History of the Phantom of the Opera Essay Example for Free

History of the Phantom of the Opera Essay In 1911, Gaston Leroux published Le FantÔme de l’Opera, the now famous book that gave birth to the legend of the Phantom.   Leroux had been fascinated by the mystery and design of the Paris Opera House.   As a theatre enthusiast, he had toured all the levels of the Opera House including a visit to the underground lake, cellar and hidden passageways. The mysterious events at the Paris Opera House which ignited Leroux ‘s interest began with Napoleon III’s call for a new opera house to be built in Paris in 1860, after he had survived an assassination attempt one evening when returning from the Opera.    The construction of the Opera House, faced many delays and construction stopped during the Franco Prussian War. After the war, the then unfinished Opera House was occupied by the working class who used it as a warehouse, observation post, communications center, military post and a powder store.   The cellar was once used as a torture chamber.   The new Paris Opera House was finally finished in 1875.   Finally, adding to the mystery, an unfortunate incident occurred in the Paris Opera House in 1896, a counter-weight of six and a half ton chandelier fell from the ceiling, killing a patron. Gaston Leroux always claimed that the ghost in the story was true, based on his investigations and tours of the Opera House.   He is quoted as saying: The Opera ghost really existed.   He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants, or the concierge.   No, he existed in flesh and blood, though he assumed all the outward characteristics of a real phantom, that is to say, of a ghost.   (Leroux, G, n.d) In 1925, began the chain of events that would give rise to the phenomenon of the Phantom.   Universal Studios made the first film of the book – the silent movie, Phantom of the Opera, which starred Lon Chaney Snr.   A second version of the film, this time with sound and color, starring Claude Raines was produced in 1943.   Followed by a Spanish version in 1962, and a 1974 version starring Herbert Lom and Heather Sears. The Phantom was produced twice on stage in 1935 and 1975, without much success. Then, in 1986, the legend of the Phantom of the Opera would become one of the most famous stories in the world, when Andrew Lloyd Weber’s Musical – Phantom of the Opera hit the stage in London.   In the 21 years since the Musical began, it has broken all theatre records and is now the longest running Broadway Show in History. The success of the musical spurred the movie industries interest again in 2004, with a moderately successful movie called â€Å"Phantom of the Opera† based on Andrew Lloyd Webber’s opera.   Critical acclaim for the movie has been varied. The Phantom has outlived his creator who died in April 1927 and has become iconic to the 20th and 21st Century.    History of the Hit Musical – The Phantom of the Opera   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Andrew Lloyd Webber’s musical The Phantom of the Opera opened in London’s Majesty Theatre on 9 October 1986.   In the original London Cast, â€Å"The Phantom† was played by Michael Crawford, and â€Å"Christine† by Sarah Brightman (then wife of Andrew Lloyd Webber). The original creative team of the Phantom was: Harold Prince  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Director Cameron Mackintosh  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Producer Andrew Lloyd Webber  Ã‚  Ã‚  Ã‚   Composer, Book, Co-orchestra Maria Bjà ¶rnson   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Production Designer    While Andrew Lloyd Webber had already been phenomenally successful with productions like Evita and the Sound of Music, â€Å"The Phantom† made stars of the actors and creative team members. The musical is still running 21 years later (2007) in London, Broadway (N.Y) and touring worldwide.   The Phantom has won over 50 awards including 3 Olivier, an Evening Standard Award, 7 Tony’s and 3 Outer Critic Circle Awards. At the time of writing, it is estimated that over 80 million people have seen the musical, with total ticket sales of over $3.2 billion.    Reviews of the Phantom of the Opera: The Daily Mirror’s first review of the Phantom of the Opera in 1986: It’s fantastic, fabulous and phantasmagorical! Its fantastic, fabulous and phantasmagorical! From the eerily flickering lights that greet you outside Her Majestys Theatre to the last, glorious curtain call, Andrew Lloyd Webbers long-awaited new musical, Phantom of the Opera, is a triumph. The special effects are among the most spectacular ever seen in the West End. The music is very bit as memorable as one would expect from the man who wrote Evita, Starlight Express and the rest. But most of all, the show belongs to Sarah Brightman and Michael Crawford, who soar and swoop through their hugely demanding roles like eagles. After all the well-publicised false starts and back-biting, Lloyd Webber has created a musical which deserves to be around well into the next decade. The story is based closely on the original novel of 1911 unlike most of the Phantom of the Opera films which have been made over the years. Michael Carwfords Phantom hides his hideously disfigured face by skulking in the stage caverns and pools deep beneath the Paris opera. His passion for music is the only thing which gives his life meaning until he becomes obsessed by Sarah Brightmans Christine a young opera singer whose beauty is matched only by the purity of her voice. He coaches her in secret while visiting dreadful catastrophes on anyone who refuses to advance her career. A hanged scene shifter is suddenly hideously dropped on to the stage in the middle of a performance. A vast crystal chandelier crashes on to the audience. As the phantom becomes more fiendish so Christine becomes increasingly mixed in her feelings towards him. A dreadful climax is fast approaching. The eerie sets of the unfolding drama great stages filled with mist and shining candles are interspersed with all the colour and spectacle of the operas being prepared and presented at the theatre. Despite all the ghost train theatricals the greatest thrills of the show come from Michael Crawford. He not only sings superbly but also captures the torment of the Phantom perfectly. If you only see one show this year, make sure it is this one! (Blake, J, 1986) In 2002, The Times wrote: Long-runners One answer is obvious: Maria Bjà ¶rnson’s stunning designs. The story, based on Gaston Leroux’s novel, begins on the Paris Opera’s stage in 1911. The building is dusty and neglected, the stage festooned with great swags of grey fabric. Old theatrical props are being auctioned off. Then, as the auctioneer announces the final lot — the opera’s enormous chandelier — the dustsheets fall away, the scene seems almost to dissolve and the theatre travels back in time to 1881 before our very eyes. It’s a vision of gaudy grandeur: gas lamps flicker, red velvet glows in the light and plaster nymphs and satyrs frolic on pillars. The opera is dogged by misfortunes that are rumoured to be the work of the Phantom, a malevolent figure who haunts the theatre. This sinister creature has become obsessed with Christine Daaà ©, a pretty chorus girl. But only cadaverous Madame Giry, the formidable ballet mistress, knows the terrible secret that lies behind the mask the Phantom wears. The musical’s best sequence occurs when the Phantom leads Christine through labyrinthine passages to his lair beyond a hidden lake underneath the building. As their boat glides over the misty water, surrounded by flickering candles, the effect is breathtaking. The problem is that this spectacle takes place early on and nothing afterwards can really compete. Harold Prince’s direction is slick and Gillian Lynne’s choreography effective, but Lloyd Webber’s music is often trite and dated. There’s little depth to any of the characters, either, yet the musical’s central relationship intrigues. For while Christine is Beauty to the Phantom’s Beast, she is haunted, not only by the opera ghost, but by the memory of her dead violinist father. This lends a pleasingly perverse Freudian twist to the erotic tension between the two characters, and the performers John Owen-Jones and Celia Graham make the most of it. Not only are they both excellent singers, they are fine actors too. Graham brings both passion and a childlike neediness to her portrayal of Christine. Owen-Jones uses his rich, powerful voice to great effect, crooning one moment, spitting bitterness the next. But the real star of the show is Bjà ¶rnson’s work. The designer died earlier this month, aged 53, and if Phantom has stood the test of time, it’s because of her. It is not the music audiences will remember; it’s the opera’s chandelier swinging crazily over the stalls, or a masked figure crouched menacingly over a gilded angel. And for those images alone, this show is still worth seeing. (Marlowe, S,   2002) The New York Times revisited the Phantom in 2005 and wrote this review: New York Times revisits the Phantom Old