The management approach of the Compstat model

The management approach of the Compstat model The police department of New York has integrated the Compstat model, which is a management approach that uses computer technology to follow up crime occurrences and help police officers identify the areas that are most vulnerable to criminal activities. At the same time, the model is useful in examining current crime patterns, and aims at maximizing resources available to the police officers in their fight against crime. According to Vito, Walsh, Kunselman (2004), Compstat (Computerized Statistics) is a goal orientated strategic management process that uses information technology, operational strategy, and managerial accountability to control crime and police neighborhoods, (p.1). There are four main principles of the Compstat model. The first one outlines the need for the police to obtain in good time, correct information on crime occurrences. In this case, police personnel perform crime analysis, that is, they identify the nature of the crime, the offender, the time of offense, and how the offender intends to carry it out. To achieve this, police personnel write reports on a weekly basis, giving statistical information on the arrests and summons they have made during the week, complaints they have received from the public concerning crime, crucial cases and the crime trends they have observed. The head of the Compstat Unit is in charge of receiving the weekly reports and saving them in a database. With the help of these reports, police officers can make comparisons between trends in crime and identify similarities as well as differences, and the most appropriate strategies to address these. The second element requires that the police employ workable strategies based on the intelligence they have, to prevent and solve crimes. In this instance, they identify which crimes and crime zones need quick intervention and make these their priority. At the same time, the police assess the available strategies in terms of their short and long-term effectiveness, as well as involve other groups, which are not necessarily police agencies. For instance, they involve religious, educational institutions, entrepreneurs, local government authorities and the community. The third element prescribes fast mobilization of material, financial and personnel resources to counter the crime patterns. This is because; the model can identify potential crime situations in an area, even before the residents alert the police on their suspicions. The fourth element demands progressive appraisal of police personnel, departments, and material resources in order to ensure that crime trends reduce. Performan ce appraisals are possible through reports that capture the profiles of each commander of police and these enable the other police officers to compare their own performance with that of their heads. With correct implementation, the Compstat approach can aid government authorities to assess police departments and check for the improper use of material and financial resources, as well as poor performance. The other two principles of the Compstat model require that the police operate on clear objectives in their fight against crime and each officer is responsible for the overall success of the police force in reducing crime rates. The members of the police force should be aware of the goals they intend to achieve and these must at the same time, be attainable within the stipulated period. Goals dictate the rating of the performance of police personnel, depending on whether they have achieved them. The chief as well as the commanders of various police agencies therefore have the responsibility of communicating clear and precise instructions to their subjects, in order to ensure that the latter achieve the desired performance. This explains why there is need for regular briefs among the police force in order to equip them with the necessary information on what their leaders expect of them. On a short-term basis, the Compstat model aims at reducing crime rates, while its long-term objective is to create a permanent change in the community and improve peoples lives by ensuring a safe environment. The measures to assess the effectiveness of the model on short-term basis would include examining weekly reports on the crimes occurring, in order to establish whether there are fewer or more offenses each day. Long-term effectiveness measures would involve the analysis of crime trends over a period such as a number of years, in order to establish whether the crime rates have gone down. At the same time, the weekly meetings to review crime reports provide forums to assess whether the police departments are making progress in reducing crime rates. These meetings on performance appraisal of police personnel serve both the immediate and long-term goals of the Compstat model. This is because if appraisals indicate that, some of the members of the force are not successful in reducing crime over a given period, the chief may take action such as re-training, retrenchment, or shifting to another department. The model is advantageous in that it promotes a consultative process in decision-making. It enhances intelligence sharing among the police officers and departments, accountability as well as coordination and a team spirit. This is possible through the meetings involving all levels of management. In addition, seeks to enable the police maximize the available resources in their fight against crime. Moreover, holding every member of the force accountable for its success in fighting crime ensures that each plays his or her role, and that there is no blame game when results are not forthcoming. In addition, ensuring timely and correct information on potential crime zones enables the police to act swiftly to prevent criminal activities. This is because; they are aware of what is happening on the ground. At the same time, they are able to develop the right strategies and response to the crime trends they have already identified. This increases their chances of success rather than in cases where they act after crisis. The Compstat approach to management promotes the belief that the police force is able to lower crime rates through employing the right strategies. Promoting continuous performance appraisal based on weekly reports enables the police force to establish its strengths and weaknesses. Moreover, it allows police to involve the community and other stakeholders in the fight against crime. This shows that the police are not working alone and are committed to ensuring a safe environment for all. On the other hand, the Compstat model has some disadvantages. One limitation of this model is that it is difficult to assess its success. When crime rates reduce, it is hard for police officers to attribute this phenomenon only to the model. On the other hand, when the crime rates stagnate or increase, it is difficult to tell whether failure lies only in the implementation of the models principles. Moreover, the Compstat model is susceptible to manipulation by police officers. For instance, due to pressure to reduce crime rates, they may fail to keep reports of crimes in order to give a false impression of less crime occurrences in a given area. At the same time, police officers may use their subjective judgments to declare some crimes as minor, and therefore of less significance, in order to reduce the statistics on the major crimes. This sort of manipulation of statistics will