undergone a huge transformation. From the style of music and the intent of the lyrics, to the culture, gender and race associated with rap artists and their listeners, rap has evolved quite dramatically. The origins of rap music may be traced as far back as some African tribes, in which members used a style of ?trading tall tales, handing out verbal abuse in rhymes, providing own rhythmical, chest-whacking, thigh slapping accompaniment. ? This was known as ?toasting? and ?signifying?. Where tribe members would display their power and dominance. More immediately however, modern rap was a bi-product of the another activity; ?disk jockeying?. In the early 1970s disc jockeys or DJs were a common appearance at backyard parties and social events. They played music on two vinyl record players, mixing songs together and combining old songs into new, danceable collages. Using different techniques such as quickly changing play speeds and equaliser settings, scratching records back and forth, and mixing in different types of music, made the art of disk jockeying extremely popular. So popular in fact that by the late 1970s artful mixing had become such a spectacle that crowds would cease dancin g in order to watch DJs perform. To keep people moving a DJ would recruite either one or a few people to act as a ?master of ceremonies? or MC. An MC would speak into a microphone, over the music and ?fire up? the crowd, with shouts such as ?get up? and ?jam to the beat? in a similar fashion to that used by James Brown. As MCs popularity grew, so too did their task. To stay popular with the public and attractive to their recruiting DJs, MCs were continually forced to come up with new techniques of encouraging their crowds to dance. Many MCs followed the examples given to them by radio DJs by devising simple rhymes comprised of only two or four short lines. Most of these rhymes were very basic, short verses related to the crowd, which were thought up by the MC ?on the spot?. It was not until a DJ named ?Grandmaster Flash? and his group of MCs ?The Furious Five? that the rap genesis was completed. They began speaking longer, pre-rehearsed rhymes to the beat of the music, trading rhyme s in sync with each other and the DJ. Slowly but surely other MCs began to follow suit, reciting their own rehearsed lyrics in time with the beat. And so became the popular style of music known as rap. It is thought that rap lyrics descended directly from a few specific African-American cultural figures. Radio DJs such as Holmes ?Daddy-O? Daylie, Al Benson and DJ Hollywood, spoke witty, jive-based talk between playing songs, and heavyweight champion boxer Muhammad Ali was renowned for his clever rhymes and cocky toasts, but one of the greatest influences on the style rap lyrics was the urban street jive, a form of coded speech that developed in the black community back in the 1920s. Jive speakers disregarded standard usage of the English language and replaced common words with their own substitutions. Popular Jive alternatives include ?cat? for man, ?crib? for home, ?axe? for instrument, ?scrub? for loser and ?player? for successor. David Toop suggests that such substitutions ?have enabled many blacks to share messages that only the initiated can understand. ? This form of linguistic encoding was a universal survival tool for African Americans during times of slavery, and many traces of these techniques of communication can be seen in the language used by African Americans today. Evidence of this is made obvious through popular American ?talk shows? such as ?Jerry Springer? and ?Ricky Lake?, which regularly have guests of lower social stature. It is common place for these talk show guests speech to contain a high amount of ?urban street slang? colloquialisms, which make some viewers, (especially international viewers who may be perfectly fluent with the English language, but unfamiliar with jive) unable to understand the language being used. This dilemma can also be witnessed when people unfamiliar with these ?street slang? colloquialisms listen to rap music. Rap lyrics have always contained a high amount of ?street slang?. In fact the majority of the modern ? jive alternatives? used in this ?urban language? where ?invented? by rappers. Rappers would be writing their songs, trying to put their message across and at the same time make their lyrics rhyme. Instead of spending hours trying to think of rhyming lyrics, rappers would simply make up a word, or substitute an already existing word and change its meaning. This technique has been used since the very early days of rap music, and has been the main contributor the modern ?street slang?. The only subtle