Change and People

Outline for â€Å"The Psychological Impact of Dejobbing† †¢ â€Å"You are what you do† – most Americans are defined in terms of their jobs, connected to a wider community through their jobs, and provided with structure and purpose by their jobs. †¢ What you must learn, for today’s job environment – learn to live with work situations that are not framed by job descriptions and clear reporting relationships. We will have to learn to live with multiple roles, where the role mix changes frequently.And we will have to find the income we need in such unstable and unpredictable conditions †¢ The most difficult aspect of being laid off or otherwise â€Å"dejobbed† – The hardest part of being laid off is the mental aspect. † In the long run it will probably be the psychological aspect of dejobbing that people find most difficult. Incomes are modular and portable; they can be replaced. Replacing the psychological rewards tha t jobs have provided is far more difficult. What work gives each of us, cognitively and emotionally – A job gives people parts to play and tells them what they need to do to feel good about their contribution. It gives them a way of knowing when they have done enough, and it tells them when their results are satisfactory. Jobs provide people with a place where they need to show up regularly, a list of things they’ve got to do; a role to play in some larger undertaking; a set of expectations to be measured against.It gives them an everyday sense of purpose, and fulfilling such purpose is a source of self-esteem. For people whose personal lives are not going very well, the job may be the only source of self-esteem. †¢ Relationship between order and change in the world of work today – The art of progress is to preserve order amid change and to preserve change amid order. † It is important to recognize this reciprocal relationship and to understand that c hange and stability are not in an either-or relationship to one another†¦Without order, change has nothing to work on†¦but without hange, order cannot be maintained through time†¦You can feel this relation between change and order when you ride a bicycle: you need to keep making little turns, or else you won’t travel straight and stay upright for very long†¦what the dejobbed worker needs to look for is neither a way to recover absolute stability, nor a way to live with utter chaos, but a dynamic kind of order that does not block the flow of change How to give a sense of structure and meaning to your life if you are ever â€Å"dejobbed†: I.Grouping changes: 1. Goals – listing the three most important goals you have now†¦we’re looking for big, comprehensive goals here, not the many little ones. Then, decide what intermediate objectives (no more than three) each of your goals requires you to meet in the near future. Your to-do list c omes from these nine objectives, but nine is too many. Prioritize them. Which three need to be done pronto? Which three could wait until next week? Which three simply have to be done sometime pretty soon? Now, take the ‘prontos. What immediate, first step does each of them demand? Write them down. Those are the actions you are going to take this week. 2. Steps – After any big change in your life, you are going to have to reprioritize again, because any big change changes the value you put on everything in your life†¦It’s also important to keep others up to date on what your priorities are, since any change is going to affect other people, too. The minute you start considering others, you will find that priority-setting isn’t a game of solitaire. . Actions – Keeping your priorities in order is easier if you are not being swamped by sudden and unexpected changes understand better than others the implications of changes that have already taken pl ace. 4. Environmental shifts – , it is important to improve your capacity to see disruptive changes coming†¦subtle shifts in the environment that have already taken place but have not yet been fully recognized by the people who will be affected by them†¦The demise of jobs is such a shift:†¦closure of ilitary bases, the massive restructuring of the health care industry,†¦ the end of American dominance in world markets†¦What economic, technological, demographic or cultural changes in your own work environment fall into this 5. Internal audit – conduct an audit of your†¦expectations, habits, contacts and personal â€Å"rules,† in regard to how they affect your ability to handle constant change. For each of these ask yourself, what is hindering you? What is helping you? Expectations: do you have expectations that are continually being violated by the next change, such as: †¢ After this change, things will settle down. †¢ If yo u are employed by a large organization, you will be insulated from the ravages of constant change. †¢ If you â€Å"do a good job† for your employer, you’ll remain on the payroll. †¢ A human being will always be able to do your job better than a machine will. †¢ The government will step in if the competition from overseas gets too intense. †¢ Long service to an organization will be viewed as a plus. Habits: It is critical for you to stay up to date on the social, technical and economic changes that are likely to have an impact on the kind of work you do†¦decide what periodicals you would read, and what professional or trade meetings you would attend, if you were an independent professional in the field. †¢ Contacts: Are you ready to launch a personal business-development effort tomorrow by contacting the first two or three of the several dozen people who could help you move in whatever direction you decided was appropriate?These would be pe ople who, themselves, have contacts; or who know a lot about something you need to understand; or who might be partners in a joint venture, or who have resources you might be able to use, or who would be able to attest to your potential and accomplishments. †¢ Personal â€Å"Rules†: Most of us are still playing under the old rules. You need to keep an eye out for them via your self-audit and replace them when find them; rules such as: †¢ Don’t leave a job when good jobs are hard to get. Remember, your present job is only temporarily expedient†¦it is going to disappear. The best jobs go to the people with the best qualifications. This is a half-truth, because the whole idea of â€Å"qualification† is changing. The old ‘qualifications’ included degrees or other formal certification, experience in a similar job, and recommendations. Today, most recommendations are known to be hot air or tail-covering platitudes. Experience is more likely to produce a repetition of the past than the kind of new approach that today’s conditions demand. And there often isn’t any degree or certification in the activity that today’s organization needs.The new meaning of â€Å"qualification† is – your D. A. T. A. †¢ Don’t try to change careers after forty. †¢ Getting into the â€Å"right business† assures a secure future†¦designating any field (as the â€Å"right† one) would be bad advice because although there are parts of the economy that are destined to expand, no part of the economy immune to dejobbing. †¢ It doesn’t matter what you want; it’s what â€Å"they† want that counts. Most of us were raised on this one. Maturity was a matter of tempering our wants and of conforming to what someone with more influence and resources wanted of us.But today, it doesn’t matter nearly as much what an organization wants as it used to. The power has moved elsewhere; the only â€Å"they† that matters much any more is, customers. †¢ You have to be a salesman to get ahead today. Not necessarily, but what you do need is†¦a clear understanding of why someone needs what you have and do, and the ability to make your case effectively. Many people who do those well have no experience or interest in sales as a field. II. Changes in how work-related words are being defined: 1. â€Å"Qualification† – 2. â€Å"Risky† vs. â€Å"responsible† employment – III.Frames of meaning: 1. Identity/integrity – is about psychological rather than ethical. It means wholeness With so much change and fragmentation in the new career world, you need a solid core of self. You have to be true to who you are; to your identity. Here, â€Å"identity† means sameness. It refers to the thread of being-the-same-person that runs through all the actions and relationships and statements of an integrate d person. Thus the integrity/identity frame is capable of both maintaining