Criminal law Essay Example | Topics and Well Written Essays - 1750 words - 1

Criminal law - Essay Example When there are different parties to a crime, principle offenders are deemed to have contributed to committing the offence. In this case Andrew decides to kill his wife Sue in order to be with Beth. He acts by hiring a hit man, John to do the work for him on some payment. In doing this, he acts as the counsellor. This is by encouraging, and inciting John to commit the crime and offering him money as payment for it. This makes him a party to the crime as a counsellor. A person who counsels or procures another person to commit a crime is a principle offender if the offence is actually committed. He is therefore liable for the same penalties as John as if he had committed the offence himself. It is immaterial whether the offence actually committed was the same as that counselled. Provided that the facts surrounding the offence committed are a probable or direct consequence of that counsel. For example in the case of Twelve v R , where a son procured a witchdoctor to kill is mother whom he believed was a witch and was responsible for killing his children. He believed that the witchdoctor would superficially k ill his mother however; the witchdoctor killed her by shooting her on the back in her hut at night. The son was held to have been likely convicted of murder for having procured the witchdoctor to kill his mother. The means used was immaterial, guiding another person to commit a crime, makes one a party to the offence. For example in the case of DPP of Northern Ireland v Maxwell , A drove his car to a pub knowing that he was guiding another vehicle containing members of a terrorist movement. A realised that some kind of attack was to be made but did not know the form it would take. Members of the terrorist group threw a piped bomb into a pub but fortunately, it did not explode. A was held guilty for being an accessory to a crime and of doing an act with intent of causing the explosion and being in possession of explosives. The court found that those were offences within the range of possibilities, which he contemplated, would be committed. Andrew is therefore criminally liable for at tempted murder of Tim and his penalty is the same as that of John. Even if the person killed was not the person he intended, he still is a party to the transferred murder of Tim. Similarly, since Andrew had procured John to kill Sue, who ended up attacking Tim instead, it still stands that Andrew advised him to commit a crime of that nature. It does not matter that it is Sue he wanted killed. As long as John acted on the procurement, Andrew also provided John with the gun to be used to commit the crime. Helping giving assistance to the perpetrator or offering the weapon in the doing of a crime, whether before or during the commission of the offence makes one an aider or abettor to the offence. Andrew had the intention to kill Sue and thus it does not matter that John killed the wrong person. There was still the intention to commit a crime. Andrew is then a principle offender by virtue of this and thus he is jointly liable for attempted murder of Tim since there is a common intention by the offenders to commit the murder. This is illustrated in R v Bainbridge3 where the appellant supplied thieves with cutting equipment for breaking into a bank. It was held that the equipment was to be used for some kind of breaking even if he did not know what particular bank. Likewise, since Andrew knew the purpose the gun was going to

Teaching masculinity Essay Example | Topics and Well Written Essays - 1000 words

Teaching masculinity - Essay Example This paper caters to the question of development of masculinity in young boys through the system of education, and discusses how the concept of gender shapes the existing pedagogy and the democracy of the country. Nature of masculinity The social position of women has been a debatable topic all around the world. The topics on the system of education for girls, their social status and the availability of facilities for them have been put on the table. This issue has an obvious counterpart. If the system of relations is questioned form one side, the other side comes under focus automatically. The question could not inevitably â€Å"be confined to women and girls† (Connell, 2008, pp. 131). The established concept of ‘manhood’ is subject to the changes of time. ‘Manhood’ is bound by the nature of masculinity, practices that are seen as gender specific and deemed appropriate for the male and the preset ideologies. But while the social relations are questio ned, different aspects come under the circumference of the debate. Educational issues are a major part of the debate. The concept of gender has been a part of the pedagogical experiences of the schools and other educational institutions. The pedagogy is based upon the society that houses and rears the boys to make them become what they are. In this concept a vast range of concerns have to be addressed, starting from â€Å"men’s and boys’ health to men’s domestic and military violence† (Connell, 2008, pp. 1

