In my opinion, Macbeth is a tragic hero Essay Example For Students

As I would see it, Macbeth is a shocking saint Essay I consider a to be saint as a character who is appreciated and adored and followed all through the play, and is purchased somewhere near a blemish in their character followed by destiny. Macbeth is a daring saint, profoundly positioned by his own family and society, just as the nation. I see the purpose behind this, in any case, as the accompanying: He is a beast. He is a vicious, blood-cherishing butcher, and these are the exercises, which got him to the status at which he is, a general in the lords armed force, and Thane of Glamis. The witches would be viewed as a powerful nearness in the play to the Shakespearian crowd, though the advanced crowd would see legitimate clarifications to all that occurs. Macbeth has a brutal character, and these witches could simply be frantic ladies who incite his clouded side. Be that as it may, the witches are introduced in the play as ladies with extraordinary forces who make the day go to night which can be clarified essentially by a sun based shroud and who cause him to daydream; is this a knife which I see before me, the handle towards my handI have thee not, yet I see thee still㠢â‚ ¬Ã¢ ¦ The knife drives Macbeth to the bedside of the ruler, where Macbeth executes lord Duncan. This could have been controlled and arranged by the witches, or could be Macbeths mindset joined with his savage nature. In any case, on the off chance that it is completely constrained by the witches, this would show that Macbeth isn't actually dependable along these lines the crowd symapthise with him. Ruler James I was entranced by witches and black magic, as was most the populace at the hour of shakespear. At the point when Shakespeare composed this for lord James he ensured it would engage him. Ruler James had faith in black magic and otherworldly powers. He accepted that a gathering of witches endeavored regicide against him. Counting his progenitor, Banquo, in the story additionally helped with permitting the ruler to see his own appearance in the play, particularly in the area of the 8 rulers, where lord James is the eighth lord. Thou shalt get lords, thought thou be none this was said to Banquo in act 1 scene 3, unintentionally; Banquo is above all else Jamess predecessor. Significantly after the Shakespearian time frame, people in general were entranced by black magic. So captivated, that they included another scene in the play, highlighting Hecate, goddess of black magic. Act 3 scenes 5 The Shakespearian crowd and the Elizabethan crowd would have believed the witches to be the most impressive component in the play. The main scene and demonstration of the play is of the witches. Dramatic impacts, similar to lightning storm, are arranged to include impacts and interest the crowd. Dull, desolate and fiendish impacts are utilized to speak to the witches and their command over Macbeth. The principal scene contains a notice of meeting Macbeth; this gives aâ clear connection to him. The witches likewise talk about in which climate conditions they wish to meet; this could be trusting that the following specific conditions will meet in or picking what climate circumstance to CREATE for their gathering with Macbeth. The witches intend to play with Macbeths psyches and lead him to the dull way on which they track. This would intrigue the Elizabethan crowd extraordinarily, as they didn't have our advanced science and thinking. The accepted that witches did to be sure exist, and had heavenly powers to control and entertain themselves with normal human personalities. An Elizabethan crowd at Hampton Court in 1606 would have discovered this amazing and interesting, and Shakespeares depiction of the witches in front of an audience may have even left them feeling tired or shaken.] The climate the witches appeared to make was enchanted; it was dim and dull yet amazing, and now and again, diverting. They generally appeared to show up when the climate conditions are poor or inside a tempest, and in murkiness. à ¢Ã¢â€š ¬Ã‚ ¦Her rough fingers㠢â‚ ¬Ã¢ ¦skinny lips㠢â‚ ¬Ã¢ ¦your beards㠢â‚ ¬Ã¢ ¦ This is Banquos depiction of the witches in Act 1 Scene 3, Macbeth and Banquos first experience with the witches. Her uneven fingers, which means dried out, red and harsh, would be normal as they worked with their hands, in