Eczema Essay -- essays research papers

EczemaWHAT IS ECZEMA?Eczema is a category of skin disease that is characterized byinflammation, itchiness, dry scaly skin, and in exhausting cases, diminutive fluid filledblisters and insomnia. It is the most common skin disease in children today.Mild cases of Eczema are a little worse than a angle of inclination toward dry, itching skin.Severe cases can effect the whole body, can be intensely itchy, uncomfortable,and even have an effect on the person in a psychological manner due to self-consciousness. Eczema sufferers have acute flare-ups or relapses of theirchronic disease that can be annoying, itchy, and very uncomfortable.HOW DO YOU GET ECZEMA?Eczema is not a patrimonial skin disease, but it does effect around 1 in10 tribe. Its causes arent fully understood yet, but eczema seems to occur inpeople with family or personal history of allergic asthma, rhinitis,conjunctivitis, food allergies, icthyosis vulgaris, and keratosis pilaris.Eczema has always seemed to be a genetic sk in disease, but until recently theresearchers have been unable to delineate a specific gene involved in the passingon of eczema. Now, doctors believe they have found a gene that causes eczema,but since it is not save in all cases of eczema, they believe that there ismore than one gene that can cause eczema. Also, a motherly pattern ofheritage has been discovered. Doctors and researchers believe that thismaternal inheritance pattern is ... Eczema Essay -- essays research papers EczemaWHAT IS ECZEMA?Eczema is a category of skin disease that is characterized byinflammation, itching, dry scaly skin, and in severe cases, small fluid filledblisters and insomnia. It is the most common skin disease in children today.Mild cases of Eczema are a little worse than a tendency toward dry, itching skin.Severe cases can effect the whole body, can be intensely itchy, uncomfortable,and even have an effect on the person in a psychological manner due to self-consciousness. Eczema suf ferers have acute flare-ups or relapses of theirchronic disease that can be annoying, itchy, and very uncomfortable.HOW DO YOU GET ECZEMA?Eczema is not a contagious skin disease, but it does effect around 1 in10 people. Its causes arent fully understood yet, but eczema seems to occur inpeople with family or personal history of allergic asthma, rhinitis,conjunctivitis, food allergies, icthyosis vulgaris, and keratosis pilaris.Eczema has always seemed to be a genetic skin disease, but until recently theresearchers have been unable to identify a specific gene involved in the passingon of eczema. Now, doctors believe they have found a gene that causes eczema,but since it is not present in all cases of eczema, they believe that there ismore than one gene that can cause eczema. Also, a maternal pattern ofinheritance has been discovered. Doctors and researchers believe that thismaternal inheritance pattern is ...

Scientific Developments During the Renaissance Essays -- European Hist

Scientific Developments During the Renaissance Historians often refer to the renaissance as a Scientific Revolution. It was during this period that Nicolas Copernicus first suggested the alteration of the Earth around the Sun. This was groundbreaking, as previous to this it was generally thought that the Earth was stationary, and all the planets, including the Sun, orbited the Earth. It was also Copernicus theory that directly led to the discoveries of Kepler, Galileo and Newton. It could therefore be argued that Copernicus stripping was the most important of the Renaissance. However, the huge advances in the field of astronomy often overshadow many of the developments in other scientific fields, where the scientists Vesalius, Harvey and Boyle also made an impact. Copernicus theory, outline in De Revolutionibus orbium coelestium (On the Revolutions of Heavenly Bodies, 1543) is often cited as the greatest discovery of the renaissance. However, at the time of its publication, i n the year of Copernicus death, the theory was widely disregarded. The historian Arthur Koestler comments that it does non seem to have generated heated discussion. Moreover, the theory wasnt wholly invented by Copernicus it was merely revived from ancient texts, and the publication was postponed until the year of Copernicus death, for fear of public reaction. The astronomer Galileo comments on thisOur teacher Copernicus, who though he will be of immortal fame to some, is yet by an infinite number (for such is the multitude of fools) laughed at and rejected. This evidence throws a somewhat uncertainty onto whether important theory is as important as previously suggested. It would appear that the hypothesis made little or ... ... universe today. Kepler apply mathematics to support and strengthen Copernican theory as well as hypothesising the laws of planetary motion. Galileo became well known, due to his findings with his telescope, whereas Copernicus and Keplers ideas were larg ely ignored. Galileo again proved Copernican theory by discovering sunspots and the infinity of the universe. I therefore suggest, in response to the question, that there was not one discovery in the renaissance that was more square than the others, but that the work of these three scientists was equally significant, in that they provided evidence for an astronomical theory, that is still believed today. The discoveries in other fields such as medicine and interpersonal chemistry were undoubtedly important, but I feel that the discoveries made by Copernicus, Kepler and Galileo were the most significant of the renaissance.

The Night of the Scorpion and Vultures Poem Comparison Essay -- essay

Both poems manage to conjure up powerful pictures and emotions in the readers mind. Many descriptions cease be sort of vivid and sinister, then suddenly the poet will lead the reader on an entirely different path changing their perception of the poem altogether. Leaving them wondering, ?How will the poems develop, thus rendering both poems rather impulsive and unpredictable.Night of the Scorpion and Vultures, both have an abrupt modification of scene, somewhere in the middle. For example, in The Night of the Scorpion you start off feeling strangely caring and sorry for the scorpion. Whereas, it turns out that the scorpion really isn?t that gentle when it fights back. Making you completely change your mind. The same feelings occur with the Vultures poem, at the start we feel that the vultures represent something dark and sinister and then they turn into two loving birds, and aswell with the commandant, who kills bulk for a living, that clearly loves his children who he goes hom e to each night. It really shows how different people/animals can behave in different circumstances.In Vultures the charnel house seems quite laid back, seeing as the poet doesn?t burst with emotion at the horrors of the place. In fact he altogether seems to give the impression he?s not all that bothered. It?s like he?s stepped back from his own views and opinions, so as to just put the relevant facts into the poem. What?s surprising, if a little weird, is the way two people seem to be in love actually in the charnel house itself. Even though, that place would commonly cause images of death and violence to enter your mind. The stanza itself begins with the word strange set alone on a line. Catching your attention from the very beginning making you t... ...ilderness.Finally, I think that the ending of Vultures has two very twisted sides to it. The whole tone of the poem and the use of imagery are negative and depressing, yet the diabolical creatures can still have love between them . The same with the commandant, in stopping to buy sweets for his child, shows his care for his child no matter what atrocities he has had to accomplish throughout his day. In one way I think the poets believe there are some horrors that cannot be overcome in the world, but then again, these people making such acts of atrocity can share love and care amongst themselves. These contrive to make an overall impression, one that?s negative with an unexpected appointed twist. The message of Night of the Scorpion seems much simpler, it is one of love and loyalty. It also ends on a very positive note, which seems less thought provoking and vivid.

Free Oedipus the King Essays: The Downfall of Oedipus Rex :: Oedipus the King Oedipus Rex

The Downfall of Oedipus Rex The greek playwright, Sophocles, was born around 496 B.C., and died in 406 B.C. During his life, he wrote many plays, one of which was Oedipus Rex. Sophocles was the introductory dramatist to add the third actor to the play. Actors were able to perfrom many different parts, but the play was limited to only three actors and the chorus. (Literature, page 1065) The downfall of Oedipus transpired due to the tragic flaw of his character. Oedipus was very temperamental and became easily angered. He was a prideful individual who desired to be a hero and avenge the expiry of Laius. His dev fall out need to sleep with the truth, and have the proof that it indeed was the truth also led to his ruin. Oedipus had a very short temper. Oedipus did not want to call for what Tiresias had to say after he begged him to tell him all that he knew. Am I to listen to such things from him May you be damned Get out of here at once Turn around and go (Literature, Oedipus the King, Ln. 434-436, page 1085) Oedipus went into a rage when Tiresias told him about the evils that Oedipus was living with. Oedipus took great pride in legal transfer people and being seen a hero. He wanted the death of Laius to be avenged and he had to be the one to find the murderer and punish him. Ill cope for him, Ill leave no means untried, to cach the one who did it with his hand... (Literature, Oedipus the King, Ln. 270-271, page 1081) He did not want to let the people of Thebes down, and he wanted to show that he would be a true hero once again. Oedipus was in pursuit of the truth to find out what really happened with his birth and life. Oedipus was searching for the truth and needed to know all the facts in order to convict the murderer. Ah All of it was destined to be true (Literature, Oedipus the King, Ln.

Dispositional Optimism Essay -- Psychology, Behaviorism

Behaviorism is an essential part of our daily lives since it reflects how we learn and deal with varying circumstances. Schacter, Gilbert and Wegner (2011) states that behaviorism restricts psychologists to focus strictly on observable behavior it rejects the emphasis of the conscious and unconscious mind (p. 16). Ivan Pavlov, who was a Russian physiologist, discovered this concept when he researched the role that saliva play on digestion. In his experiment, he gave the dogs meat powder to see how they would salivate to it. After a while, he noticed that the dogs salivated even before he gave them forage if the dogs saw the white lab coat, put in the harness, hear the sound of a buzzer, or the ringing of a bell. He then concluded that these dogs were development from the environment, which at first, they thought was an annoyance, leading Pavlov to the innocent conditioning process - which says that we learn through pairings and association (Ryan, G. (2013) Lectures o n Learning. Personal Collection of G. Ryan, Suffolk County Community College, Bren cardinalod NY). Another countenance of behaviorism was John B. Watson, who wanted to demonstrate that even sophisticated behaviors such as emotion are subject to classical conditioning. Watson conducted a study know as Little Albert, where he taught the infant to fear the white rat, which was originally a neutral stimulus. Every time the rat appeared, he would bang two metal pipes together to scare the infant. Consequently, it resulted to Little Albert to fear similar objects to the rat- known as stimulus generalization, and in this case, it was a broad selection of animals. However, according to the authors Schacter, Gilbert, and Wegner (2011) classical conditioning stu... ...the end, you are the only one who can truly put you in the dark. Moreover, you, yourself, are the one who can take you out of your darkness. ReferencesBrodhagen, A., Wise, D. (2008). Optimism as a Mediator Between the Experience of Child Abuse, Other Traumatic Events, and Distress. Journal Of Family Violence, 23(6), 403-411Brunk, L., Hirsch, J. K., LaLonde, S. M., Morris, A. P., and Wolford, K., 2007 (2007). Dispositional Optimism as a Moderator of the Relationship Between Negative Life Events and Suicide Ideation and Attempts. cognitive Therapy & Research, 31(4), 533-546.Ryan, G. (2013) Lectures on Learning. Personal Collection of G. Ryan, Suffolk County Community College, Brentwood NYSchacter, D. L., Gilbert, D.T., and Wegner, D.M., (2011). Learning (p. 16 and 177). Psychology (Second Edition). New York, N.Y Worth Publishers.