continuity and containing change†¦It is the thread of sameness on which differing activities can be strungThe life journey – The first is a journey toward some external goal: influence and power, a happy family, salvation, or self-actualization. The characteristic of this journey is that it has a recognizable destination that is so desirable that we are willing to put up with the hardships along the way. Those hardships are just hurdles or barriers to be overcome. We may even see barriers as â€Å"filters† that keep the impure, the undeveloped or the basely motivated from reaching the valuable goal. We may also view them as filters that screen out those elements in ourselves, in which case we say that the journey made us better people.On this second type of journey we are trying to become the people we are meant to be. We’re â€Å"ugly ducklings† who don’t know that we are really swans†¦we fail to see that most of what the â€Å"great people† of the world have accomplished was not done because they were different but because they were not busy trying to be somebody else. Most of what has been worth doing†¦was accomplished by people who were (like you and me, most of the time) self-doubting, ambivalent and more than a bit discouraged.This second type of journey frames the difficulties along the way no so much as hurdles to be cleared as signals to be attended to, or even lessons to be learned†¦When someone on this journey says that â€Å"there are no accidents,† that does not mean hat we are living according to some great computer program in the sky, but simply that those times when â€Å"the wrong thing happens† are simply the times when we are looking at the world through the filters formed by our outgrown expectations.It means that if we could see the accidental as if it were part of a lesson plan, Our origina l goals and expectations are little more than the â€Å"bait† that lure us into whatever is the next leg of the journey. Anyone who has come to appreciate these things and can see how often the life journey includes or even depends upon events and situations that we didn’t really want to happen can appreciate the definition of the journey offered by an anonymous sage: â€Å"A journey is a trip after you’ve lost your luggage. 1. Where you place your loyalties – As people get tossed around in the changes that are constantly happening in today’s organizations, they lose their loyalty to organizations and increase their loyalty to the kind of work they do. This constitutes a shift in the continuity-producing frame. The organization can no longer perform that task, since the individual’s connection with it is too easily broken. Only something portable can, so the profession, the vocation, or the work becomes the frame.In another version of the s ame process, â€Å"professional growth† becomes the frame. Here the work and the journey metaphor are blended, as the changes that the person encounters are translated into chances to learn more about one’s vocation†¦The journey of increasing expertise and the journey toward mastery become personally meaningful frames, for they contain and give meaning to not only one’s achievements, but even to very serious work-related failures and disappointments. 2. Reality† – Quantum physics has taught us to think in terms of energy fields rather than solid matter, and has show us that some life changes occur not gradually or piecemeal as ordinary experience would suggest, but in â€Å"quantum leaps† wherein a pattern of energy moves suddenly from one state or level to another. Life sometimes has that quality – we wake up one morning and â€Å"everything has changed. † The career that looked fine yesterday is today trivial and worthles s. The relationship that was very important to us yesterday suddenly isn’t.Or perhaps chaos theory provides an more effective metaphor. If the organization is not like a set of children’s building blocks, all horizontals and verticals on the organizational chart, perhaps the organization is more like flowing water†¦Ã¢â‚¬ Points† are unreal; it’s all flux. The patterns are like weather systems, only predictable in the very short term – yet undeniably ordered by some principle beyond randomness. Contemporary chaos theory talks about so-called strange attractors, which are the ordering principles within such apparently random patterns.They are found in water flows, in the seasons, in the rise and fall of animal populations, in the behavior of financial markets†¦Such a ‘frame’ has the feel of life, its messiness-without-meaninglessness, its constant change and continuous transformation†¦ Create â€Å"Islands of Order† : One of the ways to manage a life of constant change is to maintain stability in some areas your life by not letting change into them†¦some people whose careers have taken them all over the world have kept a home base somewhere that they return to whenever they need to put the pieces back together again.Many people whose work associates come and go†¦keep a circle of friends which changes very little. Many people who go through professional identities as though they were seasonal clothing maintain a spiritual discipline†¦or play a sport seriously. These are the solid points of contact are their rock, which enable them to move safely. Other islands of order are temporal and periodic: quiet time every weekend, every other weekend, one weekend every month; a half-hour of meditation or solitary exercise every morning; two or three weeks â€Å"away from it all† every summer.Some time-outs are occasional: a break, a totally free and passive period at the end of every big project. Some are spontaneous: a sudden decision to spend the afternoon at a movie, take a hike or swim, instead of working. Other islands of order are spatial. They are places where the person goes to break the pattern of constant change. It may be a little park near where you work that you stop by every lunch hour. It may be a room (even a corner of a room) in your house or a chair under a tree in the backyard.It may be a motel room you rent at the beach. Whatever and wherever they are, these are places of order, where you take a break from constant input and output. Still other islands of order are created by favored activities. They may be hobbies†¦stamp collecting†¦playing a musical instrument or a sport†¦cooking, listening to music, taking walks, gardening, doing carpentry, brushing a horse, or training a dog. The common element is that time slows down, even stands still, when you do them.

Transmission Control Protocol and Cisco Public Information

Learning Objectives Be able to explain the purpose of a protocol analyzer (Wireshark). Be able to perform basic PDU capture using Wireshark. Be able to perform basic PDU analysis on straightforward network data traffic. Experiment with Wireshark features and options such as PDU capture and display filtering. Background Wireshark is a software protocol analyzer, or â€Å"packet sniffer† application, used for network troubleshooting, analysis, software and protocol development, and education. Before June 2006, Wireshark was known as Ethereal.A packet sniffer (also known as a network analyzer or protocol analyzer) is comput er software that can intercept and log data traffic passing over a data network. As data streams travel back and forth over the network, the sniffer â€Å"captures† each protocol dat a unit (PDU) and can decode and analyze its content according to the appropriate RFC or other specifications. Wireshark is programmed to recognize the structure of differen t network protocols. This enables it to display the encapsulati on and individual fields of a PDU and interpret their meaning.It is a useful tool for anyone working with networks and can be used with most labs in the CCNA courses for data analysis and troubleshooting. For information and to download the program go to -http://www. Wireshark. org Scenario To capture PDUs the computer on which W ireshark is installed must have a working connection to the network and Wireshark must be running before any data can be captured. W hen Wireshark is launched, the screen below is displayed. To start data capture it is first necessary to go to the Capture menu and select the Options choice.The Options dialog provides a range of settings and filters which determines which and how much data traffic is captured. All contents are Copyright  © 1992–2007 Cisco Systems, Inc. All rights reserved. This document is Cisco Public Information. Page 2 of 12 