How To Resolve The Conflict Through The Executive's Intervention Essay

How To Resolve The Conflict Through The Executive's Intervention - Essay Example This research will begin with the statement that hostile environment in a workplace is inevitable and it naturally happens in any business enterprise all over the world. Employees should not veer away from these dilemmas but instead, they should be able to determine the origin of the conflicts, identify the effects, and pinpoint the typology. Learning how to manage the interaction accordingly will be critical for the improvement of the working environment inside the enterprise. According to Bergman and Moore, a deposition can normally consist of a lawyer or a self-representing individual that asks the deponent with questions. It may seem informal in its sense since it is conducted within the premises of the enterprise, such as conference rooms with the absence of a judge. However, the deposition should be considered with an equal amount of importance as a testimony in court since it shares several characteristics with it. It is through the nature of a deposition that lawyers, as well as individuals that prepare the letter, give utmost care on how they write as it could result to a major impact when taken to court. Conversely, the deponent must also be extra careful in attaining accurate deposition testimony as it may have great repercussion on the ruling of the case. Enterprise policies should ensure that complaints of illegal or unethical conducts are investigated and addressed as quickly and as effectively as possible. In addition, â€Å"whistleblowers† should also be given protection against reprisals for the complaints that they make that are in good faith. The enterprise should also support and follow reporting conditions which are mandatory and in accordance with government institutions. Policies such as The Code of

Interior design - university case study Assignment

Interior design - university case study - Assignment Example ful forces for the effectiveness of school and universities; however this belief must be justified by empirical evidence for its better implementation at practical level. The University of Minnesota is also trying hard to adopt technologies and techniques that will help them improve student learning in the classroom environment. The management and the professors at the University of Minnesota thinks that it is not the laptops, projects or tablets which are considered important for the classroom environment. But it is the swivel chair that contributes towards the effective learning of the students. Research support the fact that the instructors should have students switch and change in a fluid moment rather than make them clunking around and trying to get them into different situations. The researchers at the global education environment think that the role of the teacher should be more of a coach rather than just focusing on the delivery of information which may not even be effectively interpreted by the students. The classrooms at the University of Minnesota are more intentionally designed that positively correlates to the student engagement which helps in improving the rate of student success. When students at the University of Minnesota were questioned about the swiveling chairs and connectable tables, almost 72 percent of the students said that the changes in the interior of the classroom increased the level of concentration and their engagement in classrooms. They also agreed to the fact that changing the interior of the classroom and including more swiveling chairs and connectable tables will help the students to achieve higher grades. After observing the effectiveness of swiveling chairs and connectable tables the University of Minnesota is planning to renovate more classrooms and also the lecture halls for the fall semester. Beside the interior of the class, leadership is also considered to be a powerful force for the effectiveness of student learning.

WaterAid UK. Operational Management Essay Example | Topics and Well Written Essays - 1000 words

WaterAid UK. Operational Management - Essay Example The global strategy for WaterAid is to offer strategic perspective for building on this experience and integrating equity, as well as, inclusion in all areas of operation The company implemented the global strategy, with four significant aims of carrying out effective business to address sanitation and water crisis. One of the main objectives is to ensure that more than 25 millions of people across the globe have access to safe and clean water. They also focus on hygiene improvements, sanitation objective and also influencing government policies and practices in order to reach more than 100 million people globally. The organizational mission is transforming lives of people across the areas where they operate. The crucial services emphasizes human development and transform lives; thus enabling people to overcome poverty, as well as, enable them to access their human right effectively. The organization operates in more than 23 countries and the company offer support to their local part nership organizations. This is crucial because they aim to deliver sustainable water and services to all areas; thus improving sanitation. They also operate alongside their partners in order to influence effective decision making vital for improving investments and delivery of sanitation and water services to the population living under poverty level; therefore, to achieve their objectives, the company focuses to a wider context impacting sanitation and water services including marginalized communities, urbanization, unpredictable climatic changes, and political instabilities, as well as, stressed water resources. The company operates in unique way by focusing the challenges they face; thus finds solution of overcoming them through offering effective service delivery. They also have unique ways of developing and monitoring performance level. This strategy has been implemented through detailed operational plans and monitored with an aim of increasing effective performance. The human resource manager of the organization has made significant efforts of implementing a sustainability framework, which was piloted through the 2011 to 2012 post-implementation studies. Bratton and Gold (2010. P. 34) reveal the significance roles that manager play in an organization including training, encouraging teamwork, communicating effective and effective listening; thus contributing to successful performance of the company. Therefore, the WaterAid human resource manager has made significant efforts of partnering with others in creating an efficient operational management team in order to deliver sustainable services. Staff and volunteer management The company has varied staff workers and other volunteer groups who work together as a team to deliver effective services. Subba and Kumar (2010, p. 23) argue that working together as team in the management of resources of company activities can contribute to effective business performance. This is crucial because it has enabled the com pany to deliver equitable services across the regions where they operate. Moreover, the current company manager, Jeremy Pelczer employs unique leadership styles of managing both tangible and intangible resources of the company. Gold (2010, p. 102) argue that successful leaders should employee effective leadership styles that can enable them to deliver valuable services. They also have the board of directors who offer great opportunities and the shareholders also played key significant roles of supporting the company towards achieving the organizational mission. In addition, they have volunteer groups of people including the