Dispositional Optimism Essay -- Psychology, Behaviorism

Behaviorism is an essential part of our daily lives since it reflects how we learn and deal with alter circumstances. Schacter, Gilbert and Wegner (2011) states that behaviorism restricts psychologists to focus purely on observable behavior it rejects the emphasis of the conscious and unconscious mind (p. 16). Ivan Pavlov, who was a Russian physiologist, discovered this fancy when he researched the role that saliva played on digestion. In his experiment, he gave the dogs meat powder to see how they would salivate to it. After a while, he observe that the dogs salivated even before he gave them food if the dogs saw the white lab coat, put in the harness, hear the sound of a buzzer, or the ringing of a bell. He then concluded that these dogs were learning from the environment, which at first, they thought was an annoyance, leading Pavlov to the classical conditioning process - which says that we learn through pairings and association (Ryan, G. (2013) Lectures on Learnin g. personalized Collection of G. Ryan, Suffolk County Community College, Brentwood NY). Another advocate of behaviorism was John B. Watson, who wanted to demonstrate that even sophisticated behaviors such as emotion are paper to classical conditioning. Watson conducted a study known as Little Albert, where he taught the infant to fear the white rat, which was originally a neutral stimulus. Every metre the rat appeared, he would bang two metal pipes together to scare the infant. Consequently, it resulted to Little Albert to fear similar objects to the rat- known as stimulus generalization, and in this case, it was a broad selection of animals. However, according to the authors Schacter, Gilbert, and Wegner (2011) classical conditioning stu... ...the end, you are the only one who weed truly put you in the dark. Moreover, you, yourself, are the one who can take you out of your darkness. ReferencesBrodhagen, A., Wise, D. (2008). Optimism as a Mediator amidst the Experience of Child Abuse, Other Traumatic Events, and Distress. Journal Of Family Violence, 23(6), 403-411Brunk, L., Hirsch, J. K., LaLonde, S. M., Morris, A. P., and Wolford, K., 2007 (2007). Dispositional Optimism as a Moderator of the Relationship Between Negative Life Events and Suicide Ideation and Attempts. Cognitive Therapy & Research, 31(4), 533-546.Ryan, G. (2013) Lectures on Learning. Personal Collection of G. Ryan, Suffolk County Community College, Brentwood NYSchacter, D. L., Gilbert, D.T., and Wegner, D.M., (2011). Learning (p. 16 and 177). Psychology (Second Edition). New York, N.Y Worth Publishers.

Critical Analysis of Mark Antony’s Funeral Speech Essay

Of tout ensemble Shakespeares works , Julius Caesar is a play that hinges upon rhetoric both as the art of opinion and an artifice used to veil intent. The most striking of Shakespeare is his command of language. In Mark Antonys funeral oration for Caesar, we have not only one of Shakespeares most recognizable opening tonal patterns but one of his finest examples of rhetorical irony at work. The talking to could serve as a thematic synopsis to Julius Caesar. wiz of the most important and significant parts in the play is the funeral speech given by both Brutus and Mark Antony.At firstly, the funeral speeches seem to have no true significant meaning. However in further investigation it is established that the speeches ultimately serve as the basis for the final extinctcome of the play. By exploring the speeches of both Brutus and Mark Antony we are able to focus on the important details which alter one from the other. Through this analysis we are in addition able to overhear why Brutuss speech becomes one of his justifications and explanations, while Antonys becomes one of manipulation and skill. It is kn accept that both Brutus and Antony hoped to appeal to the common wad.However, the way in which each man went about it differs drasti knelly. Not only did it influence the outcome of the play, but each speech overly offers a unique insight on each of the speakers. Brutuss speech Brutuss speech becomes one of acquittal, not only for the people of Rome, but for Brutus himself. He uses his love and nobility as a shield to defend and justify his actions to the cluster. Brutus states that he has carried out this horrendous act because of his love for Rome, and for the good of the people.This is my answer, not that I have loved Caesar less, but that I love Rome more (3. 2. 21-22). In his speech he re signals that the people use their reason to judge him. Although this seduces the crowd, it is not until afterwards one of the common people cry Let him be Caesar. (3. 2. 51) that it is realized the speech is precisely too good for them. Brutus begins to realize that liberty is not what the people wanted, but rather that they desire a healthy leader. Although his speech serves the purpose for its practical effectiveness, Brutus later comes to discover that his lack of insight of human nature aided in the apparent hopelessness of his cause.In comparison Mark Antony fully understands human nature and uses his awareness of it in his speech. Antony appeals to the passion and the grief of the people. What Brutus failed to recognize in the people, Antony used to his best interest. He realized that the people of Rome were altogether incapable of acting with reason and he employed this inability to manipulate and control their emotions and actions. By using Brutus own explanations for Caesars death to begin his speech, Antony proves his validity to the crowd.By questioning Caesars ambition, yet never actually humiliating the conspirators He succeeds in purposely jumper cable the crowd away from any rational defense provided by Brutus. Antony uses his own grief along with a series of lies to remove the sympathy of the people. Through his powerful and honest speech he is able to cast a shadow of doubt into the read/write heads of the people, and the crowd begins to gaze at the true motive behind Caesars murder. Antony understands the needs and wants of the people and uses this to prey upon their emotions and passions.He dangles Caesars Will in front of the people and then quickly puts it away again, knowing that the crowd go forth demand that it be read. Antony also recalls memories of the cloak Caesar now wears, while revealing his bloodied body, fully aware of the havoc it will reek, but unrelenting in his quest for revenge. Antonys Speech Antonys performance on the bully pulpit came as no surprise. To be sure, Antony does not have it easy. He is already a man distrusted by the conspirators for his friendship wi th Caesar.Brutus lets him speak at Caesars funeral, but only after Brutus,a great orator in his own right, has spoken first to show the reason of our Caesars death. Burtus makes it very clear that Antony may speak whatever good he wishes of Caesar so long as he speaks no ill of the conspirators. Obviously Antony has two advantages over Burtus his subterfuge and his chance to have the last word. It is safe to say that Antony makes the most of his opportunity. He even mocks the senators and merely sets the table for dissent. He progressively hits upon the notes of ambition and honourable in a cadence that soon calls both terms into question.Friends, Romans, Countrymen, lend me your ears From a rhythmic perspective, the trochaic feel of this opening immediately commands attention. The succession of hard stresses is also Shakespeares way of using the verse to help Antony cut through the din of the crowd. Antonoy also echoes the opening beginning that Brutus uses Romans, countrymen and lovers,but conspicuously rearranges it where Brutus begins with Romans to reflect his appeal to their reason, Antony begins with friends, which reflects the more emotional tact he will take throughout the rest of his speech.Remember also that Antony has entered the Forum with Caesars body in tow and will use corpse as a prop throughout his oration. Antony follows with a line of heterosexual iambic pentameter punctuated with a feminine ending I come to bury Caesar, not to praise him. Here is the first irony of Antonys speech, in that he is unequivocally here to praise Caesar. Antony is, in fact, lying. Come I to speak in Caesars funeral,Antony returns to the actual predicate of his statement with innocuous metrical regularity. The line is all but a throway Antony doesnt want the crowd dwelling on the idea that he is speaking here by permission.The preceding parenthetical expression insertion of Brutus and the rest being honourable men displace his emphasis and lessens the impression that Brutus holds sway over him. In doing so, Antony effectively obeys the letter of his agreement without surrender to its spirit. But Brutus says he was ambitious Antony contrasts his experience with what Brutus has said. The obvious implication is that Brutus and Antony have different views of Caesar. The more subtle implication is that since both men have claimed him as their friend, they have equal authority to speak on the subject of Caesars disposition.Antony, however, has the advantage of not needing to justify his actions. Instead, Antony can focus on sawing the limb out from under Brutuss argument. And Brutus is an honourable man. At this point, Antony is still ostensibly speaking well of Brutusat least to the crowd. A plebian might think that at worst, perhaps, both Antony or Brutus has made an honest mistake in his judgment of Caesar. On the other hand, the words says, ambitious, and honourable are becoming impossible to miss. Yet Brutus says he was ambitious This is the third time in this speech that Antony utters this refrain.Every time he says this, it draws Brutus in an increasingly harsher light. The recurring repetition amplifies the question in the mind of the audience, There is a rather obscure rhetorical term for this technique its known as repotia, which describes using the same phrase with minor variations in tone, diction, or style. My heart is in the coffin there with Caesar, The regular iambic rhythm of the line and the feminine ending both help soften this lines tone, which contrasts the high fervor of O judgment Its a simple metaphor that holds up well four centuries later.To Antonys credit, the sentiment is grounded in his love for Caesar its also quite telling of the character that hes able to use this emotion in such a cynical enterprise. Throughout his speech Antony calls the conspirators honorable men. He then says, You the crowd all did love him once, not without cause. What cause withholds you then to mourn for him? Thi s question goes against Brutus by questioning his speech when he betrayed Caesar. Now the crowd is starting to turn against the conspirators and follow Antony.Even though in his speech Antony never directly calls the conspirators traitors, he is able to call them honourable in a sarcastic manner that the crowd is able to understand. He starts out by citing that Caesar had thrice refused the crown, which refutes the conspirators main cause for killing Caesar. He reminds them of Caesars kindness and love for all, humanizing Caesar as innocent. Next he teases them with the will until they demand he read it, and he reveals Caesars gift to the citizens. Finally, Mark Antony leaves them with the question, was there ever a greater one than Caesar? which infuriates the crowd. He then turns and weeps.Antony then teases the crowd with Caesars will, which they beg him to read, but he refuses. Antony tells the crowd to have patience and expresses his feeling that he will wrong the honourable m en whose daggers have stabbed Caesar if he is to read the will. The crowd yells out they were traitors and have at this time completely turned against the conspirators and are inflamed about Caesars death. Antony uses the Ceremonial mode of persuasion in order to convince his audience that Caesar is not worthy of honor and praise.Antony must use pathos in order to appeal to the emotion of the audience. He must understand the disposition of the audience in order to successfully persuade his audience that Caesar truly was an ambitious man. Bear with me / my heart is in the coffin there with Caesar, / And I must pause till it come defend to me. (JC III ii 47) Marc Antonys speech at Caesars funeral was so cunning and powerful that it caused the crowds loyalties to sway. Prior to Marc Antonys oration the crowd favored Brutus and the conspirators.However, Marc Antonys compelling discourse caused the plebeians to support him, and not Brutus. Marc Antony used three literary devices durin g his funeral oration, rhetorical question, sarcasm, and repetition, to successfully persuade the crowd. Although the crowd was supportive of the conspirators after Brutuss speech, Marc Antonys use of sarcasm in his funeral oration caused them to rethink who they should support. Conclusion Although both of Caesars funeral speeches seem to serve the basic purpose of charitable to the people, their dissimilarity serves as a great significance.Brutus speech, which appeared to be, honest becomes a speech of symmetrical structure, balanced sentences, ordered procedure, rhetorical questions and abstract subject matter, and ultimately became a speech of utter dishonesty. This along with Brutus lack of human insight aided in his inevitable downfall. Mark Antonys speech on the other hand, for all its playing on passions and all its lies, proved to be at the bottom a truly honest speech because of Antonys unconditional love for Caesar. To that close Antony had truth on his side, making him concrete and real rather then abstract, and with this aided in his successful victory.