First, it is necessary to ensure that Wire shark is set to monitor the correct interface. From the Interface drop down list, select the network adapter in use. Typically, for a computer this will be the connected Ethernet Adapter. Then other Options can be set. Among those available in Capture Options, the two highlighted below are worth examination.Setting Wireshark to capture packets in promiscuous mode If this feature is NOT checked, only PDUs destined for this computer will be captured. If this feature is checked, all PDUs d estined for this computer AND all those detected by the computer NIC on the same network segment (i. e. , those that â€Å"pass by† the NI C but are not destined for the computer) are captured. Note: The capturing of these other PDUs depends on the intermediary device connecting the end device computers on this network. As you use different intermediary devices (hubs, switches, routers) thro ughout these courses, you will experience the different Wireshark results.Setting Wireshark for network name resolution This option allows you to control whether or not Wireshark translates network addresses found in PDUs into names. Although th is is a useful feature, the name resolution process may add extra PDUs to your captured data perhaps distorting the analysis. There are also a number of other capture filtering and process settings available. Clicking on the Start button starts the data capture process and a message box displays the progress of this process. All contents are Copyright  © 1992–2007 Cisco Systems, Inc. All rights reserved.This document is Cisco Public Information. Page 3 of 12 As data PDUs are captured, the types and number are indicated in the message box The examples above show the capture of a ping process and then accessing a web page . When the Stop button is clicked, the capture process is terminated and the main screen is displayed . This main display window of Wireshark has three panes. All contents are Copyright  © 1992–2007 Cisco Sys tems, Inc. All rights reserved. This document i s Cisco Public Information. Page 4 of 12 The PDU (or Packet) List Pane at the top of the diagram displays a summary of each packet captured.By clicking on packets in this pane, you control what is displayed in the other two panes. The PDU (or Packet) Details Pane in the middle of the diagram displays the packet selected in the Packet List Pane in more de tail. The PDU (or Packet) Bytes Pane at the bottom of the diagram displays the actual data (in hexadecimal form representing the actual binary) from the packet selected in the Packet List Pane, and highlights the field selected in the Packet Details Pane . Each line in the Packet List corresponds to one PDU or packet of the captured d ata.If you select a line in this pane, more details will be displayed in the â€Å"Packet Details† and â€Å"Packet Bytes† panes. The example above shows the PDUs captured when the ping utilit y was used and http://www. Wireshark. org was ac cessed. Packet number 1 is selected in this pane. The Packet Details pane shows the current packet (selected in the â€Å"Packet List† pane) in a more detailed form. This pane show s the protocols and protocol fields of the selected packet. The protocols and fields of the packet are disp layed using a tree, which can be expanded and collapsed.The Packet Bytes pane shows the data of the current packet (selec ted in the â€Å"Packet List† pane) in what is known as â€Å"hexdump† style. In this lab, this pane will not be examined in detail. However, when a more in -depth analysis is required this displayed information is useful for examining the binary values and content o f PDUs. All contents are Copyright  © 1992–2007 Cisco Systems, Inc. All rights reserved. This document is Cisco Public Information. Page 5 of 12 The information captured for the data PDUs can be saved in a file. This file can then be opened in Wireshark f or analysis some time in the fut ure ithout the need to re-capture the same data traffic again. The information displayed when a capture file is opened is the same as the original capture. When closing a data capture screen or exiting Wireshark you are pr ompted to save the captured PDUs. Clicking on Continue without Saving closes the file or exits Wireshark without saving the displayed captured data. Task 1: Ping PDU Capture Step 1: After ensuring that the standard lab topology and configuration is correct, launch Wireshark on a computer in a lab pod. Set the Capture Options as described above in the overview and start the capture process.From the command line of the computer, ping the IP address of another network connected and powered on end device on in the lab topology. In this case, ping the Eagle Server at using the command ping 192. 168. 254. 254. After receiving the successful replies to the ping in the command line window, stop the packet capture. Step 2: Examine the Packet List pane. The Packet List pane on Wireshark should now look something like this: Look at the packets listed above; we are interested in packet numbers 6, 7, 8, 9, 11, 12, 14 and 15. Locate the equivalent packets on the packet list on your computer.All contents are Copyright  © 1992–2007 Cisco Systems, Inc. All rights reserved. This document is Cisco Public Information. Pa ge 6 of 12 If you performed Step 1A above match the messages displayed in the command line window when th e ping was issued with the six packets captured by Wireshark . From the Wireshark Packet List answer the following: What protocol is used by ping? ________ICMP______________________ What is the full protocol name? ___Internet Control Message Protocol____ What are the names of the two ping messages? _____Echo Request____ _____Echo Reply____________________________________Are the listed source and destination IP addresses what you expected? Yes / N o Why? ___________________________________ Answers may vary-Yes, the source address is my computer and the destination is the Eagle server Step 3: Select (highlight) the first echo request packet on the list with the mouse. The Packet Detail pane will now display something similar to: Click on each of the four â€Å"+† to expand the information. The packet Detail Pane will now be similar to: All contents are Copyright  © 1992–2007 Cisco Systems, Inc. All rights reserved. This document is Cisco Public Information.Page 7 of 12 As you can see, the details for each section and protocol can be expanded further. Spend some time scrolling through this information. At this stage of the course, you may not fully understand the information displayed but make a note of the information you do recognize. Locate the two different types of ‘Source† and â€Å"Destination†. Why are there two types? The Ethernet II shows the MAC addresses and the Internet Protocol shows the IP addresses What protocols are in the Ethernet frame? ___ eth:ip:icmp:data _ __________________________________As you select a line in the Packets Detail pane all or part of the information in the Packet Bytes pane als o becomes highlighted. For example, if the second line (+ Ethernet II) is highlighted in the Details pane the Bytes pane no w highlights the corresponding values. This shows the particular binary values that represent that information in the PDU. At this stage of the course, it is not necessary to understand this information in detail. Step 4: Go to the File menu and select Close. Click on Continue without Saving when this message box appears. Task 2: FTP PDU Capture Step 1: Start packet capture.Assuming Wireshark is still running from the previous steps, start packet capture by clicking on the Start option on the Capture menu of Wireshark. At the command line on your computer running Wireshark, enter ftp 192. 168. 254. 254 When the connection is established, enter anonymous as the user without a password. Userid: anonymous All contents are Co pyright  © 1992–2007 Cisco Systems, Inc. All rights reserved. This document is Cisco Public Information. Page 8 of 12 Password: You may alternatively use login with userid cisco and with password cisco. When successfully logged in enter get /pub/eagle_labs/eagle1/chapter1/gaim-1. . 0. exe and press the enter key . This will start downloading the file from the ftp server. The output wil l look similar to: C:Documents and Settingsccna1>ftp eagle-server. example. com Connected to eagle-server. example. com. 220 Welcome to the eagle-server FTP service. User (eagle-server. example. com:(none)): anonymous 331 Please specify the password. Password: 230 Login successful. ftp> get /pub/eagle_labs/eagle1/chapter1/gaim-1. 