Keilana Hoffstetter Essays (937 words) - Literature, Point Of View

Keilana Hoffstetter 10/29/17 Professor Terry ENC 1102 Test 2 Prompt D: In Emily Dickinson's poem "Wild nights - Wild nights!", she uses symbolism to express the timeless influx of emotions the narrator is feeling as he or she falls in love. The opening line of the poem, "Wild NightsWild Nights!" (pg.1207), is symbolism for the love the narrator is feeling. The narrator is experiencing a sensation of admiration and love that cannot be tamed, as seen by the use of the word "wild". This aspect of being wild brings the excitement and adrenaline rush that coincides with falling in love and the eager anticipation for the future that subsequently follows. Likewise, in the line "Done with the Compass - Done with the Chart!" (pg.1207), Dickinson uses the compass and chart as symbolism for guides on his or her quest for love. The narrator is done with both due to the fact that the narrator has found his or her soul mate and no longer has to search for love. The ocean is a vast, unpredictable territory, much like love. When the narrator states that he or she is done with both, the narrator is stating that the lovers are willing to trust their innate intuition to guide them in the right direction. The narrator is confident in the loves ability to prevail and remain wholesome. In the line "Rowing in Eden"(pg.1207), the narrator moving at a leisurely pace, leaving ripples in the unknown ocean. These ripples are memories that the two lovers will have, memories that will leave a mark in the two lovers minds. Eden is an allusion to the Garden of Eden, where Adam and Eve lived. This is where life prospered and everything was bountiful and lush. This is symbolism for their love, bountiful and prosperous. Dickinson's use of symbolism allows her to convey the message of loves intoxicating emotion to her audience. This allows them to grasp the full impact that love has on an individual. All one has to do is trust there instinct and go into the unknown territory of love to find the bountiful reward of a soul mate. Prompt: B In Raymond Carver's "Cathedral", sight is a prevalent motif and symbol that is saturated throughout the short story. In the story, the narrator is biologically able to see but ironically is blind to the world that surrounds him. However, the narrator meets his wife's friend Robert, who is completely blind but can see the world better than the narrator ever could. The narrator maintained a closed off demeanor in the beginning of the story when he was first introduced to the blind man. Even though the narrator can see, he can only see the flaws and insecurities that surround him, as seen in quote "Too much white in the iris, for one thing, and the pupils seemed to move around in the sockets without his knowing it or being able to stop it. Creepy." (pg. 36) This leaves him feeling ignorant and privileged compared to Robert. However, Robert is completely blind but is able to see the world in a more optimistic perspective and appreciates the beauty that everything has to offer. He is ea ger to live life to its fullest and reap all the benefits that life has to offer, as seen in quote "Then she looked at the blind man and said, "Robert, I didn't know you smoked." He said, "I do now, my dear. There's a first time for everything." (pg.38) Robert is not caught up in the homogenous tribulations of life, he treats each day as a gift, especially after his wife's passing. The narrator views Robert being blind as a burden, while in reality, it allows Robert to experience and enjoy life unbiased by visual social stigmas. In the quote "We dug in. We ate everything there was to eat on the table." (pg. 36) the meal is symbolism for communion. It is here that the narrator starts to open his mind and see past his insecurities and incompetence. This moment where the two men bonded over food allowed the narrator to see that despite Robert being blind, he is no different from himself. Robert did not judge the narrator and opened his

An Overview of Social Conservativism

An Overview of Social Conservativism Social conservatism was ushered into American politics with the so-called Reagan Revolution in 1981, and renewed its strength in 1994, with the Republican takeover of US Congress. The movement slowly grew in prominence and political power until hitting a plateau and stagnating in the first decade of the twenty-first century under President George W. Bush. Bush ran as a â€Å"compassionate conservative† in 2000, which appealed to a large bloc of conservative voters, and began to act on his platform with the establishment of the White House Office of Faith-Based and Community Initiatives. The terror attacks on Sept. 11, 2001, changed the tone of the Bush administration, which took a turn toward hawkishness and Christian fundamentalism. The new foreign policy of â€Å"pre-emptive war† created a rift between traditional conservatives and conservatives aligned with the Bush administration. Due to his original campaign platform, conservatives became associated with the â€Å"new† Bush administration and an anti-conservative sentiment has nearly destroyed the movement.In most areas of the country, Republicans align themselves with the Christian right refer to themselves as â€Å"conservatives† since fundamental Christianity and social conservatism have many tenets in common. Ideology The phrase â€Å"political conservative† is most associated with the ideologies of social conservatism. Indeed, most of today’s conservatives see themselves as social conservatives, although there are other types. The following list contains common beliefs with which most social conservatives identify. They include: Advancing pro-life and anti-abortion stances on unwanted or unplanned pregnanciesAdvocating for pro-family legislation and a ban on gay marriageEliminating federal funding for embryonic stem-cell research and finding alternative methods of researchProtecting the Second Amendment right to bear armsMaintaining a strong national defenseProtecting US economic interests against foreign threats and eliminating the need for trade unionsOpposing   illegal immigrationLimiting welfare spending by creating economic opportunities for America’s needyLifting the ban on school prayerImplementing high tariffs on countries that do not uphold human rights It is important to mention that social conservatives can believe in every one of these tenets or just a few. The â€Å"typical† social conservative strongly supports them all. Criticisms Because the preceding issues are so black and white, there is a considerable amount of criticism from not only liberals but also other conservatives. Not all types of conservatives agree whole-heartedly with these ideologies, and sometimes denounce the vigilance with which hard-line social conservatives choose to advocate their positions.The radical right has also placed a large stake in the social conservative movement and has used it in many cases as a way to promote Christianity or to proselytize. In these cases, the entire movement is sometimes censured by mass media and liberal ideologues.Each of the tenets mentioned above has a corresponding group or groups which oppose it, making social conservatism a highly criticized political belief system. Consequently, it is the most popular and most scrutinized of the conservative â€Å"types.† Political Relevance Of the different types of conservatism, social conservatism is by far the most politically relevant. Social conservatives have dominated Republican politics and even other political parties such as the Constitution Party. Many of the key planks in the social conservative agenda are high on the Republican Party’s â€Å"to-do† list.In recent years, social conservatism has taken repeated hits thanks in large part to the presidency of George W. Bush, but its network is still strong. Basic ideological affirmations, such as those espoused by the pro-life, pro-gun and pro-family movements will make sure social conservatives have a strong political presence in Washington DC for many years to come.

Articles of Change Research Paper Example | Topics and Well Written Essays - 250 words

Articles of Change - Research Paper Example Labor Market Effects of Wal-Mart Expansion, by Basker (2008), the rationale for change entails trends in the labor market as Wal-Mart operations expand. Need for change is influenced by variant factors in the organizational setting. In Aparna, Hui, and Hyuntak’s text, streamlined employment laws and regulations act as the external pressure driving the underlying change. On the other hand, change in Basker’s text is driven by market forces in the labor market as business expansion creates job opportunities. In the contemporary times, globalization is increasingly becoming a critical pressure behind need for change. In the two publications presented above, this pressure is essentially in play. International linkages and relations have redesigned labor markets across the globe, and they have also influenced global demographics in the workplace (Leslie & Linda, 2012). The chosen publications exhibit both commonalities and differences. Both articles address trends in the labor market. While the first one focuses on workplace demography, the second one evaluates growth and development of the labor force subject to organizational expansion. Therefore, different approaches are employed to capture trends in labor demand and supply. Change in the organizational context is designed to enhance organizational performance. In this respect, an organization pursues change as it deems it necessary relative to the set organizational goals and objectives. Therefore, all organizational changes are legitimate, but what matters is their urgency. The urgency of organizational change is influenced by the actual operations that constitute the change. In the light of the chosen publications, changes regarding workplace demography are more urgent than shifts in labor demand and supply that are triggered by organizational expansion. This is because expansion plans can spread over a long period of time, within which workplace demography is

Managing for the future Essay Example | Topics and Well Written Essays - 5000 words - 1

Managing for the future - Essay Example The implications of the past decades have brought about a greater change within the organisational context. The emergence of latest trends and methodologies such as globalisation, technological advancement and outsourcing frame the vital constituents of the modern business scenario. As compared to the traditional organisational scenarios, present picture reveals flatten organisation systems. This has facilitated the path of a new management style, which depicts flexibility and efficiency. With regard to present day context, the organisations are becoming more customer-oriented. Management decisions along with new policies and strategies usually are formulated with the aim of propagating customer satisfaction. The present rapidly changing business environment has created immense pressure over the modern management to continually develop and grow their competencies to achieve sustainability within the competitive global scenario (Manninen & Viitala, 2007). Management competencies and r elative knowledge are vital sources of competitive advantage. ... Managing for the future bestows significant consideration for an organisation on these determinants in order to ensure that it is able to address the varying needs successfully. This study primarily intends to discuss the implementation of management competencies of Ford Motor Company in the fields of globalisation, environmental issues and corporate social responsibility especially with regard to the future decade context based on an evaluation of the past 7-10 years performance. This study will further assist in building a plan considering the aforementioned fields in compliance with the management competencies for the period of ensuring 7-10 years to 2018-2020.As it has been a determined fact that management competencies need to evolve in accordance with the changing times thus an organisation such as Ford Motors also needs to remain flexible to remain abreast with the competitive landscape. In terms of one of the observed key determinants i.e. globalisation, it has given a way to many new challenges pertaining to the modern day organisations. Globalisation has facilitated to undertake trade and commerce with a host of consumers on a much larger scale. This interrelated relationship has enabled the modern day management to gain various updated knowledge about latest approaches being practiced in international level associated with management decisions. Corporate Social Responsibility (CSR) is the concept that essentially reveals the policies concerning social responsibilities that are required to be addressed by a modern day organisation. CSR depicts the relationship between the organisation and the local society of its establishment.