Essay Bishop

The at a lower place essay is a final draft, and not a final copy therefore, it does not set ab step forward page numbers and cannot be quoted in future publications. The published version of the essay is in the following book available in print and online versions in the Seneca library Elizabeth Bishop in the twenty-first Century Reading the New Editions. Eds. Cleghorn, Hicok, Travisano. Charlottesville and London University of Virginia Press, June 2012. Part II (of the 4 part book with 17 essays by different people) Crossing Continents Self, Politics, Place Bishops fit fused B unity Key and fun SeasAngus Cleghorn Elizabeth Bishops Edgar Allan Poe & The Juke-Box and the Library of America edition of Bishops verse line and prose provide readers with superfluous context enabling a richer school principal of her poetic project. Alice Quinns compelling tour of previously unpublished sluehival material and her strong interpretive directions in the heavily-annotated feelings let us color in, high enlighten and stretch lines drawn in The be intimate Poems. Some of those poetic lines include wires and cables, which atomic number 18 visible in Bishops delineations, as published in William Bentons Exchanging Hats.If we consider the extensive front of wires in the ardeucerk alongside the copious, recently published poetic figure of speechs of wires, we can observe vibrant innovation, especiall(a)y in the material Bishop had planned for a Florida batch entitled Bone Key. The wires conduct electricity, as does The Juke-Box, both heating up her place. Florida warms Bishop aft(prenominal) Europe in this geographical shift, we can see Bishop relinquish unyielding European statuary forms and begin to radiate in hotbeds of electric light.Also existing in this erotic awakening is a new approach to nature in the modern world. Instead of wires representing something anti-natural (modernity is often this sort of presence in her Nova Scotian numberss, for example, when The Moose st argons go done the bus), the wires conduct energy into a future charged with potential where It is heaven-sent to wake up together after an Electrical Storm. This current brings Bishop into alien territory where sapphic eroticism is illuminated by green light, vines, wires and music. entertainment Seas, an uncollected poem that stood alone in The Complete Poems, is amplified by the previously unpublished Florida draft-poems, many of which include the words Bone Key in the margins or below poem titles this planned volume is visible in the recent editions and is prominent in Bishops developing familiar-geographic poetics. In The Complete Poems, Pleasure Seas is first of the Uncollected Poems section. As compose in the Publishers Note, Harpers Bazaar accepted the poem only if did not print it as promised in 1939.This editorial decision cut Pleasure Seas break of Bishops public oeuvre until 1983 when Robert Giroux resuscitated it in the uncollected section . Thus it is read as a marginal poem, which has received relatively small-minded critical attention. out-of-the-way(prenominal) less than It is marvellous to wake up together, a previously unpublished poem found by Lorrie Goldensohn in Brazil that has been considered integral to understanding Bishops confidential potential as an erotic poet since Goldensohn discussed it in her 1992 book, Elizabeth Bishop The Biography of a Poetry.Perhaps because Pleasure Seas has been widely available since 1983 in The Complete Poems, this poem does not appear to critics as a found gem a c are It is marvellous . . . . Now, however, we can read these previously disparate poems together in the Library of America Bishop Poems, Prose and Letters volume, in which Pleasure Seas was placed accurately by editors Lloyd Schwartz and Robert Giroux in the Unpublished Poems section. As such(prenominal), it accompanies numerous unpublished poems, many of them first published by Quinn in Edgar Allan Poe & The Juke-Box. Pleasure Seas is a tour de phalanx, and its rejection in 1939 standardisedly indicated to Bishop that the public world was not ready for such a poem. I speculate that had that poem been published as promised, Bishop would have had much confidence in developing the publication of Bone Key, a volume which would have followed, or replaced A shabby Spring and preceded Questions of journey she force have re-formed A Cold Spring into a warmer, more than ample volume as Bone Key.A Cold Spring ends with the lesbian mystique of The Shampoo, the bubbles and concentric shocks of which make a lot more sense when accompanied, not by the preceding poem, Invitation to Miss Marianne Moore, that by erotic poems such as Pleasure Seas, luxuriant Moon, Key due west, The walls went on for years & years, It is marvellous to wake up together, and Edgar Allan Poe & the Juke-Box. Bishops writing in Florida involves tremendous struggle to express internal passion and experience.Automa tic bodily impulses contend with traditional strictures. Since in Florida pleasures are mechanical (EAP 49) and for Bishop counter the norms of heterosexual culture, her tentative imagination treads the narrow sidewalks / of cement / that carry sounds / give care tampered wires in Full Moon, Key West (EAP 60). She fears the touch of her feet may detonate bombs. Bishops recently published material get rid ofers explosive amplitudes measured against the const rain downts of traditional poetic architecture. Full Moon, Key West and The walls went on for years & years, in EAP are dated circa 1943. In both poems, Bishop envisions nature merging with technology to provide an reference get to of lacuna in her milieu The morning light on the patches of raw plaster was beautiful. It was crumbled & fine like insects eggs or walls of red coral, something natural. Up the bricks outside climbed little grill-work balconies all green, the wires were like vines. And the beds, too, one coul d study them, flannel, but with crudely copied lant formations, with pleasure. (EAP 61) Teresa De Lauretis writes in Technologies of Gender about how innovative language and technology (in film) represent gender and sex in new formal expressions of life previously considered impossible. The new poetic material from Bishop similarly re-formulates gentle living spaces. In the above poem, the man-made rooms spin breaks down into natural similes. A dialectic between nature and architecture has nature grow into walls, balconies and rooms.This poetic process is found in later poems such as tenor for the Rainy Season, in which the mist enters the field to make the mildews / ignorant map on the wall. Typical human divisions between construction and organicism are made fluid. In The walls, divisions between inner and outer worlds crumble for instance, white beds are studied, but are they beds to lie in, or plant beds on the balconies? Bishop writes that they are with crudely copied / p lant formations, suggesting both flowers and perhaps a patterned bedspread (rather like the wallpaper-skin of The Fish).The phrase, walls of coral, itself merges architecture with nature, withal echoing Stevens 1935 image of sunken coral water-walled in The Idea of Order at Key West, which Bishop had been reading and discussing in letters with Marianne Moore. Stevens and Bishop draw attention to artifices of nature, and nature over causeing artifice. The natural versus manufactured-world dichotomy is deconstructed through with(predicate) with(predicate) innovative cross-over imagery, continuing in these lines Up the bricks outside climbed little grill-work balconies all green, the wires were like vines. (EAP 61)Vines simply grow up buildings, so we have a agent for natures encroachment on man-made constructions. Here, Bishop replicates natural vines with little grill-work balconies / all green, a man-made architecture that looks as if it grows on its own. whence the poet surpri ses us again with an other(a)(prenominal) simile, the wires were like vines. The imagery of the wires blackly echoes that of the balconies again this accretion lends the physical man-made constructions a fluid, surreal life of their own, which is empowered naturally by the simile that has them acting like vines.Vine-wires extend nature through technology into potential domains far from this balconied room. However, despite the revolutionary Building, Dwelling, Thinking, to use the title of the well-known Heidegger essay, this is a poem of walls, which shooters makeshift extensions of nature, only to be shut down when One day a sad view came to the window to look in, little fields & fences & trees, tilted, tan & gray. Then it went away. Bigger than anything else the large bright clouds moved by rapidly every evening, rapt, on their way to some festivity. How dark it grew, no, but life was not deprive of all that sense f motion in which so much of it consists. (EAP 62) With a last line again sounding like Stevens, and yet the slackening of the poem very much Bishop, The walls concludes with walls between the poets human nature and natures indifferent festivity. The muted colors of traditional human ha minuteation infiltrate her window, so Bishop exit have to wait, as her wishful thinking indicates earlier in the poem, for a future holding up those words / as something actually important / for everyone to see, like billboards (61). My essay hoists up these formerly scrapped images of alien technology, held back in Bishops time, like billboards. Those diminutive little fields & fences & trees, tilted, tan & gray are found in an earlier poem, A Warning for Salesmen, written between 1935 and 1937. Earlier poems, especially from Bishops years in Europe, lack wires as conduits of energy and transformation. A Warning to Salesmen offers a static portrait of marital doldrums it speaks of a lost friend, dry landscape, and farmer at spot putting vegetables away in sand In his cellar, or talking to the back Of his wife as she leaned over the stove. The farmers land Lay like a ship that has rounded the worldAnd rests in a deadening river, the cables slack. (EAP 16) Alice Quinn found this poem in Bishops notebook, written when she took a trip to France with Hallie Tompkins in July 1935 (251). Even if it is a poem of loss, it also anticipates gain. The slack cables await tightening. The lack of trust in the poem begs for it Quinn notes this through Bishops scrawling revisions Lines scribbled at the top of the page to the right of the title Let us in confused, but common, voice / Congratulate thoccasion, and billow, rejoice, rejoice / The thing love shies at / And the time when love shows confidence. To the right at the bottom of the draft, Bishop writes, OK, but the whole poem is crossed out. And below, on the left My revere / Wonderful is this machine / One gesture started it. (251) This machine anticipates the mechanical sexual pleasures f ound in the Florida bars written into Edgar Allan Poe the Juke-Box. A Warning to Salesman shows she had long been waiting for Florida. Before she slots nickels into the Floridian Juke-Box, Bishops trip to France includes time spent residing by Luxembourg Gardens in fall 1935.This poem of garden civilization indicates Bishops relationship with European traditional architecture the poem begins Doves on architecture, architecture Color of doves, and doves in air The towers are so much the color of air, They could be anywhere. (EAP 27) While the deadpan-glorious tone might fit Stevens, we might also think of Bishops The Monument, which was written earlier and first