therefore give a false impression of progress in reduction of significant crimes. Similarly, communities whose crime rate reports show that the police have made progress in averting crimes, will receive less financial, material and personnel resources than those where the crime rates are still high. In case these reports are false, this implies that such communities will suffer more from crime because the police will attend to them less. In addition, since evaluation of the performance of police personnel depends largely on the crime rate reports, members of the force are likely to manipulate these, in order to give a false impression of their success in fighting crime. Consequently, the performance appraisals will be faulty, given that their bases are not accurate. At the same time, there is a possibility of awarding ineffective police personnel, rather than those who deserve merit. This is because the ineffective members can manipulate c rime reports to favor them, and they will get acknowledgment. As part of the implementation of the Compstat model, the chief of police will have to take other measures. These include having the current police force undergo refresher courses on crime prevention and at the same time, recruit, and train new officers in order to have sufficient and qualified personnel to serve the community. Police officers will also require training on the Compstat model in order to understand its functioning and crime analysis so that they are able to filter intelligence in an accurate manner. In this case, the chief will need to seek budgetary support from the government and non-governmental organizations. Apart from monetary aid, the chief will require the government to see to it that unemployment rates reduce through the creation of jobs. This is because crime rates tend to increase with high unemployment rates, as people have to find ways to feed themselves and their families. If they do not have jobs, they are likely to engage in criminal behavior such as th eft and murder in order to earn a living. Another intervention required will be the integration of other police departments, such as traffic police, crime detectives, and forensic experts into the crime prevention department. This will assist in spreading crime prevention to other areas and increase the scope of operation of the model. At the same time, the chief will need to appoint commanders at different levels in order to ensure that there is decentralization of the decision-making process. He will also create meeting rooms to allow for roundtable discussion sessions, as these are more likely to enhance the participation of all the police personnel in decisions concerning strategies to fight crime. Moreover, the chief will have to lay down the protocols that his officers will follow in the convening of briefings and other meetings as well as reporting procedures. This will ensure that there is no conflict in the lines of command because the police officers will be aware of to whom they should report. Since the Compstat model requires the use of technology, the chief will need to see to it that the police department has sufficient computer equipment as well as the necessary software programs such as systems to aid in identifying crime-prone areas, and databases to record crime occurrences. At the same time, a police website may be necessary to enhance community policing. This will enable the flow of information on crime rates from the public to the police, as well as reports from the latter to the community. In addition, the chief will need to ensure that the police officers clear any pending warrants of arrest and make the community aware that the force will not tolerate even the minor crimes. In this case, the chief will need to organize the force to carry out awareness initiatives among themselves and in the community. In conclusion, the chief can still adopt the Compstat model and modify it to suit the needs of his police department. He does not have to copy the model of the New York police department, because the situational needs of his department and that of the former are likely to be different. This is because the approach outlines only the basic principles of management that the police force and other organizations need to follow to achieve the intended objectives. Its intent is to serve as a guide to managerial principles and not to provide a dogmatic approach to the running of organizations. The model is therefore flexible, and police personnel can adopt different strategies to fight crime, based on the needs of the community they are serving. According to the models principles, they will only need to ensure that they choose strategies that are efficient for the crimes they target. Consequently, the model is suitable and can work even in small law enforcement agencies.

Comparing and Contrasting the Novel and Movie Version of The Grapes of

Comparing and Contrasting the Novel and Movie Version of The Grapes of Wrath John Steinbeck wrote the The Grapes of Wrath in 1939 to rouse its readers against those who were responsible for keeping the American people in poverty. The Grapes of Wrath tells the story of the Joad family, migrant farmers from Oklahoma traveling to California in search of an illusion of prosperity. The novel's strong stance stirred up much controversy, as it was often called Communist propaganda, and banned from schools due to its vulgar language. However, Steinbeck's novel is considered to be his greatest work. It won the Pulitzer Prize, and later became an Academy Award winning movie in 1940. The novel and the movie are both considered to be wonderful masterpieces, epitomizing the art of filmmaking and novel-writing. Although both the novel and movie form of Steinbeck's The Grapes of Wrath are considered to be American classics, the novel provides a deeper understanding of the story's time and meaning. Absent from the film, the novel's interchapters provide a greater understanding of the time in which The Grapes of Wrath takes place. First, in the movie it is unclear why the Joads are forced to abandon their farm. It is described very briefly by Muley Graves, leaving the audience in a state of confusion. However, in the novel, Chapter 5 explains exactly why the farmers are forced to leave. In this interchapter, Steinbeck uses a dialogue between a farmer and a representative from a bank; the farmer is forced to leave because the bank, or the"Monster" as Steinbeck says, needs to make a profit, and if the farmer cannot produce any goods to pay off debts, then the bank forecloses the land. This happened to many farmers in the 1930's due to a dr... ...h provides a more sensational experience than the movie. The novel gives the reader a complete feeling of the time period. It describes in every detail the situation of the Joads, as well as other farming families forced to be refugees from their homeland. On the contrary, the film leaves the reader questioning as to what exactly is happening in America in the 1930's. The novel enthralls the reader with its beautiful descriptions of the setting, and its deep symbolism. On the other hand, the film is barren, dry of symbolism and color. The movie is focused solely on the plot, depriving the audience of Steinbeck's unbelievable writing skills. Despite the fact that both the movie and novel form of Steinbeck's Grapes of Wrath are viewed as American classics, the movie is almost insufferable when compared to the wonderful masterpiece in the novel form of Grapes of Wrath.