planting, cooking and so on alongside thin lips. These were famous highlights for lower and average workers ladies. The Witches In MacBeth Essay SummaryHe really wishes to become ruler and trusts in his forecast to materialize as the past one did. This statement was said to ruler Duncan himself, thus he didn't wish to uncover his wants to assume lord Duncans position. At the point when the King goes through a night at Macbethsâ castle, Macbeth and his better half observe the chance to kill him. After knowing about the witches, Lady Macbeth was anxious to satisfy her own and her spouses predetermination that she accepted lay in these expectation; she energized the homicide of lord Duncan. They arranged the homicide, and she supported him however this is just my view. The witches appeared to have had a more grounded impact in the homicide of Duncan. Macbeth pictured a blade before him driving him to Duncans bedside, he couldn't contact the knife up to that point; Is this a blade which I see before meà ¢Ã¢â€š ¬Ã‚ ¦I have thee not yet I see thee still㠢â‚ ¬Ã¢ ¦ Macbeth kills the ruler and proceeds with his life calmly; this stuns the crowd, as they no longer realize whether to think of him as a scoundrel or a saint. In act 4 scene 1 Macbeth comes back to the witches voraciously, as I would see it, to discover answers and more forecasts. He wishes to know his future. When Macbeth initially hears that he can't be crushed by anybody Woman conceived he acknowledges his destiny figuring no individual can murder him, yet he feels that he should know whether Banquo blood will rule? Will Banquos issue ever rule this realm? This is the place the 8 lords are appeared and in the eighth rulers hands, a glass, which were to show ruler James reflection. Ruler James was enamored with this specific play since he could see himself, his predecessor and his convictions playing upon the phase before him. Toward the finish of act2 scene 1, Macbeth understands that whatever expectations the witches had made had and would keep on working out as expected, and it was his own fretfulness that got him the issues that he s currently languishing. Before Macbeth is executed, he says these shuffling subjects no more accepted that patter with us from a twofold perspective that keep the expression of guarantee to ear, and break it to our expectation, this is the place he had understood the witches had given him a two sided connotation. Macduff had been brought into the world through a cesarean area, which implied he was awkward torn from his moms belly, not conceived normally. I think Shakespeare expected us, as his crowd, to feel a blend of compassion offense, against Macbeth. He is appeared all through the play as a wanton executioner affected by black magic. Toward the finish of the play the Elizabethan crowd would have felt compassion toward Macbeth since he understands he has been deluded by the witches these shuffling subjects no more accepted that patter with us in a twofold senseact 5 scene 8 The witches show signs all through the play of there influence on Macbeth. For instance his follow like state, look how our accomplices riveted act1 scene 3. Likewise Macbeths changed appearance for what reason do u make such faces act1 scene 4, this possibly through the witches impact or his own feeling of remorse. Macbeth likewise has anâ inability to implore, Amen/stuck in my throat㠢â‚ ¬Ã¢ ¦ This could e the witches and their malevolent ways removing Macbeth from god, or Macbeths own inner voice rebuffing him for his own detestable considerations and doings. Fantasies and dreams what is this I see, a blade before me? there are various explanations behind mental trips, but since the Elizabethan crowd would not have thought of any of these, lone that the witches were dependable. There are different models likewise, that the Elizabethan crowd would consider the witches answerable for, similar to Macbeths absence of dread, upset conduct, lack of concern to life and furthermore greeting to detestable spirits. When concentrating for the most part on the extraordinary subtleties of the play, the witches appeared to me as the most remarkable component of the play, in any case, Macbeth appeared to be a force hungry distraught killer, however once more, this is just my conclusion. The Elizabethan crowd would believe the witches to be the most impressive component into the play.