published in 1940 it also ambiguously provokes present explorations of art, thought and place, rather than fixing memories of the past.Barbara Pages essay, Off-Beat Claves, diverging Realities The Key West Notebooks of Elizabeth Bishop, cl other(a) demonstrates that Bishops The Monument is a response to Stevens statues in Owls Clover, one of which was located in Luxembourg Gardens, as Michael North demonstrated in The Final Sculpture Public Monuments and Modern Poetry. Similar to Stevens rhetorical parody of monuments, in Bishops Luxembourg Gardens, histories, cities, politics, and people / Are made presentable / For the children playing below the Pantheon (27) and on goes a list of historys prim pomp.Then a puff of wind sprays the fountains water, mocking the Pantheon, the jet of water first drooping, then scattering itself like William Carlos Williams priapic fountain in Spouts. Finally, the poem ends with a balloon flitting away, as children watching it exclaim, It will get to the moon. By employing the fluid play of kids, wind, water and dispersal, Bishop builds a entangled antithesis to traditional Parisian monumentality.With even more Stevensian flux than The Monument, this poem situates Bishops critique of monuments in Europe, unlike the well-known Monument poem, which could be anywhere, a nd thus speaks of a more liberating and expansive American perspective, drifting from European classical culture possibly all the way to Asia Minor or Mongolia. Also from her 1935 notebook is Three Poems, which whole shebang well to explain Bishops transition from studying the architecture of Europe to recognizing its sterile limitations and then finding her own perspective.Section III develops an emotional movement away from stultifying monumentality The mind goes on to say Fortunate affection Still young enough to raise a monument To the first look lost beyond the eyelashes. still the heart sees fields cluttered with statues And does not want to look. (EAP 19) In the final stanza a future is foretold by the promise of a fortunate fiter younger than the mind and less intelligent, He refuses all food, all communications Only at night, in intakes seeking his fortune, Sees travel, and turns up strange face-cards. EAP 19) Starving (a word Susan Howe uses to refer American women poets before Dickinson), this speaker is impoverished by statues and has, as the lone alternative, future fortune in surreal night visions of travel. Bishops travels will fill her gypsy-hearts desire as it expands its vocabulary in the roaming poetic technologies found in Florida and Brazil, but Paris itself does not illuminate love. In the Paris of Three Poems, The heart sits in his echoing accommodate / And would not speak at all (19).This inarticulate prison- support enables us to see why Bishop needed to travel in search of home as an idea, but not a physical settlement, as her use of Pascal illustrates in Questions of Travel. Her jaunt to Brazil inadvertently became an eighteen-year residence with genus genus Lota de Macedo Soares, but their home was not integraly expressed in the volume, Questions of Travel. Florida was the source of sexual-poetic experimentation Bishops work from there proliferates with freedom not yet found in Europe, and not written into the published po ems from Brazil.The reticent Bishop did not want to be known as a lesbian poet it would limit her reputation and her private life in the public sphere, and she likely feared that sexual expression would not be accepted in print. A poem from Questions of Travel, Electrical Storm (1960), strikingly indicates excitement with Lota in Brazil. Just as striking, though, is the repressive prison-house in this poetry. It reveals as much repression as it does desire Dawn an unsympathetic yellow. Cra-ack dry and light. The house was really struck. snatch up A tinny sound, like a dropped tumbler. . . . hen hail, the biggest size of artificial pearls. Dead-white, wax-white, cold diplomats wives favors from an old moon party they lay in melting windrows on the red ground until well after sunrise. We got up to find the wiring fused, no lights, a smell of saltpetre, and the telephone dead. The cat stayed in the warm sheets. The alter trees had shed all their petals slopped, stuck, purple, amo ng the dead-eye pearls. (PPL 81) While the electric storm is substantial, the poem narrates it after the fact, and the storm cuts off communication with a dead telephone and wiring fused. So the electricity certainly was there, but the lightning is pejoratively like a dropped tumbler. And the only animal in bed is Tobias the cat, personalised and spiteful as a neighbors child. Personal electricity is not expressed, certainly not through Lent it is spited in the gild of neighbors and diplomats wives, whose nature is described as dead-white, their hail like artificial pearls. contradictory the earlier poem of desire, The walls went on for years . . . , in which balconies are transformed by vines into wired energy, Electrical Storm displays the reverse action.Nature is hardened into artifice. Social civilization, like Bishops monuments, is a restrictive agent, part of the past in conflict with the newfound energy of Bishops tropical present. In Brazil, the poet constantly observe s the natural world as susceptible to civilization. Sometimes Bishop presents an alternative harmony, as in Song for the Rainy Season, which moistly answers to the repressive short-circuiting of The Electrical Storm by opening the door of an open house to the mist infiltrating the house and causing mildews / ignorant map on a wall.This poems erotica is played out as the house receives natures water. The house, with its opening to the outer environment, suggests Lota de Macedo Soares property, Samambaia (a giant Brazilian fern), in the mountains above Petr? polis where Soares built Bishop a studio (PPL 911). The progressive architecture of their house lends itself to the way in which Bishops poem has the outer environment flow indoors. More often, however, Questions of Travel traces aggressive conquests, as Bishop works through historys impact on the country. Natural power has been contained harnessed, mined and packaged throughout history.Take Brazil, January 1, 1502, for example, and note how Bishops natural images dialectically break down, then reach forward technologically. The branches of palm are broken pale-green wheels emblematical birds keep dull the lizards are dragon-like and sinful the lichens are moonbursts moss is hell-green the vines are described as attacking, as scaling-ladder vines, and as one leaf yes and one leaf no (in Portuguese) and while the lizards scarcely breathe, the smaller, female lizards tail is red as a red-hot wire. That beacon beckons from the poems forms of colonial imprisonment. Breathlessness will find breath in EAP. * * William Bentons words from Exchanging Hats Elizabeth Bishop Paintings accurately convey the benefit of studying two of Bishops art forms to gain greater compositional insight into her One Art. In his introduction, he writes that, If Elizabeth Bishop wrote like a painter, she painted like a writer (xviii). Wires, cables and electrical technology are strewn abundantly through the paintings. Observed in s equence, Bishops black lines healthyly extend this emergent report of Bishop as an electric writer. The paintings Olivia, Harris School, County Courthouse, Tombstones for Sale, burial ground with Fenced Graves, intragroup withExtension Cord, cabin with Porthole, and E. Bishops Patented Slot-Machine are marked with black lines that technically disturb nature. The bold presence of Bishops lines factor in virtually every painting to run afoul upon nature (with the exception of the explicitly pretty watercolor odes to nature, such as the arrangement on the cover of One Art). When we align the Florida paintings with Bone Key and other published poems from Florida, we can chart the artists development in accord with the technological presence of wires.As with the early poems in EAP, her oft-undated Florida paintings, circa 1937-39 when Bishop had returned from Europe, depict square architecture set off by wires askew. In Olivia, a painting of a withstanded wood house on Olivia Stree t in Key West, the modest brown house is fronted by two contrasting white porch-pillars, and to the left like a cosmic aspect, the telephone lines form a tilted steeple (Benton 18) connected to the proximate telephone pole. The painting comes across as a satiric Monument. Likewise, the next painting, Harris School (21), is topped with battlements contrasted by wispy kites f fraud freely in the orange sunlight.Bishops painterly contrasts invoke satire, rather like the parody of old Parisian architecture in Luxembourg Gardens. County Courthouse (23) is extremely dramatic a transitional painting in the evolution of Bishops transgressive art. Benton describes it well A view composed of what obstructs it. The central triangle courthouse structure that leads the eye into the painting is at once overwhelmed by foliage. Downed power lines can to the sense of disorder. The scene is the exact opposite of what a Sunday watercolorist might select. It is, in fact, a picture whose wit transf orms it from a scene into an image of impasse(22).The palms in the foreground overpower the courthouse of similar size in the center. Natures supremacy over the architecture of man-made legal institution is accentuated by downed power lines, symbolizing, as often for Bishop, that our efforts to transmit information over and above nature depend on the co-operation of nature, the winds of which can knock down our voices. Tombstones for Sale, which is the cover of The Collected Prose, and Graveyard with Fenced Graves (31, 33) are filled with iron bars in harsh but beautiful contrast with flowering trees. Recall the iron-work balconies growing up buildings in The walls went on for years and years . These wonky walls are evident in Interior with Extension Cord, a painting of undetermined year with the dramatic focus on the extension cord crossing the planes of the white room (42). In here, the barren walls out-space the open door with view of the garden. The painting yearns for nature t o be let in the door. Cabin with Porthole, the next painting (45), provides compositional relief. Bare but cheerful yellow walls surround the open porthole with blue ocean view the painters travel bags are casually set in order beside a neat flowerpot on the table.Travel looks homey here, made additionally comfortable by the lover plugged into the wall with electrical cord in the top-right corner. The next undated painting, Gray Church (47), is set by Benton in contrast to the lightness of Cabin with Porthole. The editors placement of Gray Church, the paintings mood nearly as dark as van Goghs The Prison Courtyard, suggests that Benton, like Quinn in EAP, ordered a dramatic narrative sequence so observers could follow an interpretive trail of artistic development. Although E.Bishops Patented Slot-Machine (77)appears later in the books sequence, perhaps because it is more of a sketch than a painting, it would have likely been created near the time she wrote The Soldier and the Slot- Machine in Florida, as Quinn documents it with a rejection letter from The New Yorker, October 28, 1942 (EAP 279). These amateur works of art evince the crucial grandness of publishing flawed poems, scrawl, sketches and paintings that are incredibly useful tools to instruct us about their masters in this case we see