George and Lennie Essay Example for Free

George and Lennie Essay All the characters played in the novel Of Mice and Men are lonesome, living an empty life everyday consisting of mainly hard labor. The characters all live a very disheartening life, with the lack of happiness, love and affection in their lives. This can be seen also when George mentions that ranch workers are the loneliest people in the world and dont belong nowhere. Of the many characters in the novel, Curleys wife might be one of the most pathetic and reviled of the outsiders. Steinbeck introduces her to us as an outcast, where she is isolated from the community. Being a minor character in the novel, Steinbeck manages to illustrate her as a character that deeply influences the lives of the main characters George and Lennie. Throughout the whole novel, Curleys wifes name is never mentioned. This initiates the readers to feel the sense of belonging of Curleys wife to Curley and to emphasize as an pariah, being feared of, leaving her with nobody to talk to and her identity as a mystery. Apart from that, Curleys wife is portrayed as the only female in the ranch, and although she is married to Curley, the bosss son, giving her a high status at the ranch, they are psychologically separated, and are never witnessed together, leaving her desperate for camaraderie. Her desire of attention and escape from loneliness leads her to try to seek attention from other men working in the ranch by flirting. Her coquettish actions and inappropriate dressing leads other characters to think of her as a tart. The ranch workers are uneasy about this and avoid her in fear of being reprimanded by Curley which may cost them to lose their jobs innocently. She is first introduced by Steinbeck when she comes into the bunkhouse disrupting a conversation that Lennie and George are holding. The depiction is dramatic, Both men glanced up, for the rectangle of sunshine in the doorway was cut off. This suggests that she has obscured the light, and darkened the room with her presence. This gives a dark and threatening image. Steinbeck describes the image of her standing and peering through the door, heavily made-up with full rouged lips and her fingernails being applied with red nailpolish. The fact that she was looking in through the door standing there accentuates her as an outsider. She is also described wearing red mules and with bouquets of red ostrich feathers on them. The constant repetition of the word red used in the novel to describe Curleys wife portrays her as one who is dangerous because the color red is quite provocative and has connotations such as love, passion and danger. Her hair hung in little rolled clusters, like sausages implies the extensive amount of time she has, being alone with nothing better to do than to curl her hair. Her inappropriate body language proves how she dreadfully tries to seek attention and flirts openly with men as she positions herself against the door frame so that her body was thrown forward. She smiles archly and twitch(es) her body. This gives the reader the general impression that Curleys wife is an attractive young lady who seeks attention of men. Georges immediate comments such as Jesus, what a tramp, and So thats what Curley picks for a wife and reactions to Curleys wife, however, allows the reader to realize that she is a potential threat to George and Lennie. George fumes when he knows of Lennies admiration of her being one who is purty and fiercely tells him not to even take a look at that bitch and refers to her as poison and jail bait and to leave her alone. It is obvious that she longs for friends and for someone to talk to, however, males on the ranch dislike her because they see has as one who is a magnet to trouble.