Investment Essay Example | Topics and Well Written Essays - 250 words

Speculation - Essay Example Speculation A). The rebate rate is the financing cost that is utilized in the assurance of the current estimation of all the future incomes. It tends to be taken as the financing costs that the banks acquire for their loaning from the government bank or the rate at which banks charge different banks for the time being borrowings. The rebate rate is dictated by a few variables. First is the general monetary conditions for example the rebate rate will increment during periods in which the expansion rates are high or when the outside trade rates are unstable (Bierman and Smidt, 2004). The second factor that impacts this rate is the attractiveness of a firm’s security. Firms whose protections are on popularity will encounter a decrease in their markdown rates. b) Product 1 pace of return The complete profit in a year= 1.5*4=6 Year 1 pace of return= 1+discount/ostensible price*100 =1+6/100*100%=7% Year 2-4 rater of return= 6/100*100%=6% Year 5 pace of return= 6+6.4/100*100%=12.4% Normal pace of return= ((7+6+6+6+12.4)%)/(5 Years) =7.48% Item 2 pace of return= ostensible loan fee =6% Item 3 pace of return Year 1 pace of return=(7-2(premium))/100*100%= 5% Back 2 and 3 return= ostensible rate = 7% Item pace of return= ((5+7+7))/3=6.33% Item 1 looks progressively appealing on the grounds that it has the most noteworthy pace of return contrasted with item 2 and 3.

Essay --

1. Definition of Acid and Bases: 1.1 Arrhenius meaning of corrosive and base: Arrhenius Acid: The substance or a compound which gives H+ particles in watery arrangement Arrhenius base: Base is a substance or intensify that produces OH-particles in fluid arrangements. Scientific experts have known for quite a while that the H+ particle doesn’t exist in watery arrangements as a free species. The modernized Arrhenius meaning of corrosive is that they are substances that produce H3O+ particles in fluid arrangements. It didn't take more time for scientific expert to discover different issues with the Arrhenius definition. In down to earth terms, the OH-particle is a long way from being the main base. 1.2 Bronsted-Lowry definition: Bronsted-Lowery definitions corrosive and a base, consider the net ionic condition for any Arrhenius corrosive base response in water: H3O+ + OH- 2H2O At the point when it responds, the H3O+ particle surrenders a proton, passing it to the OH-particle. This implies H3O+ is a Bronsted-Lowry corrosive in this response. The OH-thus acknowledges the proton, making it a Bronsted-Lowry base. The benefits of the Bronsted-Lowry definitions are that they spread acids and bases other than H3O+ and OH-.Consider: HSO4-+ PO43- SO4-+ HPO42- During this response the HSO4-particle gives a proton and is in this way a corrosive. The response particle transforms the HSO4-particle into the SO4-particle. The PO43-particle turns into the HPO4-particle during a similar response. That is, the PO43-particle acknowledges a proton, which implies that it is going about as a base. 1.2.1 Bronsted-Lowery Acid-Base Reactions: Conjugate Acids and Bases: Conjugate Acid: At the point when a proton (not a hydrogen particle or â€Å"hydrogen† but rather a proton, H+) is added to an atom or particle, its conjugate corrosive structures. Exampl... ...close to impartial if not that specific medication or medication may cause disturbance in body tissues. †¢ Fermentation process requires a particular pH for the best outcomes. The pH during an aging procedure changes without anyone else because of aging procedure so support assume significant job in controlling this pH change. †¢ Buffers are likewise utilized in nourishments to keep up the sharpness of the food so as to protect the flavor and presence of food. †¢ Dyes in material businesses assume a significant job in offering shading to various textures. Shading quality of colors is firmly related to limit pH run which is kept up by utilizing diverse support frameworks. pH above or underneath this restricted range will influence the shading bestowing capacity of various colors. †¢ In Leather enterprises restricted scope of pH control of tanning and coloring showers decide the surface and shade of the completed item.