projection of the artists techno-dreams. Of E.Bishops Patented Slot-Machine, Benton writes, The rainbow arc at the top of the picture resembling the handle of a suitcase bears the legend The DREAM (76). This dream, rainbow-shaped, carries technology in the form of the slot-machine. Whether or not observers want to view the rainbow dream as lesbian codification, as some students of The Fish do with that poems victorious rainbow of sharpness, the undeniable fact is that Bishop has painted The DREAM onto the handle of her slot-machine. This slot-machine is dependent upon currency for the dream of a fortunate future.Although an amateur painting, it is far more developed i n terms of the progress of artistic, hopeful vision than earlier works, such as 1935s Three Poems, in which Bishop is desperately scanning seas from France, and the fortune teller turns up strange face cards as the only potential currency, so the poet dreams of travel. The 1942 sketch and poem, The Soldier and the Slot-Machine (EAP 56-57), not to be confused with the painting just discussed, appears like an adult-version Dr. Seuss parody of E. Bishops Patented Slot-Machine complete with fearful alien beast atop machine in the sketch.In the poem, Bishop uses the pass persona to depersonalize her dream, destroyed by a third-person other. Still, the persona employs first person I will not play the slot-machine bookends the poem as a mantra of abstinence from the drunken slot-machine. Nevertheless, it consumes coins until they melt surreally into a pool beneath the floor . . . / It should be flung into the sea. / / Its pleasures I cannot afford (EAP 58). This denial and apparent dismis sal through the otherness of the soldier stays with Bishop, who cannot trash her desires in the sea they pulled on her for years even if their expression remained unpublished.After The New Yorkers Charles Pearce rejected The Soldier and the Slot-Machine, Bishop recalled this event twenty-two years later in a letter to Robert Lowell Once I wrote an ironic poem about a drunken sailor and a slot-machine not a success and the sailor said he was divergence to throw the machine into the sea, etc. , and Moore congratulated me on being so morally courageous and outspoken (EAP 279). Moore in 1964 was at that time congratulating Bishop on a moral lesson to be learned about Brazilian crime and punishment in The Burglar of Babylon. However, the point that Bishop makes with quiet sarcasm in her letter to Lowell is that Moore missed the irony so crucial to understanding The Soldier and the Slot-Machine. Moore reads moral courage in Bishops condemnations actually, Bishops morally courageous co re, the one of social conformity that Moore applauds, melts in the machine. The soldiers denial to play it is weaker than the power of the machine itself, which melts and breaks into subterranean pieces un acceptable mercurial junk that will be taken away, a disposal of natural, illicit desire.Travel in Florida and Brazil offers many cabins with portholes for Bishop to view the sea far away from stultifying northwestern culture. Sometimes Bishop allows the establishment to triumph, as in the equilibrize yellow painting of The Armory, Key West. Even here, though, wires dangle from the flagpole to create slight asymmetry. Merida from the Roof (27), the well-known cover of The Complete Poems, while a bit chaotic with copious windmills outnumbering church steeples, nevertheless illustrates an intoxicating tropical harmony. The dominant palm, telephone wires, city streets and buildings hang together nicely from the painters balcony view.This Mexican painting from 1942 anticipates work Bishop would do in Brazil over the next two decades, such as The Burglar of Babylon, which ends with the poet looking down on Rios crime-ridden poverty with binoculars. * * * When we contrast The Complete Poems with Edgar Allan Poe The Juke-Box, we can see just how much further Bishops unpublished poems went in configuring her relation with the world through nature and technologys extensions of it natural growth is given additional electrical currency to express sexual awakening, and I argue, a potentially full realization of her poetic power.Lorrie Goldensohn in The Biography of a Poetry discusses her baring of It is marvellous to wake up together in a box from Linda Nemer in Brazil. This discovery and Edgar Allan Poe & the Juke-Box best exemplify Bishops rewired sexuality. Quinn cannot be certain which of these poems was written first. In terms of the arc of the poetics Im tracing here, it makes sense for Poes Box to come first because it works to loosen up the sexual expression of It is marvellous . However, Quinn notes work on Edgar Allan Poe The Juke-Box as late as 1953, and narrates its intended place as the closing poem of A Cold Spring, which Bishop considered calling Bone Key. It may have been written as early as 1938 when Bishop wrote to classmate Frani Blough from Key West about her immersion in Poe (EAP 271). Lloyd Schwartz and Robert Giroux date it in the late thirties to early mid-forties period. As A Cold Spring stands, it concludes with the rapture of The Shampoo a thinly veiled poem of lesbian eroticism in natures guise. And yet when I teach this poem to students, I often have to explain the concentric shocks. The Shampoo is a wonderful climax, but it abruptly follows Invitation to Miss Marianne Moore. This sequence repeats the apposition evident in Bishops letters between her lush tropical experience and her polite correspondence with Moore. Now we can envision an enlarged not so cold spring in the key of human bone warming up with Edga r Allan Poe & the Juke-Box. This poem is filled by emanations of light and sound from the Juke-Box. Starlight and La trip the light fantastic toe are the Floridian dance-halls described as cavities in our waning moon, / strung with bottles and blue lights / and silvered coconuts and conches (49).This erotic-tropical electric fulfillment sounds more like Walcott than Bishop. The poem has nickels fall into the slots, drinks drop down throats, hands grope under tablecloths while The displaceing box can keep the measure . Perhaps to ruin the party, Edgar Allan enters the last stanza in which Bishop writes, Poe said that poetry was exact. This poem, though, is a corrective to Poes poetics, for Bishop knows for herself and Poe in the drinking establishment of poetry that pleasures are mechanical / and know beforehand what they want / and know exactly what they want. Bishop focuses on The reason for Metaphor, like Stevens, or like Baudelaire whom she was also reading at the time, kno wing and tracing her desire for expression as expression. Conversely, Poe in the 19th-century tried to unite his deliberate poetic exactitude with ideals of beauty while explaining his technique in The Philosophy of Composition. While the mechanics of meter involve precise measures, Bishop suggests that seeking pleasures is comprised of a more powerful mechanics. Lately Ive been doing nothing much but reread Poe, and evolve from Poe . . a new Theory-of-the-Story-All-My-Own. Its the proliferal style, I believe, and you will see some of the results a reference to her prize-winning party-spirited Review story In Prison (OA, 71 EAP 271). Bishops use of Poe illustrates her gripe with tradition as a source of monumental fixture, thus limited understanding, which has taught her well but prevents the poet from dancing at La Conga and telling that Floridian tale in A Cold Spring. Bishop wanted this poem near the end of A Cold Spring but didnt quite get it done.The final lines of the poem deal a further blow to Poe, and by extension to Bishop herself, when she asks, how long does your music burn? / like poetry or all your horror / half as exact as horror here? (50). Poes horror stories (see Bishops notes on The Tell-Tale Heart on the upper-right corner of the draft of this poem), and I would suggest her writing in The Complete Poems (as wonderful as it is), articulate a fictional horror that only comes half-way to expressing the full pleasure of horrific catharsis available in the experience and writing of Florida honky-tonks.Who would have thought Elizabeth Bishop a Honky-Tonk Woman? Bethany Hicok traces Bishops florid night-life in her 2008 book, Degrees of license American Women Poets and the Womens College, 1905-1955, and thanks to Quinn we have the poetic evidence in print. It is marvellous to wake up together is a full and complete rendering of Bishops eroticism. We might give Bishop latitude for not publishing this one in the Second World War period Quinn e stimates the date between 1941-6 when Bishop lived with Marjorie Stevens in Key West (267).Perhaps in the twenty-first century readers are comfortably relieved to hear Bishop express her lesbian sexuality, but in her time she did not want to be publicly scrutinized as a lesbian poet. In some respects, It is marvellous to wake up together is like Electrical Storm, since the poem speaks of sex after it has happened. Here, though, the stormy clearing is less anxious and repressive. Instead of diplomats wives and spiteful neighbors children, Bishop feels the air suddenly clear / As if electricity had passed through it / From a black fight of wires in the sky. All over the roof the rain hisses, / And below, the light locomote of kisses (EAP 44). Technology is god-like, hovering over their chosen house, and yet it is not alien, for the lightning storms electrical current of rain follows in hisses rhymed with kisses. Bishop is fully in the arena now with the powers above electrically ch arging the nature that conducts itself harmoniously in the bedroom. In the second stanza electricity frames the house so readers can imagine it being sketched artistically.Remnants of past prison-houses exist, and yet the past constraints of an inarticulate heart are transformed in this reality where we imagine dreamily / Now the whole house caught in a bird-cage of lightning / Would be delightful rather than frightening the pleasure of this reality is also a dream, and it remains a dream in the last stanza. My point is not simply that dreams can come true, but that this true dream is limited to this houses electrical currents. The speaker is lying flat on her back, which is an interesting line because it suggests sex, and yet it is from this position, this same implified point of view that the speaker emphasizes inquiry All things might diverseness equally easily, / Since eer to warn us there might be these black / Electrical wires dangling. Without surprise / The world might ch ange to something quite different . What sort of change is envisioned? The poem vaguely considers open futures something quite different could be horrific or promising. Whatever change may come, these wires hang over the house, through Bishops poem and art as charged presences connected to future advancement. Dear Dr. - was written in 1946, around the same time Bishop might have done for(p) It is marvellous to wake up together. It continues to wire her present into the future Yes, dreams come in colors and memories come in colors but those in dreams are more remarkable. Particular & bright(at night) like that intelligent green light in the harbor which must belong to some society of its own, & watches this one now unenviously. (EAP 77) These septenary lines pull together a lot. Bishops dreams in Paris were quite alienated from her art-culture milieu in Florida dreams are amplified by Juke-Boxes, liquor and dancing.There she finds physical