My Experience With Being Lost free essay sample

My involvement in being lost was an unnerving one. I took in my exercise about riding earth bicycles alone. Everything began while riding up a path I had not ridden previously. The path went on the mainland partition and ran for a large number of miles from the outskirt of Mexico to the fringe of Canada. This path is beguiling in its trouble. A few sections would be simple and others are practically obstructed. There are various mood killers that will bring you into the obscure. This is what befallen me. Everything began like some other day of riding. The sun was sparkling and I was prepared to ride. I got up on the path, and my bicycle was running solid. I was riding, and I just idea to myself about how I didnt have my riding knapsack with me. I concluded that I wouldnt make it a hard ride, so I proceeded in any case. We will compose a custom exposition test on My Experience With Being Lost or on the other hand any comparative point explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page I before long understood that it was a mix-up. While riding, the path got more unpleasant than expected. I propped up in light of the fact that I wasnt going to let the path stop me. The path was beginning to get great, yet it propped up for far. I proceeded down the path for very nearly two hours. At that point the path got thin. The path was too thin to even think about turning around on and I had to prop up to discover my way to a pivot, however the pivot never came. The path got skinnier as I went and not long after was only a furrowed climbing trail on the mainland separate. I chose to prop up down the path to discover the pivot regardless of where it was. I was beginning to get drained, and figured the path could never end. There was even a period that I contemplated leaving my bicycle and exiting, however then I found a fork in the path. As I halted and inspected the two path, I saw a lake in the base of a bowl. Neither of the path were more earnestly than what I had been on, so I concluded I would go to the lake and expec tation there was a street or individuals. As I rode down the little climbing trail, it began to kick steep and off drawing nearer to a bluff. I continued riding and discovered my way to the base of the lake. In any case, there was no one there. The lake was not what I was searching for, yet I enjoyed the lakes magnificence. The path proceeded down the gully and go into the trees. The trees were encouraging on the grounds that I could assemble cover on the off chance that I required. The path began resembling some other path, so I could get a move on a smidgen and begin making progress quicker. As of now, I had been on the path for right around eight hours, and I was exceptionally drained. I was riding and found another lake. This lake had individuals at it. I got eager to see individuals since that implied there was a street to bring them up there. I immediately began down an unpleasant path to get to the lake when my bicycle came up short on gas. I began to push my bicycle down the path. After about an hour of pushing my bicycle, I had at long last made it to the lake where I found a decent couple who credited me a few gas. I asked them, â€Å"How did you get up here?† and they let me know of a street that came out at the following town over. I followed the street they were discussing and they were correct. The street took me to the town, and I required a ride back to my truck. The experience I had on the path that day made me be mindful while riding alone, and now I never go anyplace without my endurance knapsack. It has made me be wary in doing anything hazardous while alone. The experience terrified me, however I would do everything again recognizing what I know now.

Ac Synchronous Machine And Its Application Engineering Essay

Air conditioning Synchronous Machine And Its Application Engineering Essay Simultaneous machines are mainly utilized as substituting current (AC) generators. They gracefully the electric force utilized by all areas of current social orders: modern, business, rural, and residential. Coordinated machines are some of the time utilized as consistent speed engines, or as compensators for receptive force control in enormous force frameworks. This article clarifies the constructional includes and working standards of the coordinated machine. Generator execution for independent and matrix applications is talked about. The impacts of burden and field excitation on the coordinated engine are explored. The chasing conduct of a simultaneous machine is contemplated, and an audit of different excitation frameworks gave. Presentation: Coordinated engine A coordinated electric engine is an AC engine recognized by a rotor turning with loops passing magnets at a similar rate as the exchanging flow and coming about pivoting attractive field which drives it. Another method of saying this is it has zero sneak by normal working conditions. Balance this with an enlistment engine, which must slip so as to deliver torque. They work simultaneously with line recurrence. Similarly as with squirrel-confine enlistment engines, speed is dictated by the quantity of sets of shafts and the line recurrence. Simultaneous engines are accessible in sub-fragmentary self-energized sizes to high-torque direct-current energized mechanical sizes. In the fragmentary pull extend, most simultaneous engines are utilized where exact consistent speed is