ACD-IP PBX Request for Proposal (RFP) Research Paper

ACD-IP PBX Request for Proposal (RFP) - Research Paper Example This paper will focus on comparison and assessment of different vendors for IP PBX. It will focus on the requirements of the organization. PBX is a VoIP phone system that is used to manage communications and phone calls. There are many SIP phones which have been connected and working together to achieve the desired results. It is a private branch exchange that is used to switch private calls between different VoIP (Voice over Internet Protocol) users that are using local lines. The users are allowed to share a certain number of external phone lines. It also has the possibility of switching calls between a VoIP users and a local user who is using local telephone lines. It can also switch two users who are using traditional lines to communicate. It does this switching in the same manner that a conventional PBX would have done. In a PBX, there would be a need to have several networks that would be used to handle voice and data communications. One of the advantages of using IP PBX is that it does not have to have different networks in order to handle voice and data communications. With IP PBX, there is converged data and voice networks. It means that it is possible to have internet access and at the same time have someone using VoIP using one line. With the use of IP PBX, there is reduced operation costs and decreased cost of maintenance. The IP PBX is owned by the enterprise. There are SIP phones, an IP PBX server, and a VoIP Gateway. In this case, the VoIP Gateway is optional. The IP PBX is the same as that of Proxy Server. The SIP clients can either be soft telephones to hardware based phones. These phones will be used in the entire process and will have the required aspects that will be used in the communication. The SIP clients will have to be registered with IP PBX server. When they want to make a call, they will have to establish a connection with the IP PBX server. The IP PBX

Variable Length Hash Algorithm Using RC6

Variable Length Hash Algorithm Using RC6 Hash_RC6 Variable Length Hash Algorithm using RC6 Kirti Aggarwal Dr. Harsh K. Verma ABSTRACT In this paper, we present a hash algorithm using RC6 that can generate hash value of variable length. Hash algorithms play major part in cryptographic security as these algorithms are used to check the integrity of the received message. It is possible to generate hash algorithm using symmetric block cipher. The main idea behind this is that if the symmetric block algorithm is secure then the generated hash function will also be secure [1]. As RC6 is secure against various linear and differential attacks algorithm presented here will also be secure against these attack. The algorithm presented here can have variable number of rounds to generate hash value. It can also have variable block size. Keywords:  Cryptography, Symmetric Encryption, Asymmetric Encryption, Data Integrity, Authentication, Confidentiality, Non-Repudiation, Access Control, Hash, RC6 INTRODUCTION Cryptography is the ability of keeping message secure form others while sending information between participants (Confidentiality). There are many cryptographic algorithms categorized as symmetric encryption algorithm and asymmetric encryption algorithm. Symmetric encryption algorithm is the one that use same shared key from encryption and decryption, while asymmetric algorithm is the one that use different keys from encryption and decryption. With the Confidentiality cryptography also provide other services known as data integrity, authentication, non-repudiation, access control etc. Data Integrity is assuring that data received is same as sent by the sender. Authentication is the ability to assure that communicating party is who that it claims to be. Non-Repudiation is the prevention against the denial by entities involved in the communication. Access Control is the prevention against the unauthorized use of resources [2]. Figure 1. Fundamental of Cryptography Hash Function A cryptographic hash function is any algorithm or subroutine that maps large data sets of variable length to smaller data sets of a fixed length. The values returned by a hash function are called hash values, hash codes, hash sums, checksums or simply hashes. Where h has fixed length. An (accidental or intentional) change to the data will (with very high probability) change the hash value. For a hash function to be considered secure, it must be computationally infeasible to find has a predefined hash value and similarly it must be computationally infeasible to find two messages having same hash value. RC6 RC6 is a symmetric block cipher based on RC5 and designed by Rivest, Sydney, and Yin for RSA security [3]. Like RC5, RC6 is a parameterized algorithm where the block size, the key size, and the number of rounds are variable; again, the upper limit on the key size is 2040 bits [4]. RC6 was designed to meet the requirements of the Advanced Encryption Standard (AES)competition. RC6 proper has ablock sizeof 128 bits and supportskey sizesof 128, 192 and 256 bits, but, like RC5. RC6 can be viewed as interweaving two parallel RC5 encryption processes. It uses an extra multiplication operation not present in RC5 in order to make the rotation dependent on every bit in a word. SHA-256 SHA-256 operates on eight 32-bit words. The message to be hashed is first padded with its length in such a way that the result is a multiple of 512 bits long, and then parsed into 512-bit message blocks M(1);M(2); : : :;M(N). The message blocks are processed one at a time: Beginning with a fixed initial hash value H(0), sequentially compute Where C is the SHA-256 compression function and + means word-wise mod 264 addition. H(N) is the hash of M [5]. SHA-512 SHA-512 is a variant of SHA-256 which operates on eight 64-bit words and block size of 1024 bits. It uses different shift amounts and additive constants, but its structure is otherwise virtually identical, differing only in the number of rounds, which are 80 for SHA-512[15]. HASH FUNCTION A cryptographic hash function is a mathematical transformation that takes a message of arbitrary length and computes a fixed length value also known as hash value, message digest, hash code, hash sum, checksum, etc. Where H is Hash Function, M is variable length message; H is fixed size hash value. Creating hash function is accomplished by iteration. Instead of using a hash function with variable-size input, a function with fixed size input is created and is used a necessary number of times. This fixed size input function is known as compression function. It compresses an n-bit string to create a m-bit string where n is normally greater than m. This scheme is referred to as an iterated cryptographic hash function [6]. These compression function fall into two categories: a function specially designed for the hash function or a symmetric block cipher [2]. Figure 2. Iterated Cryptographic hash Function Characteristics of one way Hash Function: Given M, it is easy to compute h. Given h, it is hard to compute M such that. Given M, it is hard to find another message, M’, such that The whole point of one way hash function is to provide a finger print of M that is unique. In some application one wayness is insufficient; we need an additional requirement called collision-resistance (It is hard to find two random messages, M and M’, such that [1]). Figure 3. Basic Hash Algorithm at sender and receiver Hash Function takes message and an initial value as an input and produces the hash value. The hash value is appended to the message at a time when the message is assumed or known to be correct. The receiver authenticates the message by generating the hash value with the same procedure and compares it with the hash value send by the sender. If both the value matches then the received message is same as it is send by the sender otherwise message has been tampered with. RC6 RC6 [7] is a fully parameterized family of encryption algorithms. A version of RC6 is more accurately specified as RC6-w r bwhere the word size is wbits, encryption consists of a nonnegative number of roundsr, andbdenotes the length of the encryption key in bytes. Since the AES submission is targeted atw= 32 andr= 20, we shall use RC6 as shorthand to refer to such versions. When any other value ofworris intended in the text, the parameter values will be specified as RC6-w r. Of particular relevance to the AES effort will be the versions of RC6 with 16-, 24-, and 32-byte keys [4]. Figure 4. RC6 Encryption For all variants, RC6-w r boperates on units of fourw-bit words using the following six basic operations. integer addition modulo integer subtraction modulo bitwise exclusive-or of w-bit words integer multiplication modulo Rotate to the left by the amount given by the least significant bits of Rotate A to the right, similarly parallel assignment Key Expansion Use two magic constants:- Where:- †¦Ã¢â‚¬ ¦.(base of natural logarithm) †¦Ã¢â‚¬ ¦..() is the odd integer nearest to . INPUT byte key that is preloaded into word array denotes the no of rounds. OUTPUT w-bit round keys . ALGORITHM For do Encryption Four w-bit registers A, B, C, D contain the initial input plain-text as well as the output ciphertext at the end of encryption. The first byte of plaintext is placed in the least significant byte of A; the last byte of plaintext is placed into the most significant byte of D [6]. INPUT Plaintext stored in four w-bit input registers Number r of rounds w-bit round keys OUTPUT Ciphertext stored in ALGORITHM C = C + S[2r + 3] Decryption For decryption of cipher-text load these cipher text into registers A, B, C, D Algorithm uses integer subtraction modulo 2w and right rotation on registers for getting plain text. INPUT Ciphertext stored in four w-bit input registers Number r of rounds w-bit round keys OUTPUT Plaintext stored in ALGORITHM HASH FUNCTION USING RC6 RC6 is a uses 44 words of key material making it more complex to break. RC6 parameterized cipher; the block size can be grown in a straightforward manner to 256 bits and beyond.RC6 has maximum key size of 2040 bits, making the corresponding hash function very fast.20 rounds using RC6 will have all these features which make the hash more efficient and secure. It is possible to use a symmetric block cipher algorithm as a hash function. If the block algorithm is secure, then the one-way hash function will also be secure. One approach is to encrypt the message with the algorithm in CBC mode, a fixed key and an initial vector (IV), the last cipher text block is the hash value. Another more better approach uses the message block as the key, the previous hash value as the output. Here we will use second approach. Algorithm presented here has variable parameters i.e. different parameter value can be taken according to the need. Block size (b), Number of rounds (r), length of hash value (l) are the different variable parameters that are the inputs of the algorithm. The length of hash value (l) should be multiple of 256. First of all padding is done. Message is padded with zeros in a way such that the padded message length is multiple of the block size (b). Then initial vector is needed to generate the hash value. Initial Vector is a piece of data is needed to begin running an algorithm, and is not secret. There are two initial vectors in this algorithm which are used to generate initial hash value. To generate the initial hash value combination of v (size of hash value divided by 256) 256 bits values calculated as follows: After generating initial hash value from initial vectors the message (M) is divided into number of small chunks (n). The size of message chunks should be equal to block size b, after that RC6 key generation is applied on each message block to generate keys that will be used to encrypt the previous hash value to generate next hash value. Initial 256 bits v hash values are encrypted via RC6 using RC6 keys generated from first message block (M1). This is then encrypted again from the keys generated from second message block (M2) and so on until all the message blocks (n) are used. At last all the v final hash values of length 256 bit each are concatenated to generate the final hash value of length l. Number of rounds (r) is divided in to two parts, 3r/4 rounds are used to generate the RC6 keys from the message block and r/4 rounds are used to encrypt the previous hash value to generate next hash value. Figure 5 shows the procedure for hash value of size 512 bits. Figure 5. Hash Value Generation using RC6 PSEUDO CODE INPUT Message M, Number of rounds r, Block size b, Length of hash value l; OUTPUT Final hash value h; ALGORITHM Pad 0s (zeros) at the end of the message so the message length is multiple of b; Divide message into chunks of size b; Repeat step 7 to 21 Load Repeat step 10 to 12 Repeat step 13 to 16 Repeat step 20 Repeat step 22 to 33 Load Repeat step 26 to 30 for do Load Concatenate to get final hash value h PERFORMANCE AND ANALYSIS This algorithm was implemented using java in NetBeans IDE 7.0.1. Following results were obtained on Intel(R) Core(TM) i3 CPU M 370 @ 2.40 GHz 2.39 GHz 32 bit system with 4 GB of RAM running Windows 7 Ultimate. Algorithm presented in this paper is compared with SHA-256 and SHA-512 respectively. Comparison between algorithm presented here and SHA are done on the basis of throughput of the algorithms and time to produce hash value for files of different sizes. To be more accurate the program is executed ten times for each input file and the average of those results are reported here. Results in Figure 6 to Figure 9 and Table 1 for Hash using RC6 are obtained for r=64, b=512, l=256 and these results are compared with SHA-256 which has same value for these parameters. Figure 6. Throughput of RC6_HASH and SHA-256. Figure 7. Bar Graph of Hash value generation time of RC6_HASH and SHA-512 Figure 8. Line Graph of Hash generation time of HASH_RC6 (256) and SHA-256 Figure 9. Execution time saving caused by Hash_RC6 Table 1. Comparison of Hash_RC6 (256) SHA-256 on the basis of Execution Time of different type of Files. Figure 6 shows the throughput of RC6_HASH and SHA-256 the algorithms in KB/sec. Figure 7 shows the Bar Graph hash value generation time (in millisec) of both the algorithms for the file of different sizes (in KB). Figure 8 shows the Line-Graph of execution time according to their file size for each file using algorithms Hash_RC6 (256) and SHA-256. Line graph is more convenient to show that Hash_RC6 (256) performs faster than SHA-256. This Graph also shows that for the file of small size both the algorithms performs approximately same i.e. there is not much of the difference but when the file size increases Hash_RC6 (256) performs much better than the SHA-256. Bar chart in Figure 9 shows the execution time saving caused by Hash_RC6 in percentage in comparison with SHA-256 for different file sizes. It’s greater than 30% for almost all the file sizes and for some of the file sizes its approx 50% that is greater advancement. The average percent execution time saving by Hash_RC6 for hash value of 256 bits over SHA-256 is 40.26. We compare the execution time of each algorithm on different file types like text file, audio file video files, for this purpose we mainly used 10 files and recorded their hash value generation time in milliseconds for these algorithms. List of Input files and their size are given in Table 1. Results in Figure 10 to Figure 13 and Table 2 for Hash using RC6 are obtained for r=80,b=1024,l=512 and these results are compared with SHA-512 which has same value for these parameters. Figure 10. Throughput of RC6_HASH and SHA-512. Figure 11. Bar Graph of Hash value generation time of RC6_HASH and SHA-512 Figure 12. Line Graph of Hash Generation Time of HASH_RC6 (512) and SHA-512 Figure 13. Execution Time saving caused by Hash_RC6 Table 2. Comparison of Hash_RC6 (512) SHA-512 on the basis of Execution Time of different type of Files. Figure 10 shows the throughput of RC6_HASH and SHA-512 the algorithms in KB/sec. Figure 11 shows the Bar Graph of hash value generation time (in millisec) of both the algorithms for the file of different sizes (in KB). Figure 12 shows the Line-Graph of execution time according to their file size for each file using algorithms Hash_RC6 (512) and SHA-512. Line graph is more convenient to show that Hash_RC6 (512) performs faster than SHA-512. This Graph also shows that the difference is not so much for file of small size but when it comes to file of larger size Hash_RC6 (512) is much better than the SHA-512. Bar chart in Figure 13 shows the execution time saving caused by Hash_RC6 (512) in percentage in comparison with SHA-512 for different file sizes. It’s greater than 15% for almost all the file sizes and for some of the file sizes its approx 35% that is greater advancement. The average percent execution time saving by Hash_RC6 for hash value of 512 bits over SHA-512 is 24.625. We compare the execution time of each algorithm on different file types like text file, audio file video files, for this purpose we mainly used 10 files and recorded their hash value generation time in milliseconds for these algorithms. List of Input files and their size are given in Table 2. CONCLUSION In this research paper a new algorithm for generating hash value is presented. This algorithm is generated on a symmetric block cipher known as RC6 and can generate hash value of different sizes. The algorithm can also operate on different block size and different number of rounds. The implementation of algorithm is done using JAVA in NetBeans IDE 7.0.1. on Intel(R) Core(TM) i3 CPU M 370 @ 2.40 GHz 2.39 GHz 32 bit system with 4 GB of RAM running Windows 7 Ultimate. Hash value generated using algorithm presented here are secure against many attack because when a hash algorithm is generated using symmetric block cipher it inherit the properties of underlying cipher. The idea behind this is that if the symmetric block algorithm is secure then the generated hash function will also be secure [1]. Then the algorithm is compared with SHA-256 and SHA-512 for same parameter and on the same environment. The results of comparison conclude that the algorithm present here has better throughput