and Ghostly but Still a Hoot The paint on the balconies of the Majestic Theater looks chipped and the electronic drum machine sounds like something left over from a music video from the 1980s. But The Phantom of the Opera really shows its age (17 years and running) when the signature special effect is presented. Musicals have opened and closed in the time it takes that chandelier to lumber to the floor. Looking like one of Ed Woods teetering flying saucers, it crashes to the stage with the force of a shopping cart, the biggest, most extravagant anticlimax in town. Seventeen years later: Sandra Joseph and Hugh Panaro are now playing the roles of Christine and the Phantom. Under the fearsome shadow of Hugh Panaro in The Phantom of the Opera. But what do you expect? It was designed during the Reagan administration. For a top-of-the-line chandelier, you will have to wait for the $40 million production of Phantom opening in Las Vegas next spring. But if the technology of the Broadway show seems a bit quaint, the real news is that the rest of the production has grown old gracefully. Judging by sheer invention, emotional punch and onstage talent, the venerable blockbuster still beats out almost all of the whippersnappers currently on Broadway. Maria Bjornsons flamboyant gothic design and Harold Princes fantastical staging still have the gleam of finely polished professionalism. Led by the current Phantom (there have been 10 after Michael Crawford), Hugh Panaro, an up-and-coming musical theater star who finds the right mix of shock and schmaltz, most of the cast retains the freshness of opening night. That does not mean that Andrew Lloyd Webber haters, a large and very grumpy contingent, will be won over. Sorry, The Music of the Night hasnt changed. Nor has Charles Harts bumbling lyrics (You have brought me to that moment when words run dry). But for those sentimental souls looking for a popular entertainment to transport them to a baroque, romantic new world with a powerful smoke machine, Phantom, Im happy to report, still delivers the goods. Which is especially impressive, given that not long ago, the musical seemed to be on its last legs. By the fall of 2003, its peers Miss Saigon, Cats and Les MisÃÆ' ©rables had faded away. Ticket sales were down and rumors of its demise were common around Broadway. Flash-forward to today: crowds are lined up around the corner to see the show, which regularly sells out. Last week, 99 percent of the seats were filled. In January, barring a strike, disaster or nuclear holocaust, Phantom will eclipse Cats as the longest-running show in Broadway history. What happened? For one thing, it received a boost from Joel Schumachers film version of the musical, which opened in December. Even though it wasnt a smash hit, the movie introduced a new audience to the show (as evidenced by the large number of young girls at the Majestic) and reminded old ones how superior the musical is. In fact, the bombastic film may be the only thing that makes the musical look understated. Mr. Prince, who continues to oversee casting and reportedly checks up on the show every few months, deserves credit for tending to it with care. When the box office dipped, he never panicked and cast a former Backstreet Boy for a short-term boost in sales. Unlike so many long-running shows, Phantom has not resorted to stunt casting. Although dont be surprised if Mr. Panaro, who has been rumored on theater Web sites as the choice to star in Lestat, Elton Johns vampire musical heading to Broadway next season, becomes a household name someday. A young, charismatic actor, he brings a maniacal energy and Grand Guignol charm to the tortured Phantom. In his hands, the show concentrates more on the horror than the romance; but only once does he turn to the audience and growl which, considering how scenery chewing this role could be, counts as admirable restraint. Surrounding him is a solid supporting cast who deliver disciplined performances free of the lazy flourishes that sneak into a role when an actor becomes bored by repetition. As the diva Carlotta, Anne Runolfsson flashes a hundred-watt smile and shows off a richly textured voice in the opening song, Think of Me. Jeff Keller and George Lee Andrews, the only actors with major roles who have been with the company since the beginning, are marvelous as the nervous theater managers who made the mistake of buying the Paris Opera House. In 2001, Mr. Prince had them switch roles to keep things fresh. Sandra Joseph (who doesnt perform Wednesday evenings or Saturday matinees) is perfectly competent as Christine, although in her scenes with the Phantom she can come off as a bit bland. As her other love interest, Raoul, a terribly underwritten role, Tim Martin Gleason provides a strong voice and a stiff performance. In the romantic songs, ones mind easily wanders to the bitingly funny Lloyd Webber parody in Spamalot, which droned on and on until the stars looked tired of their own voices. Then again, the winking and eyebrow-raising in satirical musical comedies like Spamalot and The Producers are part of what makes the proudly melodramatic and unironic Phantom a nice change of pace. The musical may seem as if it is from a different time, but thats not necessarily a bad thing. (Zinoman, J, 2005) Personal Review:    The Broadway production of The Phantom of the Opera captures your attention right from the start and then you will be you will be drawn into a mysterious world of horror, romance and tragedy. Your journey keeps you spellbound through resonating songs sung by a handpicked cast, Maria Bjornsons magnificent sets and costumes to both delight and frighten you. Gaston Leroux’s gothic novel comes to life through Andrew Lloyd’s Webbers’ Phantom.   The musical beautifully combines a mixture of genres, performed through opera, leaving the audience entrapped in a tragic tale of love. Whether you are recovering from fright or floating on Phantoms’ songs – this musical will keep, you entertained, wistful and somewhat disturbed leaving you thoughtful as to who should triumph in the end. New fans and old are still being enraptured by the phenomenon of The Phantom.       Works Cited: Blake, J, (1986) It’s fantastic, fabulous and phantasmagorical!, The Daily Mirror U.K. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=38 Leroux, G. n.d. Quotation Phantom of the Opera Official Site. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/show/the_show_history_filmography.php Marlowe, S, (2002), Long Runners, The Times, UK.   Retrieved 04/18/2007 http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/article805339.ece Zinoman, J, (2005), New York Times revisits the Phantom: Old and Ghostly but Still a Hoot, The New York Times, USA.   Retrieved 04/18/2007 http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=216    Bibliography: Paris Opera House (n.d.), Music of the 19th Century Paris, Opera. Retrieved 04/18/2007 http://gallery.sjsu.edu/paris/music/opera/opera_house.html The Phantom of the Opera (n.d.), Official Website.   Retrieved 04/17/2007, http://www.thephantomoftheopera.com

Vinataba †Philip Morris Graduate Trainee Program Essay Example for Free

Vinataba – Philip Morris Graduate Trainee Program Essay About the program Vinataba – Philip Morris Graduate Trainee Program aims to develop creative, talented and ambitious graduates, helping us to making our business growth ambition become a reality. What we offer Our Graduate Trainee Program offers a real exciting and fruitful development journey to help you as a fresh graduate build your general skills, professional skills and leadership. While you own your development journey, diversified learning approaches will be also offered to foster your career development. With real job assignments, you will be exposed to lots of world-class training workshops, cross-functional rotations, coaching sessions, mentoring chats and exposure opportunities to work in other countries. What we are looking for * Vietnamese nationality * University fresh graduates or graduates with maximum of 2 years working experience * Background in Economics / Commerce / Logistics / Business Management / Finance / Accounting / Marketing / IT is preferred * GPA (Grade Point Average) of minimum 7 out of 10 or equivalent * English fluency and computer literacy * Passionate in Fast-Moving-Consumer-Goods industry with Entrepreneurial Spirit, Courage, Clear and Constructive Communication, High Efficiency and strong Emotional Intelligence. How to apply * Obtain complete Application Form made available at your University Career Center and/or University Portal * Submit application via email to [emailprotected] or send the hard-copy application to: Vinataba Philip Morris Limited, Ho Chi Minh City Branch Level 6 The Kumho Asiana Plaza 39 Le Duan District 1 Ho Chi Minh City * By no later than 28th February 2013. Applications received after the deadline will not be considered. Note: An Auto Reply Message will be sent to your email upon receipt of your application. If you do not receive this Auto Reply Message, please resend your application.

