Cordelia, shocked by the first bombshell, numbly accepted that if she had thought her world changed by the death of her mother, it was now to be turned on its head. The next few weeks passed in a surreal blur to Cordelia. She made arrangements to stay with a friend over the summer, and helped her grandfather pack things away for storage and move things to the small apartment at the Happy Acres Assisted Living Care Center, where her grandparents would likely spend the rest of their days.
She job hunted to the best of her abilities, but in a small town they were hard to come by if you wanted anything more than a part time, minimum wage job that lasted longer than a month. After many applications, several interviews, and a brief stint as a secretary's assistant now there was an interesting experience, and one that taught Cordelia to never, ever, ever, go commando at work especially if you worked at a desk….
It was nearing the end of August and the friend she had been living with was getting ready to leave for college. Delia felt bad enough for encroaching on their hospitality for nearly 3 months without paying rent, and now with her friend leaving she knew she couldn't continue on this way. She broached the subject first with her hosts, and though she expected it, it still hurt to see the brief flash of relief cross their faces as she announced she would be leaving after Sierra went to college.
- How stopping breastfeeding changes your body.
- King Lear: Act 5, Scene 3 Translation;
- I Do, Part 2;
- EMLS ():“Have I Caught Thee?”: Cordelia and the Runaway Jesus.
- Through the Eyes of a Cop.
When they asked her where she planned to stay, and if she had a job lined up yet, Delia replied with evasive non-answers and changed the subject. Truth be told, she herself had no idea, and in between odd jobs and job interviews, much of her time was spent puzzling over that very problem. Perhaps it was this constant worry that started the chain of events which would ultimately cause one more world stopping transformation to rock Cordelia's shaken up life. Cordelia got into her car and in one fluid motion, turned the key in the ignition, and shut the door.
- Logging out…!
- Gruppenarbeit als Element des Lean Management (German Edition).
- Chapter 44 - Cordelia?
I can't believe they don't have any positions open! At McDonald's, of all places, she couldn't get a job.
She thought, as she pulled out into traffic. Not worrying about where I'm going to be living next week! Or how- She had a few savings from the odd jobs she'd been doing, and she knew her grandparent's would chip in if they could, but with the high cost of the nursing home and medical bills too, she knew that wouldn't be much.
MC Nurse (Broken Demons MC #1)
As for her friends, well, they would help if they could, she was sure of that, so she made sure she didn't let on to just how desperate her situation was. Leia and Mel were gong to the community college just outside the city limits, but they decided to live on campus, and it didn't sit well with the morals Delia'd had drilled into her from childhood to stay with their families and not pay rent. You just can't stand to take charity from anyone, she said to herself.
All that talk of being independent…. As if cued by the concept of relying on no one but one's self, a car slammed square into the passenger side of Cordelia's vehicle. In her distracted state, Cordelia had neglected to fasten her seatbelt, and Finagle's Law of Perversity which seemed to be everywhere in her life had dictated that on this trip, the only time she wasn't wearing her seatbelt, she would get into the first, and most serious car accident she had had in nearly two years of driving experience. It was a t-bone collision at a three-way intersection.
Nearly a textbook case, the other driver had been speeding, and Cordelia had anticipated the green light in her inattentive and irritated state, and had started forward before the light actually turned. When a car who's trying to make a yellow light, and a car who's impatient for a green one meet, it's rarely, if ever, a good thing, or even a thing which will end well after much initial badness.
In this case, witnesses say they expected to find one survivor at maximum, and that one in bad shape. She also resembles the boy Jesus of these popular Roman Catholic traditions, whose swift passage from debut to death plunges his parent into sorrow. As Shakespeare addresses the inevitability of disobedience and disappointment within the parent-child relationship, these Christian sources lend credibility to his endeavour. The allusion, perhaps, would better befit her principled refusal, but refusal nonetheless, to love her father all.
To put the point more strongly, she seems to express her filial loyalty by using the very language the boy Jesus uses to mark its limits. Given this discrepancy, Strier concludes that the parallel is fairly general: Others find, in the gap between source and allusion, significant thematic implications. Barber and Richard P. Taken together, these critics suggest that the dramatic context either undercuts the gospel analogy or renders it somewhat innocuous.
There is good reason for these interpretations. The speech is shot through with affection: Taken together, they sweep towards reconciliation, from both sides of the parent-child bond. On the other hand, there is a double-edge to these lines. She undertakes a military campaign, striving to overthrow the current rulers of England.
Paradoxically, a victorious Cordelia would be an heir of her own making. Even after events summon her husband back to France, she proceeds with the military and political mission. She prepares to take the part assigned her in the chronicle literature and in Spenser: Despite minor variations in this story, the lore establishes Cordelia as a defender and successor of her royal sire. It was not inevitable, however, that the play would afford her this kind of masculine agency albeit ill-fated.
Leir rewards the one who reinstates his rule, his son-in-law, by handing over that same rule. This play closes by redressing the political problem its first scenes had emphasised: As Holderness and Carter contend, there is an uneven texture to the speech: Of course, it could also look back to the earlier display of principled defiance. The reference, in other words, may provide a kind of key or signature that holds together a character who appears in two very different situations and in two very different lights.
The story of the boy Jesus directs us to the heart of her mystery. But did contemporary biblical interpretation consider Jesus to be disobedient? What did the kind of cultural authorities to whom Strier and Shuger refer make of this passage?
Erasmus designed his Concio de puero Iesu , first printed in , for one student at St. Although Erasmus primarily presents Jesus as a puer senex , he also acknowledges his potentially upstart behaviour. The episode, as Clare M. Murphy remarks, poses rhetorical difficulties: According to Erasmus, the story exemplifies preference for the sacred over the familial—a mark of maturity: After all, Jesus returned home and became subject to Mary and Joseph.