required. In high-drive modern sizes, the simultaneous engine gives two significant capacities. To begin with, it is an exceptionally productive methods for changing over air conditioning vitality to work. Second, it can work at driving or solidarity power factor and consequently give power-factor remedy. There are two significant sorts of simultaneous engines: non-energized and direct-current energized. Non-energized engines are fabricated in hesitance and hysteresis plans, these engines utilize a self-beginning circuit and require no outer excitation flexibly. Hesitance plans have evaluations that run from sub-fragmentary to about 30â hp. Sub-fragmentary drive engines have low torque, and are commonly utilized for instrumentation applications. Moderate torque, vital drive engines use squirrel-confine development with toothed rotors. At the point when utilized with a flexible recurrence power gracefully, all engines in the drive framework can be controlled at the very same speed. The force gracefully recurrence decides engine working velocity. Hysteresis engines are produced in sub-partial pull appraisals, basically as servomotors and timing engines. More costly than the hesitance type, hysteresis engines are utilized where exact consistent speed is required. D C-energized engines made in sizes bigger than 1â hp, these engines require direct current provided through slip rings for excitation. The immediate current can be provided from a different source or from a dc generator straightforwardly associated with the engine shaft. Slip rings and brushes are utilized to direct current to the rotor. The rotor shafts associate with one another and move at a similar speed thus the name simultaneous engine. Coordinated engines fall under the class of simultaneous machines which additionally incorporates the alternator (simultaneous generator). These machines are generally utilized in simple electric timekeepers, clocks and different gadgets where right time is required. The speed of a coordinated engine is dictated by the accompanying recipe: where v is the speed of the rotor (in rpm), f is the recurrence of the AC flexibly (in Hz) and n is the quantity of attractive shafts. Figure: Two post Two post: P.T.O Fundamental highlights of simultaneous machine: A coordinated machine is an air conditioner machine whose speed under consistent state conditions is corresponding to the recurrence of the current in its armature. Armature twisting: on the stator, exchanging current. Field twisting: on the rotor, dc power provided to assembled a pivoting attractive field. Round and hollow rotor: for two-and four-shaft turbine generators. Striking shaft rotor: for multi-polar, slow-speed, hydroelectric generators and for most simultaneous engines. The rotor, alongside the attractive field made by the dc field current on the rotor, turns at a similar speed as, or inâ synchronism with, the pivoting attractive field created by the armature flows, and a consistent torque results. Simultaneous engines have the accompanying qualities: A three-stage stator like that of an enlistment engine. Medium voltage stators are regularly utilized. An injury rotor (pivoting field) which has indistinguishable number of posts from the stator, and is provided by an outside wellspring of direct current (DC). Both brush-type and brushless exciters are utilized to gracefully the DC field current to the rotor. The rotor current builds up a north/south attractive shaft relationship in the rotor posts empowering the rotor to secure advance with the pivoting stator motion. Starts as an acceptance engine. The simultaneous engine rotor likewise has a squirrel-confine twisting, known as an Amortisseur winding, which produces torque for engine turning over. Coordinated engines will run at simultaneous speed as per the recipe: 120 x Frequency Coordinated RPM = Number of Poles Model: the speed of a 24 - Pole Synchronous Motor working at 60 Hz would be: 120 x 60/24 = 7200/24 = 300 RPM Coordinated Motor Operation: The squirrel-confine Amortisseur twisting in the rotor produces Starting Torque and Accelerating Torque to update the coordinated engine. At the point when the engine speed comes to roughly 97% of nameplate RPM, the DC field current is applied to the rotor creating Pull-in Torque and the rotor will pull-in - step and synchronize with the turning transition field in the stator. The engine will run at simultaneous speed and produce Synchronous Torque. After synchronization, the Pull-out Torque can't be surpassed or the engine will pull conflicted. At times, if the over-burden is fleeting, the engine will slip-a-shaft and resynchronize. Pull-out insurance must be given in any case the engine will run as an acceptance engine drawing high current with the chance of serious engine harm. Preferences of Synchronous Motors: The underlying expense of a simultaneous engine is more than that of an ordinary AC acceptance engine because of the cost of the injury rotor and synchronizing hardware. These underlying expenses are frequently off-set by: Exact speed guideline settles on the coordinated engine a perfect decision for certain mechanical procedures and as a central player for generators. Coordinated engines have speed/torque attributes which are obviously appropriate for direct drive of huge pull, low-rpm loads, for example, responding blowers. Simultaneous engines work at an improved force factor, along these lines improving by and large framework power