Euthanasia in Oregon Essay -- Argumentative Persuasive Argument Essays

Euthanasia in Oregon Oregon is currently the only state that gives the terminally ill the right to decide how and when they want to die. This is known as â€Å"Oregon’s Death with Dignity Act† which lets ill, competent patients, who have less than six months to live, choose their preferred lethal dose of medication after they confer with two doctors. Since this right is present in only one state, it causes controversy. David Sarasohn in â€Å"No Last Rights† discusses Attorney General John Ashcroft’s challenge to the 1997 Supreme Court decision, which gave doctors in Oregon the right to prescribe federally controlled substances intended to euthanize. Ken MacQueen in â€Å"Choosing Suicide† reflects on various cases of euthanasia, differences in lawmaking on euthanasia between Canada and Oregon, and illegal acts of euthanasia. Sarasohn begins his article by acknowledging how Ashcroft valiantly takes the task of confronting the voters of Oregon to contemplate euthasasia during a week when anthrax and 9/11 were pressing issues for Ashcroft. In the article, Ashcroft states how using federally controlled substances, for the purposes of assisting suicide, violates the Controlled Substances Act (Sarasohn 8). The author states broadly how Ashcroft throws out the Oregon euthanasia law, not specifying the effect his challenge had on the law. It is important to note that Ashcroft’s reversal of the 1997 Supreme Court ruling does not prohibit medically assisted suicide in Oregon. However, it does forbid the usage of federally controlled drugs to kill a patient. The conclusion of the article talks about the Bush administration commending the decision and how Ashcroft sent out a DEA administrator to implement the new ... ... of his explanations are unclear and vague, making the reader want to do additional research on the subject. Sarasohn’s article is extremely concise and it relies on many, elaborate quotes without much evidence provided by him. This drastically affects his credibility. On the other hand, Ken MacQueen’s â€Å"Choosing Suicide† presents the reader with a much more upbeat and detailed outlook on Oregon’s law. He sums up Ashcroft’s effect on the law in a few sentences while focusing on other important aspects of the concern. In the end, these articles entice the reader into wondering if Oregon state law on euthanasia serves as a model to the rest of the nation or as a poison to medicine. Works Cited MacQueen, Ken. â€Å"Choosing Suicide† Maclean’s v. 115 no31 (August 5 2002) p. 40-1    Sarasohn, David. â€Å"No Last Rights† The Nation v.273 no19 (December 10 2001) p. 8

Nursing careplan

Care plan: Spiritual Distress Nursing Diagnosis: Â  Spiritual Distress (potential for) relating to separation from religious and spiritual ties. Goal #1 Client will feel the need for a minister or priest. Nursing Rx 1a.Arrange for ministers or priests to visit the client. 1b. Encourage the client to express his/her feelings to the clergy in privacy. 1c.Request the clergy to give a spiritually encouraging talk to the client. 1d. Provide the client with religious books or objects that would make them feel more oriented towards religion or spirituality Goal #2 In a multi-cultural or multi-religion society, a client may feel that his/her religion is dying. In other words, the client may feel that a lot of people are embracing other religions. Nursing Rx 2a. Listen patiently to the client. 2b.Encourage the client to express his feelings. 2c.Help the client to make a list of the important aspects and the favorite practices of his/her religion. 2d.Assist the client in making a plan to make people embrace his/her religion so that they feel better. Goal #3 Client may feel the inability to perform the daily rites. Nursing Rx 3a. Provide the client with religious books and objects that will be comforting. 3b. Offer to read the religious books. 3c. Encourage the client to talk about his/her religion and the practices followed. Goal #4 Client may feel that he/she is worthlessness (due to hospitalization) and this may lead to spiritual disorientation. Nursing Rx 4a. Encourage the client to do small tasks that are possible. 4b. Prepare a plan with short-term goals. 4c. Comfort the client by reiterating the sense of worth and the accomplishments they have made during their life-time. 4d. Discuss with the clients the feelings of his hopelessness. 4e. Provide client with physical outlets to vent out their tensions. 4f. Encourage the client to have a positive outlook towards life. Goal #5 Clients may feel lonely and this may lead to spiritual disorientation. Nursing Rx 5a. Request family members and friends to visit the client regularly. 5b. Hold client’s hand if he/she is comfortable with touch. 5c.Interact verbally with the client a lot. 5d. Encourage client to talk to other clients if it is possible. Goal #6 Some clients may have been directly affected by Vietnamese war and this could lead to spiritual distress. Nursing Rx 6a. Assure the client that it is peace time and talk about the positive aspects of life. 6b. Help the client to overcome the feelings of being affected in the war. 6c. Encourage the clients to talk about their accomplishments and their goals in life. Goal #7 Client may point out the disturbances in the religion or the rituals or practices that he/she is opposed to in the religion. Nursing Rx 7a. Assist the client to make a list of important and unimportant aspects of his/her religion. 7b. Acknowledge the opposition of client to certain religious practices and rituals. 7c.Encourage the client to focus on the positive aspects of his/her religion.

Hamlet and Relationships Essay

Relationships are a driving force in society and there is no place where this is seen better than in Hamlet by William Shakespeare. Hamlet is the Prince of Denmark and he has recently lost his father. He is the next in line to the crown, but for some reason he has not obtained it. Hamlet is a tragic figure from the start, but it is his attempt to relate to others that makes him even more tragic. Hamlet has a detestable relationship with King Claudius, his father’s successor. Claudius is Hamlet’s uncle and he has married Hamlet’s mother. Hamlet’s rapport with Claudius is openly hostile, yet he refuses to stand up to him. Even though Claudius is Hamlet’s major antagonist, he acts as if he cares about Hamlet in public while Hamlet does not hide his repulsion of the new king. He does not challenge him with his charges murder, information he obtained from his father’s ghost, and adultery, but instead he plots to allow Claudius tell on himself. Hamlet has the opposite relationship with his father’s ghost. While he shows nothing by disdain for Claudius, he shows his father respect and admiration. He heeds his father advice about revenging his death while not seeking revenge upon his mother, Queen Gertrude. There is an obvious love and affection in the relationship between Prince Hamlet and the ghost of King Hamlet because they obviously miss each other from the tenderness in which they speak to each other. The ghost also trust Prince Hamlet with the information and the instructions of what he wants done to King Claudius. It is also obvious that Prince Hamlet completely trust his father because he does not even question the validity of the facts surrounding his death. Hamlet displays his complex personality in the relationships that he has with the different characters in the play. He can be openly cruel and disrespectful to those who he finds contemptible and yet completely loyal and loving to those whom he cares about.