Article # 4 (due 10-12) Essay Example | Topics and Well Written Essays - 250 words - 1

Article # 4 (due 10-12) - Essay Example Supplier operational issues emerge because of the immense utilization of vitality since certain divisions in the human services suppliers may require more vitality than the other office. This is on the grounds that some division may utilize further developed apparatus than others. As indicated by the examination work of Brimmer (2012), 76 percent of the medicinal services provider’s funds become accustomed to give vitality to the office. This squeezes the administration to discover different wellsprings of funds to encourage the tasks of other division. From the budgetary records of most human services offices, lighting of the offices and apparatuses likewise utilizes tremendous measure of vitality this makes the tasks branch of the social insurance supplier to utilize lighting preservation highlights. Centering an excess of account in one zone exhausts the funds of the human services suppliers preventing different divisions from working appropriately (Brimmer, 2012). Vitality being a center perspective in the hierarchical tasks, it is basic for the administration to utilize vitality sparing tips to diminish the sum vitality in

The Link Between OCD and Suicide

The Link Between OCD and Suicide OCD Living With OCD Print The Link Between OCD and Suicide By Owen Kelly, PhD Medically reviewed by Medically reviewed by Steven Gans, MD on August 05, 2016 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on February 24, 2020 Photographer is my life. / Getty Images More in OCD Living With OCD Causes Symptoms and Diagnosis Treatment Types Related Conditions Information presented in this article may be triggering to some people. If you are having suicidal thoughts, contact the National Suicide Prevention Lifeline at 1-800-273-8255 for support and assistance from a trained counselor. If you or a loved one are in immediate danger, call 911 immediately. Obsessive-compulsive disorder (OCD) is a chronic mental illness that can be associated with significant disability and suffering. Indeed, people with OCD often report serious difficulties in relationships and problems at work. For some people, living with OCD can become overwhelming and can cause them to lose hope and to contemplate or even attempt suicide. If you have a family member or friend with OCD  thats exhibiting the potential warning signs of suicide, its important to know what to do. OCD and Suicide Although it has long been known that the risk of suicide is higher for people who are affected by mood disorders and schizophrenia, the relationship between anxiety disorders, such as OCD, and suicide has been less clear. However, recent studies suggest that people with OCD are 10 times more likely to die by suicide than the general population. Actively thinking about suicide (sometimes called suicidal ideation) also appears to be relatively common among people affected by OCD. Factors that predict whether someone with OCD will attempt suicide include the severity of their OCD symptoms, the co-occurrence of depression, feelings of hopelessness, the presence of a personality disorder such as obsessive-compulsive personality disorder, and a prior history of self-harm, such as cutting. The risk of suicide also goes up if the person with OCD is actively using drugs or alcohol, is unemployed, or is socially isolated. If your loved one is having suicidal thoughts, urge them to contact the National Suicide Prevention Lifeline at 1-800-273-8255 for support and assistance from a trained counselor. If you or a loved one are in immediate danger, call 911. Potential Suicide Warning Signs Its not always easy to know if someone is going to attempt suicide, but there are a number of potential warning signs that can signal that someone is thinking about harming themselves, including: Increased hopelessness: Your loved one may talk openly and at length about feeling hopeless, helpless, or that she cant take it anymore.Speaking of death or suicide: Out-of-character remarks about death, speaking openly about suicide, or an expressed desire to die by suicide should always be taken seriously. In some cases, this may be your loved ones way of asking for help.Increased depression: Your loved one may exhibit symptoms of depression, such as withdrawing from others, crying all the time, loss of interest in hobbies or activities, disrupted sleep, and lack of appetite.Preparing for death: People actively contemplating suicide will sometimes take out an insurance policy, adjust and/or create a will, or advise someone close to them of their final wishes.Changes in behavior: A normally cautious individual may engage in reckless or impulsive behavior and express little fear of the consequences of such behavior. Conversely, someone who is depressed may suddenly act cheerful for n o apparent reason.Giving away possessions: Its not uncommon for individuals who are actively contemplating suicide to give away prized