factor and disposing of or lessening utility force factor punishments. An improved force factor likewise diminishes the framework voltage drop and the voltage drop at the engine terminals. Simultaneous generator: Speed of turn of simultaneous generator: Electric force created at 50 or 60 Hz, so rotor must turn at fixed speed contingent upon number of shafts on machine To produce 60 Hz in 2 shaft machine, rotor must turn at 3600 r/min, and to create 50 Hz in 4 post machine, rotor must turn at 1500 r/min Inward created voltage of air conditioning produced machine. greatness of actuated voltage in one stage decided in last segment: EA=à ¢Ã‹â€ Ã… ¡2 à Ã¢â€š ¬ NC à Ã¢â‚¬ f Portions of air conditioning coordinated machine: A coordinated engine is made out of the accompanying parts: The stator is the external shell of the engine, which conveys the armature winding. This winding is spatially disseminated for poly-stage AC current. This armature makes a pivoting attractive field inside the engine. The rotor is the turning part of the engine. it conveys field winding, which might be provided by a DC source. On excitation, this field twisting acts as a changeless magnet. The slip rings in the rotor, to gracefully the DC to the field twisting, on account of DC energized types. Activity: The activity of a simultaneous engine is easy to envision. The armature winding, when energized by a poly-stage (normally 3-stage) winding, makes a turning attractive field inside the engine. The field winding, which goes about as a lasting magnet, basically secures with the pivoting attractive field and turns alongside it. During activity, as the field secures with the turning attractive field, the engine is supposed to be in synchronization. When the engine is in activity, the speed of the engine is needy just on the flexibly recurrence. At the point when the engine load is expanded past the separate burden, the engine drops out of synchronization i.e., the applied burden is sufficiently huge to pull out the field twisting from following the turning attractive field. The engine quickly slows down after it drops out of synchronization. Beginning technique for coordinated engine: Coordinated engines are not self-turning over engines. This property is because of the idleness of the rotor. At the point when the force flexibly is turned on, the armature winding and field windings are energized. Quickly, the armature winding makes a turning attractive field, which rotates at the assigned engine speed. The rotor, because of latency, won't follow the rotating attractive field. By and by, the rotor ought to be turned by some different methods close to the engines simultaneous speed to defeat the idleness. When the rotor approaches the coordinated speed, the field winding is energized, and the engine maneuvers into synchronization. The accompanying procedures are utilized to turn over a coordinated engine: A different engine (called horse engine) is utilized to drive the rotor before it secures into synchronization. The field winding is shunted or acceptance engine like game plans are made with the goal that the coordinated engine turns over as an enlistment engine and secures to synchronization once it arrives at speeds close to it

Organizational Behavior on Henry Ford Essay Example | Topics and Well Written Essays - 750 words

Hierarchical Behavior on Henry Ford - Essay Example This plays on what Gilbreth, a celebrated modern/hierarchical therapist, called time-and-movement hypothesis. This is a manner by which Ford had the option to create vehicles at a quickened rate by giving everybody a planned assignment and shaping the mechanical production system. Initially, Ford planned a static sequential construction system, however as his time-and-movement hypothesis created, he utilized the utilization of a transport framework to make a moving mechanical production system, which expands creation. This additionally brought into the field of building brain science to perceive how to plan this workplace so it was alright for laborers however amplified effectiveness. This thought of creation worked so well that it got essential during the universal wars all together for the United States and different nations to deliver military vehicles. In today’s society, we currently work on the idea of the mechanized mechanical production system in which we program machi nes to make the items taking into consideration work to proceed on the sequential construction system right around day in and day out. Numerous organizations have taken the first thought of the mechanical production system and applied it to their business (Batechelor, 1994). Another manner by which Ford had the option to augment creation which was through the idea of exchangeable parts that helped make the sequential construction system run productively. Preceding tradable parts, if something on the Model T was broken, a completely new part would need to be made. Creating numerous parts guarantees that if a section breaks, there is a quick indistinguishable part that can be utilized to supplant it. This limits the ability level important to finish the fix diminishes the measure of time required to achieve this. This has had an effect now in the expert world as well as a general buyer conduct (Freeman and Soete, 2004). Passage was an adherent to the American Dream. In this regard, he was continually attempting to ensure that he kept occupation fulfillment high so as to keep turnovers low.