Psychodynamic Theory Founded By Sigmund Freud Psychology Essay

Psychodynamic Theory Founded By Sigmund Freud Psychology Essay The following essay will analyse the Psychodynamic theory founded by Sigmund Freud. It will focus on the components of the mind including the Conscious, the pre-conscious proper and the Unconscious. It will then examine his contribution into the structure of Personality with reference to The Id, Ego and Super-ego. Following this, the essay will discuss Freuds proposal of stages within his psychosexual development. The essay will then focus on the Humanistic theory of Carl Rogers. It will explain his concept of the Actualizing tendency and incorporate his creations of Self concept, the Organismic self and the Ideal self. As a contribution to Rogers work, the essay will also highlight the Hierarchy of needs by Abraham Maslow. The two theories will then be compared and contrasted. This essay will focus on the human developmental stage of childhood. According to Freud there are three levels of Consciousness within the mind. The conscious, this holds thoughts and feelings that we are fully aware of at any one time, it can be verbalised and logically thought about. The pre-conscious proper holds memories that only when they are thought of can they be brought back into the Conscious part of the mind. Information is easily shared between the conscious and the pre-conscious proper. Finally the Unconscious. Material here is deemed too painful and is repressed (locked away) yet still has the strength to influence our actions. We have conscious thoughts that we are aware of and unconscious thoughts that appear in our mind in the form of dreams. Moreover, what happens in our conscious mind in turn influences what thoughts filter through to our unconscious mind (Gross, The Science of Mind and Behaviour, 2010) (Ingleby, 2006, p. 7) Freud related this idea to a model of an Iceberg. The tip acts as 10% relating to the Conscious as only this is visible, the rest being submerged acting as the Pre-conscious and the Unconscious. (Kazlev, 2004) Freud furthered his concept of personality of which he proposed was devised into the Id or intrinsic drive, the Ego and the Superego The Id obeys the pleasure principle. It holds no morals and seeks instant gratification containing mostly sexual or aggressive impulses. a cauldron full of seething excitations†¦it is filled with energy †¦ but†¦ has no organisation†¦ only a striving to bring about the satisfaction of instinctional needs subject to observance of the pleasure principle (Freud, New introductory lectures in psychoanalysis, 1933, p. 73)Within the id lies the Eros (life or pleasure drive) and Thanatos (death instincts). Eros helps the child to survive, it directs life-sustaining activities such as respiration, eating, sex and the fulfilment of other bodily needs In contrast Freud believed Destructive acts such as arson, fist fights, murder, war and even masochism were outward expressions of the death instincts (R.Shaffer, 1946, p. 43) The Ego Acts as the mediator between the Id and the super-ego. It is the rational part of the mind. It is governed by the reality principle. Freud Created defence mechanisms in an attempt to protect the ego from constant threat from the super-ego. These include Repression meaning re-directing negative thoughts to the Unconscious . As well as Projection this being the shifting of blame or thoughts and feelings onto someone or something less intimidating. The idea of psychological defence itself was not problematic; it was a normal operation of the human mind faced with unpleasant events. But normal defence did not generally lead to total forgetting: though usually absent from consciousness, unpleasant memories could be recalled by fresh perceptions. (Freud, The origins of Psychoanalysis, 1954) The super-ego acts as the negative parent. This is learned from others and seen as the internalisation of social morals. It criticises decisions made by the ego and makes negative judgments. (Freud, The origins of Psychoanalysis, 1954) (Gross, Psychology- The Science and Mind of Behaviour, 2010) According to Freud, sexuality is apparent in babies from birth allowing sexual pleasure and frustration. The progression of the Psychosexual stages depends on the biological maturity but is influenced greatly by how individuals are treated, most importantly by their parents. If excessive frustration or gratification occurs during a stage, the individual will remain fixated. (Gross, The Science of Mind and Behaviour, 2010) The Oral stage (0-1year) Sensitive nerve endings in the mouth and lips allow the baby to gain pleasure from Sucking and swallowing. Disturbances throughout this stage will lead to Oral fixation such as thumb sucking or over-eating The Anal stage (1-3years) Muscles of the bowel are the source of pleasure. Whilst potty training, the parents love becomes dependent on the childs actions. The child is in control of where and when it defecates. The Phallic stage (3-5/6 years) introduces a new source of pleasure in the genitalia. The child focuses on their opposite-sex parent. In males the Oedipus conflict suggests a young boy gains sexual feelings for his mother. In females the Penis envy or Electra complex suggests sexual feelings for the father in which time she is jealous of the mother. a tragedy of destiny. Its tragic effect is said to lie in the contrast between the supreme will of the gods and the vain attempts of mankind to escape the evil that threatens themIt is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and our first murderous wish against our father. (Freud, The interpretation of Dreams., 1900) The Latency Period (5/6 to puberty) involves the decline of sexual instincts. The traumas of the phallic stage are repressed thus allowing social skills to develop. Finally, the Genital stage. The earlier sexual thoughts have been repressed; however the focus on the genitalia returns, enabling the control of the Id and its heterosexual demands. (Gross, Psychology- The science of Mind and Behaviour, 2010) The Humanistic approach founded by Carl Rogers was a direct reaction to behaviourism and psychoanalysis, with the idea that both theories related more to the testing and the treatment rather than the perceptions/interpretations of the individuals external stimuli. (Gross, The science of the Mind and Behaviour, 2010) In accordance to this, Rogers created the Person Centred theory. Thus being a theory based more on the client and their potential for personal growth. He adopts a holistic approach, considering all aspects of the individual and external stimuli. He stipulates an individuals equilibrium is based upon being congruent; However outside influences can cause incongruence (an unbalance in one self). not from the point of view of simply accepting the standard view of science as postulated in myriad academic texts, but rather of creating a newer view of science as a human endeavour which calls on the whole person rather than just on the intellect (Rowan, 2001, p. 291) Rogers believed each living being had the ability to develop and reach their maximum potential. This introduced The Actualising Tendency. Rogers developed this idea whilst observing a bin of potatoes stored in the basement during his childhood. In the unfavourable conditions the potatoes began to sprout, desperately reaching toward the light from a small window. Thus giving the example that regardless of the conditions, everyone and everything can strive to self actualise. the mainspring of life it is the urge which is evident in all organic and human life- to expand, extend, become autonomous ,develop and mature (Rogers, 1961, p. 193) Rogers