possessions to trusted friends or family members. What You Can Do If you have a loved one with OCD whos exhibiting the potential warning signs of suicide, heres what you can do to help: Keep communicating: Talk openly and frankly about what your loved one is feelingâ€"talking about suicide doesnt make it more likely that she will harm herself. Dont be afraid to express your own feelings as well. If youre scared and worried about your loved one, then it can be helpful to say so.Ask questions:  Although it can be uncomfortable, frankly asking questions about whether your loved one is thinking of killing or harming himself, as well as other details such as how and when hes considering doing it, whether he has access to a weapon or large amounts of medications, and other relevant concerns, may help ensure that suicide does not become an untouchable subject.Empathize, dont minimize: As you might imagine, admitting suicidal thoughts or a suicide plan is often an extremely difficult, embarrassing, and painful experience. Simply telling your loved one to stop thinking about it, think good thoughts, or even to get over it, may make her feel even more rejected, insecure, and/ or depressed. Make sure you let your loved one know that you understand how difficult this experience must be for her.Get help: Suicide is a very serious problem that often requires hospitalization and the assistance of qualified professionals. In cases where you feel your loved one is an immediate danger to herself, accompany her to the local hospital emergency department or wait with her until help (e.g., police or ambulance) arrives. In less urgent cases, help him locate and/or access resources such as the National Suicide Prevention Lifeline, a support group, or a mental health professional he trusts. The 9 Best Online Therapy Programs

Lost in the Rockslide of History Toward an Understanding of Robert Lowells History - Literature Essay Samples

History is a title fraught with dilemma. There is, to begin with, the ambiguity inherent the word: there are nine entries listed in the OED, three of which are of primary concern here. A relation of events is the first; A written narrative constituting a continuous methodical record, in order of time, of important or public events is the second; the aggregate of past events in general and the course of events or human affairs is the third. History is a record, the content of that record, and a grand, abstract totality. Mirroring this dilemma is the ambiguity of all such poetic titles: is history a label, a self-identification, or rather the statement of a subject for meditation? I hope to show that for Robert Lowells History it is both; and that his History partakes of all three of the OEDs senses, flouting them all. Lowells 366 sonnets are arranged chronologically by subject, and range from the creation of the world to the year of their own publication; while not inherently me thodical, they nevertheless attempt to offer a continual record of the intellectual inheritance and political history of Europe. They do not, however, confine themselves to the past, and as Lowells chronology reaches his own time the poems turn not merely inward, autobiographical, and confessional, but also attempt to become themselves a relation of [public] events. In other words, they strive to become primary sources, documents of a history in which their author was deeply implicated. Finally, a meditation on history in the third sense, the aggregrate of past events, is formally embedded in the sequence, in the style of individual poems and in their structure as a whole. I hope to treat seriously Lowells attempt to write history in all of these senses, and to consider his project in relation to the work of Michel de Certeau, Hayden White, and other theorists of narrative and history, but I also hope to honor the poems as poems, to account for the effect of genre and of the aes thetic on the historiographical operation.Taking seriously Lowells historiography does not mean construing it as conventional, normative, or sanctioned. He writes from outside de Certeaus aggrgation which categorizes the writers I within the we of a collective body of work (64). He moves freely among texts of widely varying truth values: myth, literary texts, conventional history, confession. He considers fictional and aesthetic texts to be as authoritative as their non-fictional counterparts, if not more so (The true Charles, done by Titian, never lived [Charles V by Titian 460]). Even more significantly, though history as both Hayden White and the OED tell us is a narrative form, Lowell chooses as the medium for historiography the most lyrical of genres, the sonnet sequence. As we shall see, however, Lowells sonnets often strain against, even violate, the lyric mode. The purpose of lyric, as a genre, writes Helen Vendler, is to represent an inner life in such a manner that it is assumable by others[S]ocial transactions as such cannot take place in lyric as they do in narrative or drama (xi). Surely