Greek religion and mythology Essay Example for Free

Greek religion and folklore Essay In Greek religion and folklore, Pan (Ancient Greek: ÃŽ á ¾ ¶Ã® ½, Pä n) is the divine force of the wild, shepherds and runs, nature of mountain wilds, chasing and rural music, and buddy of the nymphs.[1] His name begins inside the Ancient Greek language, from the word paein (Ï€î ¬Ã® µÃ® ¹Ã® ½), which means to pasture.[2] He has the rump, legs, and horns of a goat, in a similar way as a faun or satyr. With his country in rural Arcadia, he is perceived as the lord of fields, forests, and lush glens; along these lines, Pan is associated with ripeness and the period of spring. The antiquated Greeks likewise believed Pan to be the divine force of showy criticism.[3] In Roman religion and fantasy, Pans partner was Faunus, a nature god who was the dad of Bona Dea, some of the time distinguished as Fauna. In the eighteenth and nineteenth hundreds of years, Pan turned into a noteworthy figure in the Romantic development of western Europe, and furthermore in the twentieth century Neopagan movement.[4] Starting points In his most punctual appearance in writing, Pindars Pythian Ode iii. 78, Pan is related with a mother goddess, maybe Rhea or Cybele; Pindar alludes to virgins adoring Cybele and Pan close to the artists house in Boeotia.[5] The parentage of Pan is unclear;[6] in certain legends he is the child of Zeus, however for the most part he is the child of Hermes or Dionysus, with whom his mom is supposed to be a fairy, now and again Dryope or, in Nonnus, Dionysiaca (14.92), Penelope of Mantineia in Arcadia. This sprite sooner or later in the custom became conflated with Penelope, the spouse of Odysseus. Pausanias 8.12.5 records the story that Penelope had in actuality been unfaithful to her significant other, who expelled her to Mantineia upon his arrival. Different sources (Duris of Samos; the Vergilian observer Servius) report that Penelope laid down with each of the 108 admirers in Odysseus nonappearance, and brought forth Pan as a result.[7] This fantasy mirrors the people historical background that likens Pans name (ÃŽ î ¬Ã® ½) with the Greek word for all (Ï€á ¾ ¶Ã® ½).[8] It is bound to be related with paein, to pasture, and to impart a root to the advanced English word field. In 1924, Hermann Collitz proposed that Greek Pan and Indic Pushan may have a typical Indo-European origin.[9] In the Mystery cliques of the exceptionally syncretic Hellenistic era[10] Pan is made related with Phanes/Protogonos, Zeus, Dionysus and Eros.[11] The Roman Faunus, a divine force of Indo-European inception, was likened with Pan. In any case, records of Pans family history are fluctuated to such an extent that it must lie covered somewhere down in mythic time. Like other nature spirits, Pan has all the earmarks of being more established than the Olympians, on the off chance that the facts demonstrate that he gave Artemis her chasing hounds and showed the mystery of prediction to Apollo. Container may be duplicated as the Panes (Burkert 1985, III.3.2; Ruck and Staples 1994 p 132[12]) or the Paniskoi. Kerenyi (p. 174) notes from scholia that Aeschylus in Rhesus recognized two Pans, one the child of Zeus and twin of Arcas, and one a child of Cronus. In the entourage of Dionysos, or in portrayals of wild scenes, there showed up an extraordinary Pan, yet in addition little Pans, Paniskoi, who had a similar impact as the Satyrs.