How to Read like a Professor

Blake Allen How to Read Literature like a Professor Foster Allen Introduction memory symbol pattern These basic examples of literary analysis can be found in most literature from Lice's Adventures in Wonderland to Paper town. Every Trip is a Quest â€Å"a sequester, a place to go, a stated reason, challenges and trials en route, and a real reason† real reason is always self-knowledge In Romeo and Juliet, Romeo goes to the Caplet party because his friends dragged him along but the real reason was so that he could meet Juliet. Nice to eat with you â€Å"whenever people eat or drink together, it's communion† nominally of everyone is food †¦ ND death/life In The Great Gatsby when Tom Buchanan takes Nick Caraway out to drink with his friends, we learn just how pubic Tom's life really is. Nice to eat You Vampires: selfishness, exploitation, a refusal to respect the autonomy of other people Ghosts and vampires are never only about ghosts and vampires older figure represen ting corrupt values; virginal female; strapping her youth, energy, virtue; continuance of life for the old male; death/destruction of female In The Scarlet Letter, Roger Chlorinating can be considered a vampire haunting Hester.He wants revenge for his wife's betrayal. He is a scholar and uses his knowledge to disguise himself as a doctor, intent on discovering and tormenting Hester anonymous lover instead of revealing himself for years. Where have I seen Her Before â€Å"there's no such thing as a wholly original work of literature† â€Å"there's only one story† Character's must be great in their own right before being compared to more famous characters I connect Jane Ere to Hester from The Scarlet Letter because while both Characters can stand tall on their own they desire a man to stand with them and for them.It's from Shakespeare Even in just everyday speech we use Shakespeare- â€Å"To thin own self be true† sounds smarter, gives authority In the film  "Band of Brothers† the Saint Crisping Day Speech from Henry V becomes the inspiration for the squad to carry on. â€Å"We few, we happy few, we band of brothers† Or The Bible Innocence, The Fall, serpents, apples, gardens,†¦ Timelessness, archetypal In Everlasting Tuck there are several times when a character is led only by a mysterious fire in the distance much like the Israelites were led in the exodus of Egypt.Handled and Graduated Kid stories build the basis of our themes Their usually about morals Sleeping Beauty can be interpreted to mean a girl avoiding growing up by sleeping until a prince comes to â€Å"rescue† her from childhood. It's Greek to Me myth is a body of story that matters-patterns common to usual life Johnny Terrain, a character set after Paul Revere, had an â€Å"Achilles heal† that has crippled so many characters and people alike; Fear. Even when a trust- worthy doctor offers to fix his injured hand, he is too afraid to admit th e truth of how he injured himself.More than Just Rain It's never just rain-cleansing, death, rebirth, desolation, replenishment†¦ Jane Ere is always the personification of the weather, whether its a cloudy foreshadowing or a red dawn behind a burning castle. Never Stand Next to the Hero action always leads to change-grow, learn, mature Characters are not people†¦ They are products of writers and readers imagination Charge of the Light Brigade depicts a loyal brigade that, even when it is clear that they are going to die, give their lives when their leader is given a mistaken order to charge on. .. More than It's Ghana Hurt You Character caused-shooting, stabbing, bombing†¦ (moves plot) Author caused-meaning behind shooting stabbing†¦ Meaning behind) When Jeanie has to shoot Tea Cake in Their eyes were Watching God she waited until he tried to shoot her four times, as the first three were blanks it didn't entirely set in too her that it was her life or Tea Cakes a nd the fact that she waited for the fourth shot may have meant she wanted to die with tea cake then live without him.It's All Political Political writing-writing that engages the realities of its world A Christmas Carol and Oliver Twist are strong examples of the depiction of the need for public services in 1 sass England She's a Christ figure, too mounded hands, feet, side, self-sacrifice, good with children, carpenter, forgiving, redeemer†¦ Gangland in Lord of the Rings can be a Christ figure because he scarifies himself with his arms out stretched to save the world from the wrath of Sorry and is resurrected to continue to help Bilbo Basins destroy the ring.Flights of Fancy Flight is Freedom irony trumps everything In the The myth of Deals and Cirrus, Deals made wings for himself and his son but his sun flew to high and was burnt up by the sun, Apollo, then he fell into the ocean. It's All about Sex.. Nothing isn't a sex implication In Jane Ere she is often depicted in relati on to wide rolling landscapes while inside the tall towering castle of Edward Rochester. †¦Except Sex Sex is about pleasure, love, sacrifice, and/or submission When Jeanie first discovers sex under the pear tree feels sets a standard of love for the rest of her life and compares all men to her first time Geography matters†¦ Where? -location in relation to hills, valleys, chasms, mountains, seas, islands, people, north, south, east, west space taken up or empty when writers send characters south, it's So they can run amok The location OfGenie's home throughout the book gives a relation of how society saw her status; the average life at nanny's and Logan Clicks were ground level homes, at Judo's, her room was on the second story of her home so that even when she slept she was above the townspeople, and with Tea Cake she was below sea-level as she and tea cake didn't own anything. †¦So Does Season New life, adulthood, harvest, death spring, summer, fall, winter In Jane E re, the â€Å"death-white realms† of the arctic that Beck describes is death to a girl aching for freedom Marked for Greatness When a character is flawed, physically or otherwise, it is often a mark that will lead to fame even if it's in infamy. Cackles heal, perhaps the most well known flaw of Greek tragedy, caused the sudden, dramatic downfall of one of the greatest heroes of literature.He's blind for a reason mammalian Jones principle': if you want your audience to know something important about your character, introduce it early/' A character may chose to ignore or may be ignorant of clearly known facts to the reader: this is blindness Jeanie forces herself to not see the sickness Tea Cake has until he rises to shot her the fourth time and she knows that she cannot ignore that life is really threatened. It's Never Just a Heart Disease Illness is usually a physical manifestation of inner struggle or pain. 1. Not all diseases are equal 2. It should be picturesque 3. Hysteri cs origin 4. Strong symbolical potential On his death bed, Joe Starks says he did everything he did for Jeanie so that when he was gone she would inherit all he obtain so that she could sit the â€Å"high-throne† he built for her even after his death. Don't Read With Your Eyes Analyze with your brain, read through their eyes; see what they see and know hat you know Can this person be saved In Shakespearean Romeo and Juliet, when both Romeo and Juliet see that their respective lover is dead they both personally decide that life sin ‘t worth the living.This is a particular contrast in Romeo, as at the beginning, Romeo was in deep grief over another girl but not to the point of suicide. It's my Symbol and I'll cry if I Want too use what you know, every work teaches us how to read it as we go along, you know more than you think you do Everything is a symbol In Animal Farm there is symbolism in the windmill. The windmill represents the exploitation of the dim-witted animals by the pigs.As the pigs feast, learn, and keep warm most of the animals are starving, have given up on learning and are freezing but never do they question the pigs because when they complete the mill they will have all of that. Is He Serious? And Other Ironies irony gives a second, third†¦. Layer to text irony may not work for everyone: some miss it The irony of Animal Farm is that, though the animals had revolted due to unfair treatment by humans, in the end the majority were worse off than ever before.