5. 0. exe 200 PORT command successful. Consider using PASV. 150 Opening BINARY mode data connection for pub/eagle_labs/eagle1/chapter1/gaim-1. 5. 0. xe (6967072 bytes). 226 File send OK. ftp: 6967072 bytes received in 0. 59Seconds 11729. 08Kbytes/sec. When the file d ownload is complete enter quit ftp> quit 221 Goodbye. C:Documents and Settingsccna1> When the file has successfully downloaded, stop the PDU capture in Wireshark. Step 2: Increase the size of the Wireshark Packet List pane and scroll through the PDUs listed. Locate and note those PDUs associated with the file download. These will be the PDUs from the Layer 4 protocol TCP and the Layer 7 protocol FTP. Identify the three groups of PDUs associated with the file transfer.If you performed the step above, match the packets with the messages and prompts in the FTP command line window. The first group is associated with the â€Å"connection† phase and logging into the server . List examples of messages exchanged in this phase. Answers will vary- 1292 > ftp [SYN], FTP > 1292 [SYN, ACK], Response: 220 Welcome to the eagle -server FTP service, 1292 > ftp [ACK], Request: User anonymous, Response: 331 Please specify the password, Request: Pass Locate and list examples of messages exchange d in the second phase that is the actual download request and the data transfer.Answers will vary- FTP Data: 1448 bytes, 1294 > ftp-data [ACK], All contents are Copyright  © 1992–2007 Cisco Systems, Inc. All rights reserved. This document is Cisco Public Information. Page 9 of 12 The third group of PDUs relate to logging out and â€Å"breaking the connection†. List examples of messages exchanged during this process. Answers will vary- Request:QUIT, Response: 221 Goodbye, 1292 > ftp [FIN, ACK], ftp >1292 [FIN, ACK] Locate recurring TCP exchanges throughout the FTP process. What feature of TCP does this indicate? __Send and receipt of data____________________________________________ Step 3: Examine Packet Details. Select (highlight) a packet on the list associated with the first phase of the FTP process. View the packet details in the Details pane. What are the protocols encapsulated in the frame? ____ Eth:ip:tcp:ftp-data ______________________________________ Highligh t the packets containing the user name and password. Examine the highlighted portion in the Packet Byte pane. What does this say about the security of this FTP login process ? _____ Security isn’t very high because the name and password are visible. ___________ Highlight a packet associated with the second phase. From any pane, locate the packet containing the f ile name. The filename is: ___gaim-1. 5. 0. exe__________ Highlight a packet containing the actual file content -note the plain text visible in the Byte pane. Highlight and examine, in the Details and Byte panes, some packets exchanged in the third phase o f the file download. What features distinguish the content of these packets ? ____ A [FIN, ACK] is issued to close the connection. __________________ When finished, close the Wireshark file and continue without savingTask 3: HTTP PDU Capture Step 1: Start packet capture. Assuming Wireshark is still running from the previous steps, start packet capture by clicking on the Start option on the Capture menu of Wireshark. Note: Capture Options do not have to be set if continuing from previous steps of thi s lab. Launch a web browser on the computer that is running Wireshark. All contents are Copyright  © 1992–2007 Cisco Systems, Inc. All rights reserved. This document is Cisco Public Information. Page 10 of 12 Enter the URL of the Eagle Server of example. com or enter the IP address-192. 168. 54. 254. When the webpage has fully downloaded, stop the Wireshark packet capture. Step 2: Increase the size of the Wireshark Packet List pane and scroll through the PDUs listed. Locate and identify the TCP and HTTP packets associated with the webpage download. Note the similarity between this message exchange and the FTP exchange. Step 3: In the Packet List pane, highlight an HTTP packet that has the notation â€Å"(text/html)† in the Info column. In the Packet Detail pane click on the â€Å"+† next to â€Å"Line-based text data: htmlâ €  When this information expands what is displayed? ____HTML code for the web page__________________________ Examine the highlighted portion of the Byte Panel. This shows the HTML data carried by the packet. When finished close the Wireshark file and continue without saving Task 4: Reflection Consider the encapsulation information pertaining to captured network data Wireshark can provide. Relate this to th e OSI and TCP/IP layer models. It is important that you can recognize and link both the protocols represented and the protocol layer a nd encapsulation types of the models with the information provided by Wireshark.Task 5: Challenge Discuss how you could use a protocol analyzer such as Wireshark to: (1) Troubleshoot the failure of a webpage to download successfully to a browser on a computer. and (2) Identify data traffic on a network that is requested by users. Answers could vary-Wireshark could show when request for a web page failed due to incorrect URL. User traffic could b e monitored to identify errors in source or destination. All contents are Copyright  © 1992–2007 Cisco Systems, Inc. All rights reserved. This document is Cisco Public Information. Page 11 of 12

The History of the Taj Mahal

The Taj Mahal is a beautiful white marble mausoleum in the city of Agra, India. It is widely considered to be one of the greatest architectural masterpieces in the world  and is listed as one of the New Seven Wonders of the World. Every year, the Taj Mahal receives visits from between four and six million tourists from all over the world.   Interestingly, less than 500,000 of those visitors are from overseas; the vast majority are from India itself. UNESCO has designated the building and its grounds as an official World Heritage Site, and there is much concern that the sheer volume of foot traffic may have a negative impact on this wonder of the world. Still, it is hard to blame people in India for wanting to see the Taj, since the growing middle class there finally has the time and leisure to visit their countrys great treasure. Why the Taj Mahal Was Built The Taj Mahal was built by the Mughal Emperor Shah Jahan  (r. 1628 - 1658) in honor of the Persian princess Mumtaz Mahal, his beloved third wife. She died in 1632 while bearing their fourteenth child, and Shah Jahan never really recovered from the loss. He poured his energy into designing and building the most beautiful tomb ever known for her, on the southern banks of the Yamuna River. It took some 20,000 artisans more than a decade to build the Taj Mahal complex. The white marble stone is inlaid with floral details carved from precious gems. In places, the stone is carved into delicate vined screens called pierce work so that visitors can see into the next chamber. All of the floors are inlaid with patterned stone, and incised painting in abstract designs adorns the walls. The artisans who did this incredible work were supervised by an entire committee of architects, headed by Ustad Ahmad Lahauri. The cost in modern values was about 53 billion rupees ($827 million US).  Construction of the mausoleum was completed around 1648. The Taj Mahal Today The Taj Mahal is one of the loveliest buildings in the world, combining architectural elements from across the Muslim lands. Among the other works that inspired its design are the Gur-e Amir, or the Tomb of Timur, in Samarkand, Uzbekistan; Humayuns Tomb in Delhi; and the Tomb of Itmad-Ud-Daulah in Agra. However, the Taj outshines all of these earlier mausoleums in its beauty and grace. Its name literally translates as Crown of Palaces. Shah Jahan was a member of the Mughal Dynasty, descended from Timur (Tamerlane) and from Genghis Khan.  His family ruled India from 1526 to 1857.  Unfortunately for Shah Jahan, and for India, the loss of Mumtaz Mahal and the construction of her amazing tomb utterly distracted Shah Jahan from the business of governing India.  He ended up being deposed and imprisoned by his own third son, the ruthless and intolerant Emperor Aurangzeb.  Shah Jahan ended his days under house arrest, lying in bed, gazing out at the white dome of the Taj Mahal.  His body was interred in the glorious building he had made, beside that of his beloved Mumtaz.