The Hollowness of Conventional 19th Century Christian Morality in Henrik Ibsens A Doll’s House and Emile Zolas Therese Raquin. - Literature Essay Samples

Both Ibsen and Zola were firm believers in portraying their characters and works from a realistic perspective. Zola founded the naturalist movement in fiction and shared the same general perspective on society as Ibsen, who was the first of a new generation of naturalistic modern playwrights. In both Therese Raquin and A Doll’s House, the alleged central place of Christianity in 19th century European society is indirectly subverted through subtle suggestions of its irrelevance, or lack of importance, in the characters’ lives. Because of the already morally controversial nature of both Ibsen’s play and Zola’s novel, thanks to their subversion of traditional gender roles, an obvious critique of the Church or of normative religious opinion in the 19th century would have landed both writers in difficult situations. Thus, by use of indirect yet carefully aimed references, both Ibsen and Zola allude to Christianity as a hollow institution, serving merely as a sp ecious societal value, which is largely ignored in practice. Zola, coming from Catholic France, portrays the Church as an impersonal, mechanical tyranny looming in the background of his characters’ lives. Ibsen, coming from Protestant Norway, takes a more direct yet understated approach, purposely setting his play around Christmas, while having his characters mention only the materialist aspect of the holiday.As Ibsen’s play opens, a quarrel occurs between Nora, the main character, and her husband, Torvald, over how much money should be spent buying presents. (Act I, Page 10) Whilst he demands economy, she is eager to spend. Both characters see the echanging of gifts on Christmas as a familial and social obligation, the basis of which is the spending of money, not the honouring of a religious event. Similarly, Zola portrays the Church as a place not for divine worship, but rather attended only when necessary for events such as marriage. When Therese and Laurent are be ing married in church, their conduct is business-like, their â€Å"quiet and modest† (Chapter 20, Page 153) bearing being â€Å"noticed with approbation† (Chapter 20, Page 153). The irony of this, considering that their marriage has been made possible thanks to their murder of Camille, is hard to miss. Both Zola and Ibsen were self-proclaimed ‘naturalists’ (observers of nature) and atheists who put themselves in the same category as Darwin and other prominent scientists. However, living in 19th century Europe, both authors had to convey their renegade beliefs diplomatically. The idea of Christianity as an obsolete establishment is furthered by the two writers’ representation of religious and moral feeling as something mechanical and impersonal. Neither Therese nor Laurent feels any real guilt or remorse for the cardinal ‘sins’ they have committed, which include breaking the commandments regarding coveting thy neighbour’s wife an d committing adultery, not to mention killing. Zola is at pains to make clear that all they care about is not getting found out. As for Nora, she feels that she is a tainted, sinful woman, unfit to be a mother. Yet the ‘crime’ she has committed was an altruistic and ostensibly ‘Christian’ act, borrowing money illegally and thereby risking her own security to save her husband’s life. Is Torvald prepared to demonstrate ‘Christian’ forgiveness when he finds this out? Not at all, he judges and condemns his wife for her self-sacrifice. At the end of A Doll’s House, when Nora makes clear her intention to leave her home because of his total lack of gratitude or sympathy over her sacrifice for him, Torvald inquires acidly whether she has â€Å"no religion, no ethics, no sense of duty† (Act III, Page 77). He relates religion to societal obligations, referring to it as a duty rather than an act of faith or love. Religion, to him, i s only a set of social rules he has never once thought to question along with his own moral and religious hypocrisy. Nora later comments, (almost sarcastically) â€Å"miracles don’t happen everyday, God knows† (Act 3, Page 84), in reference to her diminished hope or Helmer’s support for her sacrifice on his behalf. Coming after she has just stated that she does not understand religion, this gives the comment an almost mocking tone.Zola mirrors this type of irony in his description of Madame Raquin’s situation after her paralysis. The use of opposites insinuates the imbalanced and contradictory nature of divine worship; Madame Raquin’s face is depicted as with â€Å"flesh hung loose and grimacing† (Chapter 26, Page 204), yet in the midst of this ugliness, her eyes are of â€Å"heavenly loveliness† (Chapter 26, Page 204). Moreover, the lower part of her face described as â€Å"bleak and colourless† (Chapter 26, Page 204), while t he upper part filled with â€Å"divine radiance† (Chapter 26, Page 204). Zola is associating pious spiritual beauty with physical grotesqueness, as if the two go hand in hand. Advancing on this comes Zola’s most obvious attack on religion, where even the most pure and devout character is turned sour and distrusting, thinking that if