something like this is meant by Bakhtin in his famous, and famously disputed, discussion of poetry: Poetic style is by convention suspended from any mutual interaction with alien discourse, any allusion to alien discourse (285). And yet the sonnets of History are filled with alien discourse, with translation, multiple voices and radical shifts in diction, and they take as their subject not merely an inner life but rather a life from which categories of inner and outer have fallen away; there is, for Lowell, no private sphere insulated from the public, and interiority in these poems is striated with awareness of, and vulnerability to, the goings-on of history. They are, pace Vendler, full of social transactions. (It is perhaps for this reason that Vendler is so resistant to History, finding the sequence repellent [21].)Lowells mercurial diction can be s een in the pair of sonnets on Hannibal, the first of which, Roman Disaster at the Trebia, is among the most conventional and also most beautiful sonnets in the collection:The dawn of an ill day whitens the heights.The camp wakes. Below, the river grumbles and rolls, and light Numidian horsemen water their horses;everywhere, sharp clear blasts of the trumpeters.Though warned by Scipio, and the lying augurs,the Trebia in flood, the blowing rain,the Consul Sempronius, proud of his new glory,has raised the axe for battle, he marches his lictors.A gloomy flamboyance reddens the dull sky,Gallic villages smoulder on the horizon.Far off, the hysterical squeal of an elephant.Down there, below a bridge, his back on the arch,Hannibal listens, thoughtful, glorying,to the dead tramp of the advancing Roman legions. (439)This is a successful, if conventional, work of historical fiction. It makes no attempt as Lowell almost never does (he only once claims I want to write this without style or feeling [Abstraction 566]) to achieve objectivity; from the first line, even from the title, ours is a Roman, European, perspective. In true lyric fashion, the poem takes a moment of action the Roman legions advancing over the bridge and imbues it with the drama of an already-decided battle: thus the day is ill, the sky dull with a gloomy flamboyance, Hannibal glorying, the tramp of the Romans dead. The scene is drenched with dread over its outcome, the defeat of Sempronius in Hannibals ambush. The poems primary procedure is to supply details lost to conventional historiography Gallic villages smoulder on the horizon. / Far off, the hysterical squeal of an elephant; and it seems to me a lyric in the conventional sense of the term, moving not through narrative but through description, investing detail with the force of ellided and condensed discursivity. It does not attempt, in Vendlers terms, the narrative continuity proper to epic, but rather the glimpse proper to lyric ( 3). The poems diction is high and somber; it strikes a pitch of dread and elegy appropriate to its subject.The narrative to which the poem alludes is not a triumphant one, but it is, in a sense, heroic: the doomed soldiers march blindly to their deaths, the saving Scipio waits in the wings. It is a poem that claims an un-ironic identification with the history it dramatizes, and displays the proper public sentiments. Far different is its companion, Hannibal 2. The Life:Throw Hannibal on the scales, how many poundsdoes the First Captain come to? This is hewho found the plains of Africa too small,and Ethiopias elephants a unique species.He scaled the Pyrenees, the snow, the Alps -nature blocked his road, he derricked mountainsNow Italy is his. Think nothing is done,till Rome cracks and my standards fly in the Forum.What a face for a painter; look, hes a one-eye.The glory? Hes defeated like the rest,serves some small tyrant farting off drunken meals,and dies by taking poison.Go, M adman, crossthe Alps, the Tiber be a purple patchfor schoolboys, and their theme for declamation. (439)As a performance, this shares very little with the first Hannibal sonnet. The long, elegant syntax of the earlier poem breaks down into short, sardonic sentences drenched with irony. High diction is lowered to a tragic carnivalesque: some small tyrant farting off drunken meals. The poem is far less lyrical, with none of the detail of the first sonnet; instead of lyrically conveying the richness of a single moment, Lowell here takes a telescopic view of Hannibals life, conveying his achievements in discursive, almost prose-like lines. Most significant, though, is the vision of history shown in the final five lines. Hannibals glorying is here revealed in all its vanity, but that vanity seems not particular to his history, but rather constitutive of historys grand monotony: Hes defeated like the rest. Indeed, the idea of glory or fame is deflated; the great heroes of history a re nothing but schoolboy enthusiasms; the whole endeavor of historical knowledge is somehow childish, pathetic: Go, Madman, cross / the Alps, the Tiber be a purple patch / for schoolboys, and their theme for declamation. Hannibals