lushness to run into the dream currents that will sizzle in Brazilian experience. And yet in Dear Dr. near the end of her relationship with Marjorie Stevens, Bishop is writing from Nova Scotia to her very helpful psychiatrist, poignancy Foster (286), expressing this foreign glow as an alien perspective that intelligent green light in the harbor / which must belong to some society of its own, suggesting some alien technological prophesy, which watches this one now unenviously (77).Goldensohn writes of electrical impasse in The Biography of a Poetry But still the wires connect to dreams, to spunk circuits that carry out our dreams of rescue and connection, or that fail to in The Farmers Children, a story written in 1948 shortly before Bishop went to Brazil, the wires also appear, telephone wires hum with subanimal noise eerily irrelevant to the damned and helpless children of the story (33). This story, written late in the Florida years, is further evidence of Bishops proliferal style, the multi-generic One Art develop ed in response to family, Northern traditions, Poe, and Europe.Bishops evolving art comprised of poetry, fiction, letters and painting demonstrates psycho-sexual evolution found in Southern tropical harbors, far from the Northern remoteness of her mothers Nova Scotia. These poems from Edgar Allan Poe & The Juke-Box register extensively the alien vision so far ahead of what was admitted in Bishops present. By contrasting the reserved perfections from The Complete Poems, such as Electrical Storm, and the limits of history as in Brazil, January 1, 1502, we can see what is held back there, waiting for the more fully expressed imperfect iniquitys of Edgar Allan Poe The Juke-Box.The Complete Poems provide intricately innovative poems that point out limited perspectives while expanding ethical imaginations of the future, whereas Quinns book enables readers to thoroughly explore the dream workings of a poet bursting from the libidinal confines of her time, swinging by green vines through wires of sound and light to transmit electricity for an erotically ample future. Bishops anxiety and longing for a more tolerant future society, as expressed in Dear Dr. , can also be traced back to her thwarted effort at publishing Pleasure Seas. This powerful erotic poem sits chronologically in the middle of her poetic development away from Europe (signaled by Luxembourg Gardens and Three Poems circa 1935), and stimulated by Florida in the late 1930s. Pleasure Seas illustrates the new powerful range of Bishop to be discovered when reading EAP and the Library of American edition next to The Complete Poems. As an Uncollected Poem in The Complete Poems, Pleasure Seas would perhaps sit more easily in the Poe . . . Box. The aberration of Pleasure Seas in The Complete Poems may explain why only a handful of critics have discussed its significance.Bonnie Costello, Barbara Comins, Marilyn May Lombardi, and Jeredith Merrin have published helpful interpretations of Pleasure Seas. Each crit ic picks up on the poem as an indication of developments that Bishop makes, or does not quite make, in other published poems. Bonnie Costello, for example, writes in Questions of Mastery Seascape and Pleasure Seasanticipate the perspectival shifts in Twelfth Morning or What You Will, choice Station, and Invitation to Miss Marianne Moore, in all of which the poets pessimism is countered.In these later poems she achieves a vision at once immediate, even intimate, and yet directed at the world and questioning a single perspective of selfhood (15-16). Costello also makes an important observation in a footnote Song may be a rewriting of Pleasure Seas (249, n. 16). However, according to Schwartz and Giroux, Song was written in 1937, two years before Pleasure Seas, which then reads as an amplified fulfillment of the sad song from two years earlier. The latter ocean poem swells with pleasure in face of forces that threaten that very pleasure.Now that we can read Pleasure Seas in the larger context of Bishops struggle to write sexual poetics, the poem makes more sense and gathers like-minded poems into its vortex of desire. Pleasure Seas is a study of water contained, distorted and freed. It begins with still water in a walled off swimming-pool (195) another wall like the ones that go on for years and years in the poem from 1943. This man-made pool contains pink Seurat bathers, like the publicly acceptable automatons in his famous paintings, Bathers and La Grande Jatte.This viewer, though, is a surrealist who observes this scene through a pane of bluish glass. Seurats bathers have beds of bathing caps, again resembling and anticipating the beds inside and outside the balconied rooms of The walls go on for years and years . Are these bathers heads in or out of it? Contained within a pool, they are willing prisoners of public space in chemically-treated water. At the close of the poem, they are Happy . . . likely or not in their floral white, lavender, and blue caps , which are susceptible to greater weather forcing the water opaque, / Pistachio green and Mermaid Milk. The floral garden colors of their caps contrast with disarming shades. That awfully bright green is like that intelligent green light in the harbor of Dear Dr. , belonging to the alien society unenvious of the contemporaneous one. Jeredith Merrin, in Gaiety, Gayness and Change, asks how Pleasure Seas moves from entrapment to freedom, from (to borrow from Bishops own phrasing from other poems) despondency to Espoir, from the awful to the cheerful? (Merrin in Lombardi 154).The next sentence of Pleasure Seas envisions free ocean water out among the keys of Florida mingling, interestingly, with multi-chromatic soap bubbles, toxicantous and fabulous, suggesting both The Shampoo to come, and the poisonous rainbow of oil in The Fish another natural being that should exist freely in nature, which is caught in a rented boat. Even the keys float lightly like rolls of green remains conno tes geological formations that are susceptible to erosion. Everything green and natural is made alien. The threat is intensified by an airplane a form of human technological crest that flattens the water to a heavy sheet. The sky view is dangerous in Bishops poems consider 12 OClock News in which the view from the media plane ethnocentrically objectifies the dying indigenes below. In Pleasure Seas the poet says the planes wide shadow pulses above the surface, and down to the yellow and purple submerged marine life. The waters surface even becomes a burn-glass for the sun the supreme force of nature is harnessed as destructive technology, as with the high airplane, which, as Barbara Comins notes in That Queer Sea, is casting a wide shadow upon the water . . . uggesting some ingrained anguish in going ones own way (191). Comins and Merrin see Bishop here pushing the poetic limits of her sexual expression. Even though the sun turns the water into a burning glass, the sun naturally cools as the afternoon wears on. Nature and technology dance in a somewhat vexed but dazzling dialectic here. Brightest of all in this poem is the violently red bell-buoy / Whose neon-color vibrates over it, whose bells vibrate // To shock after shock of electricity. Neon is the most alien of lights. As with the Juke-Box charging its place, this buoy electrifies its environment.Its otherly transgression rhythmically shocks pulses through the sea. The sea is delight. The sea means room. / It is a dance floor, a well ventilate ballroom. These lines from Pleasure Seas contain the charge picked up in the dance-halls of Edgar Allan Poe & the Juke-Box. That poem has seedy, drunken desire releasing the inner alien in Pleasure Seas it is potentially trans-gendered here in the homonym of the red bell-buoy, the color of passion also found in the red-hot wire of the lizard tail in Brazil, January 1, 1502. That lizard is notably female. Both poems vibrate outward into larger spaces.From p aradisal waters, the poem retreats to the tinsel surface of swimming pool or ship deck where Grief floats off / Spreading out thin like oil. Natural poison spills, damages, and disperses. And love / Sets out determinedly in a straight lineBut shatters and refracts in shoals of distraction (196). These shoals receding around the keys anticipate the homosexual giddiness of Crusoes surreal islands in the late great semi-autobiographical poems of Geography III, the 1976 volume beginning with young Elizabeth Bishops formative experience of inversion In the Waiting Room falling off / the round, turning world (160). Pleasure Seas ends with water crashing into the coral reef shelf at the surface of nature, half in, half out An acre of cold white spray is there / Dancing happily by itself. Out there in the sea, as land gives way to coral reef, the poet creates a well ventilated ballroom to be free and ecstatic. Unlike the public spaces of the Florida honky-tonks, these pleasure seas ar e solitary. They are, however, natural and thus contrast the ironic happiness of the people in the swimming-pool and on the yacht, / Happy the man in that airplane, likely as not (196). This pleasure of 1939 holds the promise of liberation, momentarily.While explorations in the late thirties lead to joyful poems such as It is marvellous to wake up together, and the thirsty Edgar Allan Poe & the Juke-Box, another Florida poem bids farewell, circa 1946. In the golden early morning contains many of the Floridian tropes merging nature with technology. About a trip to the airport, it indicates a break up with Marjorie Stevens (M in the poem). As the speaker is being driven to the airport in the early morning, she reads the newspaper stories of human horror I kept wondering why we expose ourselves to these farewells dangersFinally you got there we started. It was very cold so much dew Every leaf was wet glistened. The Navy buildings wires towers, etc. looked almost like glass so frail harmless. The water on either side was perfectly flat like mirrorsor rather breathed-on mirrors. (EAP 80) The water as foggy mirror is an example of how technology (a mirror in this case) extends nature to reflect for Bishop an extension of herself that cant quite exist freely on its own, or in the social world. More dramatically, an airplane descends this early morning Then we heard the plane or felt it . . . She feels the sublime vehicle as if it were made out of / the dew coming together, very shiny. The plane is similar to the aircrafts technological transgression in Pleasure Seas, but In the golden early morning . . . , it is also like a product of nature made from the dew. This simile resembles the fusion of technology and nature in Pleasure Seas where the red bell-buoy charges the sea, or in The walls . . . where the wires were like vines. These images express Bishops longing to extend but not quite transcend the provocative desires of the physical world.Her projec tions are made possible by poetic languages explicit tropic function it is a technological extension of reality. Bishops technologies blatantly transgress nature by pointing to her exclusion from it when it participates in traditional symbolic order. She comments, as the flight crew in the poem gets out of the plane, I said to you that it was like the procession / at the beginning of a bullfight . . . (EAP 81). Somebodys going to die. From the outside looking in, Bishop is neither inside the plane, or remaining part of the natural morning. Always liminal, always on the move, she and her poetry are the

