Euthanasia: It Is Not Murder, It Is Mercy Thesis Statement: Thousands of people in the United States alone die every year from terminal illness such as cancer, ALS and AIDS. Advanced Medical technology is responsible for keeping many of them alive - many against their wishes. In the United States, euthanasia (assisted suicide) is illegal in all but one state. Many patients are forced to suffer needlessly when there is another alternative. According to a new Time/CNN poll 7 out of 10 American's say that they want to die at home; instead three-fourths die in medical institutions" (Cloud 59). In our society people are, as a whole, living longer. With all the choices we are allowed, why is a good death not one of them? In our society we are awarded one life and one death, no more, no less. Granted, living life to its fullest is an American way of life NO ONE wants to die in pain, alone and afraid. We would all like to drift to sleep on the wings of a dove never to suffer again. It is a nice thought but for 52.5% of Americans who are terminally ill, this does not happen. More and more people, young and old, are being diagnosed with Cancer, AIDS, and other diseases such as Muscular Dystrophy, Amyotrophic Lateral Sclerosis (Lou Gehrig's Disease) and Alzheimer's disease. Euthanasia is becoming more and more popular as a way to end one's suffering when there is no further medical treatment available to CURE the disease. Darkling I listen, and for many a time I have been half in love with easeful death, Call'd him soft names in many a mused rhyme, To take the air my quiet breath; Now more than ever it seems rich to die To cease upon the midnight with no pain... -John Keats- Dying is a personal thing ... ... middle of paper ... ...hink that the Death with Dignity Act should be incorporated into all the States laws. It is the last time one has the ability to assert oneself and make a conscious decision to die a good death. Give Strong Drink unto him that is ready to perish and wine unto those of heavy heart - Proverbs 31:6 SOURCES CITED Cloud, Joseph, "Seeking a Humane Way to Die." Time Magazine. September 2000. Euthanasia: Some General Information, http://www.geocities.com/Hollywood/Theater/2195/info.html Humphry, Derek. Final Exit. New York. 1991 Dell Publishing Tada, Joni Eareckson. When Is It Right To Die? Michigan, 1992. Zondervan Publishing Van Biema, David, "Is There a Right to Die?" Time Magazine. January 1997 http://www.time.com/time/magazine/1997/dom/970113/society.is_there_a.html Thomas Nelson Publishers Word in Life Bible. Nashville. 1993
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In comparison, Catherine has not only grown up with Heathcliff, allowing her access to a myriad of interactions which Brontë’s audience wasn’t previously privy to, but she has developed her understanding of societal norms alongside him. Thus, the unabashed sympathy Cathy initially feels for her “poor Heathcliff” provides a new narrative altogether—a narrative that focuses on the individual, closely following Heathcliff’s transmogrification from a “starving, and houseless, and as good as dumb [child] in the streets of Liverpool” to a man who Lockwood interprets as filled with cruelty and “savage vehemence” (22, 37, 27). In addition, Catherine’s possible retelling of Wuthering Heights through her diaries eventually allows for Heathcliff’s cruelty to be put into conversation with his upbringing as a non-white subject in a wholly white
Nelly Dean’s poor narration to Mr. Lockwood is the housekeeper’s way to justify that she posses no blood on her hands. Her upbringing with the novel’s main characters gives her a poor choice in judgement and makes her extremely biased on how the story is portrayed. Nelly’s actions cause nothing but despair to the Earnshaws and Lintons, pushing the idea that she is the silent villain of Wuthering Heights.
In “Wuthering Heights”, Emily Bronte”s novel, young characters exhibited multiple signs of immature actions and emotions. Heathcliff and Catherine both chased juvenile emotions, finding a possibly fake love in other people. Linton showcased the same adolescence when he faked illness so she would stay with him in order to fulfil his aspiration. Heathcliff attempted to get revenge on multiple characters, mostly focussing on Edgar Linton. Almost all of the characters demonstrate the characteristics that suggests their immaturity.
their best to defeat death, or at least try to delay it as long as possible. But
Is society playing the role of God or is the world so wrapped up in their lives that God no longer matters? Euthanasia has been around since the ancient Romans and Greeks and has been a highly debated subject just as it is today. In history and in arguments stated today is that “people are the created and not the Creator” (Gula 26). There are many things that society can argue about the subject of euthanasia but the main debate is that euthanasia and physician-assisted suicide is wrong. Society gets euthanasia and physician-assisted suicide confused because they both have to do with physicians tending to the patient’s death. Society is either for or against euthanasia and physician-assisted suicide. It is debated throughout history, within the church, and even within the medical profession; however euthanasia is wrong.
Euthanasia, is a difficult complex issue in society today. It has been heavily criticized since it was proposed to be legalized in the early 20th century, when it became a choice for terminally ill patients. Patients would flood doctors doors for this treatment to end suffering. This names the question, why is euthanasia illegal? Why should the government have the right to control one 's life in a way to suffer longer than one has too. Or as Thomas Craft says “How can it be lawful to allow a patient die slowly, though painlessly, over a period of weeks from lack of food, but unlawful to produce his immediate death a lethal injection, thereby saving his family yet by another ordeal to add to the tragedy that has already struck them?”(Craft
In the novel Wuthering Heights, author Emily Brontë portrays the morally ambiguous character of Heathcliff through his neglected upbringing, cruel motives, and vengeful actions.