problem with this was that there is no official ?jive dictionary?. So one persons interpretation of someones lyrics may be different to anothers, depending on what they believed the ?slang words? meant. For example, many rap song lyrics would contradict other rap lyrics when two different rappers would use the same common word to replace different words. For example, early in the 1980s the word ?cat? was used as a replacement for the word ?female?. Nowadays, more popular rappers refer to a male as a ?cat?. Another example is the jive word ?shorty?. When some rappers use the word ?shorty? they are referring to a female, while other rappers consider a ?shorty? to be a young child. There are countless other examples illustrating the complexity of ?urban street slang? and expertise required to completely understand all rap lyrics. This is one of the important reasons for the success of rap music, especially through lower class youth. They are able to understand the lyrics and feel a connection to the language as it relates to them and their lifestyle, unlike that of higher-class citizens. The majority of whom find it difficult to understand the language used in rap lyrics. Another connection between rap music and youth is the content of the lyrics. The topics that an artist ?raps? about is one of the highest contributing factors to that particular artists popularity. In the late 1970s rap music was mainly, only played at parties and public gatherings. Despite the depres sed economic conditions all of the early rappers and their audiences were forced to live in, most rap songs contained light-hearted, cheerful lyrics addressing people with a jubilant, festive attitude. They were songs about ?having a good time? and ?enjoying yourself?. It was not until the early 1980s, when rap began to attract larger audiences, that rappers began writing socially conscious lyrics, addressing ghetto conditions and economic inequalities. ?The Message? (1981) by rap group ?Public Enemy? marked the advent of political rap, which grew into a very popular way in which African Americans could express themselves, and their political voice. In a talk-show discussion, rap activist Harry Allen argued that ?lack people are attempting to compensate for their lack of power under white supremacy, and it comes out in our art, it comes out in our music. Theyre trying to make up for whats missing. Whats missing is order. Whats missing is power.? Rap music seemed to be a form of ente rtainment only performed by African Americans and strictly only for African Americans. However all that began to change when ?black owned? record company ?Def Jam signed a major distribution agreement with the ?white owned? label Columbia Records. Slowly Run-DMC (a rap group who belonged to the ?Def Jam record label) began to be successful towards ?white? audiences. This prompted many people to speculate about the underlying issues of race, with regard to both the rap music audience and rappers themselves. Writer David Samuels suggests that ?the ways in which rap music has been consumed and popularised speak not of cross-cultural understanding, musical or otherwise, but of a voyeurism and tolerance of racism in which blacks and whites are both complicit. ? However, throughout the 1990s many white rappers like; Vinilla Ice, the Beastie Boys, Third Bass, and House of Pain demonstrated by their huge popularity that more than race was at play. Raps popularity had grown to encapsulate a hugely diverse range of cultures. Rap had always been reserved for predominantly male performers until a few female artists attempted to pioneer a new direction for the music. Throughout the 1990s women rapping became more and more popular. Female rappers such as Queen Latifah and Salt-n-Pepper began addressing issues such as drug abuse, black-on-black violence and national politics, while other female artists such as Missy ?Misdemeanour? Elliott and Foxy Brown rapped about female self-empowerment. Meanwhile another style of rap was emerging out of New York and Los Angeles. A more brutal brand of music which described drugs, sex and violence in detail. It is known as ?Gangsta? rap and its tremendous appeal to lower class people, both black and white, made the grim, lurid and angry lyrics profitable. In 1990 a Florida district court declared the gangsta rap album ?Nasty as They Wanna Be? recorded by rap group 2 Live Crew, to be legally obscene, and outlawed the sale of the record. When Los Angeles rapper Ice-T released the song ?Cop Killer? (1991), the LAPD organised a boycott against Time Warner (the company that distributed the record). In addition, police started blaming crimes on rap songs, as