Compare and contrast Act One and Act Two Essay

Throughout act one and act two, there is a huge amount of drama, comedy and sarcasm. Combining to form a carefully formed section of this immensely funny play. In these two acts there are examples of; love, arguments, deceit, ‘death’ and engagement; all this within the space of two days in the lives of young aristocrats. In act one; the scene is set in the â€Å"morning-room in Algernon’s flat in Half-moon Street. The room is luxuriously and artistically furnished†, immediately displaying Algernon’s extravagant nature. In Act two, the scene is set in the â€Å"garden at the Manor House. A flight of grey stone steps leads up to the house. The garden, an old-fashioned one, is full of roses. Basket chairs, and a table covered with books, are set under a large yew-tree†. The obvious differences in the scene settings is due to the fact hat act one is set in the town and act two is set in the country. Compared to Algernon’s â€Å"artistically furnished† flat, the country house appears to be much more contemporary, with a much calmer atmosphere. In act one, there are many introductions of the characters. Algernon, Jack, Lady Bracknell, Gwendolen and Lane are all revealed to the audience. The events throughout the scene result in, for almost everyone a smile, or even a giggle due to the blunt and sarcastic nature of the characters. The first conversation in act one is between Algernon and Lane; his butler. The relationship between these two characters goes against the audience’s expectations; they appear to be of equal status, not as a relationship should be between an upper class aristocrat and his butler in that time. In this conversation, Algernon is immediately portrayed as arrogant and cynical; and Lane is seen as sly and subversive. Lane then exits and Jack comes into the room. Jack is portrayed as much more withdrawn then Algernon; he is also not as arrogant and cynical. The conversations between Jack and Algernon are always humorous, because they are always so childish and they talk about such pointless things, never about everyday conversational topics such as money and work. Their conversations are always decorated with epigrams and repartees, making them enjoyable to read and watch. This argumentative relationship between Jack and Algernon is maintained throughout act one and act two. It will be humorous to the audience that Jack and Algernon argue so much, but yet they are still friends (or brothers as revealed in act three). There is a certain amount if irony and humour in this dialogue. The irony is that in act one, especially in this conversation, Algernon is very cynical about love and marriage, but by the end if act two, he is in love with Cicily and engaged to be married, therefore contradicting all his previous beliefs. The humour in this conversation is, for example [JACK puts out his hand to take a sandwich. ALGERNON at once interferes] then Algernon says, â€Å"please don’t touch the cucumber sandwiches. They are ordered specially for Aunt Augusta†, he then [takes one and eats it]. This is comical because Algernon has just gone against what he has just said, but he doesn’t seem embarrassed by it at all. Lady Bracknell and Gwendolen interrupt in the middle to Algernon’s argument over Jack’s cigarette case and his imaginary brother ‘Ernest’. Throughout acpt one and act two, Lady Bracknell is portrayed as a very superficial woman whose only joy in life is to have dinner parties and a high social status; she is very cynical about her society. Gwendolen, her daughter and Algernon’s cousin is very much her mother’s daughter, although she refuses to believe it and Jack is blind to it. Gwendolen is a very manipulative woman and always seems to want to find new things to annoy her mother, [to Jack] â€Å"And I often wish that in public, at any rate, you had been more demonstrative† she said this because she knew that it would annoy her mother immensely. She also hates to be wrong and tries hard to prevent this from happening, making her seem sometimes overbearingly arrogant. Lady Bracknell and Algernon go into the music room, leaving Jack and Gwendolen alone together. Jack breaks the silence by commenting on the weather; which is quickly dismissed by Gwendolen as an obvious excuse to talk about something else. There is an immediate example of humour at the beginning of this conversation because Jack addresses Gwendolen as Miss Fairfax, and she calls him Mr Worthing when Jack is planning to propose to her. Gwendolen is immediately a completely different person around Jack then she was around Lady Bracknell. She becomes very dominant, and also arrogant, † I thought so, in fact I am never wrong†. Jack seems very nervous around Gwendolen and uses more naturalistic language then the other characters, for example pauses and hesitation. Jack’s speech is mostly not as fluent as the other characters; his nervous behaviour is very similar to Algernon’s attitude around Cecily in Act Two. After much hesitation, Jack confesses his true feelings to Gwendolen; she then says unexpectedly, † Yes, I am quite aware of the fact†, creating a comic effect. Jack then stares at her in amazement while Gwendolen informs him â€Å"even before I met you I was far from indifferent to you†; this in itself will completely go against the audience’s expectations and produces a comic effect because, obviously, you cannot actually love someone before you have met them. She then produces a sense of dramatic irony by telling Jack that really the only reason that she loves him is because of his name-Ernest (which, at the time wasn’t really his name at all). The mode of address changes at this point, Jack and Gwendolen start to call each other by their first names. Jack also asks Gwendolen if she would still love him if his name was Jack; in response to this, she states, very confidently â€Å"I have known several Jacks, and they all, without exception, were more than usually plain. Besides, Jack is a notorious domesticity for John! And I pity any women who is married to a man called John†. This again is dramatic irony, because the audience know that Jack is actually his real name at this point in the play. Jack then proposes to Gwendolen†¦although Gwendolen actually accepts before he has even asked. Almost immediately after Gwendolen had accepted Jack’s proposal, Lady Bracknell interrupts them, presenting a comic effect because Gwendolen had said before that her mother always comes into the room at the most awkward of moments. Gwendolen informs her mother that she is engaged to Jack. In response to this, Lady Bracknell decides that it is her duty to interview Jack to discover whether or not he is suitable for her â€Å"simple, unspoiled† daughter. The