A Midsummer Nights Dream Performance Analysis

A Midsummer Nights Dream Performance Analysis In A Midsummer Nights Dream- How would you perform the role of: Lysander (500 words) Demetrius(500 words) Helena(500 words) Hermia(500 words) Theseus(500 words) in order to convey interpretation of the role to your audience? A point to consider before bringing the individual character interpretations into play is how to contextualise the performances within the text as a whole. In other words, the characters are not mutually exclusive entities, rather, they are interactive and woven into the landscape of the play. Therefore, I would like to propose a general outline for the overall performance. There are many ways to perform ‘A Midsummer Night’s Dream,’ and the way I choose will affect elements of the characters. There have been many performances of Shakespearean drama, where the play is brought into the modern day. I however, would like to perform the play in its classic setting. I would like the play to retain its archaic time setting. It is a very self-reflexive play – it is a play about staging a play. This highlights the idea of drama at its root – the reheasrsal and work that goes into a play. I would like to leave the play in an olden day setting because it consolidates the idea of drama being detached from life through its artifice, and the play being set in a by-gone era further consolidates the idea of detaching drama from everyday life. (a)The first character I would like to look at is Lysander. He refuses to yield to Demetrius’s demand for Hermia’s hand, and risks the wrath of Theseus by eloping with Hermia. This demonstrates not only the depth of his feeling for Hermia, but also his conviction in his own beliefs, and the courage to carry out these beliefs. The comic arc of Lysander’s performance hits its climax after Puck has sprinkled the love potion into his eyes and he falls in love with Helena. I would perform the character with some hyperbole at this point, in order to convey the comic element of the text to the audience. The idea of Lysander challenging Demetrius to a duel in order to win Helena’s hand is an example of the excessive behaviour and heightened action that brings much of the comedy into the play. It is a humour that comes from the reversal of the natural order – Helena has gone from being desperately in love with Demetrius and being scorned by him to being the object of both men’s affection, for example. This reversal in the behaviour of Lysander is something I’d like to highlight in performance. I think a change in demeanor, and in vocal qualities could highlight this. At the beginning of the play, Lysander is portrayed as a romantic hero. I would convey this to the audience through his appearance; ideally, the role would be filled by a tall, handsome man. I would like him to wear a costume of light material – symbolising the innocence of the ‘true lovers’ (Hermia’s description of themselves). As I would like to keep the play true to its chromatic origins, I would like Lysander to wear a type of Athenean costume, which he could change when he enters the wood. I would like all the characters to change their costumes when they enter the forest, to represent the immense change in their environment. I would like him to don a more earthy, swarthy coloured robe, such as green, to convey the pastoral environment to the audience. I would like to focus on how the character of Lysander should be performed during the sequence in which he challenges Demetrius to a duel. The interpretation that I would like to convey to the audience is one of escalating absurdity, which contributes to humour. This would be done through the props, delivery, vocal quality, paralinguistic features and a demonstration of how Lysander relates to Demetrius in this section: Lysander †¦Helen, I love thee. By my life I do. I swear by that which I will lose for thee To prove him false that says I love thee not. Demetrius I say I love thee more than he can do. Lysander If thou say so, withdraw, and prove it too. (Scene III, Act II, lines 251-256) There is a strong sense of rhythm in these lines, and also rhyme, which contribute to the tension and sense of heightened action. I would like the actor to highlight the rhythm in his delivery. I would like Lysander to adopt a masculine stance, and to circle Dimitrius, expanding his movement around the stage, owning the stage, as it were, using the entire stage to convey to the audience that he feels he owns the space, as he prowls around it. (493 words) A character trait that emerges from the text is the point where he tells the infatuated Helena that when he says, â€Å"Tempt not too much the hatred of my spirit;/For I am sick when I do look on thee.† (Scene II Act I, lines 211-212). This utterance evokes a sense of his cruel nature, a pejorative view of Demetrius which is further consolidated when we examine the first first scene of the first act. When Lysander and Hermia are told that they cannot marry, Demetruis tells them they should let him have his â€Å"certain right.