criminals cited the influence of gangsta rap as part of their defence. Many rap critics such as Rev. Calvin O. Butts III and Rev. Jessie Jackson strongly protested against gangsta rap, stating that the anger and violence it depicts only hurt African Americans in their stuggle against r acism. Despite their best efforts gangsta raps popularity flourished, as rappers belonging to rival street gangs began rapping deadly threats towards each other and started bragging about their own strength and the death of rival gang members in their songs. Many gangsta rap songs did in fact provoke violent attacks on gangs in which certain rappers belonged to, and many deaths were blamed on these songs. The violence peaked at the murders of two of the most famous and most popular rappers of all time. East Coast ? West Coast rivals Chris Wallace a.k.a ?The Notorious B.I.G? and Tupac Shakur a.k.a ?2Pac?. In the late 1990s many gangsta rap artists and rap groups began to realise that ?enough was enough? as they initiated the ?Stop The Violence? movement and the ?Human Education Against Lies? (H.E.A.L) program, both of which pitted raps influence against social ills. Rappers began to concentrate on musical innovations, developing the art, rather than the politics of rap. Billy Elliot - Nationalism and Class Structure EssayRap had always been reserved for predominantly male performers until a few female artists attempted to pioneer a new direction for the music. Throughout the 1990s women rapping became more and more popular. Female rappers such as Queen Latifah and Salt-n-Pepper began addressing issues such as drug abuse, black-on-black violence and national politics, while other female artists such as Missy ?Misdemeanour? Elliott and Foxy Brown rapped about female self-empowerment. Meanwhile another style of rap was emerging out of New York and Los Angeles. A more brutal brand of music which described drugs, sex and violence in detail. It is known as ?Gangsta? rap and its tremendous appeal to lower class people, both black and white, made the grim, lurid and angry lyrics profitable. In 1990 a Florida district court declared the gangsta rap album ?Nasty as They Wanna Be? recorded by rap group 2 Live Crew, to be legally obscene, and outlawed the sale of the record. When Los Angeles rapper Ice-T released the song ?Cop Killer? (1991), the LAPD organised a boycott against Time Warner (the company that distributed the record). In addition, police started blaming crimes on rap songs, as criminals cited the influence of gangsta rap as part of their defence. Many rap critics such as Rev. Calvin O. Butts III and Rev. Jessie Jackson strongly protested against gangsta rap, stating that the anger and violence it depicts only hurt African Americans in their stuggle against r acism. Despite their best efforts gangsta raps popularity flourished, as rappers belonging to rival street gangs began rapping deadly threats towards each other and started bragging about their own strength and the death of rival gang members in their songs. Many gangsta rap songs did in fact provoke violent attacks on gangs in which certain rappers belonged to, and many deaths were blamed on these songs. The violence peaked at the murders of two of the most famous and most popular rappers of all time. East Coast ? West Coast rivals Chris Wallace a.k.a ?The Notorious B.I.G? and Tupac Shakur a.k.a ?2Pac?. In the late 1990s many gangsta rap artists and rap groups began to realise that ?enough was enough? as they initiated the ?Stop The Violence? movement and the ?Human Education Against Lies? (H.E.A.L) program, both of which pitted raps influence against social ills. Rappers began to concentrate on musical innovations, developing the art, rather than the politics of rap. Rap music, which began as a simple, ?homemade? form of entertainment, from the streets of New York, has now become the most popular style of music in the world (highest selling genre). Rap has always managed to appeal to youth throughout its history, and adapt to the current social and cultural situations of the time. Whether it be back in the late 1970s when rap music was in its early amateurish stages, where MCs would make up lyrics, on the spot, as the song progressed, or today where millions of dollars and months of planning are spent creating a single song suitable for the huge mainstream industry. Rap music has truly demonstrated that it is capable of withstanding the forever-changing cultural situation of popularity. Every aspect of rap music has undergone a huge transformation since its advent in the early 1970s. The style of music has changed from only being a bright, clean, light-hearted music suitable