Through self-centered and narcissistic characters, Emily Bronte’s classic novel, “Wuthering Heights” illustrates a deliberate and poetic understanding of what greed is. Encouraged by love, fear, and revenge, Catherine Earnshaw, Heathcliff, and Linton Heathcliff all commit a sin called selfishness.
The most widely known reason for the start of World War1 was the assassination of the Arch Duke Ferdinad of Austria-Hungary in the Serbian capital of Sarajevo. The ArchDuke was there to talk to the Serbian leaders about peace in the Balkan Peninsula.
From the beginning of the novel and most likely from the beginning of Heathcliff's life, he has suffered pain and rejection. When Mr. Earnshaw brings him to Wuthering Heights, he is viewed as a thing rather than a child. Mrs. Earnshaw was ready to fling it out the doors, while Nelly put it on the landing of the stairs hoping that it would be gone the next day. Without having done anything to deserve rejection, Heathcliff is made to feel like an outsider. Following the death of Mr. Earnshaw, Heathcliff suffers cruel mistreatment at the hands of Hindley. In these tender years, he is deprived of love, friendship, and education, while the treatment from jealous Hindley is barbaric and disrupts his mental balance. He is separated from the family, reduced to the status of a servant, undergoes regular beatings and forcibly separated from his soul mate, Catherine. The personality that Heathcliff develops in his adulthood has been formed in response to these hardships of his childhood.
The presentation of childhood is a theme that runs through two generations with the novel beginning to reveal the childhood of Catherine and Hindley Earnshaw, and with the arrival of the young Liverpudlian orphan, Heathcliff. In chapter four, Brontë presents Heathcliff’s bulling and abuse at the hands of Hindley as he grows increasingly jealous of Heathcliff for Mr. Earnshaw, his father, has favoured Heathcliff over his own son, “my arm, which is black to the shoulder” the pejorative modifier ‘black’ portrays dark and gothic associations but also shows the extent of the abuse that Heathcliff as a child suffered from his adopted brother. It is this abuse in childhood that shapes Heathcliff’s attitudes towards Hindley and his sadistic nature, as seen in chapter 17, “in rousing his rage a pitch above his malignity” there is hyperbole and melodrama as the cruelty that stemmed from his abuse in childhood has been passed onto Isabella in adulthood.
Wuthering Heights is a novel which deviates from the standard of Victorian literature. The novels of the Victorian Era were often works of social criticism. They generally had a moral purpose and promoted ideals of love and brotherhood. Wuthering Heights is more of a Victorian Gothic novel; it contains passion, violence, and supernatural elements (Mitchell 119). The world of Wuthering Heights seems to be a world without morals. In Wuthering Heights, Brontë does not idealize love; she presents it realistically, with all its faults and merits. She shows that love is a powerful force which can be destructive or redemptive. Heathcliff has an all-consuming passion for Catherine. When she chooses to marry Edgar, his spurned love turns into a destructive force, motivating him to enact revenge and wreak misery. The power of Heathcliff’s destructive love is conquered by the influence of another kind of love. Young Cathy’s love for Hareton is a redemptive force. It is her love that brings an end to the reign of Heathcliff.
A multitude of feelings and sentiments can move a man to action, but in Emily Brontë’s Wuthering Heights, love and revenge are the only two passions powerful enough to compel the primary actors. There is consensus, in the academic community,1 that the primary antagonist in the novel, Heathcliff is largely motivated by a wanton lust for vengeance, and it is obvious from even a cursory reading that Edgar Linton, one of the protagonists, is mostly compelled by a his seemingly endless love for his wife, and it even seems as if this is reflected in the very nature of the characters themselves. For example, Heathcliff is described as “Black-eye[d]” [Brontë,1], “Dark skinned” [Brontë, 3] and a “dirty boy” [Brontë, 32]; obviously, black has sinister connotations, and darkness or uncleanliness in relation to the soul is a common metaphor for evil. On the converse, Edgar Linton is described as blue eyed with a perfect forehead [Brontë, 34] and “soft featured… [with] a figure almost too graceful” [Brontë, 40], which has almost angelic connotations. When these features and the actions of their possessors are taken into account, it becomes clear that Edgar and Heathcliff are not merely motivated by love and revenge as most academics suggest, but rather these two men were intended by Brontë to be love and hate incarnate.
The basic conflict of the novel that drives Heathcliff and Catherine apart is social. Written after the Industrial Revolution, Wuthering Heights is influenced by the rise of new fortunes and the middle class in England. Money becomes a new criterion to challenge the traditional criterias of class and family in judging a gentleman’s background. Just as Walpole who portrays the tyrannies of the father figure Manfred and the struggles of the Matilda who wants to marry the peasant Theodore, as depicted in the quote “(…) improbability that either father would consent to bestow his heiress on so poor a man, though nobly born”(p. 89), Brontë depicts a brutal bully Hindley who torments Heathcliff and separates Catherine from him. Heathcliff, a gypsy outcast picked u...