A Portrait of Dorian Gray :: A Portrait of Dorian Gray

A Portrait of Dorian Gray â€Å"He began to wonder whether we could ever make psychology so absolute a science that each little spring of life would be revealed to us†. Lord Henry spent many days merely philosophizing about the power of the mind and how it could be manipulated. Exercising his abilities of control and influence was what Harry lived for, and when Dorian uttered the fateful phrase wishing to trade places with the portrait, he was not striking a bargain with the Lord of Darkness, but rather one of his rogues. Lord Henry assumed the role of temptation and lured the naà ¯ve Dorian into a legacy of abominable deeds and sordid affairs. Dorian received the benefits of Harry’s charm, wit, and views. As for payment, Dorian surrendered any control he may have had over his own thoughts, decisions, or emotions. Harry was able to pursue his quest for mind control and perform his own psychological experiments as he willed. The matter of the portrait that had plagued Dorian for most of hi s adult life can easily be explained. The painting was merely his guilt that had manifested and displaced itself as figment of his imagination. For although he had traded his self control for superficial characteristics, he still remained the owner of his soul. Harry slowly exerts control over Dorian in two simple ways. First he implants ideas and reactions into Dorian’s sub-conscience leading him to believe that the thoughts that are flowing from his head are his own, not Lord Henry’s. After Sybil’s death, Harry consoles Dorian, or at least that is how Dorian sees the encounter. â€Å"You have explained me to myself, Harry†¦I felt all that you have said, but somehow I was afraid of it, and I could not express it to myself. How well you know me!†. It is not that Harry knows Dorian so well, but that Lord Henry has influenced and molded Dorian’s coping mechanisms. The young man will now follow this pattern of denial each time he is faced with remorse, guilt, or sadness. Henry himself admits to the fact that he is experimenting with Dorian, â€Å"It was clear to him that the experimental method was the only method by which one could arrive at any scientific analysis of the passions: and certainly Dori an Gray was a subject made to his hand, and seemed to promise rich and fruitful results†.

Youth and Its Power for India

India,now aged at 65 is in my view one of the largest reservoir of Youth population. Generally defined in the age group of 16-30 years constitute of more than 40% of India’s population which is indeed a large force. We are energetic, enthusiastic and always full of zeal to do the impossible. If we exclude the youth, the rest of the population of India will comprises of old people and children. They cannot be called the real manpower of the nation. So it is evident that if the youth of the country are not enthused to devote their energies to the task of national reconstruction,the whole Youth Power for India is wasted,or the other way why we youth should wait for someone to enthuse us to show the Youth Power of India. This is our land,our country and it totally depends on us(Indian Youths) how we take our country forward. But having such a massive youth population in India will not do any good if our youth population is not shown the right path. Most of the youth in India are generally without any direction,If we can harness this powerhouse of the nation in the right direction then the country can reach untold heights. Being said that we should not completely depend on our Government to harness this powerhouse,contribution of all sides is required for this. The best and the first and foremost way to strengthen our youth are to provide them Education. Education plays a vital role for this,we should be able to educate all our youth from the initial stages of their life,We should be able to make them understand the importance of Education. Not just any kind of Education, but the right kind of Education which makes them scientific, logical, open-minded, self-respecting, responsible, honest and patriotic. Without these virtues being developed, our youth cannot walk in the desired way and they will stay in a deep slumber of complacency. Even education to some extent will not help as we see many educated young population working overseas,The question is why can’t they do it here,the nswer lies in lack of opportunities which is in plenty in other countires. Why our country is unable to offer such opportunities to us? Its because the Government have not taken any initiative or we the youth have not taken any steps to make government realise the power of youth. Have we forgotten that today India is Independent because of the youth power in our freedom struggle,we owe Independent India to the youth power of our past and to make it better for our future generation we must rise once again together. Youth of India must be able to come up with new ideas of Entrepreneurship which is very vital for the country’s growth. For a youth educated in India he/she must think about the development in India which now have utmost important for our country’s development. Let us focus on constructively using the power of the youth for the betterment of the nation. Let us frame such policies which aim at empowering our youth so that we can be assured of a better future and a brighter tomorrow.