for playing at dances, street parties and public occasions, to being a m ore serious, thoughtful source of political voice, to a dark and grim excuse for violence and anger. Nowadays rap music enraptures all of the styles. Many rappers are returning to the old ideals of a party atmosphere, while some are continuing to voice their opinions on political issues and a minority are still pursuing the violent path of gangsta rap. Whichever path taken, the styles of todays rap music and the intent of the lyrics have been completely moulded through the changes rap culture has undergone in its past, and will undoubtably undergo more changes in the future. The gender, race and social status of rappers and rap music audiences has undoubtably been influenced by cultural change also. In its early beginning rap music was performed by black males, for black males and females. Growing in popularity, both black and white males began performing and then finally females began rapping. Audiences changed also, from both male and females, to chiefly males, who listened to gangsta rap. Nowadays the female audience of rap music is become larger and larger, however the majority of rappers today are still black African Americans and the majority of listeners are male. In the early days of rap music, rappers would perform for free, out of enjoyment and a love of the art. Today, rap is a multi-million dollar industry. The highest grossing genre of music, with rap artist getting paid ridiculous amounts just to appear in public. Rap music has gone from being a sub-culture of the minority ?hip-hop culture?, to being a major playing factor in huge ?pop cult ure? of today. It has evolved into a huge industry that has demonstrated its ability to withstand the cultural changes of the last 30 years. References:BooksHagar, Steven, ?Hip Hop; The Illustrated History of Break Dancing, Rap Music and Graffiti? New York: St Martins Press., 1984. Hebdige, Dick, ?Cut ?N Mix; Culture, Identity and Caribbean Music? New York: Methuen ; Co., 1987. Toop, David, ?The Rap Attack; African Jive to New York Hip Hop? Boston: South End Press, 1984. Magazine Articles / Newspaper ArticlesCooks, Jay and Koepp, Stephen, ?Time?: ?Chilling out on Rap Flash; New city music brings out the last word in wild style?, March 21, 1983. Hager, Steven, ?Village Voice?: ?Afrika Bambaataas Hip Hop?, September 21, 1982. Samuels, David, ?The New Republic?: ?The Rap on Rap: the Black Music that isnt Either?, November 11, 1991. Simpson, Janice C., ?Time?: ?Yo! Rap gets on the Map; Led by groups like Public Enemy?, February 5 1990. Thigpen, David, ?Time?: ?Not for Men; Women Rappers are Breaking the Mold with a Message of their Own?, May 27, 1996. 12249 CULTURAL CHANGE; COMMUNICATION TECHNOLOGIESASSIGNMENT COVER SHEETStudent Name:Student ID number:Contact Ph:Email Address:Tutor Name:Tutorial day ; time:Assignment TopicDate of submission:DISCLAIMERI declare the following to be my own work, unless otherwise referenced, as defined by the Universitys policy on plagiarism. Signed:Music

Willies role in a stage production of the play Essay Example For Students

Willies role in a stage production of the play Essay Harold Brighouse wrote Hobsons Choice. Mr. Brighouse was born in Lancashire 1882.  Harold Brighouse wrote a lot of plays featuring Lancashire. Harold was a very clever in school but wasnt interested in going to University. Mr. Brighouse was brought up happily in middle-class family. Mr. Brighouses father was called by the name of John Brighouse.  Mr. Brighouse was a Theatergoer. He went to local theatres. When went on holiday to London he found a whole different world. Mr. Brighouse returned and quitted his job in the office to become a full time play writer. Mr. Brighouse and some local people formed a group called Manchester School of Dramatists. Manchester School of Dramatists wrote about ordinary people and their lives. The newly formed group changed the art of plays. During 1800-1900 plays were mainly about the rich and popular. Manchester School of Dramatists changed play writing and involved the poor and ordinary.  In 1914 the play industry halted because of the outbreak of World War One, which lasted for four years. At the start of World War One Mr. Brighouse was in France. He was forced to leave France and return home. At this point Mr. Brighouse really started to concentrate on writing his plays. We will write a custom essay on Willies role in a stage production of the play specifically for you for only $16.38 $13.9/page Order now When Mr. Brighouse started to write his plays with passion and pride he wrote the play Hobsons Choice. The genre of this play was comedy. Hobsons Choice was eventually shown at the end of World War One.  