Abstract
"The Rise of Silas Lapham" by W.D. Howells is a story of a man's moral development from a time in life dictated by the pursuit of material and selfish desires, to one that is guided by the dictates of a morally sound conscience. This paper argues that, although Silas Lapham is a flawed human being, he is a true hero because, ultimately, he is able to face up to his mistakes and realize that morality lies in decisions that are guided by the interests of humanity rather than the individual.

From the Paper
"Faced with the awkward realization that Tom and Penelope love each other, and not Tom and Irene as they had hoped, the Laphams are initially at a loss as to how they should deal with the problem. This is when Silas realizes the larger principle of happiness and welfare - a realization that is confirmed by Sewell, the minister. As a result, Lapham endorses Tom and Penelope's union so that two people could be happy instead of a marriage that would ultimately cause unhappiness for all the parties involved."

Tags:Bartley, Beacon, Street, Tom, Corey, conscience

Abstract
The Irish National Theater, established by W.B. Yeats, Lady Gregory, and others in 1897, sought to establish a theater that was distinctly Irish. This paper focuses on one of Lady Gregory's plays presented in the theater, "Spreading the News," which sought to debunk the drunken 'Irish Paddy' stereotype. A brief examination of "Spreading the News" shows how its author fulfills the Irish Theater's ambition of reinventing the way Irish people are perceived and treated on the stage.

From the Paper
"Instead the Irish are characterized as backward, religiously superstitious, poor peasants with no education who speak an Irish-English dialect. Lady Gregory's play Spreading the News (1904) is a case in point. Gregory's characters are not noble, idealized figures. Rather, Gregory seems to perpetuate the stereotype of the comical, "blarney-speaking" country rube (Watt 23). But Gregory's characterization is not intended to make over or whitewash the Irish peasant. Her aim is to show the reality of the Irish people, deconstruct the way Irish characters are represented in the theatre, and celebrate their Irishness."

Tags:Jack, Bartley, Tarpey

Abstract
This paper analyzes the structural symmetry of the opening and closing scenes in "The Rise of Silas Lapham" by William Dean Howells in order to demonstrate the moral change that Silas Lapham has undergone. The author uses the opening and closing interviews to explore the deeper aspects of Silas' morality and identity. The author also makes use of various critical reviews.

From the Paper
"The structural symmetry, which appears in the opening and closing scenes in The Rise of Silas Lapham, provides a lens through which the true transformation of Silas Lapham can be viewed. The two scenes, which both involve an interview with Colonel Lapham concerning his "solidity," mirror each other in order to demonstrate the moral change that Silas has undergone. The novel is an exchange between beginnings and endings, for Silas must eventually fall in order to rise. The financial risen but morally fallen man portrayed in the opening interview becomes the morally risen but financially fallen man in the closing interview. Thus, as Wai-Chee Dimock states in , "The Economy of Pain," "What makes Lapham's fictive trajectory possible" is a crucial and animating process of exchange: an exchange between beginnings and endings, between what he starts out with and what he ends up with" (Dimock 82-83). Given this perspective, it is then essential to analyze Lapham's transformation through the parallel exchange between the opening and closing scenes."

Tags:bartley, dean, howells, hubbard, lapham, reverend, rise, sewell, silas, william