put forward his concept of personality, categorised into The self concept, The Organismic self and the Ideal self. The self concept, described as how we perceive ourselves and the environment. This is acquired through childhood and can reflect on the care given during such time. The Organismic self is who we truly are with the ability to act how we please once free from judgement and social conformities. The Ideal self is in continuation with the self concept. It is something we desperately want but will never achieve as once the goal is reached a new one is created. the organized consistent conceptual gestalt composed of perceptions of the characteristics of I or me and the perceptions of the relationships of the I or me to others and to various aspects of life, together with the values attached to these perceptions. It is a gestalt which is available to awareness though not necessarily in awareness. It is a fluid and changing gestalt, a process, but at any given moment it is a specific entity (Rogers C. , 1959) (Gross, Psychology- The science of Mind and Behaviour, 2010) any given moment it is a specific entity.at any given moment it is a specific entity.the organized consistent conceptual gestalt composed of perceptions of the characteristics of I or me and the perceptions of the relationships of the I or me to others and to various aspects of lifethe organized consistent conceptual gestalt composed of perceptions of the characteristics of I or me and the perceptions of the relationships of the I or me to others and to various aspects of life, together with the values attached to these perceptions. It is a gestalt which is available to awareness though not necessarily in awareness. It is a fluid and changing gestalt, a process, but at any given moment it is a specific entity. In conjunction with Rogers, Abraham Maslow introduced the Hierarchy of Needs. He devised a model in the shape of a pyramid into stages of human development. Before progressing to a higher level, the previous needs to be fully attained, beginning with the foundation which includes basic Physiological needs such as food, oxygen and sex. Other levels include safety needs, love and belongingness, Esteem needs, cognitive needs, aesthetic needs and finally Self actualization, this being the ultimate an individual can become. However it can only be gained through experience rather than the prominent biology found in the lower levels. (Gross, Psychology- The Science and Mind of Behaviour, 2010) With regards to similarities between Freuds Psychoanalysis and Rogers Humanistic Approach both theorists include a division of personality. Freuds Id can be compared to Rogers Organismic self in the sense that the Organismic self is who we truly are, this however is contained once in public, much like the Id of which the desires are controlled by the Ego, both related to the true self and what it desires. Much like Freuds Ego, Rogers Self Concept is logical and the part of personality both shaped by external stimuli built from childhood. The Eros Within Freuds concept of the Id is similar to Rogers Self Actualising Tendency for the reason that the Eros directs life sustaining activities enabling us to progress and develop to fulfil our life potential. Both are male perspectives and may be biased, most noticeable in Freuds concept of Penis envy, implying that not having a penis makes women feel inferior. In relation to the differences, Freuds idea of the development of personality includes psychosexual stages, these directly relate to childhood and uses specific ages throughout, whereas Rogers disregards age as an importance and focuses primarily on the individual in a holistic manor. Rogerss concept of Self Actualization relates to all living beings from humans to potatoes; however Freud only concerns himself with humans. Freud believes babies are born with bad psychic energy in order to satisfy basic needs referring to them as a Seething cauldron. However Rogers expressed the process of becoming a fully functioning person meaning how they become is all that is relevant. This essay has identified key aspects of both Freuds Psychodynamic theory into personality and also Carl Rogers Humanistic theory. It Focused on Freuds perception of the Mind including the conscious, the pre-conscious proper and the Unconscious. As well as his structure if personality broken into the Id, the Ego and the Super-ego and finally the stages into his conception of the Psychosexual stages. The essay then focused on Carl Rogers Humanistic theory, explaining The Actualising Tendency, the three Selfs and also briefly highlighted the work of Maslow as a continuation to Rogers theory. Whilst focusing on Childhood it finished by emphasising the similarities and differences within the two theories. However it may be prominent to believe the events of its first years are paramount importance for its whole subsequent life. (Freud, An Outline of Psychoanalysis., 1949, p. 283)

How Computers Impact our Daily Life :: essays research papers

"Computers are transforming society. Time is collapsing. Distance is no longer an obstacle. Crossing oceans takes only a mouse click." This is the phrase of sentences I heard somewhere about computers. Virtually, computers which pressure most people's life are considered as the most important technological achievement of the XXI century. Using computers, we can make or solve most of difficult things which are hardly completed without their hands. Because of these different varieties of abilities, computers have been creating many noticeable achievements in most of societies? fields especially medicine, education, and usual life. In other words, these three fields also are computers? influences that I want to write in this essay today. Firstly, there is a nonnegotiable point here that health services and art of medicine have been changed absolutely by computers in recent decades. Computers totally are able share the physician?s heavy duty which is save human?s life. In deed, since computers have been invented, new technological treatments that cooperate with computers have cured a thousand of patients. Eventually, there is nothing is more happy than come to life again. Formerly, once a doctor wanted to diagnose their patients, he or she mainly used to apply their experiences. Unfortunately, this process is doubted sometimes. And now, computers and other accessory machines are able to diagnose accurately with less time. In addition, computers have the other excellent benefit which is the ability in analyzing gene. Now scientists have more conditions to examine organic structures or to invent many new medicines, modern effective treatments which are very useful by using these gene technologies. Undoubtedly, the medic ine?s current promotions closely connect with the development of computers. Therefore, we can agree unanimously that computers greatly influence our existent medicine. Furthermore, ?Crossing oceans takes only a mouse click?- with computers, we no longer remain the conception about spatial distance. Actually the greatest advantage of computers is reducing distance and connecting people together. By this or other ways, computers thoroughly support and push up our education. Nowadays, students certainly stay at home but still can study for his or her bachelor degree. This actually seems to be impossible few decades ago. Those students just need to equip themselves with a computer connected internet at home only. This perfect utility is determined as computers? greatest success for humankind. For example, one student, a handicap person, who has his or her health?s problems, completely feels uncomfortable to go to school.