7 Blogging Tips to Make Your English Writing Topics Eye-Catching

7 Blogging Tips to Make Your English Writing Topics Eye-Catching 7 Blogging Tips to Make Your English Writing Topics Eye-Catching PÐ µÃ ¾Ã'€lÐ µ are buÃ'Æ'Ã'â€"ng only Ð ¾nÐ µ thing frÐ ¾m Ã'Æ'Ð ¾u thÐ µ wÐ °Ã'Æ' you are engaging them that mÐ °kÐ µÃ'• thÐ µm feel relaxed as well as joyful. And thÐ µ Ð ¾nlÃ'Æ' way tÐ ¾ bÐ µ considered a master Ã'â€"Ã'• tÐ ¾ gain rÐ µÃ °l Ð µÃ'•tÐ °tÐ µ Ã'â€"n Ã'Æ'Ð ¾ur Ã' lÃ'â€"Ð µntÃ'• hearts Ð °nd mÃ'â€"ndÃ'•. We Ð °rÐ µ inundated of much more daily Ã'â€"nfÐ ¾rmÐ °tÃ'â€"Ð ¾n thÐ °n Ð ¾ur brÐ °Ã'â€"nÃ'• Ã' Ã °n Ã'€Ð ¾Ã'•Ã'•Ã'â€"blÃ'Æ' hÐ °ndlÐ µ. In Ð ¾rdÐ µr to stand Ð ¾ut and to make people remember your writing, you have tÐ ¾ mÐ °kÐ µ Ð °n Ð µmÐ ¾tÃ'â€"Ð ¾nÐ °l Ã' Ã ¾nnÐ µÃ' tÃ'â€"Ð ¾n, uÃ'•Ã'â€"ng Ã'Æ'Ð ¾ur passion Ð °nd personal Ã'•tÐ ¾ries. Start creating a masterpiece with your EnglÃ'â€"Ã'•h wrÃ'â€"tÃ'â€"ng topics. To get inspired, you can take Ã'•Ð ¾mÐ µ vÐ °luÐ °blÐ µ lÐ µÃ'•Ã'•Ð ¾nÃ'• from blogging. WrÃ'â€"tÃ'â€"ng an essay or dÃ'â€"Ã'•Ã'•Ð µrtÐ °tÃ'â€"Ð ¾n Ð ¾r any other academic Ã'€Ð °Ã'€Ð µr requirÐ µÃ'• thÐ µ same skills Ð °Ã'• a blÐ ¾g does, Ã'â€"n Ã'•Ð ¾mÐ µ ways. YÐ ¾u have tÐ ¾ sell what you Ð °rÐ µ wrÃ'â€"tÃ'â€"ng. YÐ ¾u need tÐ ¾ capture thÐ µ rÐ µÃ °dÐ µr. Here are Ã'•Ð µvÐ µn keys that wÃ'â€"ll mÐ ¾vÐ µ Ã'Æ'Ð ¾ur writing from juÃ'•t alright, to downright Ð °wÐ µÃ'•Ð ¾mÐ µ. Clarity You have tÐ ¾ be as clear as a Ã' rÃ'Æ'Ã'•tÐ °l Ð °bÐ ¾ut Ã'Æ'Ð ¾ur who, what, why Ð °nd how. There is no room for confusion. The reader won’t be involved to the paper to read it till the very end if he/she hasn’t understood its theme. Confidence Anytime you are teaching Ð ¾thÐ µrÃ'•, you should be confident of what you are writing about. If you are not certain enough, people won’t view you Ð °Ã'• a leader Ð ¾r a fÐ ¾llÐ ¾wÐ µr. Being confident while writing an English writing sample makes it easier for the readers to understand what you are talking about. Providing the audience with suitable examples will be beneficial for you as well. Conversation Effective Ã' Ã ¾mmunÃ'â€"Ã' Ã °tÃ'â€"Ð ¾n is nÐ ¾t the only Ð ¾nÐ µ way Ã'•trÐ µÃ µt its an interaction between some people discussing the same topic that should be bÐ °Ã' k Ð °nd fÐ ¾rth and a natural flow. EngÐ °gÐ µ, ask questions, gÃ'â€"vÐ µ examples, tÐ µll stories, and ignite a rÐ µlÐ °tÃ'â€"Ð ¾nÃ'•hÃ'â€"Ã'€ with your reader. Content One of the best ways tÐ ¾ present yourself Ð °Ã'• Ð °n individual Ã'â€"Ã'• tÐ ¾ create a great Ã' Ã ¾ntÐ µnt thÐ °t Ã'Æ'Ð ¾ur tÐ °rgÐ µt Ð °udÃ'â€"Ð µnÃ' Ã µ will fÃ'â€"nd valuable. NÐ ¾tÃ'â€"Ã' Ã µ thÐ °t it is not always the thing that you fÃ'â€"nd vÐ °luÐ °blÐ µ. Remember, its nÐ ¾t about Ã'Æ'Ð ¾u. You have to be audience oriented in your paper rather than self oriented. Connection YÐ ¾u hÐ °vÐ µ to remember that business Ã'â€"Ã'• Ð °bÐ ¾ut people, not numbÐ µrÃ'•. ItÃ'• Ð °bÐ ¾ut rÐ µlÐ °tÃ'â€"Ð ¾nÃ'•hÃ'â€"Ã'€, nÐ ¾t computers. An engaging English essay should be able to create a link between you and the reader. If you understand the relationship between you and your professor, understand what the requirements for the project are, you will connect successfully. Care An awÐ µÃ'•Ð ¾mÐ µ English essay or academic paper shows care. Your reader is your customer and you are selling what you have written to get a good impression. Consistency IÃ'• the item you are writing about consistent wÃ'â€"th how you are interacting wÃ'â€"th the audience? Everything Ã'Æ'Ð ¾u dÐ ¾ Ð µvÐ µrÃ'Æ' Ã'€hÐ ¾nÐ µ call, mÐ µÃ µtÃ'â€"ng, blog Ã'€Ð ¾Ã'•t, Ã'•Ð ¾Ã' Ã'â€"Ð °l Ð µngÐ °gÐ µmÐ µnt Ð °nd personal Ã'â€"ntÐ µrÐ °Ã' tÃ'â€"Ð ¾n Ã'â€"Ã'• a uniquÐ µ rÐ µÃ'€rÐ µÃ'•Ð µntÐ °tÃ'â€"Ð ¾n Ð ¾f you. ThÐ µ basis Ð ¾f an awesome writing style is built Ð ¾n these Ã'•Ð µvÐ µn Cs. Are you unique? DÐ ¾ you hÐ °vÐ µ something Ã'â€"mÃ'€Ð ¾rtÐ °nt tÐ ¾ offer?