interrogation between Lady Bracknell and Jack produces a huge comic effect on the audience; especially at the beginning when she has a [pencil and notebook in hand ]. Throughout the interview, Lady Bracknell questions Jack about aspects of his personal life, for example; his income, his properties (one of which she was not happy about, but was willing to change), his hobbies, and amusingly whether he knows everything or nothing, she seemed content with Jack’s answer that he knew nothing; stating that, â€Å"Ignorance is like a delicate exotic fruit, touch it and the bloom is gone† – an epigram. Lady Bracknell is very dominating over Jack, much like Gwendolen was in the previous scene. Jack appears very nervous and unsure around her, as if he doesn’t want to say the wrong thing to jeopardise his chances of marrying Gwendolen, this nervousness is shown by his constant hesitation and continuing to tell Lady Bracknell pointless facts in order to prevent an awkward silence. Jacks attitude changes around Lady Bracknell towards the end of Act Three, when he has control over the situation of Cecily’s engagement to Algernon. Jack is more relaxed around Lady Bracknell then because he has something that she wants; therefore he has the upper hand. The interview appeared to be going quite well until Lady Bracknell enquires after Jack’s parents. Jack then confesses to Lady Bracknell that he isn’t actually sure where his parents are because â€Å"the late Mr Thomas Cardew† had found him as a baby in the cloakroom at Victoria Station. Lady Bracknell’s response to Jack’s past is very amusing for the audience, she looks straight at Jack and says, † You can hardly imagine that I and Lord Bracknell would dream of allowing our only daughter – a girl brought up with the utmost care – to marry into a cloakroom, and form an alliance with a parcel. Good morning, Mr Worthing!† She then [sweeps out in majestic indignation ]. Lady Bracknell’s attitude also produces dramatic irony because she finds out later in the play that in fact Jack is her nephew. Algernon comes into the room and immediately comments on Jack’s attempted proposal to Gwendolen, Jack rejects this obvious sarcasm and begins to insult Lady Bracknell by calling her a Gorgon, regardless of the fact that he does not even know what a gorgon is, but he is sure that Lady Bracknell is one. This is humorous because the audience know that there is no such thing as a gorgon, and the fact that Algernon is happy about Jack insulting his aunt also goes against the audience’s expectations. This scene is also comical because Jack cannot see that Gwendolen is a lot like her mother. This dialogue shows Jack’s naive personality in that Algernon is calling Jack a fool, only Algernon and the audience can see it, Jack is completely unaware that Algernon is insulting him. Gwendolen enters and she talks to Jack alone; she asks him the address of his country house where he is going to stay until Monday, and Algernon who is standing in the corner notes down the address on his shirt cuff. There is one particular event that occurs in this scene that is not fully addressed in the play; Algernon’s debts. When Jack and Gwendolen have gone outside, [LANE presents several letters on a salver to ALGERNON. It is to be surmised that they are bills, as ALGERNON, after looking at the envelopes, tears them up. ] Algernon then calls in Lane and informs him that he is going Bunburying. At the end of Act One there is a slight cliff hanger and an example of dramatic irony, [ALGERNON lights a cigarette, reads his shirt cuff and smiles ] the audience knows that Algernon is planning to visit Jack’s country house and see Cecily posing as ‘Ernest’, Jack’s ‘brother’. But Jack does not know this. The Second Act takes place in Jack’s country house. The first scene opens with Miss Prism and Cecily in the garden. Miss Prism is Cecily’s teacher, she believes herself to be very knowledgeable, but she is not very good with her words, and often speaks nonsense, producing a comic effect for the audience. Cecily is shown to be very much like Gwendolen, she appears to be very innocent but she can also be quite arrogant â€Å"but I felt instinctively that you had a headache†. Cecily is obviously educated because she uses more advanced language. Miss Prism is trying to get Cecily to do her German, but Cecily argues that German â€Å"isn’t at all a becoming language. I know perfectly well that I look quite plain after my German lesson†. This shows Cecily to be very influenced by the trends of the time. Dr Chasuble interrupts Cecily’s lesson, and Cecily informs him that Miss Prism has a headache so it will do her good to go for a walk, that way she will be able to get out of her lesson. The relationship between Chasuble and Miss Prism is often used for comedy throughout Act Two and Act Three because it is obvious to the audience that Miss Prism and Chasuble have feelings for each other, but because of the social expectations of the time, they could not display their affection for each other (apart from the fact that neither know that the other has feelings for them). The three of them talk about Jack, and immediately he is seen as a completely different person in the country then he is in the town. In Act one, Jack is seen to be living entirely for pleasure, although he is more serious then Algernon, he does not appear to have any real responsibilities. However, in the country he is shown to be much more serious, and Miss Prism and Cecily do not believe that he has any pleasure or fun in his life. Miss Prism and Chasuble go for a walk together to the schools, leaving Cecily alone to do her work, which she doesn’t even start. At this point, Algernon is introduced to Cecily as Mr Ernest Worthing by the merriman. Cecily was nervous to meet ‘Ernest’ because she had â€Å"never met any really wicked person before. I feel rather frightened. I am ever so afraid he will look just like every one else.† This assumption produces a comic effect because ‘wicked’ people rarely look any different to normal people. When Cecily first meets ‘Ernest’ she is unusually confident and surprises Algernon by her forward manner, and Cecily tells him that Jack is planning to send him off the Australia, Algernon responds to this by saying, † The accounts I have received of Australia and the next world are not particularly encouraging. This world is good enough for me, Cousin Cecily.