What the In-Crowd Wont Tell You About Where to Get Essay Samples on Money Management

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Trifles by Susan Glaspell Essay - 610 Words

Trifles by Susan Glaspell Susan Glaspellss Trifles is a little gem of a play. In one short act, the playwright presents the audience with a complex human drama leaving us with a haunting question. Did an abused Nebraska farm wife murder her husband? Through the clever use of clues and the incriminating dialogue of the two main characters, this murder mystery unfolds into a psychological masterpiece of enormous proportions. Written in 1916, the play deals with the theme of the roles of women in society. This was a time before women had the right to vote or sit on juries. Shortly after writing the play, Glaspell wrote it as a short story entitled A Jury of Her Peers. The scene is set in†¦show more content†¦They tell the audience a great deal about the home life and mental state of Mrs. Wright. The house didnt have a telephone because when Mr. Hale asked if Mr. Wright would want to join him in paying for a party line, Wrights reply was folks talk too much anyway and all he wanted was peace and quiet. When Mr. Hale found Mrs. Wright, she was sitting in her rocking chair looking queer, as if she didnt know what she was going to do next. Hale then went upstairs and discovered Wrights body lying in bed, a rope tied around his neck. Wright had been strangled. The pieces of evidence found in the kitchen by the women paint a picture of a desperate woman who had suffered mental and perhaps physical abuse at the hands of her cruel husband for 30 years. Jars of cherries that Mrs. Wright had preserved were found broken and the women assume it is because of the cold. A roller towel was found dirty, dirty pots under the sink, and a loaf of bread on the table was left to go stale. Mrs. Hale doesnt think Minnie Wright did it because Minnie is still concerned about the household things. She wondered how a person could be strangled without waking up or wakening someone in bed with him. The women find a quilt that Mrs. Wright had been working on and the last stitches are uneven and Mrs. Hale pulls them out. Mrs. Peters finds a birdcage with a broken door hinge that looked as if someone hadShow MoreRelatedTrifles, By Susan Glaspell Essay2136 Words   |  9 Pagesprimarily of a domestic nature. Trifles by Susan Glaspell indicates that a man’s perspective is entirely different from a woman’s. The one-act play, Trifles, is a murder mystery which examines the lives of rural, middle-aged, married, women characters through gender relationships, power between the sexes, and the nature of truth. The play, written in the early 1900s, long before the women’s movement and while men considered women their possessions. In the story of Trifles, it is easy to recognize theRead MoreTrifles by Susan Glaspell1158 Words   |  5 PagesAnalytical Essay on Drama Trifles by Susan Glaspell Heidi Barnard South University Trifles’ By Susan Glaspell I believe had several small defining moments leading to the one larger defining moment, which brings together all of them together. The defining moment is the discovery of the dead bird hidden in the pretty red box, this leads back to smaller points such as her sewing and the bird cage. â€Å" Here’s some red. I expect this has got sewing things in it. (Brings out a fancy box.) What aRead MoreTrifles By Susan Glaspell1000 Words   |  4 Pages  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     In Trifles by Susan Glaspell, the author presents a predominant  theme of women and femininity. This theme reflects upon the underlying message of the play, that women are not treated fairly and are not seen in the same light as men. Susan Glaspell demonstrates the common assumptions made by men towards women in terms of roles and degrading their value/insight. Throughout the play, Glaspell provides many instances to where a woman’s value or insight is degraded. Hale demonstrates thisRead MoreTrifles by Susan Glaspell604 Words   |  2 Pages Trifles by Susan Glaspell is a one-act play that explores the theme of the gender roles and social positions of men and women in early twentieth-century America. The play is loosely based on the true event of the murder of John Hossack which Glaspell reported on while working as a news journalist in Iowa. Years later, she used her experiences and observations to create the play. Trifles is about solving the murder case of farmer John Wright. While Mr. Wright was asleep in the night, someoneRead MoreTrifles, By Susan Glaspell1034 Words   |  5 Pagessay goes. The 1912 play Trifles, by Susan Glaspell, who was inspired to write this play from a story she covered as a reporter. A murder case is being held and authorities are getting down to it suspecting a woman of killing her husband in his sl eep. The character Mrs. Hale who is neighbors and friends with Mrs. Peters, the sheriff’s wife and Mrs. Wright, the woman accused of the murder of her Husband, Mr. Wright. The character Mrs. Hale, in the Susan Glaspell s play Trifles, is displayed as a empoweringRead MoreTrifles, By Susan Glaspell Essay1469 Words   |  6 PagesSusan Glaspell’s one-act play Trifles is based on the murder investigation of John Wright. Minnie Wright’s isolation and the death of her canary are the major factors that led to the murder of her husband. Glaspell stresses the perceived supremacy of males when investigating the murder by giving the men lead roles in the investigation and by making fun of the â€Å"trifles† that the women are choosing to observe. It is ironic because the ordinary items observed by the women were thought of as â€Å"trifles†Read MoreTrifles : Susan Glaspell s Trifles940 Words   |  4 PagesWhat is a trifle? A trifle is something that ha s little to no importance (dictionary.com). For instance, the color of your nails would be considered a trifle. In Trifles by Susan Glaspell, women are criticized and made fun of by men because of the little things they worry about, such as the color of their nails or their hair. This exhibits the gender role difference portrayed during the play’s time period. The central conflict is what the plot is centered around. In Trifles, the central conflictRead MoreSusan Glaspell s Trifles 1507 Words   |  7 Pagesâ€Å"Trifles† is a one act play written by Susan Glaspell in 1916, which was first performed on August 8th by the Provincetown Players in Provincetown, Massachusetts at the Wharf Theater. The author, Susan Glaspell, was born on July 1, 1876 in Davenport, Iowa. Over her lifetime she had become proficient in many different professions: Playwright, Actress, Novelist, and Journalist. For her works, she won an American Pulitzer Prize in 1931. The Provincetown Players was founded by Susan Glaspell and herRead MoreSusan Glaspell s Trifles 1732 Words   |  7 PagesSusan Glaspell (1876-1948) was an American-born Pulitzer Prize winning writer of both plays and fiction. Glaspell came from humble beginnings and went on to study at Drake University and the University of Chicago. Much of Glaspell s work dealt with the relationships between men and women and the negative effects they have on women. In Glaspell s play Trifles, it is revealed that the operations of patriarchy are just an illusion that men have created to make themselves feel superior to womenRead MoreTrifles by Susan Glaspell Essay1253 Words   |  6 Pages Susan Glaspell’s most memorable one-act play, Trifles (1916) was based on murder trial case that happened in the 1900’s. Glaspell worked as a reporter, where she appointed a report of a murder case. It was about a farmer, John Hossack who was killed while he was asleep in bed one night. His wife claimed that she was asleep next to him when the attack occurred. No one believed in her statement, she was arrested and was charged on first degree murder. In Trifles, the play takes place at an abandon

Aristotle’S Poetics Analysis Essay Example For Students