true defeat is less his biographical enslavement than his easy academic digestion; the passion and heroism of history are made ridiculous, a purple patch / for schoolboys.Much of the appeal of Lowells History lies in the disjunction between these paired sonnets: a real enthusiasm for history, heroism, honor, fame is questioned and critiqued by an equally sincere cynicism about the futility of human achievement; there is something bitter in the former Catholic converts mature atheism. And Lowells meditations on history hover around a grand melancholy, an awareness of memorys imperfections: viewing the ruins of Rome, Lowell writes, say more was lost to chance and time / than Hannibal or Caesar could consume (Rome in the Sixteenth Century 448). The oblivi on of forgetfulness is more voracious, for Lowell, than even the grandest and most destructive human ambition.This awareness of the ease with which achievement, even great achievement, passes into oblivion gives Lowells own attempts at record and witness a special urgency. A disproportionate amount of space is given to the present day: Lowell reaches the twentieth century halfway through the volume. Many of these sonnets are explicitly autobiographical, but even at his most confessional Lowell is deeply concerned with the public motions of history. Lowell was more public than any modern poet, and he lived a life of political involvement: as a conscientious objector in World War II, and again as a protestor against the Vietnam War, he was front-page news. This is, as Helen Vendler has recognized, a donne of his life: born into a prominent, if financially declining, Boston brahmin family, a place in public history was part of Lowells patrimony. Throughout the confessional poems L owell demonstrates an awareness of his place in this public history, and of his visibility and influence as a public figure. One of the most haunting poems in History meditates on the uncanny process by which he himself became historical. Here is Picture in The Literary Life, a Scrapbook:A mag photo, before I was I, or my books -a listenerA cheekbone gumballs out my cheek;too much live hair. My wife caught in that eye blazes,an egg would boil in the tension of that hand,my untied shoestrings write my name in the dustI lean against the tree, and sharpen bromidesto serve our great taskmaster, the New Critic,who loved the writing better than we ourselvesIn those days, if I pressed an ear to the earth,I heard the bass growl of Hiroshima.In the Scrapbook, its only the old die classics:one foot in the grave, two fingers in their Life.Who would rather be his indexed correspondentsthan the boy Keats spitting out blood for time to breathe. (524)To understand the force of autobiography in History, it may be helpful to consider Hayden Whites striking meditation on the non-narrativity of the Annals of Saint Gall:Now, the capacity to envision a set of events as belonging to the same order of meaning requires some metaphysical principle by which to translate difference into similarity. In other words, it requires a subject common to all of the referents of the various sentences that register events as having occurred. If such a subject exists, it is the Lord whose years are treated as manifestations of His power to cause the events that occur in them. The subject of the account, then, does not exist in time and could not therefore function as the subject of a narrative. Does it follow that in order for there to be a narrative, there must be some equivalent of the Lord, some sacral being endowed with the authority and power of the Lord, existing in time? If so, what could such an equivalent be? (16)A partial answer to Whites final question is interestingly suggested in autobiography: a metaphysical principle that exist[s] in time is the notion of a unified subjectivity developing and growing, to be sure, but possessed of a basic identity that transcends any temporal change. For the most conventional of Lowells confessional sonnets, the assumption of a unified self seems largely an untroubled one, and his narratives of love, family, and illness parade beneath its banner. But Lowell was also acutely aware of the fragility of the self: prone to a debilitating manic-depression, he was forced to realize how fractured a thing identity is, and how quickly one can be alienated from oneself.Something like this alienation is at work in the Picture sonnet: before I was I, or my books. In fact, the picture was taken after Lowells first great accomplishment: he had just received the Pulitzer Prize for Lord Wearys Castle (on the facing page of the journal is a photograph of his first wife, novelist Jean Stafford). The octave is oddly disjointed, its th ree ellipses suggesting an unresolvable fragmentation. Its attention shifts unpredictably, and at least one coinage, sharpening bromides, eludes comprehension. The image of the poet is similarly strange: A cheekbone gumballs out my cheek; / too much live hair. This is oddly grotesque: even Lowells face is