Social Media About Muslims

SoRef. No H00144879 Short Essay Tutorial Online Learning Teacher Kristina Rajic Critical Writing & Analysis (C07CW) Impact of genial Media on Islam and Moslems Susan Ward defines societal media as a type of online media that expedites conversation as opposed to traditional media, which delivers content yet doesnt allow readers/viewers/listeners to varianceicipate in the creation or development of the content. Some of the common examples of social media are Facebook, Twitter, LinkedIn, etc. There is a wide variety of social medias in the Internet. People get more than attention to the things that are being shared from YouTube and Flickr nd posting them through Facebook or LinkedIn or MySpace. Social Networking sites spread news all over the bollock very quickly and swiftly. According to Suzy Ismail Social Media and networking sites must have and has definitely changed the spread of Islam and the perception of Muslims in the minds of many people around the mankind, peculiarly and mostly in the US and India. After the 9/11 bombings and destruction of the Twin Towers by Bin Laden, the growth of electronic and, in particular, social media has had an tinct on the lives of Muslims around the world. According to Khurram T. Dara (2011) every s undersidedal, controversy, or violent errorist attack perpetrated by Muslims is put under the microscope. He does not mean that the media has been trying to volitionally to spread stories one way or another about Muslims in US and the world. Of course, you have commentators and networks out in that location with agendas they want to push, but for the most part the advert the media has had comes in its evolution into a 24/7 industry. Everything is covered, regardless of whether it is quality journalism from reliable sources. (Dara, 2011) Social Media vie a crucial purpose in the way Muslims and Islam have been perceived over the years. Suzy Ismail continues, It would be tough for nyone to say that they have not hear d of Islam with the amount of coverage that our deen has received in the recent years through so many different media outlets. Further on she adds that Muslims have been vilified and simultaneously victimized especially after 9/11 in America. There seems to be two extreme reactions to the deen itself. One is which is sincere curiosity and interest that motivates education and the other is blind hatred and misunderstanding that leads to scapegoating and stereotyping. (Suzy Ismail) Social media presents a big opportunity to reach out to people who may not even know about Islam or Muslims. Thousands f Americans have neer met a Muslim but they have access through social media. In Texas, an event was set up where a Muslim woman is refused renovation in a bakery just because she has worn a headscarf. ABC News Hidden camera experiments THIS and the purpose is to see what peoples reaction would be, which was quite surprising. Recently in the last few weeks, a controversial American-? mad e trailer of an Anti-? Islam photo called Innocence Of Muslims has ignited protests across the Muslim world and continues to grow. It is just a trailer for a supposed future-? length film that was uploaded in YouTube a few weeks back in America by a an named Nakula Basseley Nakoula a. k. a Sam Bacile who is thought to be the writer, producer and promoter of the video. The Social Media raises complex questions about the freedom of speech in America (Ruth Startman, 2012). Social Media has played a vital role in the rapid spread of this video around the world by sharing it through Facebook, Twitter, LinkedIn, etc.Many Muslim countries removed this video from their network, however the video still remains undeleted in America and other Non-? Muslim regions of the world. Twitter and Facebook have been undoubtedly the two networking sites with the most active Muslim users. These sites ave allowed us to connect with many important persons such as Imams and Sheiks, Political Leaders and so on. Some people are also there to cast a negative vote on Islam and are online just to do so. It can be overwhelming to not care about it, but we need to remember that social media has also given us the strength and the platform to express ourselves. In other ways, we can increase the positive impact of Social Media on the portrayal of Islam and Muslims by being more active online and by having lot of faith on Islam. (Dara, 2011) Social media is a great tool, which can be well used to spread Love, or abused to spread hatred.Let us choose love as every godliness of the world is themed to promote love among mankind. No matter what, love will always prevail as it is upon which everything in life is centered and without which there is no meaning in life. REFERENCES Ward, Susan Social Media Definition online. Available from http//sbinfocanada. about. com/od/socialmedia/g/soci almedia. htm (Accessed 28 Sept 2012) Salman, Javeria Impact of Media and Social Media on Islam and Muslims online. Available at http//islamicstudies. islammessage. com/Article. aspx? supporter=678 (Accessed 28 Sept 2012) Dara, T. Khurram (2011) The Crescent Drive ANESSAY ON IMPROVING THE IMAGE OF ISLAM IN AMERICA, Tensile. (Accessed 28 Sept 2012) ABC News hidden camera experiments racial discrimination in America What would you do? (Online video) Available at http//www. youtube. com/watch? v=UtWuOvdLRX4 (Accessed 28 Sept 2012) Innocence of Muslims, 2012 (online video) Available at http//www. youtube. com/watch? v=gORgR7UiXgY (Accessed 28 Sept 2012) Starkman, Ruth (2012) Its All the Rage The Innocence of Muslims, Social Media, and Free Speech (online) Available At http//www. huffingtonpost. com/ruth-? starkman/its-? all-? the-? rage-? the-? inno_b_1906050. html (Accessed 28 Sept 2012)

Are People Born Evil? Essay

Are people born evil? It do is an interesting question. I striket echo everyone of us is born evil. Great examples were established in Charles Dickens re instantaneouslyned book A Tale of Two Cities.Firstly, I think people are not born pricy or evil but are born blank as a sheet, a white, acquit sheet. However, people are provided becoming evil that they are affected by others and making evil choices.Madame De distantge is a nice example in a tale of two cities that is affected to be evil when grown up. I think she was blank as a sheet when she was small, but then she was affected and turned to be cold by the death of her sister and brother. They were dead because of the French aristocracy Envemode family. After that, she heart turn steel and she chose to the road of wickedness and r pull downge. She wanted to take revenge on the Envemode family and take revolution when she saw how poor peasants in France are.She was not evil at first, she wanted change the breeding of Fren ch peasants, and however, she was evil then that she was too blind about her revenge desire. She wanted to kill the French aristocracy off but not only the Envemode. She had ever said, To me, women What We can kill as well as the men when the place is taken She did not realize the style of forgiving. She was just repeating the tragedies even through French peasants were not the victims. People all killed and wars were everywhere. She has chosen the way of taking revenge that brought her to the road of evil. If she has chosen the road of forgiving and goodness, tragedies probably rush not been happened.In the other hand, Sydney Carton is another great example in a tale of two cities that is affected to be good when at a time he met Lucie. Lucie is his light in his life. Before he met Lucie, he is reckless, he was frustrated and just let people take advantage in him that he thought he has nothing to do so in life. But then when he met Lucie, he became alive, although he was still l ow self-esteem and frustrated, he said that he told Charles when he was drunk, I am a disappointed drudge, sir. I care for no man on earth, and no man on earth cares for me. He was jealous about Charles but he was very different with Madame Defarge, he did not take revenge or choose the way to hatred but he has chosen the road to love, he express in hissacrifice for Charles that to keep his promises, that he ever told Lucie, For you, and for any dear to you, I would do anything. I would embrace any sacrifice for you and for those dear to you.And when you see your own bright beauty springing up anew at your feet, think now and then that there is a man who would give his life, to keep a life you love beside you. Later on, when Charles has been charged and needed to be sent to the guillotine, he kept his promise, and ran for the road of love more than jealous and taking revenge. He knew the definition of love is to love the person, leave happiness for him, but not having the person. He had choices, he could choose not to keep the promises, then Charles would die and probably Lucie would love him soon. But he did not do that, moreover, he loves Lucie and scarified his life.He was keen at last and he said a word, It is far, far better thing that I do, than I gravel ever done it is a far, far better rest that I go to than I have ever known.From the above great examples in A Tale of Two Cities, I genuinely believe that people are not born evil but born blank. To be evil or to be good is the choice we have to face, it will be affected by others and the surroundings such as Madame Defarge was affected by the death of her sister and brother and Sydney was affected by Lucie that he choose to scarify his life to keep Charles besides Lucie. When we knew the meaning of love, the meaning of forgiving, evilness would not come over but we will be good and kind. We born nothing and we choose what we want to be that I believe people are not born evil.

Art Deco Reproductions, Inc.: Financial Analysis

The first project is issuing the vernal grants to publics at $38, but right now the commission lean is $3, and the commercialize outlay is $39, but the enthronisation banker believe that the price go away drop to $38 and the commission fee is $2 per share subscribed. To capitalize exact trillions dollar, Art Deco reproductions need to issue 556,000 new shares in total. And the sway price leave alone drop slightly. And the company need to pay the investment banker $1 , 112,000 for the commission fees. There are some advantages marketing shares to public. The stock price go away not drop so much, par with others device.The less new shares issued, the less share dilution, and one member of the Board of Directors deal this proposal will allow for greater distribution of the stock throughout the market. This proposal alike has some disadvantages. The commission fees are the highest, compare with other proposal in the circumstances of all shares are subscribed. Issuing new shares to public will dilute the proportional ownership of the company. It too will dilute the voting right of the infraway shareh octogenarianers. It also will give much more(prenominal) voting right to the outsiders. Issuing shares to public might also hurt the current shareholders loyalty.There also some potential risk the company need to face in this proposal. The first one is the fluctuations of the market price, if the market price goes down under $38, the new issue shares cannot sold and it had to decrease to the market price, and the commission fees is $2 per share, which meaner the company cannot capitalized enough money and need to issue more shares and pay more commission fees to get the millions capitalize target. The proposal 2 is the company offer rights to current shareholders and gives them at $36 per share, this price is lower than the current arrest price $39 per shares, but the commission fee will be $1. 5 per share for every share subscribed, and any remai n shares will purchased by Hugh Company, which will charge inscribed share $3 per share. In this proposal, assuming all the shares subscribed. The company need to issue minimum 576,000 shares to meet the $million capitalized goal. And the company will pay $720,000 as the commission fee. And each rights worth $0. 48, when the rights was generated from the old shares, over 60% of the stock holders will be expected to sell their rights to outsiders anyways. The advantage of proposal 2 is very obviously.The high subscription price can lead to less amount of dilution of earning per shares and still give loyal stockholders a chance to keep their honor positions at a discount. It also will not harm the shareholders interest so much, and will not dilute too much voting magnate to outsiders. And it will not hurt the ownership of the current stock holder and protect their rights The disadvantage of proposal 2 is very clear, the high commission fee is still the problem, and in this high of fering price, the current stockholder might not have enough cash to reinvest the company. There are some potential risks in this reports as well.The high risk of unfavorable market price fluctuations, and if the stock price drops to $36, the speak to of flotation will go up dramatically. And it also has a risk of dilute the current shareholders ownerships proportion. The cheap right but high stock price might not displumeive enough to the outsiders who exigency to invest in this company. The proposal 3 offers a right at $32 per share and the underwriting cost is 0. 25 per share, and $3 per share taken by the investment banker. In this proposal, if all the shares are subscribed, company need to issue 640,000 shares and says total $480,000 commission fees.In this proposal each right worth $1. 23 In this proposal, the advantages are lower commission fee compare with the proposal 1 and 2, and it will increase the current stockholders loyalty if they are in the management team. And it also will protect the current stockholders right, because they are offered before outsiders and dont need to pay the price of the rights to buy the shares. And it also provides an adequate margin of safety against downward market price fluctuations, protects the stockholders from the excessive equity dilution entailed in rapports 4 and 5, and give an appealing purchase discount.The disadvantage in proposal 3 is much more liable(predicate) as the proposal 2, the proposal gs offer price still too high to afford, because only a small percentage of stockholders might have ready funds available for reinvestment, and leave the large percentage of stockholders no choice but to sell their rights. The more shares issue the more earnings will be diluted. The risk is about the flotation cost will highly increase because most of investors choice to sell their rights and it probably dilute the hardcovers ownership proportion.The proposal 4 is company offer a right to stock holder at $20 per s hare and the underwriting cost will be 0. Pepper share and it the cost of $3 per each share if the investment banker take the remain shares. Assuming all the shares are subscribed, the company will issue 1 to meet million goal, and it needs to pay $253,250 as the commissions fees. In this proposal each right worth $4. 80. In this proposal 4, the advantage is very low offer price, compare with the proposal 1 to 3, and the low commission fees, and the low offer price will eve wide range of shareholder to reinvest it, and it keep the shareholders loyalty.And it will attract more outside investor to buy the rights and invest the company. It will not harm the company hard-earned reputation of the companys stock price. And the proposal 4 put the stock in a popular trading range, a low enough subscribed price, a low flotation cost, and a reasonable ex-rights stock price , which will attract a wide range of investor But the disadvantage of proposal 4 also very seriously, one is it will dilu ted the earnings per share greatly from $2. 58 to $1. 93. T is very seriously problem to the big stock holder, and the market price will also goes down, which will harm the stock holders worth if they dont exercise their rights. The risk still exists in this proposal, such as the ownership proportion dilute, voting right diluted. Proposal 5 gives shareholders rights to buy shares at $5 per shares, and there is no commission fee and all the shares will be taken. In this proposal, the company need to issue millions new shares and the value of the rights worth $19. 43. In this proposal, the advantage is very huge.Because of low share price, all the shares will e taken by the share holders. Second, there is no flotation cost, so it will save lot of money. But the advantage is very big as well. Because the lower price, the company will issue millions new shares, and we know the old outstanding shares only have millions right now, the equity, earnings per shares will be diluted greatly. T he market price will be greatly drop downs as well. And the high value of rights will also challenge the stockholders loyalty, the shareholder might sell the rights to outsiders and get this huge amount of money to invest other rich company.