Understanding Catullus’s Poems :: Biography Biographies Essays

Understanding Catullus’s Poems Many of Catullus’s poems expressed Catullus’s love for his beloved Lesbia.   In the first poem he is relishing her kisses and declaring the eternity of their love.   The three later poems show him sadder and he accurse Lesbia of unfaithfulness yet still confesses his love for her.   Catullus’s Poems are universal in time and are relevant to any time period.   The particular time period that I am focusing on is today’s time period and how his essays are relevant to the modern reader.   The two particular poems that I am going to be focusing on is number five and number seventy-two.   Both are very emotional and could be reflected on today’s society.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In poem number five; Catullus is expressing his love for Lesbia.   He says that their love that they posses is internal and how he is so fond of her kisses.   After reading this poem you get the idea that they kiss very often and their kissing is the symbol of their love.   This is relevant to today’s society with young couples starting a relationship.   Once the relationship starts to become intimate, then they couple start to kiss more often and devote their love to one another.   Although in no place in the text does it say if they were in a relationship or even married, you could infer that they were very intimate with each other.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The second poem, number seventy-two, discussed some a very significant aspect that exists in today’s society, which is cheating.   Catullus accuses Lesbia of cheating in he couldn’t believe that she is doing this to him.   â€Å" ‘How,’ you may ask, ‘can this be?’ Such actions as yours excite increased violence of love.†Ã‚   He accuses her of putting the relationship in jeopardy and losing his love for her.   You can’t help but feel sorry for Catullus is this scenario.   He devotes his undying love to Lesbia and she cheats on him.   Unfortunately, this is rather popular in today’s society.   After time progresses in the relationship, intimacy start to decrease and the partners start to search for other sexual partners.   This is the case with Catullus and Lesbia and how Lesbia is cheating on him.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The last poem is poem number seventy-five.   In this poem, Catullus recognizes the sins that Lesbia has committed but still says that he â€Å"can never cut this love.†Ã‚   Some individuals still love their partner after what they did.

Poverty and Disease :: essays research papers

Nearly 50,000 people, including 30,000 children, die each day due to poverty-related problems and preventable disease in underdeveloped Countries. That doesn’t include the other millions of people who are infected with AIDS and other incurable diseases. Especially those living in Sub-Saharan Africa (70%), or â€Å"the Third-World,† and while we fight to finish our homework, children in Africa fight to survive without food, or clean water. During the next few paragraphs I will give proof that poverty and disease are the two greatest challenges facing under developed countries. Niger and Sierra Leone, the two poorest countries in the world only have a GDP of around 500 dollars per capita. Which, compared to Canada’s 27,000 dollars per capita, is considerably low. In the 48 poorest countries, an average of 2$ a day is made by each working person. Imagine living off 2$ a day in Canada, you couldn’t even buy a Big Mac and a drink for 2$. This is making starvation a very serious problem in 3rd-world countries, not to mention their low immune systems, used for preventing disease, not working right from the lack of nutrition. After the smallpox pandemic, science has done a lot to cure and control most other outbreaks of diseases. But with the shortage of healthcare and medication in the developing regions, what is there to stop many diseases from spreading. In Kenya, there is only 1 doctor for over 5000 people. How does 1 doctor make sure 5000 people are not in trouble with a live-threatening disease? The AIDS virus is the most common disease, and with no cure, an infected person will die. It is estimated that 90 to 95 percent of AIDS infections occur in developing countries where the world’s worst living conditions exist. After being brought up to date with the current situation in the under developed part of the world there should be good reason to believe that the two main problems are disease and poverty. Poverty and Disease :: essays research papers Nearly 50,000 people, including 30,000 children, die each day due to poverty-related problems and preventable disease in underdeveloped Countries. That doesn’t include the other millions of people who are infected with AIDS and other incurable diseases. Especially those living in Sub-Saharan Africa (70%), or â€Å"the Third-World,† and while we fight to finish our homework, children in Africa fight to survive without food, or clean water. During the next few paragraphs I will give proof that poverty and disease are the two greatest challenges facing under developed countries. Niger and Sierra Leone, the two poorest countries in the world only have a GDP of around 500 dollars per capita. Which, compared to Canada’s 27,000 dollars per capita, is considerably low. In the 48 poorest countries, an average of 2$ a day is made by each working person. Imagine living off 2$ a day in Canada, you couldn’t even buy a Big Mac and a drink for 2$. This is making starvation a very serious problem in 3rd-world countries, not to mention their low immune systems, used for preventing disease, not working right from the lack of nutrition. After the smallpox pandemic, science has done a lot to cure and control most other outbreaks of diseases. But with the shortage of healthcare and medication in the developing regions, what is there to stop many diseases from spreading. In Kenya, there is only 1 doctor for over 5000 people. How does 1 doctor make sure 5000 people are not in trouble with a live-threatening disease? The AIDS virus is the most common disease, and with no cure, an infected person will die. It is estimated that 90 to 95 percent of AIDS infections occur in developing countries where the world’s worst living conditions exist. After being brought up to date with the current situation in the under developed part of the world there should be good reason to believe that the two main problems are disease and poverty.