she could, she would have â€Å"cursed God†. This goes on to become increasingly bitter because of His â€Å"deceit†, and culminates in a simple yet groundbreaking statement; â€Å"God was wicked† (Chapter 26, Page 206). Thus when Madame Raquin opens up to reality, she sees through the faà §ade to the true hollowness of the Church.Ibsen’s attack on the emptiness of religious values is furthered when Nora rightly replies to Helmer’s accusations of impiety and sinfulness, â€Å"I don’t know what (religion) is† (Act 3, Page 83), elaborating that she knows only what the clergymen have said about it. She says, â€Å"he told us religion was this, and that, and the other† (Act 3, Page 83), her very diction indicating the domineering, mechanical nature of the church. Helmer replies that this dissent from conventional gender roles, as stipulated by religious authority, is occurring because she â€Å"does not understand the society (she) lives in† (Act 3, Page 84). What this implies is that the Norwegian Protestant Church, like the Catholic Church in Zola’s France, is a statutory institution, a domineering power that commands instead of guiding and is largely ignored or misunderstood. This is the direct opposite of what Christian spirituality was originally supposed to be—a faith taken up as a matter of personal conscience, rather than a machine for enforcing social conformity. Ibsen illustrates his troubled protagonist as a truly honest character who does not understand or approve of religion as she has been taught it, but has merely been pretending to her whole life. Zola, on the other hand, subverts religion in a different, more sporadic way, the constant usage of God’s name in vain continually reinforcing the main characters’ disregard for religious morality. Any time the murder of Camille is directly spoken of, Therese exclaims, â€Å"Oh God! Oh God!† (Chapter 28/29, Page 218/229) as a kind of empty reflex. This notion is amplified throughout the rest of the novel as neither Therese nor Laurent ever considers the presumed divine consequences of the murder for their souls. Only at a point where they feel overwhelmed by fear of worldly punishment do they invoke the Lord’s name in a seemingly pathetic attempt at finding an easy way out of their dilemma out of pure desperation. Finally, Therese and Laurent commit double suicide, a religiously interdicted act and an illegal one, and do so nor out of guilt, but rather only as an alternative either to murdering one another to prevent mutual betrayal of their murder of Camille; or to actually betraying each other, being arrested, tried and duly murdered by the state. Notably, Nora too contemplates suicide without regard for its supposed divine consequences, but with plenty of consideration for avoiding social humiliation. While Ibsen exposes the vacancy of feeling in socially imposed religious mores through a blunt admission by Nora, which is actually a reflection of her own enlightenment and her emergence as an intelligent, self-aware character; Zola instead makes use of short, quick insinuations to reveal the absence of any reflection and conscience, religious or otherwise, in his main characters to display the depth of their depravity and desperation.Another way that Zola and Ibsen allude to the emptiness and irrelevance of religion in the society they are depicting is by not mentioning it, or doing so sparingly. In A Doll’s House, the moral dilemma of the play would, in 19th century European culture, naturally involve an extensive discussion of religion. However, Ibsen ensures that this always remains merely as a backdrop, not as an intimate, important part of Torvald and Nora’s lives. To reiterate, this is the source of the irony of the play’s taking place on Christmas Eve, Christmas Day, and Boxing Day, all religious holidays, yet no character ever mentions the religious dimension of these events, while the prevailing actions being displayed on these holy days are threats of blackmail, marital duplicity, thoughts of suicide, lack of empathy for loved ones or spite and envy. The deterioration of the Christmas tree is also emblematic of the ethical issues faced by Ibsen’s characters, as it serves to compliment their own moral decay as time progresses. Similarly, Therese and Laurent never weigh up the ethical, much less the metaphysical implications of murder and for both of them. Everything is subordinate to gratification of their selfish desires. Thereby, Zola uses the absence of a moral framework in his main characters’ lives to imply the hollow, obsolete, irrelevant nature of the Church’s moral teaching in his society. Neither author could be accused of criticizing Christianity directly, yet both Zola and Ibsen present the audience with a world in which religion is identifiable with social conformity rather than personal conscience, and is complied with out of habit and necessity, if it is even remembered at all.Therese Raquin,Emile Zola,Translation by Leonard TancockPenguin Classics1962A Doll’s House,Henrik Ibsen,Translation by Kenneth McLeish1995

Milton Versus Astell A Study of Paradise Lost, Reflections on Marriage, and Holy Matrimony - Literature Essay Samples