The play was written rapidly. Mr. Brighouse changed the course of the final act and set the play back in time to the 1800.  The phrase Hobsons Choice is well known. To have Hobsons Choice is to have no choice at all. Hobsons Choice comes from the 17th Century Cambridgeshire horse trader choice Hobson. Hobsons customers in theory had free choice but in practice they bought what Hobson wanted them to buy. As in the play Maggie leaves Hobson a choice but the threat of legal action made Hobson vulnerable and he didnt have a choice but to let Vickey and Alice of the shelf. William Mossop a lanky fellow. Aged about 30 years. Willie is not naturally stupid but is stunted mentally by a brutalized childhood. Willie clothes are mentioned as a poorer edition of Tabbys. When Willie comes up the trap door like a rabbit he is praised by Mrs. Hepworth, these are the best made pair of boots Ive ever had. In the film Willie looks up at Mrs. Hepworth and Mr. Hobson as a child looking up at adults.  The next scene Maggie calls Willie up from the cellar. Willie comes up then hesitates to come close to Maggie then demands Willie to show her his hands. Willie holds them out hesitatingly saying, there dirty (like child). Maggie values Willies skills, Youre a natural born genius at making boots. Maggie referred to the big shops of Manchester. Willie is scared of going to bigger shops. Willie in the play always spoke the truth. Maggie asks Willie to marry her. Willie is baffled and when Willie is amazed he says by gum. Willies attitude changes he doesnt want to marry Maggie and he tells her face-to-face.  When the word is broken out, Hobson gets angry. Willie stands up for himself when getting whipped. Willie kisses Maggie to get Hobson angry and then runs out of the door with Maggie. Maggie praises Willie by telling him, I knew you had it in you, lad.  A month later, Maggie and Willie go back to Hobsons shop. Maggie tells Vickey and Alice that Willie and her are getting married. Alice doesnt want Willie as her brother-in-law. Maggie back Willie up, hes as good as you are now, and better. .u6a3411126be63664a5c501cad7a2761a , .u6a3411126be63664a5c501cad7a2761a .postImageUrl , .u6a3411126be63664a5c501cad7a2761a .centered-text-area { min-height: 80px; position: relative; } .u6a3411126be63664a5c501cad7a2761a , .u6a3411126be63664a5c501cad7a2761a:hover , .u6a3411126be63664a5c501cad7a2761a:visited , .u6a3411126be63664a5c501cad7a2761a:active { border:0!important; } .u6a3411126be63664a5c501cad7a2761a .clearfix:after { content: ""; display: table; clear: both; } .u6a3411126be63664a5c501cad7a2761a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u6a3411126be63664a5c501cad7a2761a:active , .u6a3411126be63664a5c501cad7a2761a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6a3411126be63664a5c501cad7a2761a .centered-text-area { width: 100%; position: relative ; } .u6a3411126be63664a5c501cad7a2761a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6a3411126be63664a5c501cad7a2761a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6a3411126be63664a5c501cad7a2761a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u6a3411126be63664a5c501cad7a2761a:hover .ctaButton { background-color: #34495E!important; } .u6a3411126be63664a5c501cad7a2761a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6a3411126be63664a5c501cad7a2761a .u6a3411126be63664a5c501cad7a2761a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6a3411126be63664a5c501cad7a2761a:after { content: ""; display: block; clear: both; } READ: Play EssayWillie interrupts her  Way, come Maggie, this shows that Willie still respects Vickey and Alice. Vickey calls Willie a queer. Maggie forces Vickey and Alice to kiss Willie and show that there are equal. Maggie at the end of act two still doesnt trust Willie. She carries her own ring.  An actor playing the part of Willie Mossop in act one and two will have to play the part like as if he was a kid. The actor will have to be amazed easily. When Maggie asks him to marry her he will have to move back when saying, by gum. In the first two acts the actor will as a shy and defenseless person. The actor will have to look puzzled by opening his eyes wide and speaking very slowly. Near the end of act one when Willie is whipped with Hobsons belt, the actor will have to make a slight change. The actor will speak more like a man than a child but the audience will still see that he is scared.  To stress how the actor can play Willies part like a child at the start of the play, the actor will say his lines looking half way up from the trap door observing the so called adults (Mrs. Hepworth and Mr. Hobson).