Succubus on Top CHAPTER 12

â€Å"Thetis,† he said after several more moments of silence, â€Å"talk to me here.† I looked up sharply. â€Å"What do you want me to say? You already know the answer. They wouldn't lie. Well, actually, they lie all the time but not about something like that.† He nodded and set the bowl and spoon on the coffee table. Slouching back on the couch, he didn't look at me, instead staring off across the room in thought. I could guess what was going through his mind. He knew what I was and what I did. But it was one thing to have a superficial knowledge of it and another to suddenly know there was tangible evidence each time I had sex. He would recognize the glow now and know that I had just come from someone else's bed, that not so long ago I'd been in someone else's arms doing the most intimate things two people could do. Things I couldn't do with him. â€Å"I'm sorry,† I said, not knowing what else I could say. â€Å"For what?† â€Å"For†¦this. For doing what I do.† â€Å"Why? It is what you do. It's what you have to do, right? There's no need to apologize for your own†¦uh, nature.† â€Å"So†¦what? You're okay with that? Knowing what I'm doing with other guys? Or rather, when I'm doing it?† â€Å"‘Okay' is a funny word, but yeah, I guess. What I'm not okay with is†¦Ã¢â‚¬  He paused, as always considering his words before speaking. â€Å"What I'm not okay with is you being afraid to tell me about this. You must have seen how†¦entranced†¦I was. But you never brought it up or explained it to me.† â€Å"What was I supposed to say? ‘Thanks for noticing how pretty I am. It's because I just went down on some stranger in a sleazy club.'† Seth flinched, and I immediately regretted my example. â€Å"Maybe†¦maybe it could be phrased a bit more, uh, tactfully than that, but yeah. I guess essentially that's what you could tell me.† I poked at the melted remains of my ice cream. â€Å"It's not that easy, and you know it. It's got to be hard enough for you to accept that I'm sleeping around on you, so to speak, without real evidence to confirm each time it happens.† â€Å"Why don't you let me decide what I can or can't accept.† He didn't sound angry exactly, but I'd never heard him so sharp and assertive. The arrogant part of me didn't like being spoken to like that, but I knew he was justified in the comment. And, I had to admit, that confidence was kind of a turn-on. Alpha males. Yum. â€Å"I know what you are,† he continued, â€Å"and I know what you do. I had to acknowledge that from the beginning of the relationship. It bothers me, yeah, but that doesn't mean I can't go on with the knowledge.† He laid his hand over mine, his fingertips absentmindedly stroking my skin. â€Å"But you can't be afraid to tell me the truth. Not ever. Even if it's ugly. What we have isn't about sex – like that wasn't already perfectly obvious. But if we don't have honesty either, then there's nothing left.† I forced my eyes up to him and smiled. â€Å"How can you be so young and so wise at the same time?† â€Å"I'm not that wise,† he said, pulling me to him so I leaned against his shoulder. He didn't challenge the â€Å"young† comment. Looking at our ages objectively, one could practically accuse me of cradle robbing. I sighed and snuggled into him. â€Å"It means nothing, you know. All that stuff I do. I don't even remember their names.† â€Å"I know. You've told me. Although†¦Ã¢â‚¬  â€Å"What?† â€Å"Sometimes that's not exactly comforting. Sex isn't supposed to be about ‘nothing.' I don't really like the idea of you being with guys you don't want to be with. Even if you're technically my girlfriend†¦I'd rather you at least liked what was going on. â€Å" â€Å"Well†¦in the ultimate heat of it, I sort of do like it. The energy I get from sex†¦well, you can't really understand it. But it†¦it's literally what I live for. So even if I don't want to be with someone before and after the deed, there's still that one moment, no matter how brief, when I want them.† I tried to give him a reassuring smile. â€Å"Besides, don't feel too bad for me. Things are a lot better than they used to be. I have more of a choice about who I'm with now, which makes a big difference. It's not like I just take whoever comes along.† â€Å"What do you mean you have a choice now} Haven't you always?† I laughed uneasily. â€Å"Oh, come on, Seth. You know women didn't start getting any real rights until about a century ago. Men haven't always been kind or considerate in their relations with the fair sex – especially those in the lower classes.† He stared at me, shocked, and pulled back a little. I loved how expressive those eyes were, even if their current emotion wasn't exactly positive. â€Å"You're talking about†¦it†¦it sounds an awful lot like rape.† I shrugged, immediately realizing we needed to steer out of these waters. â€Å"It's hard to rape a succubus. In the ultimate climax, the succubus is the conqueror – especially if the guy ends up blacking out.† â€Å"You aren't really answering my question.† â€Å"And you aren't really asking it.† We lapsed into silence. A moment later Seth took me back into a tight embrace, burying his face in my shoulder this time. â€Å"Hey, now. Don't let it bother you. Don't judge the past by the standards of today. It won't work. They're incompatible.† â€Å"I don't like the idea of you doing things you don't want to do,† he said gruffly. â€Å"I wish I could do something†¦wish I could, I don't know, protect you.† â€Å"You can't,† I whispered, kissing the crown of his head. â€Å"You can't, and you have to accept that.† We went to bed together after that, the first time since the kissing incident. Seth held me tightly all night, even in his sleep, clinging as though I might slip away if he let go. Again, I marveled at his understanding. And again, I questioned whether I was in love yet. How would I know? What was love anyway? I ticked off a list as my hands held tightly to his back. Affection. Connection. Understanding. Acceptance. All these things he gave me. Those were parts of love. All these things he offered freely, no matter how terrible each new discovery about me was. I wondered whether I returned as much as I received. Did I have any right to be in this relationship? Somehow I doubted it, yet it made me want him all the more. When we drove to the bookstore the next morning, he held my hand with a thrilling possessiveness. He didn't let go until we actually cleared the bookstore's door. â€Å"Did Doug come in today?† I asked Beth after I'd made a sweep of the store. â€Å"Yeah. He was here earlier. I think he's in your office.† I walked to the back. The office was dark. When I turned on the light, I found him hunched in a corner, his body curled up in a tight ball. I immediately dropped down beside him. â€Å"What's wrong?† After several seconds, he lifted his eyes up to mine. They were dark and troubled. â€Å"Nothing.† To contradict him seemed both obvious and pointless. â€Å"What can I do to help?† He laughed bitterly, a terrible sound. â€Å"Don't you get it, Kincaid? Nothing helps, that's the problem. There's no point to any of this. You know that as well as I do.† â€Å"Do I?† He gave me a cynical smile. â€Å"You're one of the most depressed people I know. Even when you're smiling and flirting and all of that. I know you hate this life. This world. I know you think it's all stupid. â€Å" â€Å"Not true. There's good in the bad. There's always hope. What's gotten into you?† â€Å"Just reality, that's all. Just woke up and realized how stupid it all is. Dunno why I even bother.† I touched his arm. â€Å"Hey, you're kind of freaking me out here. Did you get any sleep? Do you need something to eat?† He leaned back against the wall, face still bleak and full of snide humor. â€Å"Kincaid, I need so many fucking things, it's not even funny. But you know what? We don't get them. That's how it is. What's that saying? Life is brutish and short?† â€Å"Er†¦close enough.