Aristotle’S Poetics Analysis Essay Is a much-disdained book. So unpatriotic a soul as Aristotle has no business speaking about such a topic, much less telling poets how to go about their business. He reduces the drama to its language, people say, and the language Itself to Its least poetic element, the story, and then he encourages insensitive readers like himself to subject stories to crudely moralistic readings, that reduce tragedies to the childish proportions of Aesop-fables. Strangely, though, the Poetics itself Is rarely read with the kind of sensitivity Its critics claim to possess, and he thing criticized is not the book Aristotle wrote but a caricature of it. Aristotle himself respected Homer so much that he personally corrected a copy of the Iliad for his student Alexander, who carried It all over the world. In his Rhetoric (Ill, xv, 9), Aristotle criticizes orators who write exclusively from the intellect, rather than from the heart, in the way Sophocles makes Antigen speak. Aristotle is often thought of as a logician, but he regularly uses the adverb log ¶s, logically, as a term of reproach contrasted with pushup ¶s, naturally or appropriately, to describe arguments made by there, or preliminary and inadequate arguments of his own. Those who take the trouble to look at the Poetics closely will find, I think, a book that treats Its topic appropriately and naturally, and contains the reflections of a good reader and characteristically powerful thinker. Table of Contents 1. Poetry as Imitation 2. The Character of Tragedy 3. Tragic Catharsis 4. Tragic Pity 5. Tragic Fear and the Image of Humanity 6. The Iliad, the Tempest, and Tragic Wonder 7. Excerpts from Aristotle poetics 8. References and Further Reading The first scandal In the Poetics is the Initial marking out of dramatic poetry as a form f imitation. We call the poet a creator, and are offended at the suggestion that he might be merely some sort of recording device. As the painters eye teaches us how to look and shows us what we never saw, the dramatist presents things that never existed until he imagined them, and makes us experience worlds we could never have found the way to on our own. But Aristotle has no intention to diminish the poet, and In fact says the same thing I just said, in making the point that poetry Is more philosophic than history By imitation, Aristotle does not mean the sort of mimicry by which Aristotelian, say, finds syllables that approximate the sound of frogs. He Is speaking of the Imitation of action, and by action he does not mean mere happenings. Aristotle speaks extensively of praxis in the Mechanical Ethics. It is not a word he uses loosely, and in fact his use of it in the definition of tragedy recalls the discussion In the Ethics. Action, as Aristotle uses the word, refers only to what Is deliberately chosen, and capable of finding completion in the achievement of some purpose. Animals and young children do not act in this sense, and action is not the n human life, and a sense for the actions that are worth paying attention to. They are not present in the world in such a way that a video camera could detect them. An intelligent, feeling, shaping human soul must find them. By the same token, the action of the drama itself is not on the stage. It takes form and has its being in the imagination of the spectator. The actors speak and move and gesture, but it is the poet who speaks through them, from imagination to imagination, to present to us the thing that he has made. Because that thing he makes has the form of an action, it has o be seen and held together Just as actively and attentively by us as by him. The imitation is the thing that is re-produced, in us and for us, by his art. This is a powerful kind of human communication, and the thing imitated is what defines the human realm. If no one had the power to imitate action, life might Just wash over us without leaving any trace. How do I know that Aristotle intends the imitation of action to be understood in this way? In De Anima, he distinguishes three kinds of perception (II, 6; Ill, 3). There is the perception of proper sensible-colors, sounds, tastes and so n; these lie on the surfaces of things and can be mimicked directly for sense perception. But there is also perception of common sensible, available to more than one of our senses, as shape is grasped by both sight and touch, or number by all five senses; these are distinguished by imagination, the power in us that is shared by the five senses, and in which the circular shape, for instance, is not dependent on sight or touch alone. These common sensible can be mimicked in various ways, as when I draw a messy, meandering ridge of chalk on a blackboard, and your imagination rasps a circle. Finally, there is the perception of that of which the sensible qualities are attributes, the thing-the son of Diaries, for example; it is this that we ordinarily mean by perception, and while its object always has an image in the imagination, it can only be distinguished by intellect, noose (111,4). Skilled mimics can imitate people we know, by voice, gesture, and so on, and here already we must engage intelligence and imagination together. The dramatist imitates things more remote from the eye and ear than familiar people. Sophocles and Shakespeare, for example, imitate pentacle and forgiveness, true instances of action in Aristotle sense of the word, and we need all the human powers to recognize what these poets put before us. So the mere phrase imitation of an action is packed with meaning, available to us as soon as we ask what an action is, and how the image of such a thing might be perceived. Aristotle does understand tragedy as a development out of the childs mimicry of animal noises, but that is in the same way that he understands philosophy as a development out of our enjoyment of sight-seeing (Metaphysics l, 1). In each of these developments there is a vast array of possible intermediate stages, but Just as philosophy is the ultimate form of the innate desire to know, tragedy is considered by Aristotle the ultimate form of our innate delight in imitation. His beloved Homer saw and achieved the most important possibilities of the imitation of human action, but it was the tragedians who, refined and intensified the form of that imitation, and discovered its perfection. 2. The Character of Tragedy A work is a tragedy, Aristotle tells us, only if it arouses pity and fear. Why does he single out these two passions? Some interpreters think he means them only as examples-pity and fear and other passions like that-but I am not among those loose but I think he does so only to indicate that pity and fear are not themselves things subject to identification with pin-point precision, but that each refers to a range of feeling. It is Just the feelings in those two ranges, however, that belong to tragedy. Why? Why shouldnt some tragedy arouse pity and Joy, say, and another fear and cruelty? In various places, Aristotle says that it is the mark of an educated person to know what needs explanation and what doesnt. He does not try to prove that there is such a thing as nature, or such a thing as motion, though some people deny both. Likewise, he understands the recognition of a special and powerful form of drama built around pity and fear as the beginning of an inquiry, and spends not one word justifying that restriction. We, however, can see better why he starts there by trying out a few simple alternatives. Suppose a drama aroused pity in a powerful way, but aroused no fear at all. This is an easily recognizable dramatic form, called a tear- jerker. The name is meant to disparage this sort of drama, but why? Imagine a well written, well made play or movie that depicts the losing struggle of a likable central character. We are moved to have a good cry, and are afforded either the relief of a happy ending, or the realistic desolation of a sad one. In the one case the tension built up along the way is released within the experience of the work itself; in the other it passes off as we leave the theater, and readjust our feelings to the fact that it was, after all, only make-believe. What is wrong with that? There is always pleasure in strong emotion, and the theater is a harmless place to indulge it. We may even come out feeling good about being so compassionate. But Dostoevsky depicts a character who loves to cry in the theater, not noticing that while she wallows in her warm feelings her coach-driver is shivering outside. She has day-dreams about relieving suffering humanity, but does nothing to put that vague desire to work. If she is typical, then the tear-jerker is a dishonest form of drama, not even a harmless diversion but an encouragement to lie to oneself. Well then, lets consider the opposite experiment, in which a drama arouses fear in a powerful way, but arouses title or no pity. This is again a readily recognizable dramatic form, called the horror story, or in a recent fashion, the mad-slashes movie. The thrill of fear is the primary object of such amusements, and the story alternates between the build-up of apprehension and the shock of violence. Again, as with the tear-jerker, it doesnt much matter whether it ends happily or with uneasiness, or even with one last shock, so indeterminate is its form. And while the tearjerker gives us an illusion of compassionate delicacy, the unrestrained shock-drama obviously has the effect of coarsening feeling. Genuine human pity could not co-exist with