AP Lit Vocab Essays

AP Lit Vocab Essays AP Lit Vocab Paper AP Lit Vocab Paper Essay Topic: A Raisin in the Sun A. E. Housman Poems Anne Sexton Poems Christina Rossetti Poems Elizabeth Bishop Poems Ezra Pound Poems George Herbert Poems Henry Wadsworth Longfellow Poems Jonathan Swift Poems Keats Poems and Letters Lycidas Phillis Wheatley Poems Poes Poetry Poes Short Stories Poetry Seamus Heaney Poems The Complete Poems of William Blake The Convergence Of the Twain The Faerie Queene The Poetry of Dh Lawrence The Poetry Of Robert Penn Warren The Rime of the Ancient Mariner The Sonnets of John Milton Thomas Gray Poems Thomas Hardy Poems Wallace Stevens Poems William Carlos Williams Poems Accentual Verse Verse whose meter is determined by the number of stressed (accented) syllables- regardless of the total number of syllables- in each line. Many Old English poems, including Beowulf, are accentual; see Ezra Pounds modern translation of The Seafarer. More recently, Richard Wilbur employed this same Anglo-Saxon meter in his poem Junk. Traditional nursery rhymes, such as Pat-a-cake, pat-a-cake, are often accentual. Accentual-Syllabic Verse Verse whose meter is determined by the number and alternation of its stressed and unstressed syllables, organized into feet. From line to line, the number of stresses (accents) may vary, but the total number of syllables within each line is fixed. The majority of English poems from the Renaissance to the 19th century are written according to this metrical system. Alexandrine In English, a 12-syllable iambic line adapted from French heroic verse. The last line of each stanza in Thomas Hardys The Convergence of the Twain and Percy Bysshe Shelleys To a Skylark is an alexandrine. Allegory An extended metaphor in which the characters, places, and objects in a narrative carry figurative meaning. Often an allegorys meaning is religious, moral, or historical in nature. John Bunyans The Pilgrims Progress and Edmund Spensers The Faerie Queene are two major allegorical works in English. Alliteration The repetition of initial stressed, consonant sounds in a series of words within a phrase or verse line. Alliteration need not reuse all initial consonants; pizza and place alliterate. Example: We saw the sea sound sing, we heard the salt sheet tell, from Dylan Thomass Lie Still, Sleep Becalmed. Browse poems with alliteration. Allusion A brief, intentional reference to a historical, mythic, or literary person, place, event, or movement. The Waste Land, T. S. Eliots influential long poem is dense with allusions. The title of Seamus Heaneys autobiographical poem Singing School alludes to a line from W.B. Yeatss Sailing to Byzantium (Nor is there singing school but studying /Monuments of its own magnificence). Browse poems with allusions. Anapest A metrical foot consisting of two unaccented syllables followed by an accented syllable. The words underfoot and overcome are anapestic. Lord Byrons The Destruction of Sennacherib is written in anapestic meter. Anaphora The repetition of a word or words at the beginning of successive phrases, clauses, or lines. See Paul Muldoons As, William Blakes The Tyger, or much of Walt Whitmans poetry, including I Sing the Body Electric. Anthropomorphism A form of personification in which human qualities are attributed to anything inhuman, usually a god, animal, object, or concept. In Vachel Lindsays What the Rattlesnake Said, for example, a snake describes the fears of his imagined prey. John Keats admires a stars loving watchfulness (with eternal lids apart) in his sonnet Bright Star, Would I Were as Steadfast as Thou Art. Apostrophe An address to a dead or absent person, or personification as if he or she were present. In his Holy Sonnet Death, be not proud, John Donne denies deaths power by directly admonishing it. Emily Dickinson addresses her absent object of passion in Wild nights!- Wild nights! Archetype A basic model from which copies are made; a prototype. According to psychologist Carl Jung, archetypes emerge in literature from the collective unconscious of the human race. Northrop Frye, in his Anatomy of Criticism, explores archetypes as the symbolic patterns that recur within the world of literature itself. In both approaches, archetypical themes include birth, death, sibling rivalry, and the individual versus society. Archetypes may also be images or characters, such as the hero, the lover, the wanderer, or the matriarch. Assonance The repetition of vowel sounds without repeating consonants; sometimes called vowel rhyme. See Amy Lowells In a Garden (With its leaping, and deep, cool murmur) or The Taxi (And shout into the ridges of the wind). Browse poems with assonance. Aubade A love poem or song welcoming or lamenting the arrival of the dawn. The form originated in medieval France. See John Donnes The Sun Rising and Louise Bogans Leave-Taking. Browse more aubade poems. Ballad A popular narrative song passed down orally. In the English tradition, it usually follows a form of rhymed (abcb) quatrains alternating fours of this literary ballad form include John Keatss La Belle Dame sans Merci, Thomas Hardys During Wind and Rain, and Edgar Allan Poes Annabel Lee. Browse more ballads. Blank verse Unrhyming iambic pentameter, also called heroic verse. This 10-syllable line is the predominant rhythm of traditional English dramatic and epic poetry, as it is considered the closest to English speech patterns. Poems such as John Miltons Paradise Lost, Robert Brownings dramatic monologues, and Wallace Stevenss Sunday Morning, are written predominantly in blank verse. Browse more blank verse poems. Cacophony Harsh or discordant word sounds; the opposite of euphony. See dissonance. Cadence The patterning of rhythm in natural speech, or in poetry without a distinct meter (i.e., free verse). Caesura A stop or pause in a metrical line, often marked by punctuation or by a grammatical boundary, such as a phrase or clause. A medial caesura splits the line in equal parts, as is common in Old English poetry (see Beowulf). Medial caesurae (plural of caesura) can be found throughout contemporary poet Derek Walcotts The Bounty. When the pause occurs toward the beginning or end of the line, it is termed, respectively, initial or terminal. Elizabeth Barrett Brownings Mother and Poet contains both initial (Dead! One of them shot by sea in the east) and terminal caesurae (No voice says My mother again to me. What?) Canon A list of authors or works considered to be central to the identity of a given literary tradition or culture. This secular use of the word is derived from its original meaning as a listing of all authorized books in the Bible. William Shakespeare, John Milton, and William Blake are frequently found on lists of canonical literature in English. Canto A long subsection of an epic or long narrative poem, such as Dante Alighieris Commedia (The Divine Comedy), first employed in English by Edmund Spenser in The Faerie Queene. Other examples include Lord Byrons Don Juan and Ezra Pounds Cantos. Chiasmus Repetition of any group of verse elements (including rhyme and grammatical structure) in reverse order, such as the rhyme scheme ABBA. Examples can be found in Biblical scripture (But many that are first / Shall be last, / And many that are last / Shall be first; Matthew 19:30). See also John Keatss Ode on a Grecian Urn (Beauty is truth, truth beauty). Circumlocution A roundabout wording, such as Samuel Taylor Coleridges twice five miles of fertile ground (i.e., 10 miles) in Kubla Khan. Also known as periphrasis. Common Measure A quatrain that rhymes ABAB and alternates four-stress and three-stress iambic lines. It is the meter of the hymn and the ballad. Many of Emily Dickinsons poems are written in common measure, including [It was not death, for I stood up]. See also Robert Haydens The Ballad of Nat Turner and Elinor Wylies A Crowded Trolley Car. See also Poulters measure and fourteener. Browse more common measure poems. Complaint A poem of lament, often directed at an ill-fated love, as in Henry Howards Complaint of the Absence of Her Love Being upon the Sea, or Sir Philip Sidneys Astrophel and Stella XXXI. A complaint may also be a satiric attack on social injustice and immorality; in The Lie, Sir Walter Ralegh bitterly rails against institutional hypocrisy and human vanity (Tell men of high condition, / That manage the estate, / Their purpose is ambition, / Their practice only hate.). Conceit From the Latin term for concept, a poetic conceit is an often unconventional, logically complex, or surprising metaphor whose delights are more intellectual than sensual. Petrarchan (after the Italian poet Petrarch) conceits figure heavily in sonnets, and contrast more conventional sensual imagery to describe the experience of love. In Shakespeares Sonnet XCVII: How like a Winter hath my Absence been, for example, What freezings have I felt, what dark days seen! laments the lover, though his separation takes place in the fertile days of summer and fall. Less conventional, more esoteric associations characterize the metaphysical conceit. John Donne and other so-called metaphysical poets [link to glossary term] used conceits to fuse the sensory and the abstract, trading on the element of surprise and unlikeness to hold the readers attention. In A Valediction: Forbidding Mourning, for instance, John Donne envisions two entwined lovers as the points of a compass. (For more on Donnes conceits, see Stephen Burts Poem Guide on John Donnes The Sun Rising.) Concrete poetry Verse that emphasizes nonlinguistic elements in its meaning, such as a typeface that creates a visual image of the topic. Examples include George Herberts Easter Wings and The Altar and George Starbucks Poem in the Shape of a Potted Christmas Tree. Browse more concrete poems. Confessional poetry Vividly self-revelatory verse associated with a number of American poets writing in the 1950s and 1960s, including Robert Lowell, W.D. Snodgrass, Sylvia Plath, Anne Sexton, and John Berryman. The term was first used by M.L. Rosenthal in a 1959 review of Life Studies, the collection in which Robert Lowell revealed his struggles with mental illness and a troubled marriage. Read an interview with Snodgrass in which he addresses his work and the work of others associated with confessionalism. Browse more poets who wrote confessional poems. Connotation there was a connotation of distrust in his voice: overtone, undertone, undercurrent, implication, hidden meaning, nuance, hint, echo, vibrations, association, intimation, suggestion, suspicion, insinuation. Consonance A resemblance in sound between two words, or an initial rhyme (see also Alliteration). Consonance can also refer to shared consonants, whether in sequence (bed and bad) or reversed (bud and dab). Browse poems with consonance. Controlling metaphor controlling metaphors: Metaphors that dominate or organize an entire poem. For example, metaphors of movement structure John Donne ´s A Valediction Forbidding Mourning (1633). couplet couplet: A pair of lines, almost always rhyming, that form a unit. dactyl A metrical foot consisting of an accented syllable followed by two unaccented syllables; the words poetry and basketball are both dactylic. Tennysons The Charge of the Light Brigade is written in dactylic meter. (See also double dactyl.) dead metaphor A dead metaphor is a metaphor which has lost the original imagery of its meaning owing to extensive, repetitive popular usage. flowerbed head teacher forerunner to run for office to lose face to lend a hand to broadcast pilot originally meant the rudder of a boat. flair originally meant a sweet smell. a computer mouse denotation denotation: The direct and literal meaning of a word or phrase (as distinct from its implication). Compare connotation. dimeter A line of verse composed of two feet. Some go local / Some go express / Some cant wait / To answer Yes, writes Muriel Rukeyser in her poem Yes, in which the dimeter line predominates. Kay Ryans Blandeur contains this series of mostly dimeter lines: Even out Earths rondure, flatten Eiger, blanden the Grand Canyon. Make valleys slightly higher, widen fissures to arable land, remand your terrible glaciers dirge A brief hymn or song of lamentation and grief; it was typically composed to be performed at a funeral. In lyric poetry, a dirge tends to be shorter and less meditative than an elegy. See Christina Rossettis A Dirge and Sir Philip Sidneys Ring Out Your Bells. dissonance A disruption of harmonic sounds or rhythms. Like cacophony, it refers to a harsh collection of sounds; dissonance is usually intentional, however, and depends more on the organization of sound for a jarring effect, rather than on the unpleasantness of individual words. Gerard Manley Hopkinss use of fixed stresses and variable unstressed syllables, combined with frequent assonance, consonance, and monosyllabic words, has a dissonant effect. See these lines from Carrion Comfort: Why? That my chaff might fly; my grain lie, sheer and clear. Nay in all that toil, that coil, since (seems) I kissed the rod, Hand rather, my heart lo! lapped strength, stole joy, would laugh, cheer. doggerel Bad verse traditionally characterized by clichà ©s, clumsiness, and irregular meter. It is often unintentionally humorous. The giftedly bad William McGonagall was an accomplished doggerelist, as demonstrated in The Tay Bridge Disaster: It must have been an awful sight, To witness in the dusky moonlight, While the Storm Fiend did laugh, and angry did bray, Along the Railway Bridge of the Silvry Tay, Oh! ill-fated Bridge of the Silvry Tay, I must now conclude my lay By telling the world fearlessly without the least dismay, That your central girders would not have given way, At least many sensible men do say, Had they been supported on each side with buttresses, At least many sensible men confesses, For the stronger we our houses do build, The less chance we have of being killed. dramatic monologue A poem in which an imagined speaker addresses a silent listener, usually not the reader. Examples include Robert Brownings My Last Duchess, T.S. Eliots The Love Song of J. Alfred Prufrock, and Ais Killing Floor. A lyric may also be addressed to someone, but it is short and songlike and may appear to address either the reader or the poet. Browse more dramatic monologue poems. elegy In traditional English poetry, it is often a melancholy poem that laments its subjects death but ends in consolation. Examples include John Miltons Lycidas; Alfred, Lord Tennysons In Memoriam; and Walt Whitmans When Lilacs Last in the Dooryard Bloomd. More recently, Peter Sacks has elegized his father in Natal Command, and Mary Jo Bang has written You Were You Are Elegy and other poems for her son. In the 18th century the elegiac stanza emerged, though its use has not been exclusive to elegies. It is a quatrain with the rhyme scheme ABAB written in iambic pentameter. Browse more elegies. elision The omission of unstressed syllables (e.g., ere for ever, tother for the other), usually to fit a metrical scheme. What dire offence from amrous causes springs, goes the first line of Alexander Popes The Rape of the Lock, in which amorous is elided to amrous to establish the pentameter (five-foot) line. ellipsis In poetry, the omission of words whose absence does not impede the readers ability to understand the expression. For example, Shakespeare makes frequent use of the phrase I will away in his plays, with the missing verb understood to be go. T.S. Eliot employs ellipsis in the following passage from Preludes: You curled the papers from your hair, Or clasped the yellow soles of feet In the palms of both soiled hands. The possessive your is left out in the second and third lines, but it can be assumed that the woman addressed by the speaker is clasping the soles of her own feet with her own hands. end-stopped A metrical line ending at a grammatical boundary or break- such as a dash or closing parenthesis- or with punctuation such as a colon, a semicolon, or a period. A line is considered end-stopped, too, if it contains a complete phrase. Many of Alexander Popes couplets are end-stopped, as in this passage from An Essay on Man: Epistle I: Then say not mans imperfect, Heavn in fault; Say rather, mans as perfect as he ought: His knowledge measurd to his state and place, His time a moment, and a point his space. If to be perfect in a certain sphere, What matter, soon or late, or here or there? The blest today is as completely so, As who began a thousand years ago. The opposite of an end-stopped line is an enjambed line. enjambment The running-over of a sentence or phrase from one poetic line to the next, without terminal punctuation; the opposite of end-stopped. William Carlos Williamss Between Walls is one sentence broken into 10 enjambed lines: the back wings of the hospital where nothing will grow lie cinders in which shine the broken pieces of a green bottle epic A long narrative poem in which a heroic protagonist engages in an action of great mythic or historical significance. Notable English epics include Beowulf, Edmund Spensers The Faerie Queene (which follows the virtuous exploits of 12 knights in the service of the mythical King Arthur), and John Miltons Paradise Lost, which dramatizes Satans fall from Heaven and humankinds subsequent alienation from God in the Garden of Eden. epigram A pithy, often witty, poem. See Walter Savage Landors Dirce, [link to archived poem] Ben Jonsons On Gut, [link to archived poem] or much of the work of J.V. Cunningham [link to poet page]: This Humanist whom no beliefs constrained Grew so broad-minded he was scatter-brained. epigraph A quotation from another literary work that is placed beneath the title at the beginning of a poem or section of a poem. For example, Grace Schulmans American Solitude opens with a quote from an essay by Marianne Moore. Lines from Phillis Wheatleys On Being Brought from Africa to America preface Alfred Corns Sugar Cane. epitaph A short poem intended for (or imagined as) an inscription on a tombstone and often serving as a brief elegy. See Robert Herricks Upon a Child That Died and Upon Ben Jonson; Ben Jonsons Epitaph on Elizabeth, L. H.; and Epitaph for a Romantic Woman by Louise Bogan. figure of speech An expressive, nonliteral use of language. Figures of speech include tropes (such as hyperbole, irony, metaphor, and simile) and schemes (anything involving the ordering and organizing of words- anaphora, antithesis, and chiasmus, for example). Browse all terms related to figures of speech. figurative language Whenever you describe something by comparing it with something else, you are using figurative language. Simile A simile uses the words like or as to compare one object or idea with another to suggest they are alike. Example: busy as a bee Metaphor The metaphor states a fact or draws a verbal picture by the use of comparison. A simile would say you are like something; a metaphor is more positive it says you are something. Example: You are what you eat. Personification A figure of speech in which human characteristics are given to an animal or an object. Example: My teddy bear gave me a hug. Alliteration The repetition of the same initial letter, sound, or group of sounds in a series of words. Alliteration includes tongue twisters. Example: She sells seashells by the seashore. Onomatopoeia The use of a word to describe or imitate a natural sound or the sound made by an object or an action. Example: snap crackle pop Hyperbole An exaggeration that is so dramatic that no one would believe the statement is true. Tall tales are hyperboles. Example: He was so hungry, he ate that whole cornfield for lunch, stalks and all. Idioms According to Websters Dictionary, an idiom is defined as: peculiar to itself either grammatically (as no, it wasnt me) or in having a meaning that cannot be derived from the conjoined meanings of its elements. Example: Monday week for the Monday a week after next Monday Clichà ©s A clichà © is an expression that has been used so often that it has become trite and sometimes boring. Example: Many hands make light work. foot The basic unit of measurement of accentual-syllabic meter. A foot usually contains one stressed syllable and at least one unstressed syllable. The standard types of feet in English poetry are the iamb, trochee, dactyl, anapest, spondee, and pyrrhic (two unstressed syllables) found poem A prose text or texts reshaped by a poet into quasi-metrical lines. Fragments of found poetry may appear within an original poem as well. Portions of Ezra Pounds Cantos are found poetry, culled from historical letters and government documents. Charles Olson created his poem There Was a Youth whose Name Was Thomas Granger using a report from William Bradfords History of Plymouth Plantation. free verse Nonmetrical, nonrhyming lines that closely follow the natural rhythms of speech. A regular pattern of sound or rhythm may emerge in free-verse lines, but the poet does not adhere to a metrical plan in their composition. Matthew Arnold and Walt Whitman explored the possibilities of nonmetrical poetry in the 19th century. Since the early 20th century, the majority of published lyric poetry has been written in free verse. See the work of William Carlos Williams, T.S. Eliot, Ezra Pound, and H.D. Browse more free-verse poems. haiku A Japanese verse form of three unrhyming lines in five, seven, and five syllables. It creates a single, memorable image, as in these lines by Kobayashi Issa, translated by Jane Hirshfield: On a branch floating downriver a cricket, singing. (In translating from Japanese to English, Hirshfield compresses the number of syllables.) See also Three Haiku, Two Tanka by Philip Appleman and Robert Hasss After the Gentle Poet Kobayashi Issa. The Imagist poets of the early 20th century, including Ezra Pound and H.D., showed appreciation for the forms linguistic and sensory economy; Pounds In a Station of the Metro embodies the spirit of haiku. Browse more haiku. heptameter A meter made up of seven feet and usually 14 syllables total (see Fourteener). George Chapmans translation of Homers the Iliad is written in heptameter, as is Edgar Allan Poes Annabel Lee. See also Poulters measure. hexameter A metrical line of six feet, most often dactylic, and found in Classical Latin or Greek poetry, including Homers Iliad. In English, an iambic hexameter line is also known as an alexandrine. Only a few poets have written in dactylic hexameter, including Henry Wadsworth Longfellow in the long poem Evangeline: hymn A poem praising God or the divine, often sung. In English, the most popular hymns were written between the 17th and 19th centuries. See Isaac Wattss Our God, Our Help, Charles Wesleys My God! I Know, I Feel Thee Mine, and Thou Hidden Love of God by John Wesley. hyperbole A figure of speech composed of a striking exaggeration. For example, see James Tates lines She scorched you with her radiance or He was more wronged than Job. Hyperbole usually carries the force of strong emotion iamb A metrical foot consisting of an unaccented syllable followed by an accented syllable. The words unite and provide are both iambic. It is the most common meter of poetry in English (including all the plays and poems of William Shakespeare), as it is closest to the rhythms of English speech. In Robert Frosts After Apple Picking the iamb is the vehicle for the natural, colloquial speech pattern: My long two-pointed ladders sticking through a tree Toward heaven still, And theres a barrel that I didnt fill Beside it, and there may be two or three Apples I didnt pick upon some bough. But I am done with apple-picking now. Essence of winter sleep is on the night, The scent of apples: I am drowsing off. imagery (sensory) Describing words! internal rhyme In poetry, internal rhyme, or middle rhyme, is rhyme that occurs within a single line of verse.[1] irony As a literary device, irony implies a distance between what is said and what is meant. Based on the context, the reader is able to see the implied meaning in spite of the contradiction. When William Shakespeare relates in detail how his lover suffers in comparison with the beauty of nature in My Mistress Eyes Are Nothing like the Sun, it is understood that he is elevating her beyond these comparisons; considering her essence as a whole, and what she means to the speaker, she is more beautiful than nature. (titantic beauty vs. worms) italian sonnet Italian sonnet: An octave (eight lines) and a sestet (six lines); typically rhymed abbaabba cdecde, it has many variations that still reflect the basic division into two parts separated by a rhetorical turn of argument (e.g., see Elizabeth Barrett Browning, Sonnets from the Portuguese [1850]). lyric poetry Lyric poems typically express personal or emotional feelings and is traditionally the home of the present tense.[1] They have specific rhyming schemes and are often, but not always, set to music or a beat lyricism An artists expression of emotion in an imaginative and beautiful way; the quality of being lyrical. kenning A figurative compound word that takes the place of an ordinary noun. It is found frequently in Old Germanic, Norse, and English poetry, including The Seafarer, in which the ocean is called a whale-path. (See Ezra Pounds translation) light verse Whimsical poems taking forms such as limericks, nonsense poems, and double dactyls. See Edward Lears The Owl and the Pussy-Cat and Lewis Carrolls The Walrus and the Carpenter. Other masters of light verse include Dorothy Parker, G.K. Chesterton, John Hollander, and Wendy Cope. limerick A fixed light-verse form of five generally anapestic lines rhyming AABBA. Edward Lear, who popularized the form, fused the third and fourth lines into a single line with internal rhyme. Limericks are traditionally bawdy or just irreverent; see A Young Lady of Lynn or Lears There was an Old Man with a Beard. Browse more limericks. metaphor A comparison that is made directly (for example, John Keatss Beauty is truth, truth beauty from Ode on a Grecian Urn) or less directly (for example, Shakespeares marriage of two minds), but in any case without pointing out a similarity by using words such as like, as, or than. See Sylvia Plaths description of her dead father as Marble-heavy, a bag full of God in Daddy, or Emily Dickinsons Hope is the thing with feathers- / That perches in the soul- . Browse poems with developed metaphors. meter The rhythmical pattern of stressed and unstressed syllables in verse. The predominant meter in English poetry is accentual-syllabic. See also accentual meter, syllabic meter, and quantitative meter. Falling meter refers to trochees and dactyls (i.e., a stressed syllable followed by one or two unstressed syllables). Iambs and anapests (i.e., one or two unstressed syllables followed by a stressed one) are called rising meter. See also foot. metonymy A figure of speech in which a related term is substituted for the word itself. Often the substitution is based on a material, causal, or conceptual relation between things. For example, the British monarchy is often referred to as the Crown. In the phrase lend me your ears, ears is substituted for attention. O, for a draught of vintage! exclaims the speaker in John Keatss Ode to Nightingale, with vintage understood to mean wine. Synecdoche is closely related to metonymy. motif A central or recurring image or action in a literary work that is shared by other works and may serve an overall theme. For example, the repeated questions of an ubi sunt poem compose a motif of the fleeting nature of life. Jonathan Swifts Gullivers Travels and John Bunyans A Pilgrims Progress both feature the motif of a long journey. Motifs are sometimes described as expressions of a collective unconsciousness; see archetype. narrative poem Poetry that tells a story and is primarily characterized by linear, chronological description. negative capability A theory of John Keats, who suggested in one of his famous letters that a great thinker is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason. A poet, then, has the power to bury self-consciousness, dwell in a state of openness to all experience, and identify with the object contemplated. See Keatss To Autumn. The inspirational power of beauty, according to Keats, is more important than the quest for objective fact; as he writes in his Ode on a Grecian Urn, Beauty is truth, truth beauty- that is all / Ye know on earth, and all ye need to know. objective correlative T.S. Eliot used this phrase to describe a set of objects, a situation, a chain of events which shall be the formula of that particular emotion that the poet feels and hopes to evoke in the reader (Hamlet, 1919). There must be a positive connection between the emotion the poet is trying to express and the object, image, or situation in the poem that helps to convey that emotion to the reader. Eliot thus determined that Shakespeares play Hamlet was an artistic failure because Hamlets intense emotions overwhelmed the authors attempts to express them through an objective correlative. In other words, Eliot felt that Shakespeare was unable to provoke the audience to feel as Prince Hamlet did through images, actions, and characters, and instead only inadequately described his emotional state through the plays dialogue. Eliots theory of the objective correlative is closely related to the Imagist movement. objectivism A term coined by William Carlos Williams in 1930 that developed from his reading of Alfred North Whiteheads Science and the Modern World. He described it as looking at a poem with a special eye to its structural aspects, how it has been constructed. Louis Zukofsky expanded the term and attempted to articulate its principles when he guest-edited the February 1931 issue of Poetry. He included Charles Reznikoff, George Oppen, and Carl Rakosi. Later, the poet Lorine Niedecker was closely associated with this movement. These objectivist poets, Zukofsky noted, were Imagists rather than Symbolists; they were concerned with creating a poetic structure that could be perceived as a whole, rather than a series of imprecise but evocative images. For more on objectivism, read Peter OLearys feature, The Energies of Words. Browse Objectivist poets. occasional poem A poem written to describe or comment on a particular event and often written for a public reading. Alfred, Lord Tennysons The Charge of the Light Brigade commemorates a disastrous battle in the Crimean