† I sat there with him for a long time, listening to him go on. His words were an outpouring of bitter anger and black despair. A frightening combination. I'd never heard him like this. Not upbeat Doug, always ready with a joke. Doug, the guy who never took anything seriously. His bleak face reminded me of Casey's when I'd found her in the caf? ¦, but she hadn't been this down. As the clock ticked, I wondered what I should do. He certainly couldn't work today, yet I feared sending him home. Who knew what he might do in this mood? Previously, I would never have worried about him hurting himself, but all bets seemed to be off now. â€Å"I want you to stay here,† I finally said, standing up and straightening the kinks out of my legs. â€Å"I've got to get back out there, but I'm going to check on you later, okay? Promise you'll find me if you need me. We'll eat lunch later on. I'll get us some falafels from that place you like.† He only gave me a twisted half-smile, face stormy and mocking. I left, taking the letter opener with me. His mood didn't change as the day wore on; even the falafels did no good. Once more, I wondered desperately what I should do. He had no family in the city I could call. I knew the hospitals had psych emergency services; should I contact one of them? Shortly after lunch, Alec showed up. He avoided Casey's pleading eyes and gave me a smile that tried too hard. â€Å"Hey Georgina, is Doug around?† I hesitated. I didn't like Alec, but he was sort of Doug's friend. Maybe that would help. I led the drummer to the back. When Doug saw him, he leapt up with an astounding burst of energy, his face both desperate and rapt. â€Å"Jesus Christ, man! Where have you been?† â€Å"Sorry,† said Alec. â€Å"I got held up.† They huddled together, then looked uneasily over at me. Sensing I was unwanted, I backed out of the office but not before I saw Alec reaching into his coat and Doug looking very eager. It was Alec, I realized. Alec was feeding Doug whatever drug he was addicted to. The realization made me want to go in there and throttle him, wipe that stupid grin off his face. Yet, when the two emerged a half hour later, the change in Doug was so marked that I couldn't bring myself to act. A swagger had returned to his step, the normal cheery grin back on his face. Janice passed by, and he made some playful remark that caused her to laugh. Seeing me, he pranced up and saluted. â€Å"Ready for duty, boss. What do you have for me?† â€Å"I†¦Ã¢â‚¬  I stared stupidly, which only made him smile more. â€Å"Rein it in, Kincaid,† he said with mock severity. â€Å"I know that as a good groupie, you're ready to take me anytime, anywhere. But, as literary professionals, we've got to control our passion until after hours.† I was still staring. â€Å"Um†¦why don't you, uh, grab a register?† He saluted again and clicked his heels together, military style. â€Å"Can do.† He turned to Alec. â€Å"I'll see you at the rehearsal tonight?† â€Å"Yup.† Doug flashed both of us a grin, then sauntered off. I stood there alone with Alec. He waited expectantly, like I was supposed to say something. The words â€Å"fuck off† seemed appropriate, but I changed my mind. I smiled at him. It was a slow, sweeping smile that started with my lips and then shone in my eyes, the kind of smile that said I'd just noticed something I'd never seen before. Something I suddenly liked – and wanted. Alec's own smile faltered. I think hitting on me had become so automatic, he didn't expect a response anymore. He swallowed and then turned his own grin back on. â€Å"A rehearsal, huh?† I said. â€Å"You guys got another show coming up?† â€Å"Next weekend. You going to come?† â€Å"I'll try. Are you going to have another party after?† â€Å"Probably. Wyatt's having one tomorrow if you wanna go to that.† â€Å"Are you going to be there?† I asked silkily, catching his eye meaningfully. â€Å"You bet.† â€Å"Then I'll be there.† I turned to go, still giving him the hypnotic smile. â€Å"See you then.† As soon I was out of his sight, my smile lapsed into a grimace. Ack. I hadn't thought it was possible to loathe that guy anymore, but I'd been proven wrong once again. Still, flirting with him, I'd realized, might be the best way to figure out what was going on with Doug. I felt pretty sure Alec had tried to push whatever he had on Casey. If I appeared to fall prey to his so-called charm too, he might let me share in the goods. Doug, as I soon discovered, certainly wasn't going to provide any help in the matter. â€Å"You've got something,† I teased later when he and I ran into each other in the fantasy books. I gave him the lethal smile. He returned it. â€Å"Magnetism? Sex appeal? Intelligence? Babe, I've got it all.† I stepped forward and pulled playfully on his shirt, looking up into his face. â€Å"That's not what I mean. You've got something good, something you aren't sharing.† He stayed close to me and tugged on a lock of my hair in return. â€Å"Don't know what you're talking about.† â€Å"The hell you don't. Do you know how many hours I've been working for you and Paige lately? Good lord. It's driving me crazy. Grey Goose only goes so far. If you've got some stash, you need to spread the love.† â€Å"Hey, I'll spread as much love as you want. Name the time and place.† â€Å"I thought we were friends.† I pushed lightly on his chest and stepped back with a pout. â€Å"You're holding out on me. No way could you have perked up so quickly. Not after how you were this morning. You took something. â€Å" â€Å"Bah, mood swing. You're a woman; you understand. Just woke up grumpy, that's all. A little falafel and some Kincaid charm, and now I'm good to go. Great even.† He took a step back toward me, apparently hoping I'd renew the flirtation. Heat burned in his eyes, something a little darker and more intense than our typical bantering called for. â€Å"In fact, I'm downright unstoppable now. A god, babe. Come on back to the office, and I'll show you.† I walked away, giving him a taunting look over my shoulder, still playing it light. â€Å"Not my religion, babe.† He laughed as I left him. We'd been flirting for years, and I knew he'd probably take no offense at my teasing or baiting. I, on the other hand, was pissed. Bad enough this shit of Alec's could push Doug into over-the-top exuberance and inappropriate behavior at work. Dragging him into the pits of despair, however, was an entirely different matter. I was going to find out what was going on and put an end to it – even if it meant cozying up to that sleaze, Alec. Remembering one of the other complications in my life right now, I called Bastien later that night for a status check. â€Å"Don't even ask, Fleur .The clouds of failure are gathering.† â€Å"What the hell is it with you depressed guys today? Why do I have to be everyone's goddamned cheering-up committee?† I ordered him to drive to Queen Anne immediately. When he arrived, he was still whining. â€Å"Dana's being really nice to me,† he conceded, â€Å"but nothing intimate. She can't ever come over alone either. She's always got Jody with her or some other CPFV freak. My odds are probably better at getting her sidekicks into bed as a group than ever nailing her. They're all trying to get me to join their cult. I suppose making the gesture can't hurt, but I think I'll see more of her if I pretend to be a hesitant convert. You know, she also asks about you a lot.† â€Å"Like what?† â€Å"Random stuff. Last time she wanted to know how the clothes you bought were working out. What's that about?† â€Å"Not a clue,† I lied. It was ironic, really, because just then Bastien noticed the Victoria's Secret bag still sitting on my counter. My privacy apparently not a concern, he emptied it out and looked through the lingerie with approval. â€Å"You want to try something on?† I asked wryly, noting his scrutiny. â€Å"You always did have good taste.