† (Scene I Act I line 92). There is subsequently a huge change in Demetruis when he falls back in love with Helena at the end of the play. This is indicative of a softening of his character – a change which I feel should be represented visually in performance. In order to convey Demetruis’s somewhat cruel, righteous nature to the audience, I think the actor should appropriate a certain demeanor. Body language could be used to demonstrate his confident, cocky side. For example, he could strut, use large gestures and also make use of all of the stage space – exercising his self imposed ‘right’ to the stage space in the same way that he wants to exercise his ‘right’ to Hermia’s hand. I would like his costume to be dark colours – such as a rich red – and flamboyant design, to contrast with Lysanders’. The vocal qualities should also demonstrate these traits. He only has two lines in scene I, act one, so it is very important how these are represented, as they will be the first impression the audience have of him. Demetrius’s lines are: Relent, sweet Hermia; and, Lysander, yield Thy crazed title to my certain right. (Scene I, Act I, lines 91-92) The way in which this line is performed is very important. As the tormented lovers, the audience feels very strongly for Hermia and Lysander, to whom the presence of Demetrius is an invasive one. I would therefore also like to convey to the audience this sense of invasion. When Demetrius says, â€Å"Relent, sweet Hermia†¦Ã¢â‚¬  I would like him to walk up to Hermia, and put his arm around her, caressing her with his other hand, turning them both away from Lysander. When he speaks to Lysander, Demetrius should keep his back to Lysander, but turn his head to face him, so that his line is like an aside, as if he does not respect him. The words ‘†¦crazed title†¦Ã¢â‚¬â„¢ should be accompanied by paralinguistic features, such as an outstretching arm to convey to the audience how much Demetrius does not want Lysander and Hermia to marry. Finally, the word ‘†¦my†¦Ã¢â‚¬â„¢ should be over emphasized to convey that Demetrius strongly feels that Hermia shou ld be his, whether she loves him or not, because of the wishes of her father. His character, and especially his behaviour towards Helana changes at the end of the play. Whilst in the earlier stages of the play, he is confident, using large gestures and a lot of stage space, at the end of the play, I would like him to express a more tender side to the audience, to convey the development of his character: That we are awake? It seems to me That yet we sleep, we dream. Do not you think The duke was here, and bid us follow him? (Scene IV, Act I, lines 192-194) This line should be used to convey character development to the audience as it contrasts so strongly with his opening line – the use of ‘†¦you†¦Ã¢â‚¬â„¢ in contrast to ‘†¦my†¦Ã¢â‚¬â„¢ for example. There is also a confusion in this utterance, which contrast with the confidence in the first lines. (566 words) Helena At the beginning of the play, Helena is portrayed as hapless; the scorned lover who has been wooed by Demetrius and then ignored in favour of Hermia. However, like Demetrius, Helena demonstrates a massive character development and transformation. Like Lysander, the arc of her character trajectory reaches its crescendo after Puck has sprinkled the love potion in Lysander and Demetrius’s eyes. When they both try to woo her, she feels they are mocking her, and gets angry. To best convey the transformation in her character between before and after the love potion has been dispensed, I’d like to consider how vocal quality and demeanor can be used in two of her utterances: Call you me fair? That ‘fair’ again unsay. Demetrius loves your fair. O happy fair! †¦Sickness is catching. O, were favour so, Yours would I catch, fair Hermia, ere I go. †¦O, teach me how you look, and with what art You sway the motion of Demetrius’ heart. (Scene I, Act I, lines 181-194) This except is from a long speech in which Helena proceeds to extol the virtues of Hermia, with whom Demetrius is infatuated. The key message I would like to convey to the audience from this speech is the idea that Helena is confused, upset and slightly jealous of Hermia. She is asking Hermia how she won the heart of Demetrius. In order to convey this dejection to the audience, I think the delivery of this speech should involve some rhetoric – while Helena is asking Hermia how she wooed him, and saying how fair Hermia is, my interpretation of this speech is that it is a melancholy meditation on the loss of her love. She is not looking for external answers, rather internal answers, and so it is questions she is asking herself. This could be expressed to the audience by the character of Helena distancing her self physically from the group – this would be a visual symbol of her isolation. Her demeanor and body language would be hunched and dejected, and her voice subdued a nd hushed The other speech that is a seminal moment in the performance of Helen is when she feels she is being mocked by the two men, and gets angry. Clearly her relationship with Demetrius is changed when he falls in love with her. While she may be unaware of it, the hierarchy of the relationship has been overturned, and she has now adopted a position of power. In her speech, she says: O spite! O hell! I see you are all bent To set against me for your merriment. If you were civil and knew courtesy You would not do me thus much injury. (Scene III, Act II, lines 145-148) This speech can be used to great effect to demonstrate the performance possibilities of this role. The demeanor and vocal qualities performing this speech would require differ hugely to the earlier one – with a louder voice, delivery directed at the other characters and inflated body language required. (493 words) Hermia Hermia is represented in the play as a strong, defiant young woman, prepared to take risks in order to fulfil her own desires. This is exemplified in her refusal to bow down to her father’s wish