When comparing their two works, it becomes clear that while John Milton’s Paradise Lost shares the general viewpoint on marriage found in Mary Astell’s Reflections upon Marriage — that being that the institution of marriage of the time period was problematic — the two differ greatly on what they present as the cause of the problem. Based on the evidence in the text, Milton appears to believe that women pose the issue in the union. In sharp contrast, Astell appears to propose that the fault lies with men, outlining a few that is equally strong-willed in its assertions. One feature that reveals Milton’s and Astell’s conflicting viewpoint on who holds the fault for problematic marriages is the focus of their writing when referring to the subject. One will note, for example, that the argument posed in Astell’s writing largely criticizes the way men choose their wives: â€Å"They who marry for Love as they call it, find time enough to repent their rash Folly†¦ Whether it be Wit or Beauty that a Mans in Love with, theres no great hopes of a lasting Happiness† (Astell). Men are spoken of in an active tense, having actions attributed to them in a way not found in Astell’s descriptions of women. To be fair, there is one mention of action attributed to the hypothetical women in this scenario, but it does not disprove my point. When speaking on how a woman’s wit will not give her husband long-lasting satisfaction, Astell states, â€Å"it is not improbable that such a Husband may in a little time by ill usage pr ovoke such a Wife to exercise her Wit, that is, her Spleen on him, and then it is not hard to guess how very agreeable it will be to him† (Astell). Juxtaposing the two examples, one can see that Astell only breaks from describing women in the passive when explaining how a woman’s actions will cause he husband to react. The description is sandwiched between two male actions and will largely go unnoticed to those who read it. Compare this depiction of men to the way Milton writes Adam as he reflects on Eve. As he speaks with the angel Raphael about his creation and thusly the creation of Eve, Adam expresses that his adoration for her goes beyond rational thought: â€Å"For well I understand in the prime end / Of nature her th’ inferior†¦ yet when I approach / Her loveliness, so absolute she seems/ And in herself complete† (Milton 2088-2089). While the writing still places Adam as the active subject, notice that Eve, intentionally or not, entices Adam to abandon the principles with which he was created. Eve is literally the cause of the earliest issue with their union. This, one can see, is the key difference. Both Astell and Milton express their beliefs that long marriages must be sustained on more than mere attraction to the body or mind, but they place the blame in the situation on the opposite party. Astell’s focus on male folly as she writes demonstrates her assumption that s hould a marriage fail, it will be because the husband acted too hastily as he chose a life partner. Meanwhile, Milton asserts that in a marriage based on love, women will be the ultimate destruction of their combined happiness. Based on the evidence, it becomes apparent that while Milton and Astell share the perspective that marriage is problematic, they differ drastically on who in the relationship is the cause of the unhappiness. Much like how the writing styles of both Milton and Astell explore the parties they place blame on for an unhappy marriage, so to do the narrative they create around their arguments. In both their works Astell and Milton construct a clear antagonist figure in the marriage, portraying the problematic party in purely negative contexts. To begin, I will dissect Milton’s depiction of Eve’s awakening after being created. â€Å"I first awakened, and found myself reposed / Under a shade of flowers,† Eve recounts in a conversation with Adam, â€Å"much wond’ring where / And what I was† (Milton 2012). There are immediate differences between Eve’s first impressions versus Adam’s. As Adam remembers being created, he tells Raphael, â€Å"As new waked from soundless sleep†¦ I found me laid / In balmy sweat, which with his beams the sun / Soon dried† (Milton 2083). Whereas Eve wakes in the shade — the darkness — Adam wakes in the light. This not only portrays Eve as an innately antagonistic partner but also symbolizes their intelligences relative to each other. There are multiple instances throughout the poem of Eve having to be explicitly told information. By her own admission, she would have remained staring at herself had a divine voice not intervened: â€Å"there I had fixed / Mine eyes till now, and pinned with vain desire / Had not a voice thus warned me† (Milton 2013). This is similar to how Astell portrays the antagonist in her views on marriage. The husband in her scenario is portrayed as hasty, focusing on things that will grow unfavourable over time. As Astell describes, â€Å"They who marry for Love as they call it, find time enough to repent their rash Folly† (Astell). Much like Eve the hypothetical husband is conveyed as largely unintelligent and not having put much thought into their actions. Similarly, both authors mention their respective problematic partners being quick to anger when the situation does not become ideal. Note