the so-called graphic effects these films use to keep scaring us. The attraction of this kind of amusement is again the thrill of strong feeling, and again the price of indulging the desire for that thrill may be high. Let us consider a milder form of the drama built on arousing fear. There are stories in which fearsome things are threatened or done by characters who are in the end defeated by means similar to, or in some way equivalent to, what they dealt out. The fear is relieved in vengeance, and we feel a satisfaction that we might be inclined to call Justice. To work on the level of feeling, though, Justice must be understood as the exact inverse of the crime-doing to the offender the sort of thing he did or meant to do to others. The imagination of evil then becomes the measure of infliction of pain or death is nothing but a thin veil over the very feelings we mean to be punishing. This is a successful dramatic formula, arousing in us destructive desires that are fun to feel, along with the self-righteous illusion that we are really superior to the character who displays them. The playwright who makes us feel that way will probably be popular, but he is a menace. We have looked at three kinds of non-tragedy that arouse passions in a destructive way, and we could add others. There are potentially as many kinds as there are passions and combinations of passions. That suggests that the theater is Just an arena for the manipulation of passions in ways that are pleasant in the short run and at least reckless to pursue repeatedly. At worst, the drama could be seen as dealing in a kind of addiction, which it both produces and holds the only remedy for. But we have not yet tried to talk about the combination of passions characteristic of tragedy. When we turn from the sort of examples I have given, to the acknowledged examples of tragedy, we find ourselves in a different world. The tragedians I have in mind are five: Aeschylus, Sophocles, and Euripides; Shakespeare, who differs from them only in time; and Homer, who differs from them somewhat more, in the form in which he composed, but shares with them the things that matter most. I could add other authors, such as Dostoevsky, who wrote stories of the tragic kind in much looser literary forms, but I want to keep the focus on a small number of clear paradigms. When we look at a raggedy we find the chorus in Antigen telling us what a strange thing a human being is, that passes beyond all boundaries (lines 332 if. ), or King Lear asking if man is no more than this, a poor, bare, forked animal (Ill, v, off. ), or Macbeth protesting to his wife l dare do all that may become a man; who dares do more is none (l, vii, 47-8), or Oedipus taunting Terrifies with the fact that divine art was of no use against the Sphinx, but only Oedipus own human ingenuity (Ode. Try. 9098), or Agamemnon, resisting walking home on tapestries, saying to his wife l tell you to revere me as a an, not a god (925), or Cadmium in the Beach saying l am a man, nothing more (199), while Dionysus tells Penthouse Mimi do not know what you are (506), or Patrols telling Achilles Pulses was not your father nor Thesis your mother, but the gray sea bore you, and the towering rocks, so hard is your heart (Iliad WI, 335 ). I could add more examples of this kind by the dozen, and your memories will supply others. Walt Whitman the poet of American inclusion EssayTragedy is about central and indispensable human attributes, disclosed to us by the pity that draws us toward them and the fear that makes us recoil from what threatens them. Because the suffering of the tragic figure splays the boundaries of what is human, every tragedy carries the sense of universality. Oedipus or Antigen or Lear or Othello is somehow every one of us, only more so. But the mere mention of these names makes it obvious that they are not generalized characters, but altogether particular. And if we did not feel that they were genuine individuals, they would have no power to engage our emotions. It is by their particularity that they make their marks on us, as though we had encountered them in the flesh. It is only through the particularity of our feelings that our bonds with them emerge. What we care for and cherish makes us pity them and fear for them, and thereby the reverse also happens: our feelings of pity and fear make us recognize what we care for and cherish. When the tragic figure is destroyed it is a piece of ourselves that is lost. Yet we never feel desolation at the end of a tragedy, paradox, but to describe a marvel. It is not so strange that we learn the worth of something by losing it; what is astonishing is what the tragedians are able to achieve by making use of that common experience. They lift it up into a state of wonder. Within our small group of exemplary poetic works, there are two that do not have the raging form, and hence do not concentrate all their power into putting us in a state of wonder, but also depict the state of wonder among their characters and contain speeches that reflect on it. They are Homers Iliad and Shakespearean Tempest. Incidentally, there is an excellent small book called Woe or Wonder, the Emotional Effect of Shakespearean Tragedy, by J. V. Cunningham, that demonstrates the continuity of the traditional understanding of tragedy from Aristotle to Shakespeare. ) The first poem in our literary heritage, and Shakespearean last play, both belong to a investigation of which Aristotle Poetics is the most prominent part. 6. The Iliad, the Tempest, and Tragic Wonder In b oth the Iliad and the Tempest there are characters with arts that in some ways resemble that of the poet. It is much noticed that Prospered farewell to his art coincides with Shakespearean own, but it may be less obvious that Homer has put into the Iliad a partial representation of himself. But the last 150 lines of Book XVIII of the Iliad describe the making of a work of art by Hyphenates. I will not consider here what is depicted on the shield of Achilles, but only the meaning in the poem of the held itself. In Book XVIII, Achilles has realized what mattered most to him when it is too late. The Greeks are driven back to their ships, as Achilles had prayed they would be, and know that they are lost without him. But what pleasure is this to me now, he says to his mother, when my beloved friend is dead, Patrols, whom I cherished beyond all friends, as the equal of my own soul; I am bereft of him (80-82). Those last words also mean l have killed him. In his desolation, Achilles has at last chosen to act. l will accept my doom, he says (115 Thesis goes to Hyphenates because, in pits of his resolve, Achilles has no armor in which to meet his fate. She tells her sons story, concluding he is lying on the ground, anguishing at heart (461). Her last word, anguishing, ache ¶n, is built on Achilles name. Now listen to what Hyphenates says in reply: Take courage, and do not let these things distress you in your heart. Would that I had the power to hide him far away from death and the sounds of grief when grim fate comes to him, but I can see that beautiful armor surrounds him, of such a kind that many people, one after another, who look on it, will wonder (463-67). Is it not evident that this source of wonder that surrounds Achilles, that takes the sting from his death even in a mothers heart, is the Iliad itself? But how does the Iliad accomplish this? Let us shift our attention for a moment to the Tempest. The character Alonso, in the power of the magician Prospers, spends the length of the play in the illusion that his son has drowned. To have him alive again, Alonso says, l wish Myself were muddied in that oozy bed Where my son lies (V, I, But he has already been there for three hours in his imagination; he says earlier my son I the ooze is bedded; and Ill seek him deeper than oer plummet sounded And with him there lie muddied (Ill, iii, 100-2). What is this muddy ooze? It is Alonso grief, and his regret for exposing his son to danger, and his self-reproach for his own past crime against Prospers and Prospered baby daughter, which made his son a Just target for only comes after he has lost the thing he cares most about. But the spirit Ariel sings a song to Alonso son: Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes; Nothing of him that doth fade But doth suffer a EAI change Into something rich and strange (l, it, 397-402). Alonso grief is aroused by an illusion, an imitation of an action, but his repentance is real, and is slowly transforming him into a different man. Who is this new man? Let us take counsel from the honest old councilor Gonzalez, who always has the clearest sight in the play. He tells us that on this voyage, when so much seemed