Erasmus resorts to paradox: In Reformation commentary, the point grows sharper. Still, Erasmus and Calvin are not so far apart in their response to the passage. Naturally, they do not promote a stormy, Blakean Jesus: Erasmus and Calvin find normative import in his example of one who prioritises heavenly over human parents. The parable, illustrating divine forgiveness, is counterintuitive.
In the hands of sixteenth century pedagogues, however, the story often hardened into a strict morality tale. Educators on the Continent wrote Latin plays, loosely based on the prodigal son parable, to provide a more conservative alternative to Roman New Comedy. Along with the many English translations and imitations they spawned, these plays tended to take a hard line—sometimes even withholding mercy from their protagonists. For the prodigal, heavenly and earthly fathers present a united front.
According to the rules of the parable, the human father stands for his divine counterpart. He moves from one stance to another by coming to his senses. The movement of the boy Jesus, meanwhile, superficially resembles this trajectory: Jesus also, however, combines rebellion and submission simultaneously: As such, his varying responses to Mary create a dialectical rather than a penitential sequence. Because he enjoys divine favour throughout, his apparent changes in attitude reflect a consistent purpose, a purpose that in its unfolding involves both shows of defiance and shows of deference.
As such, his example—when examined closely—probes the notion of filial loyalty even more profoundly than does the parable of the prodigal son. It is here, of course, that Cordelia most clearly resembles the biblical prototype she summons later. The situations of Cordelia and the boy Jesus differ significantly: Mary has placed no unjust demands on her child. Nevertheless, Cordelia and Jesus oppose their parents in the same manner: In that play, her voice of principled defiance is taken over, in Act Five, by Emilia.
Besides their human parents, they insist, other parties have some claim on them: She intuits his fears about her impending nuptials. But Cordelia forces his withholding tendencies into the open. By splitting her love, care, and duty between husband and father, she—in the mode of the boy Jesus—expresses rebellion and submission simultaneously. With respect to Lear himself, Cordelia seems to express these impulses in succession. In a two-step motion, she first demonstrates her independence from, and then demonstrates her concern for, her father.
Even the scene of her resistance, in fact, anticipates her subsequent obedience. Much hinges on the proper ordering of deeds and words, as if any speech preceding action qualifies as hypocrisy. Cordelia, in the presence of France, diagnoses her own offense against Lear as follows: France catches her meaning: Perhaps the most relevant gospel parable here comes from Matthew As in the prodigal son story, a comparison between two brothers illustrates why the legally unclean were entering the kingdom of God before the Pharisees: In both versions of the play, though, she returns from banishment to enact the love she had previously refused to speak.
We should not, though, confuse this change with repentance. Susan Snyder argues that Shakespeare purposely inverts the prodigal son paradigm here. When her troops attempt to bring him to safety, it is Lear who plays the runaway child: Cordelia mercifully restores her ashamed father, as Snyder notices, instead of the other way around. Goddard eloquently captures her two-step motion, her dialectic of opposition and embrace.
In reconciling radicalism and conservatism, I suggest, Cordelia follows a Christ-like formula. At this point we should pin down, more precisely, the import of these words. Throughout Acts 4 and 5, as several critics have observed, she persistently addresses her father in regal terms. But it is nevertheless true that she, without any encouragement from Lear, continues to refer to him as king.
To be sure, Cordelia hardly repudiates the father she now forgives, the man who has wronged her and who has suffered. From a psychoanalytic perspective, he chooses against his earthly parents and for the larger-than-life, archetypal father who will sponsor a high calling. Despite his current condition, and setting aside for the moment the matter of his abdication, he could hardly be a more aristocratic progenitor. It smells of mortality. The body politic, on the other hand, is every inch a king, impervious to change and even death.
Her loyalty to this father does not simply reverse her earlier decision to marry.
MC Nurse (Broken Demons MC #1) - Chapter 44 - Cordelia - Wattpad
It is true that she now leaves her husband behind in order to save her sire: Of course, in order to make such an exchange one must have power in the first place: Finally we can get this house on the market. I say goodbye to Sarah, but I know I'll see her again, they look so cute together. I get on my bike and B eventually breaks free from Sarah's gaze and gets on his bike, our engines roaring to life and we head off back to the clubhouse.
I pull in and park my bike, lower the kick stand and get off I turn to B and starts singing "Some ones got a crush, he's going to kiss her, he's going to fuck her". I don't need your help to get laid" he says dismounting his bike. I can feel it in my bones" I say joking slapping his arm. I finally have a normal life, as normal as it can get anyway.
Deflated, engorged, and everything in between
Time to find my man, I haven't seen him all day, he was gone when I woke up and his bike isn't in the lot. What is he up to now?
Log in Sign Up. I try to sit up and grab the bottle of water, taking a small sip "You're ok, just sit up slowly, don't want you tailspinning again. I'm so excited and the house, wow, it's huge, you don't need to do all this for me" "Of course I do, I love you and want you to have everything, if you're feeling better we can give your riding skills a test on the lot if you want? They stood looking into each other's eyes for what felt like a lifetime, maybe they don't need my help, oh well I like to meddle "So Sarah, how long have you been working in real estate?
I pull in and park my bike, lower the kick stand and get off I turn to B and starts singing "Some ones got a crush, he's going to kiss her, he's going to fuck her" "Fuck off sister. I don't need your help to get laid" he says dismounting his bike "Oh please B, that's not a lay, you two couldn't keep your eyes off each other, you two are gonna be more than fucking. Read this story for FREE!