that in Book 9 of Paradise Lost, after Adam and Eve have eaten from the Tree of Life, there comes a scene that perfectly echoes Astell’s description of why wit will not sustain a happy a happy marriage. Similarly to the hypothetical wife in Astell’s scenario, Adam â€Å"exercises his Spleen† on Eve when he fully realizes how her actions have doomed them both, something that appears to be justified by the text given Eve’s antagonistic portrayal. I encourage the reader to compare this with Astell’s version: â€Å"it is not improbable that such a Husband may in a little time by ill usage provoke such a Wife to exercise her Wit, that is, her Spleen on him, and then it is not hard to guess how very agreeable it will be to him† (Astell). The pattern in both are mirror copies of each other the problematic spouse causes the unproblematic spouse to get angry, resulting in the problematic spouse getting angry in turn rather than try to resolve the matter peacefully. The intent to place one party in the wrong is strongly apparent and once again displays that while Astell and Milton agree that marriage is problematic, they differ on the matter of who in the marriage is responsible for the unhappiness. Both Astell and Milton were authors that challenged the expectations of marriage, revealing that under planned, rushed judgements for long-term relationships are ill-advised and do not produce long-lasting happiness. While they do agree on this idea, they disagree on who should be blamed for this unhappiness. Astell accuses men of being the problem; for his part, Milton places the blame on women, reflecting a divergence in the views of these two influential authors.

Uglies Essay - 902 Words

Chelsea Dowding-Hopkins Year 9 – Mrs Graham INS essay Uglies by Scott Westerfield One of the main themes in Scott Westerfield’s text Uglies is the conflict teenagers have with where they stand in society and learning to respect and value themselves. Using examples from the text compare them with today’s world for teenagers. Word count: Date Due: Uglies illustrates many issues that young teenagers will go through in life. The reader has an insight of three main characters and their struggles to fit in to certain societies and others. They are Tally, Shay and David. â€Å"Is it not good to make a society full of beautiful people?† (p.1), the first line of the text Uglies foreshadows exactly what the main theme of the book†¦show more content†¦Westerfield perfectly portrays how we, as a society, see beauty. We see beauty as perfection, not a line out of place, and this judgement came about due to our desire for perfection. When picking up any magazine the front page is bound to be altered to show us how we should look. Gone are the days where voluptuous, well rounded women are considered to be goddesses. People in today’s society see models and movie stars starve themselves until they believe they are beautiful and Westerfield plays on this throughout the entire text. Tally sees herself as ugly beca use she does not notice anything good about her, until she meets David. When anyone compliments Tally she refuses to believe it as the truth, and it is unlikely that she has ever felt attractive in her whole life. Westerfield only describes Tally the way she sees herself and although it is in the third person the reader is given certain knowledge about what goes on through Tally’s mind which the reader does not have for any other character. At the beginning of the text the reader is led to believe that Pretties have the idealistic life; beautiful with not a care in the world but the reader may feel discomfort with how superficial it all seems. Nothing is wrong with the way Tally looks and the reader can presume that she is quite naturally attractive after receiving several compliments from twoShow MoreRelatedEssay on The Ugly Duckling and Standards of Beauty Today1534 Words   |  7 Pagesâ€Å"The Ugly Duckling† and Standards of Beauty Today Jennifer Murrish Kaplan University HU300-01RP682 â€Å"The Ugly Duckling† and Standards of Beauty Today Of all the stories I have heard throughout the years there is one that I can think of which really stands out in my mind. The story I chose is, â€Å"The Ugly Duckling† by Hans Christian Anderson, first published in Denmark, November 11, 1843. 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I’ve begun countless projects and set out on huge ambitious endeavors to only find myself quitting due to me being stuck in a muck of unending discouragement. Don’t get me wrong, creating and making things is amazing and so fulfilling if your heart is in the right place and you don’t lose sight of your passion andRead MoreUglies And Lord Of The Flies Essay1451 Words   |  6 PagesWilliam Golding and Uglies by Scott Westerfield, they both show the good and bad sides of humanity. They do this by showing how easy something can turn from order to disaster. The book, Lord of the flies is about a group of stranded young boys on an island.With no directions to follow, it’s up to the boys to create their own rules, their own society. After being alone for such a long time, the boys forget about humanity and become complete savages. 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