† This is amusing for the audience because Algernon does not seem very worried that Jack wants to send him to Australia. Algernon then asks Cecily if she will help reform him at the same time as flirting with her; she responds by saying, â€Å"I’m afraid I’ve no time this afternoon†. This has a comic effect because to completely change someone is obviously going to take more than one afternoon. The final comical aspect of this dialogue is when Cecily says; † Oh, I don’t think I would care to catch a sensible man. I shouldn’t know what to talk to him about†. Dr Chasuble and Miss Prism return from their walk just as ‘Ernest’ and Cecily pass into the house. They are talking about Dr Chasuble’s love life, Miss Prism believes that â€Å"men should be more careful; this very celibacy leads weaker vessels astray†, she thinks that Chasuble should get married because that way he would not be a temptation for women. Just as they were wondering where Cecily is, Jack comes into the garden, [dressed in the deepest mourning, with crà ¯Ã‚ ¿Ã‚ ½pe hatband and black gloves ]. He tells Miss Prism and Chasuble of the death of his brother Ernest; this produces dramatic irony because Jack does not know that Algernon has come to the house posing as his brother. The comedy effect for the first part of the scene is Jack’s exaggerated mourning for his ‘dead’ brother. The conversation then leads on to christenings, and Jack displays his wish to be christened, his attitude to christenings is very casual; † Oh, I thought I might trot round at about 5 if that would suit you†. This has a comic effect on the audience because christenings are not supposed to be casual affairs, and do not usually take place for a grown man. Cecily then enters, very excited announcing to Jack, Chasuble, and Miss Prism that Jack’s brother was here; Jack immediately says â€Å"what nonsense! I haven’t got a brother† because according to him ‘Ernest’ had died in Paris of a severe chill. Cecily then returns hand in hand with Algernon; this entrance has a very comical effect on the audience because of the look of sheer horror on Jack’s face when he sees that Algernon is pretending to be Ernest, and he had just made a fool out of himself by saying that his brother had died. But he cannot say anything to Algernon when they were around Cecily, Miss Prism and Chasuble because they would all find out that he had been lying the whole time about his brother and they would not have as much respect for him as they had before. Miss Prism and Chasuble decide then that it would be best that the two ‘brothers’ (a sense of irony there because in act three the audience find out that Algernon and Jack are in fact brothers) were left alone together, and Cecily follows them back into the house. Jack, who cannot believe that Algernon has done such a thing is astounded when the merriman informs him that Algernon’s luggage has been unpacked in the room next to his. Jack immediately orders a dogcart for Algernon, who seems completely oblivious to the fact that Jack has just insulted him. As usual, Jack and Algernon begin to argue, Jack tells Algernon that he does not want him to call Cecily a darling, and Algernon comes up with a childish reply and tells Jack that he does not like his clothes and, that being in mourning for a man who is actually staying at his house is â€Å"grotesque†. Jack tells Algernon that he does not want him staying in his house for a whole week and to this, Algernon replies; â€Å"I certainly won’t leave you so long as you are in mourning. It would be most unfriendly†, completely contradicting what he had said before and producing a comic effect on the audience. Algernon sees Cecily and tells her that he has to leave, she replies, â€Å"It is always painful to part from people who one has known for a very brief space of time. The absence of old friends one can endure with equanimity. But even a momentary separation from anyone to whom one has just been introduced to is almost unbearable†. This goes against the audience’s expectations and produces a comic effect, because usually it would be more difficult to part with someone that you had known for a long time then to part with someone that you had just met. In this scene, Algernon proposes to Cecily, but she informs him that they had actually been engaged for the last three months (only in her head though, producing a comic effect). This is a parallel of events because Cecily claims, like Gwendolen, to have loved Algernon before she had even met him; which is obviously impossible. Another similarity in this scene is when Algernon says to Cecily; â€Å"I have dared to love you wildly, passionately, devotedly, hopelessly†. This utterance does not make any sense because you cannot love someone devotedly and hopelessly at the same time, he is talking nonsense because he is so nervous around Cecily; much the same way that Jack was around Gwendolen in Act One. The final parallel of speech is when Cecily tells ‘Ernest’ that she loves him for his name, like Gwendolen did in Act One, ‘Ernest’ asks Cecily whether she would love him if he was called Algernon, she immediately tells him, like Gwendolen, that she does not like that name, only the name ‘Ernest’ â€Å"inspires absolute confidence†. Algernon almost immediately tells her that he has to â€Å"see him [chasuble] at once on a most important christening – I mean on most important business† Algernon was thinking out loud, like Jack did in Act One. There is a great deal of comedy in this scene, especially from Cecily. The main example is when Cecily tells Algernon of their ‘engagement’. Throughout the three months that Cecily had decided that she was engaged to Jack’s ‘brother’; he had bought her gifts and written her letters. Also, according to Cecily, she had even broken off their engagement once saying that â€Å"It would hardly have been a really serious engagement if it hadn’t been broken off at least once.†. She had even written it in her diary; â€Å"Today I broke off my engagement with Ernest. I feel it is better to do so. The weather still continues charming† this is comical within itself because if someone had broken off their engagement, the last thing they would be thinking about was the weather. Algernon leaves the room to go and see Chasuble, and the merriman announces to Cecily that Miss Fairfax has come to visit, and wishes to see Jack, but because he is busy Cecily invites her in for tea. Almost immediately, Gwendolen tells Cecily; â€Å"I like you already more than I can say. My first impressions of people are never wrong.