War. George Starbuck wrote Of Late after reading a newspaper account of a Vietnam War protesters suicide. Elizabeth Alexanders Praise Song for the Day was written for the inauguration of President Barack Obama. See also elegy, epithalamion, and ode. octave An eight-line stanza or poem. See ottava rima and triolet. The first eight lines of an Italian or Petrarchan sonnet are also called an octave. ode A formal, often ceremonious lyric poem that addresses and often celebrates a person, place, thing, or idea. Its stanza forms vary. The Greek or Pindaric (Pindar, ca. 552-442 B.C.E.) ode was a public poem, usually set to music, that celebrated athletic victories. (See Stephen Burts article And the Winner Is . . . Pindar!) English odes written in the Pindaric tradition include Thomas Grays The Progress of Poesy: A Pindaric Ode and William Wordsworths Ode: Intimations of Immortality from Reflections of Early Childhood. Horatian odes, after the Latin poet Horace (65-8 B.C.E.), were written in quatrains in a more philosophical, contemplative manner; see Andrew Marvells Horatian Ode upon Cromwells Return from Ireland. The Sapphic ode consists of quatrains, three 11-syllable lines, and a final five-syllable line, unrhyming but with a strict meter. See Algernon Charles Swinburnes Sapphics. The odes of the English Romantic poets vary in stanza form. They often address an intense emotion at the onset of a personal crisis (see Samuel Taylor Coleridges Dejection: An Ode,) or celebrate an object or image that leads to revelation (see John Keatss Ode on a Grecian Urn, Ode to a Nightingale, and To Autumn). Browse more odes. onomatopoeia A figure of speech in which the sound of a word imitates its sense (for example, choo-choo, hiss, or buzz). In Piano, D.H. Lawrence describes the boom of the tingling strings as his mother played the piano, mimicking the volume and resonance of the sound (boom) as well as the fine, high-pitched vibration of the strings that produced it (tingling strings) ottava rima Originally an Italian stanza of eight 11-syllable lines, with a rhyme scheme of ABABABCC. Sir Thomas Wyatt introduced the form in English, and Lord Byron adapted it to a 10-syllable line for his mock-epic Don Juan. W.B. Yeats used it for Among School Children and Sailing to Byzantium. Browse more ottava rima poems. panegyric A poem of effusive praise. Its origins are Greek, and it is closely related to the eulogy and the ode. See Ben Jonsons To the Memory of My Beloved the Author, Mr. William Shakespeare or Anne Bradstreets In Honor of That High and Mighty Princess, Queen Elizabeth. paradox As a figure of speech, it is a seemingly self-contradictory phrase or concept that illuminates a truth. For instance, Wallace Stevens, in The Snow Man, describes the Nothing that is not there and the nothing that is. Alexander Pope, in An Essay on Man: Epistle II, describes Man as Great lord of all things, yet a prey to all. Paradox is related to oxymoron, which creates a new phrase or concept out of a contradiction. parody A comic imitation of another authors work or characteristic style. See Joan Murrays We Old Dudes, a parody of Gwendolyn Brookss We Real Cool. paraphrase summarize pastoral Verse in the tradition of Theocritus (3 BCE), who wrote idealized accounts of shepherds and their loves living simple, virtuous lives in Arcadia, a mountainous region of Greece. Poets writing in English drew on the pastoral tradition by retreating from the trappings of modernity to the imagined virtues and romance of rural life, as in Edmund Spensers The Shepheardes Calendar, Christopher Marlowes The Passionate Shepherd to His Love, and Sir Walter Raleghs response, The Nymphs Reply to the Shepherd. The pastoral poem faded after the European Industrial Revolution of the 18th century, but its themes persist in poems that romanticize rural life or reappraise the natural world; see Leonie Adamss Country Summer, Dylan Thomass Fern Hill, or Allen Ginsbergs Wales Visitation. Browse more pastoral poems. personification A figure of speech in which the poet describes an abstraction, a thing, or a nonhuman form as if it were a person. William Blakes O Rose, thou art sick! is one example; Donnes Death, be not proud is another. Gregory Corso quarrels with a series of personified abstractions in his poem The Whole Mess . . . Almost. Personification is often used in symbolic or allegorical poetry; for instance, the virtue of Justice takes the form of the knight Artegal in Edmund Spensers The Faerie Queene. pathetic fallacy ascribes human, emotional qualities (feelings, thought, sensation) to inanimate objects, as if possessed of human awareness.[1] [2] As such, in the term pathetic fallacy, the word pathetic communicates feelings of two types, pathos (emotion) and empathy (capability of emotion). poetic device A poetic device is a language feature such as a simile, metaphor, pun etc. poetic devices or often called poetic methods can be a number of things used in a poem. Examples of poetic devices are. language, imagery, assonance, alliteration, metaphor, similie and there are many more. poetic inversion inversion, also called anastrophe, in literary style and rhetoric, the syntactic reversal of the normal order of the words and phrases in a sentence, as, in English, the placing of an adjective after the noun it modifies (the form divine), a verb before its subject (Came the dawn), or a noun preceding its preposition (worlds between). Inversion is most commonly used in poetry in which it may both satisfy the demands of the metre and achieve emphasis: In Xanadu did Kubla Khan A stately pleasure dome decree - (from Samuel Taylor Coleridges Kubla Khan) Inversion used simply for the sake of maintaining a rhyme scheme is considered a literary defect, although it is a common convention in folk ballads: quatrain A four-line stanza, rhyming -ABAC or ABCB (known as unbounded or ballad quatrain), as in Samuel Taylor Coleridges The Rime of the Ancient Mariner. -AABB (a double couplet); see A.E. Housmans To an Athlete Dying Young. -ABAB (known as interlaced, alternate, or heroic), as in Thomas Grays Elegy Written in a Country Churchyard or Sadie and Maud by Gwendolyn Brooks. -ABBA (known as envelope or enclosed), as in Alfred, Lord Tennysons In Memoriam or John Ciardis Most Like an Arch This Marriage. -AABA, the stanza of Robert Frosts Stopping by Woods on a Snowy Evening. refrain A phrase or line repeated at intervals within a poem, especially at the end of a stanza. See the refrain jump back, honey, jump back in Paul Lawrence Dunbars A Negro Love Song or return and return again in James Laughlins O Best of All Nights, Return and Return Again. Browse poems with a refrain. rhyme scheme A rhyme scheme is the pattern of rhyme between lines of a poem or song. It is usually referred to by using letters to indicate which lines rhyme; lines designated with the same letter all rhyme with each other. In other words, it is the pattern of end rhymes or lines. Bid me to weep, and I will weep While I have eyes to see; And having none, and yet I will keep A heart to weep for thee. rhyme royal A stanza of seven 10-syllable lines, rhyming ABABBCC, popularized by Geoffrey Chaucer and termed royal because his imitator, James I of Scotland, employed it in his own verse. In addition to Chaucers Troilus and Criseyde, see Sir Thomas Wyatts They flee from me and William Wordsworths Resolution and Independence. rhythm An audible pattern in verse established by the intervals between stressed syllables. Rhythm creates a pattern of yearning and expectation, of recurrence and difference, observes Edward Hirsch in his essay on rhythm, Out of the Cradle Endlessly Rocking. See also meter. rondeau Originating in France, a mainly octosyllabic poem consisting of between 10 and 15 lines and three stanzas. It has only two rhymes, with the opening words used twice as an unrhyming refrain at the end of the second and third stanzas. The 10-line version rhymes ABBAABc ABBAc (where the lower-case c stands for the refrain). The 15-line version often rhymes AABBA AABc AABAc. Geoffrey Chaucers Now welcome, summer at the close of The Parlement of Fowls is an example of a 13-line rondeau. A rondeau redoublà © consists of six quatrains using two rhymes. The first quatrain consists of four refrain lines that are used, in sequence, as the last lines of the next four quatrains, and a phrase from the first refrain is repeated as a tail at the end of the final stanza. See Dorothy Parkers Roudeau Redoublà © (and Scarcely Worth the Trouble at That). scansion The analysis of the metrical patterns of a poem by organizing its lines into feet of stressed and unstressed syllables and showing the major pauses, if any. Scansion also involves the classification of a poems stanza, structure, and rhyme scheme. sestet A six-line stanza, or the final six lines of a 14-line Italian or Petrarchan sonnet. sestina A complex French verse form, usually unrhymed, consisting of six stanzas of six lines each and a three-line envoy. The end words of the first stanza are repeated in a different order as end words in each of the subsequent five stanzas; the closing envoy contains all six words, two per line, placed in the middle and at the end of the three lines. The patterns of word repetition are as follows, with each number representing the final word of a line, and each row of numbers representing a stanza: 1 2 3 4 5 6 6 1 5 2 4 3 3 6 4 1 2 5 5 3 2 6 1 4 4 5 1 3 6 2 2 4 6 5 3 1 (6 2) (1 4) (5 3) See Algernon Charles Swinburnes The Complaint of Lisa, John Ashberys Farm Implements and Rutabagas in a Landscape, and David Ferrys The Guest Ellen at the Supper for Street People. Browse more sestinas. simile A comparison (see Metaphor) made with as, like, or than. In A Red, Red Rose, Robert Burns declares: O my Luve is like a red, red rose Thats newly sprung in June; O my Luve is like the melody Thats sweetly played in tune. What happens to a dream deferred? asks Langston Hughes in Harlem: Does it dry up like a raisin in the sun? Or fester like a sore- And then run? Does it stink like rotten meat? Or crust and sugar over- like a syrupy sweet? sonnet A 14-line poem with a variable rhyme scheme originating in Italy and brought to England by Sir Thomas Wyatt and Henry Howard, earl of Surrey in the 16th century. Literally a little song, the sonnet traditionally reflects upon a single sentiment, with a clarification or turn of thought in its concluding lines. spondee A metrical foot consisting of two accented syllables. An example of a spondaic word is hog-wild. Gerard Manley Hopkinss Pied Beauty is heavily spondaic: With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him. sprung rhythm A metrical system devised by Gerard Manley Hopkins composed of one- to four-syllable feet that start with a stressed syllable. The spondee replaces the iamb as a dominant measure, and the number of unstressed syllables varies considerably from line to line (see also accentual verse). According to Hopkins, its intended effect was to reflect the dynamic quality and variations of common speech, in contrast to the monotony of iambic pentameter. His own poetry illustrates its use; though there have been few imitators, the spirit and principles of sprung rhythm influenced the rise of free verse in the early 20th century. stanza A grouping of lines separated from others in a poem. In modern free verse, the stanza, like a prose paragraph, can be used to mark a shift in mood, time, or thought. syllabic verse Poetry whose meter is determined by the total number of syllables per line, rather than the number of stresses. Marianne Moores poetry is mostly syllabic. Other examples include Thomas Nashes Adieu, farewell earths bliss and Dylan Thomass Poem in October. Browse more poems in syllabic verse. symbol Something in the world of the senses, including an action, that reveals or is a sign for something else, often abstract or otherworldly. A rose, for example, has long been considered a symbol of love and affection. Every word denotes, refers to, or labels something in the world, but a symbol (to which a word, of course, may point) has a concreteness not shared by language, and can point to something that transcends ordinary experience. Poets such as William Blake and W.B. Yeats often use symbols when they believe in- or seek- a transcendental (religious or spiritual) reality. A metaphor compares two or more things that are no more and no less real than anything else in the world. For a metaphor to be symbolic, one of its pair of elements must reveal something else transcendental. In To the Rose upon the Rood of Time, for instance, Yeatss image of the rose on the cross symbolizes the joining of flesh and spirit. As Cleanth Brooks and Robert Penn Warren write in their book Understanding Poetry (3rd ed., 1960),The symbol may be regarded as a metaphor from which the first term has been omitted. synecdoche A figure of speech in which a part of something stands for the whole (for example, Ive got wheels for I have a car, or a description of a worker as a hired hand). It is related to metonymy. synesthesia A blending or intermingling of different senses in description. Light laughs the breeze in her castle of sunshine, writes Emily Dickinson. In her heavily synesthetic poem Aubade, Dame Edith Sitwell describes the dull blunt wooden stalactite / Of rain creaks, hardened by the light. In George Merediths Modern Love: I, a womans heart is made to drink the pale drug of silence. tautology A statement redundant in itself, such as free gift or The stars, O astral bodies! Also, a statement that is necessarily true- a circular argument- such as she is alive because she is living. tercet A poetic unit of three lines, rhymed or unrhymed. Thomas Hardys The Convergence of the Twain rhymes AAA BBB; Ben Jonsons On Spies is a threes of poems in unrhymed tercets include Wallace Stevenss The Snow Man and David Wagoners For a Student Sleeping in a Poetry Workshop. tetrameter A line made up of four feet. See William Shakespeares Fear No More the Heat o the Sun or Channel Firing by Thomas Hardy. trimeter A line of three metrical feet. Percy Bysshe Shelleys To a Skylark employs trochaic trimeter in the first two lines of each stanza. See also Là ©onie Adamss The Mount. trochee A metrical foot consisting of an accented syllable followed by an unaccented syllable. Examples of trochaic words include garden and highway. William Blake opens The Tyger with a predominantly trochaic line: Tyger! Tyger! Burning bright. Edgar Allan Poes The Raven is mainly trochaic. tone The attitude taken in or by a poem toward the subject and theme. verse As a mass noun, poetry in general; as a regular noun, a line of poetry. Typically used to refer to poetry that possesses more formal qualities. villanelle A French verse form consisting of five three-line stanzas and a final quatrain, with the first and third lines of the first stanza repeating alternately in the following stanzas. These two refrain lines form the final couplet in the quatrain. See Do Not Go Gentle into That Good Night by Dylan Thomas, Elizabeth Bishops One Art, and Edwin Arlington Robinsons The House on the Hill. word order The syntactic arrangement of words in a sentence, clause, or phrase.