† He held up the black mesh bra and peered at me through it, as though imagining how it would look on. â€Å"Although I still don't know why you buy this stuff. Just shape-shift it.† â€Å"I have a respect for ‘intellectual property.' Whoever designed this deserves their pay.† â€Å"Even if it was constructed by third-world labor?† I made a face. â€Å"Come on, let's get out of here.† â€Å"Where to?† â€Å"A piano bar.† Surprise put his malaise on hold. â€Å"Are those still around?† â€Å"Yup. There's actually a couple of them in Seattle.† In fact, one was even nearby, less than a fifteen-minute walk away. As we went, however, Bastien wouldn't stop worrying about the Dana thing. It drove me crazy. I hated her too, believe me, but I couldn't figure out what was making this such a maniacal obsession for him. Fortunately, the piano bar was just wacky enough to distract him – as I'd hoped it would be. We ate yummy bar food and drank froofy drinks like Midori martinis and Sex on the Beach. Meanwhile, dueling pianists sang everything from Eminem to Barry Manilow. As the evening passed, getting a request played cost more and more money. However, the patrons grew drunker and drunker, so they didn't mind putting the cash down. Knowing this in advance, I had brought a stack of bills, and Bastien and I took great amusement in seeing just how well the piano players could keep up with our increasingly older and more obscure requests. Bastien and I sang along beautifully. Shape-shifting, in addition to so many other benefits, could modify one's voice and vocal cords. The piano players had an astounding knowledge of our requests, and we were so impressed – and drunk – by the end of the night that we gave them a hefty tip. Before we could leave, however, Bastien made me wait to hear one more request. â€Å"I slapped a fifty down with it,† he said. â€Å"They've got to play it soon. I picked it just for you.† â€Å"If it's ‘Superfreak,' I walk,† I warned. He laughed. â€Å"You'll know it when you hear it. It reminded me of you and your writer. â€Å" Sure enough, I immediately knew which song his silly sense of humor had led him to. The smile cracking his face was sort of a giveaway too. Pulling half of me onto his lap, he sang along loudly with Fiona Apple's lyrics: â€Å"I've been a bad, bad girl I've been careless With a delicate man And it's a sad, sad world When a girl will break a boy Just because she can. â€Å" â€Å"You're truly a creature of hell,† I told him, trying to wiggle away. â€Å"You know that, don't you?† â€Å"I just tell it like it is.† He held onto me and kept singing. â€Å"Heaven help me For the way I am Save me from These evil deeds Before I get them done†¦Ã¢â‚¬  When we finally left the bar, both of us laughing and humming, we passed a group of girls even more drunk than us. A few of them gave Bastien open looks of invitation, and I glanced at him expectantly. He shook his head. â€Å"Too easy. Besides, I'd rather go home with you. So to speak.† He walked me back toward my apartment, holding my arm as he had once done when social mores dictated it for anyone of good breeding. The pavement was slick from earlier rain, and a moist chill hung in the air. Not far away, the Space Needle gleamed watchfully above the nearby buildings; it would have Christmas lights on it soon. Bastien tightened his hold on my arm and turned his gaze absentmindedly toward the cloudy sky for a while before looking over at me. † Fleur ,do you want to know why I'm so gung-ho about this Dana business?† I willed myself to sober up, suspecting something big was about to come. â€Å"You mean other than your righteous fury at her?† He smiled gently and looked down at the pavement, watching our feet. â€Å"I'm in trouble. Big trouble.† He sighed. â€Å"You ever heard of a demon named Barton?† â€Å"No. Should I have?† â€Å"Maybe. He works in Chicago. Very high up. Very powerful. He's one of those who expects ‘favors' from his staff.† I nodded in understanding. It was one of the occupational hazards succubi and incubi faced, and probably something else Seth would be happier not knowing about. As workers in the sex industry, so to speak, our demonic supervisors often thought we wouldn't mind one more â€Å"customer.† Many saw it as our duty. Whatever his other failings, Jerome at least had never demanded anything of that nature from me. â€Å"So†¦anyway, Barton has this succubus named Alessandra. Relatively new. You know, a century or so. Beautiful. She has as good an eye for exquisite physical detail as you. And she's bright. Wicked sense of humor. Outgoing.† I stared at him in astonishment. â€Å"Are you in love, Bastien?† â€Å"No, but I was – am – very attracted to her. Hard not to be. We got to know each other, and well, one thing sort of led to another†¦Ã¢â‚¬  â€Å"As it often does with you.† â€Å"Yes,† he admitted ruefully. â€Å"But let me tell you, it was amazing. That woman†¦wow.† â€Å"So how are you in trouble?† â€Å"Well, the thing is, Barton's kind of possessive about his people. He expected Alessandra's body to be exclusively for his use – mortal business aside, of course.† â€Å"And he found out?† â€Å"Yes. He turned unbelievably jealous.† Contempt filled Bastien's voice. â€Å"Stupid emotion for our kind. Of course, demon or no, I suppose he might have had reason to feel insecure knowing his girlfriend had been with a sex-master like myself. I mean, once you go Bastien†¦Ã¢â‚¬  â€Å"Keep telling the story, ego-master. What happened?† â€Å"Well†¦to say he was pissed off would be an understatement. Honestly, I don't think I'd be enjoying your lovely company today if Janelle hadn't done some serious intervening.† Janelle was Bastien's archdemoness in Detroit. â€Å"But mostly she just protected me from physical torture. Everything else is a mess. My career is in shambles. Barton has powerful friends, and Janelle's made it clear she's not going to cover my ass anymore.† We had reached my building and stood outside it now. He ran a hand through his dark curls, face suddenly weary. â€Å"I'm on everyone's shit list all of a sudden. Plans are already in motion to transfer me somewhere else, and I know it's going to be horrific. Like Guam. Or Omaha. That's why I need this Dana thing. A big hit like this – a public humiliation for the other side. It'll put me on top again. They won't be able to punish me, not if I've got a takedown like that on my record.† I started to understand his obsession with the radio host. â€Å"But the takedown isn't exactly taking.† â€Å"I don't know what else to do. I've tried all the old tricks, all the textbook moves plus a few exclusive Bastien moves. None of it's working.† I reached out to him. â€Å"You might have to accept that she's got a strong will,Bas.It happens.† â€Å"I know.† He sounded so miserable, it broke my heart. â€Å"Hey, come on. Don't give up the fight yet. I taught you everything you know, remember? We'll find a way out of this. We'll get that wench wet yet.† He laughed and brushed a finger against my cheek. â€Å"You always make me feel better when I'm around you, you know that? It's one of the wonderful things about you. That and – if the rumors are true – your mouth. â€Å" â€Å"The rumors are true, and I'm going to help you with this, you'll see. Besides, nothing else works on her, there's always hard liquor, right?† â€Å"Ah yes, the old standby.† He hugged me tightly and kissed each cheek. â€Å"Good night, my sweet. Thanks for a lovely evening.† I kissed him back. â€Å"Anytime.† I had my hand on the door handle when I thought of something. â€Å"Hey, Bastien?† He turned from where he'd been walking away down the sidewalk. â€Å"Yes?† â€Å"Why'd you do it?† â€Å"Do what?† â€Å"Alessandra. You must have known how Barton felt about her, right?† â€Å"I did.† â€Å"So why risk it?† He looked at me like he could scarcely believe I had to ask. â€Å"Because I could. Because she was beautiful and wonderful and I wanted her.† I knew better than to argue with that. It was textbook incubus logic. Smiling, I went inside.