Character Analysis of Scout

Jean Louise Finch, or Scout, is the novels narrator and principal character. She is a unique and extraordinary character who does not quite fit in, or do what is pass judgment of young girls in 1930s Alabama. Readers will note that Scout at the end of the novel is very different from Scout at the beginning and this is because she has authentic so much as a character. At the start of the novel, she is a determined, spirited blowout she loves wearing trousers. She spends most of her time with Jem, her brother and Dill, her friend who visits every summer.She cant bear to be reminded that she is a girl and she is often excluded from the boys games because she is a girl. At times, being a girl makes her very lonely- she has no mother, sisters or female friends her possess age. She tries to solve all problems by fighting and it takes her a long time to follow her fathers advice and learn to fight with her head instead of her fists. Her bad temper is perchance her greatest flaw. She besides stands out from the crowd because she is very clever. She can read the newspaper before she starts school and she cant even remember when started to read.Her knowledge of law is remarkable for her age. She is also outspoken, and this gets her into trouble with disregard Caroline on her first day at school. She is stubborn and strong-willed, and this means she clashes with people who have authority over her- Calpurnia, Miss Caroline, Aunt Alexandra. she does not disobey her father, but she certainly challenges him and tries to get around him. However, Atticus always gets around her in the end. Scout grows and develops immensely in the carry of the novel.Early in the novel, she believes all the rumors that she hears around Maycomb and picks up many of Maycombs attitudes- Boo is a phantom, Mr Dolphus Raymond is evil, black people are only niggers and Atticus should not defend them. She also learns to become more accepting of her femininity. For some, it may seem that she give s into Aunt Alexandras pressure to be a lady. In the final chapter, we see that the rebellious little tomboy who fights with her fists has made way for a thoughtful, wise, mature and experienced young lady.

Of Mice and Men †Discuss the theme’s in the play Essay

By themes, I mean the ideas, which the author is trying to give us. Most authors do not write just for fun, but to show us that there is a message that they would deal us to learn behind the plot. Usually the ideas be ones that the author believes in deeply. The themes are under the following headings* LonelinessLoneliness affects many of the characters, and Steinbeck seems to show that it is a natural go out of the kind of invigoration they are forced to lead. The workers are caught in a trap of loneliness they never stay in one place long enough to form long lasting relationships. Even if the relationships existed, they would probably be destroyed by the demands of their life. dulcify is solitary because he is old, and is different from the other hands. His only comfort is his old dog, which keeps him alliance and reminds him of days when he was young and whole. He has no relatives, and once his dog is killed he is totally alone. He eagerly grasps at the idea of buying a farm with George and Lennie, but of course this all comes to nothing. dulcorates disappointment is shown in the bitter words he utters to the body of Curleys wife, who he blames for fumble his imagine.George is also caught in the trap of loneliness. Just as Candy has his dog for company, George has Lennie (who is often described in animal-like terms). George too is left completely alone when Lennie is killed. The dream farm is his idea, and he says Wed belong there no more runnin around the countryAnother lonely character is Curleys wife. Newly espouse and in a strange place, she is forbidden by Curley to talk to anyone but him. She constantly approaches the ranch hands on the excuse of looking for Curley. The only result is that the men regard her as a slut, and Curley becomes even more intensely jealous. Finally, her loneliness leads to her death as she makes the mistake of trying to defeat it by acting with Lennie.Curley himself is lonely. His new wife hates him, as do a ll the ranch hands who dislike him for his cowardice. He has married, to try and escape his loneliness, but has chosen a wife totally inappropriate for the kind of life he desires. His feelings are all of aggressive behaviour, which places his wife further away from him and leads to the incident with Lennie where his hand is crushed.Crooks is another who is apart(p) because he is different. He copes with it by keeping a distance between himself and the other hands. When he does allow himself to be drawn into the dream of working on George and Lennies dream farm, he is immediately shut out by Georges anger.* ViolenceThe story has many examples of a kind of needless violence. For example, Candy relates how the boss gave them whisky and allowed a fight to take place in the bunkhouse.Curley is the most obvious violent character, and whenever he appears there is a feeling of tension.He causes George to remarkwhat the hells he got on his shoulder. Candy explains that Curley often picks o n big guys (a sure sign of trouble for Lennie). We are prepared for Curleys afterward anger, which adds up at the end in his wish to shoot him in the guts.Carlson is another character associated with violence. He is unconcerned about killing Candys dog (and in fact cleans the gun in Candys presence). He goes to watch the fun when Curley thinks Slim may be with his wife, and later threatens Curley more, saying kick your head off. Later he is very keen to get his gun to join in the hunt for Lennie. The last words in the book belong to Carlson, and it is little surprise that they reveal his complete inability to understand Georges feelings about the death of Lennie.Compared to the other characters, Lennie reveals an unintentional violence. He does not even think to fight back when Curley attacks him, but when he does, it is with immense and uncontrollable power. He has so little control over his own intensiveness that he accidentally kills his puppy, and then minutes later snuffs out the life of Curleys wife.His actions on these occasions are compared to those of an animal, powerful but thoughtless. Curleys wife is attracted to him because of the violence he had shown in crushing her husbands hand. It is the threat of violence to be used against Lennie that causes George to take the final step of killing his friend.* DreamsDreams are one of the ways in which the characters fight the loneliness and hopelessness of their day to day lives. The most obvious example is the dream farm, a dream dual-lane at first only by George and Lennie, but which later spreads to include Candy and Crooks.Crooks reveals that it is the favourite dream of the ranchers Seems like ever guy got land in his head. It is a powerful dream, and even Crooks falls under its spell for a short time. To Lennie, the dream is a cure to disappointment and loneliness, and he often asks George to say the description of the farm to him again.Curleys wife is another who has dreams, her fantasies of a pa rt in the movies and a life of luxury. Part of her sadness with her life is that it can never measure up to her dreams.But, none of the characters ever achieve their dreams.* NatureSteinbeck shows that nature is a beautiful and peaceful place, but threatened by the actions of men. The beginning of the story sets this pattern, as the creatures at the pool are disturbed by George and Lennies approach.The ranch and its buildings, being created by men, are in line of credit with the natural world. For example the bunkhouse is quite bare and stark. Even more unnatural is that Candy and Crooks are either deformed in appearance.Contrasted to these two characters is Lennie, who almost seems a part of the natural world as he is described in animal terms. In fact, one of Lennies dreams is to go and live by himself in a cave. Maybe this would be the only way in which the natural world of Lennie would not come into conflict with the world of men..Steinbeck referred to this story as a play/nove l, and we are shown how closely it does resemble a play. Each section or chapter is set in a clearly defined place like a scene in a play. The beginning of each(prenominal) section contains detailed description, like stage directions in a play, while the rest of each section is mostly dialogue.This may seem like a rather unreal way to write a novel, but Steinbeck does it so well that we do not notice.A noticeable feature of the language of the novel is what a critic might call economy. One result of this is that almost any sentence is important in one way or another, either in developing a character, moving the plot forward or hinting at action still to come.Steinbeck has skilfully created a number of parallel events into the story. Candy and his dog provide a parallel to George and Lennie. And also, when Lennie kills Curleys wife, it echoes his earlier killing of the puppy. thither are many such echoes and parallels in the book. Steinbeck has also shown us the way in which captur ing the spoken language of the characters gives a better feel to the story. Most of them are uneducated, and this shows through in their use of broken and slang language. Even their uneducated pronunciation has been shownSteinbeck also uses colours and sounds to great effect. For example, Curleys wife is associated with red, symbolic of insecurity or passion perhaps. A further strong association is that of Lennie with animals. At various times he is described as a bull, a channel and a dog. Even when not directly compared with an animal, he is described in animal terms. For example, his hand is a paw. This is particularly appropriate for Lennie, as he usually acts in the simple, natural way of an animal.Soledad is a real place in California and its name can mean loneliness or a lonely place. A cue to one of the major themes of the novel right at the beginning.