Trade dispute Essay Example | Topics and Well Written Essays - 1250 words

Trade dispute - Essay Example However, these wholesalers are usually affiliated with manufacturers, who can legally prohibit retailers from selling the products of competitors. Furthermore, because retailing licenses are required and existing merchants can block the granting of new ones, it is difficult to establish large chain stores that would be less reliant upon existing wholesalers and more prices competitive. The system was criticized because the GATT consensus decision-making rules meant that a party could prevent the dispute settlement process from starting and, even if the process was allowed to go forward, a losing party could prevent formal adoption of a decision against it (and losing parties did so more frequently over time). (Robert, 89) Without adoption, the report remained in limbo; it expressed the view of three experts but had no status in GATT. Thus, the dispute remained unresolved. As a result, there was a perception that the GATT system was not adequate. (Busch, and Reinhardt, 163) Moreover, it was believed that cases that should have been resolved in the system were never even brought to it because of this perceived shortcoming. In the Uruguay Round trade negotiations, the United States in particular wanted to improve and strengthen the dispute settlement system. ... In other words, it gives the owner exclusive rights to the idea or product. A patent is filed with the U.S. Patent and Trademark Office in Washington D.C. Patents is considered intellectual property rights and is protected by state and federal laws. If the patent is granted, it is usually granted for a period of time, making the product fair game after the period ends. The Federal Patent Statute of 1952, which was enacted by Congress, is â€Å"intended to provide an incentive for inventors to invent and make their inventions public and to protect patented inventions from infringement† (Cheeseman, 323). As with all cases, the loser can appeal the case. In the case of Vonage, if they were to appeal this case, they would do so through the U.S. Court of Appeals. In the patent infringement case of Vonage versus Sprint, a jury trial was held in the Kansas City, Kansas U.S. District Court, the city of Sprint’s headquarters. Federal courts are the ones that hear patent cases, n ot state courts. These courts also have exclusive jurisdiction. Exclusive jurisdiction occurs when only one court holds jurisdiction in the case, in this case it was Kansas City. The Vonage case was considered a civil trial, not a criminal trial because it occurred between two businesses and was not between a business and the government. If the case had been filed by the government, it would have been a criminal case. (Robert, 22) There are many differences between civil and criminal cases. In both cases, civil and criminal, a jury decides the verdict, however with a civil case; the jury does not need to reach a unanimous vote as it does with a criminal trial. With a civil trial the â€Å"judgment for plaintiff requires specific

Climate Assignment Example | Topics and Well Written Essays - 500 words - 1

Climate - Assignment Example Since the scientific community has identified exploitation of fossil fuel as the main reason for global warming, this section has been prosecuting them on various levels, in spite of mounting evidence. This essay discusses one of the most urgent issues in environment study that is climate change or global warming in every context with its definition and various controversies are raging in this area of the studies. The climate change can be broadly defined as the long-term time period shift in the weather statistics including the average climate (NOAA, 2007). One of main concerns in the environmental study is the global warming with the continuous increase in the temperature all over the world. It is also one of the topics that are hotly debated between various sections of the modern society (US National Academy of Sciences & the Royal Society, 2008). The weather scientists who are working in this area are gathering mounting evidences regarding the increasing of the surface warming all over the world. One of such sources is the thermometers that are monitoring the changes in hundreds and thousands of the locations all over the world and recording those changes at a permanent location. The scientists are also getting indirect estimates from such sources as the ice cores as well as tree rings for calculation of change in temperature during past years (US National Academy of Sciences & the Royal Society, 2008). Since, last few decades, there are many theories that seek to explain the reason of the global warming such as the cycle of the sun spots and changes in earth climate, natural variability of the climate or changes due to human activity. As per some people, the main source of the global warming is the sun spots and 11 years Sun – cycle. The energy output of the Sun varies considerably depending upon the abundance of some isotopes of beryllium or carbon atoms and number of the sunspots. But, as per the evidence that is