lost, every traveler found himself When no man was his own (V, I, 206-13). The something rich and strange into which Alonso changes is himself, as he was before his life took a wrong turn. Prospered magic does no more than arrest people in a potent illusion; in his power they are knit up In their distractions (Ill, iii, 89-90). When released, he says, they shall be themselves (V, I, 32). On virtually every page of the Tempest, the word wonder appears, or else some synonym for it. Marinaras name is Latin for wonder, her favorite adjective brave seems to mean both good and out-of-the-ordinary, and the combination rich and strange means the same. What is wonder? J. V. Cunningham describes it in the book I mentioned as the shocked limit of all feeling, in which fear, sorrow, and Joy can all merge. There is some truth in that, but it misses what is wonderful or wondrous about wonder. It suggests that in wonder our feelings are numbed and we are left limp, wrung dry of all emotion. But wonder is itself a feeling, the one to which Miranda is always giving voice, the powerful sense that what is before one is both strange and good. Wonder does not numb the other feelings; what it does is dislodge them from their habitual moorings. The experience of wonder is the disclosure of a sight or thought or image that fits no habitual context of feeling or understanding, but grabs and holds us by a power borrowed from nothing part from itself. The two things that Plotting says characterize beauty, that the soul recognizes it at first glance and spontaneously gives welcome to it, equally describe the experience of wonder. The beautiful always produces wonder, if it is seen as beautiful, and the sense of wonder always sees beauty. But are there really no wonders that are ugly? The monstrosities that used to be exhibited in circus side- shows are wonders too, are they not? In the Tempest, three characters think first of all of such spectacles when they lay eyes on Caliber (II, I, 28-31; V, I, 263-6), but they re incapable of wonder, since they think they know everything that matters already. A fourth character in the same batch, who is drunk but not insensible, gives way at the end of Act II to the sense that this is not Just someone strange and deformed, nor just a useful servant, but a brave monster. But Stephan is not like the holiday fools who pay to see monstrosities like two-headed calves or exotic sights like wild men of Borneo. I recall an aquarium somewhere in Europe that had on display an astoundingly ugly catfish. People came casually up to its tank, were startled, made kisses of disgust, and turned away. Even to be arrested before such a sight feels in some way perverse and has some conflict in the feeling it arouses, as when we stare at the victims of a car wreck. The sight of the ugly or disgusting, when it is felt as such, does not have the settled repose or willing surrender that are characteristic of wonder. Wonder is sweet, as Aristotle says. This sweet contemplation of something in every other respect he is a model of the spectator of a tragedy. We are in the power of another for awhile, the sight of an illusion works real and durable changes n us, we merge into something rich and strange, and what we find by being absorbed in the image of another is ourselves. A s Alonso is shown a mirror of his soul by Prospers, we are shown a mirror of ourselves in Alonso, but in that mirror we see ourselves as we are not in witnessing the Tempest, but in witnessing . A tragedy. The Tempest is a beautiful play, suffused with wonder as well as with reflections on wonder, but it holds the intensity of the tragic experience at a distance. Homer, on the other hand, has pulled off a feat even more astounding than Shakespearean, by imitating the experience of a spectator of tragedy within a story that itself works on us as a tragedy. In Book XIV of the Iliad, forms of the word than boss, amazement, occur three times in three lines (482-4), when Prima suddenly appears in the hut of Achilles and kisses the terrible man-slaughtering hands that killed his many sons (478-9), but this is only the prelude to the true wonder. Achilles and Prima cry together, each for his own grief, as each has cried so often before, but this time a miracle happens. Achilles grief is transformed into satisfaction, and cleansed from is chest and his hands (513-14). This is all the more remarkable, since Achilles has for days been repeatedly trying to take out his raging grief on Hectors dead body. The famous first word of the Iliad, mints, wrath, has come back at the beginning of Book XIV in the participle Maine ¶n (22), a constant condition that Loiterer translates well as standing fury. But all this hardened rage evaporates in one lamentation, Just because Achilles shares it with his enemys father. Hermes had told Prima to appeal to Achilles in the names of his father, his mother, and his child, in order to stir his heart (466-7), but Prisms focused misery goes straight to Achilles heart without diluting the effect. The first words out of Prisms mouth are remember your father (486). Your father deserves pity, Prima says, so pity me with him in mind, since I am more pitiful even than he; I have dared what no other mortal on earth ever dared, to stretch out my lips to the hand of the man who murdered my children (503-4). Achilles had been pitying Patrols, but mainly himself, but the feeling to which Prima has directed him now is exactly the same as tragic pity. Achilles is looking at a human being who has chosen to go to the limits of what is humanly possible to search for something that matters to him. The wonder of this sight takes Achilles out of his self-pity, but back into himself as a son and as a sharer of human misery itself. All his old longings for glory and revenge fall away, since they have no place in the sight in which he is now absorbed. For the moment, the beauty of Prisms terrible action re-makes the world, and determines what matters and what doesnt. The feeling in this moment out of time is fragile, and Achilles feels it heartened by tragic fear.

Salome Review Essay Example

Salome Review Paper Essay on Salome Salome one of the books that I have no reservations call genius. Why? Perhaps the entire cause completely unique creation of the author, devoid of clichà ©s and abrasions? Perfect style? Maybe We will write a custom essay sample on Salome Review specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Salome Review specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Salome Review specifically for you FOR ONLY $16.38 $13.9/page Hire Writer greatness and high world the authors thoughts? Or depth, and even bottomless embedded philosophy? Yes! Of course, yes! But thats not all! Dramatically intense action, almost too immerses the reader in the book generates the desire to re-read the play immediately after its completion. From books Wilde breathtaking, and the intensity and sincerity of feeling shown makes the heart pounding harder. Unforgettable The beauty and elegance of style will satisfy gourmets language. lyricism and melodiousness will appeal to lovers of poetry, masterfully written out storyline will attract fans of action, rather than contemplation. An unusual, non-standard interpretation of the Christian legend allow you to see the new in the famous. Sharpened psychology inherent in the book achieved Wilde by truly incredible attention to detail and the emphasis in the speech of the characters. The luxury of colors, richness and elegance, which are d strength is not every artist words do play perfect, which side do not look. Sometimes it seems that the human tongue big enough for Wilde, so subtly, he chooses his words to transmit all colors and iridescence state of mind, emotional outbursts and impulses of his characters Elegance and aesthetics, not knowing borders, intricate and bizarre linguistic resources may seem unnecessary and unnatural, but who would think to accuse nature of that tropical colors are too bright and the sea so fascinating changeable and perfectly The phenomenon Wilde is that any person who is not devoid of chuvst va nice, just can not get past the fragile tie of images and thoughts, the atmosphere, which disintegrates into separate gems when you try to understand it and dissect him. After all, only in his integrity they form a crown on the brow of genius. Clean and defect in the play have merged in the divine dance and spawned masterpiece that can not be described as to convey to the full his epic and priceless. Salome Wilde I can compare with the jewelry. It seems ancient and magical, even though it was created just over a century ago. Bright, like its author, the play ever broke into my vision of a perfect product.