† This produces a comic effect because you cannot like someone so much when you have just heard his or her name. There is also a slight parallel of speech because in Act One, Gwendolen says â€Å"I am never wrong†, this is similar to what she said to Cecily, this again displays her arrogant nature. Cecily and Gwendolen immediately start to call each other by their first names, however, the atmosphere seems a bit tense. Gwendolen and Cecily talk about Lord Bracknell, and Gwendolen enquires after Cecily’s parents, Cecily tells her that she has â€Å"no mother, nor, in fact, any relations†. Gwendolen seems surprised at this; producing echoes of her mother’s reaction to Jack’s past in Act One. Gwendolen tells Cecily; â€Å"I have liked you ever since I met you†, this produces a comic effect because she hasn’t known Cecily long at all, it also shows how superficial she can be. She also tells Cecily that she â€Å"can’t help expressing a wish you were – well, just a little older than you seem to be – and not quite so alluring in appearance† when informed that she was Mr Worthing’s ward. She then asks Cecily if she may speak truthfully, Cecily knows that Gwendolen is just about to insult her, but she doesn’t seem to care, and she tells her that she wishes that Cecily was 42 and more than usually plain for her age. There is an example of dramatic irony when Gwendolen says; â€Å"disloyalty would be as impossible to him as deception†, this also has a comical effect because the audience know that this is not true, but Gwendolen believes it so much. At this point, the plot begins to unwind; Gwendolen reveals that she was talking about Ernest (Jack) and Cecily tells her that she is not Ernest’s ward, but his older brother’s. Gwendolen asks why Ernest (Jack) had never told her that he had a brother, and Cecily explained that it was because they had not really been on speaking terms. Cecily then tells Gwendolen that she is engaged to be married to Ernest (Algernon). To this Gwendolen [quite politely rising ] says; â€Å"My darling Cecily, I think there must be some slight error. Mr Ernest Worthing (Jack) is engaged to me.† Cecily responds to this by; [very politely rising ] and saying; â€Å"I am afraid you must be under some misconception. Ernest (Algernon) proposed to me exactly ten minutes ago†. She then shows Gwendolen the entry in her diary to prove it, and Gwendolen shows the entry in her diary to prove that Ernest (Jack) had proposed to her the previous day. Gwendolen then states that because Ernest had proposed to her first, she had the prior claim, and Cecily said that this as not true because he had clearly changed his mind. This argument produces a comic effect and a sense of dramatic irony; it is comical because although the two women are very angry with each other, they cannot show their true feelings because it was not seen as lady-like behaviour. The dramatic irony in this dialogue is that the Audience knows that there are actually two people pretending to be Ernest, but Gwendolen and Cecily do not know this. The conversation continues between Cecily and Gwendolen, but they are being sarcastic and spiteful to each other whilst pretending to be polite. An example of this is when Cecily asks Gwendolen if she wants sugar in her tea; Gwendolen says no because â€Å"sugar is not fashionable any more† then [CECILY looks angrily at her, takes the tongs and puts four lumps of sugar into the cup ]. Cecily then asks Gwendolen if she wants cake, or bread and butter, Gwendolen says that she wants bread and butter because â€Å"cake is rarely seen at the best houses nowadays† then Cecily [cuts a very large slice of cake and puts it on the tray ]. Gwendolen becomes very angry at this deliberate attempt to annoy her and tells Cecily; â€Å"From the moment I saw you I distrusted you. I felt that you were false and deceitful. I am never deceived in such matters. My first impressions of people are invariably right†. This produces a comical effect because Gwendolen has just contradicted herself from what she said to Cecily when she first met her, but she still tries to make out that she has been right about her all along. The climax of the play occurs when Jack comes into the room and interrupts Gwendolen and Cecily. Gwendolen embraces him and asks Jack whether he is engaged to Cecily; Jack obviously denies this and Cecily reveals that the â€Å"gentleman whose arm is at present round your waist is my guardian, Mr John Worthing†. Gwendolen says â€Å"Jack! Oh!† and pulls away from him. Algernon then walks into the room, and Cecily asks him if he is engaged to be married to Gwendolen, and he says no. Gwendolen then reveals to Cecily that â€Å"the gentleman who is now embracing you is my cousin, Mr Algernon Moncrieff† Cecily says â€Å"Algernon Moncrieff! Oh!† and pulls away from him. There are two examples of symmetric speech in this section of the scene; the first is when both Jack and Algernon say to Gwendolen and Cecily â€Å"What could have put such an idea into your pretty little head†. The second example is the identical way in which Gwendolen and Cecily reacted to the news that both their fiancà ¯Ã‚ ¿Ã‚ ½s had different names then they had thought. This produces a comic effect because this is the climax of the play, and all of the deceit is being revealed to Gwendolen and Cecily. The relationship between Gwendolen and Cecily drastically changes as [the two girls move towards each other and out their arms round each other’s waists as if for protection. ]. They ask Jack and Algernon if what they have heard is true, they both say that it is, even though â€Å"it is very painful for me [Jack] to be forced to speak the truth†. This confession goes against the audience’s expectations producing a comic effect because normally people may find it painful to tell a lie then to tell the truth. Gwendolen and Cecily decide that they are going to resign to the house because they have just found out that they are both not engaged to anyone, and â€Å"it is not a very pleasant position for a young girl suddenly to find herself in.† Jack and Algernon are left alone in the garden and the girls retire to the house. The last section of Act Two is the conversation between Algernon and Jack. They talk about Gwendolen and Cecily and how they feel about them. However, Jack makes it very clear that he is not sure that Algernon and Cecily will actually marry, and Algernon states that he thinks it very unlikely that Jack and Gwendolen will marry. The conversation soon sways onto the christenings and Algernon advises Jack that; â€Å"If you are not quite sure about your ever being Christened, I must say I think it rather dangerous your venturing on it now. It might make you very unwell†. This produces a comic effect because it is completely impossible that being christened will make you unwell. The Act closes on Jack and Algernon arguing over the muffins that are being served on the table, showing their almost childish relationship. In conclusion, there are many similarities between Act One and Act Two, this could be part of what makes it so comical. The characters have developed the plot up to the climax, there is only the end to be revealed. In Act Three all of the deceit and the mysteries will be solved.