that she marry Demetrius. In the face of a death sentence, or life in a nunnery, she escapes with Lysander into the forest. Lysander’s love for Hermia, along with Demetrius’s desire, demonstrate that she is an attractive and desirable young woman. These are two important points I’d like to consider when constructing the performance of Hermia. I would like to convey to the audience her inner strength and determination, alongside her physical attractiveness. The notion of physical attractiveness could be conveyed primarily through costume and appearance. As Hermia is clearly a woman of considerable charm (illustrated when Helena asks her what charm she used to capture Demetruis’s heart), her costume should reflect this. As it is believed that she unwittingly won over Demetrius (this is an ambiguity in the text – it is possible that Demetrius loves her because her father is so impressed by him) I would also like to impress upon the audience a sense of naivete and innocence. The obvious symbolic colour of this is white. White would also look striking under the stage lights. I would use floaty fabrics for the costumes, such as organza, to communicate the ethereal quality of not only Hermia herself, but also the forest, and the magic contained within it. When Hermia leaves Athens and escapes to the forest, I would like her to adopt a robe over her dress, of green, to convey to the audience, through her change in costume, that a change is impending in the play. While the charm and beauty of the character of Hermia will be communicated visually, the inner strength and courage that I interpret as being key elements of her character, will be communicated through her demeanor. It is commonly understood in the study of body language that confident people stand up straight, unlike shy people, who hunch up, in a subconscious decision to take up less space. In this way, stage space becomes an important indicator of personality. I have mentioned before that I would, at certain points in the text like characters to use the whole space of the stage to convey a sense of confidence. I would like the performance of Hermia to adopt a comfortable use of the entire stage space. More specifically, I would like to refer to one speech that I feel is very important in the text, in Scene I, Act I, when Hermia is talking to Theseus with regards to her desire to marry Lysander: So will I grow, so live, so die, my lord, Ere I will yield my virgin patent up Unto his lordship whose unwished yoke My soul consents not to give soveregnity. (Scene I, Act I, lines 79-82) This speech is an important point at the text because Hermia makes clear her intentions to avoid marriage to Demetrius. It is a very dramatic, sensitive piece. This speech should be delivered with intensity, to convey to the audience the depth of Hermia’s feelings for Lysander. The performance should include some paralinguistic features such as moving around the stage, facial expressions and hand movements to express her feelings visually. (549 words) My understanding of Theseus is that he is a very complex character – there is conflicting evidence in the text as to his true nature. There is one utterance in the text that brings up questions regarding his true nature, when he is talking to Hippolyta and he says that: Hippolyta, I wooed thee with my sword, And won thy love doing thee injuries; But I will wed thee in another key: (Scene I, Act I, lines 16-18) My interpretation of this line is that Theseus raped Hippolyta. The implications of this in terms of how the character should be performed are vast. In much of the text, Theseus is represented as a pensive, thoughtful man. He kindly advises Hermia to â€Å"Take time to pause†¦Ã¢â‚¬  (Scene I, Act I, line 83) when discussing the situation with her father Egeus. This scene presents him as rational and kindly. The suggestion of rape in line 16 makes the line highly important, the suggestion I would like to convey to the audience is the idea that Theseus is warning Hippolyta. In bringing the issue of the rape to the forefront, he is reminding her of the power balance in their relationship. There is also possibly some penitence in this admission. This could be communicated to the audience through the use of certain vocal qualities, demeanor and stage space. I would like Theseus’s sense of power to be conveyed to the audience in a visual way, so he would deliver this speech standing, and walking around, whilst the character of Hippolyta would be sitting down. The discrepancy in their heights would be a visual representation of the hierarchy, which would further consolidate what Theseus was saying. This is such a patriarchal power play that props could be used to represent a sense of phallocentricity – such as a sceptre – a regal and phallic symbol. The use of this prop co uld convey to the audience my interpretation of Theseus as being the patriarchal and dominant force in the opening of the play. His kingdom is run on a set of rigid rules – for example, Egeus invoking the ancient law of Athens as Hermia wants to marry Lysander. This is in stark contrast to the forest – the mysterious, feminine arena which is the binary opposite of Athens. In terms of demeanor, Theseus should be calm, and considered in his movements. I would like his costume to be of dark colours, and of neat, clean lines. This operates in contrast to Hermia’s costume – the white of her costume is a symbol of innocence while the dark of Theseus’s costume is aligned with the dark side he hints at in this speech. (440 words)