ill-arranged. The photograph presents a self-estranged and (especially for the older poet looking on) self-estranging image. His name, too, has been in some sense lost, reduced to the illegible marks of shoelaces in the dust. However, the most profound alienation, the poem suggests, arises through the very practice that one might think constitutes identity, writing: before I was I, or my books. My books constitute a self separate from I, but no less true; and they certainly constitute the identity that has a hope of survival, of becoming a classic. The old that are the subject of the poems penultimate sentence represent aesthetic accomplishment, success: they are becoming t exts, one foot in the grave, two fingers in their Life. This last word is, of course, a pun on the magazine at which the speaker looks; but it is significantly not italicized, and stands for those texts their lives have already become. Another kind of accomplishment and perhaps, for Lowell, a preferable accomplishment, one already denied him is represented by the boy Keats, who coughs out his life for his art. Saved from the oblivion of unremembered history, Keats stands for genius that shines the brighter for its brevity; his is the name borne by the book whose index is crammed with dimmer, longer-lived correspondents.Ive yet to account for the first two lines of the sonnets sestet, which are the poems greatest oddity. They are the only lines save the first to occupy the past tense, and they shift the poem from its concern with autobiography and aesthetic development to a world-historical event: in those days, if I pressed an ear to the earth, / I heard the bass growl of Hiro shima. I read these lines as full of regret, recognizing a political commitment and passion that have been lost (Lowell increasingly distanced himself from active politics in the wake of the seeming irrelevance of the Vietnam protests). However, they bear far more significance as representations of a movement at the heart of Lowells sonnet sequence, and are constitutive of his theory of history. Everywhere in these poems, however private and quotidian their subjects, acts often atrocities of world-historical consequence impose themselves upon the speakers awareness. As only the most striking example of a technique that is pervasive, in Streamers: 1970, Christmas streamers in London become the streaming bridal veils of prostitutes married for a day by Nazi officers: After the weddings they packed the wives in planes; / altitude gained, the girls were pushed outdoors (528).Though the sonnets of History are organized chronologically, they almost uniformly resist chronology; if hi storical awareness is one constitutive feature of the mind on display in History, anachronism is the other. Sometimes this anachronism is silent, as when Lowell quotes a letter of his mothers in Clytemnestra I (431); more often, it is outrageously overt, as in Attila / Hitler:Hitler had fingertips of apprehension,Who knows how long Ill live? Let us have war.We are the barbarians, the world is near the end.Attila mounted on raw meat and greensgalloped to massacre in his single fieldmouse suit (448)The juxtaposition is not justified or explained, and we are wrong to read it typologically. Hitler is not a fulfillment of Attila; rather, they both occupy a festering fume of refuse, / old tins, dead vermin, ashes, eggshells, youth: the poems closing image of history. It is a vision of history that precludes any historicism of which progress is uncritically a part. History is a totality for Lowell, but a synchronic, not an evolving one (the phrase is Whites); his meditations slip betw een centuries without the direction of a progress narrative, as in the octave of Thanksgiving 1660 or 1990:When life grows shorter and daylightsaving diesGods couples marched in arms to harvest-homeand Plymouths communal distilleriesthree days they lay at peace with God and beast.I revel from Thanksgiving midday into night:the young are mobile, friends of the tossed waste leaf,bellbottom, barefoot, Christendoms wild hair -words are what get in the way of what they said. (557)It is this fluidity that makes Lowells genre-choice necessary. His conception and intellectual experience of history defeats narrative, requiring the looser experience of time allowed the lyric.In their indispensable notes to the collected Lowell, Frank Bidart and David Gewanter suggest a precedent for Lowells understanding of history in that originary American literary theorist, Emerson: Man is explicable by nothing less than all his historyAll public facts are to be individualized, all private facts are to be generalized. Then at once History becomes fluid and true, and Biography deep and sublime (quoted in Lowell 1075). The sort of sympathetic imitatio Emerson describes (We, as we read, must become Greeks, Romans, Turks, priest and king, martyr and executioneror we shall learn nothing rightly) is certainly at work in History, and the book presents, finally, the contents of a mind schooled by the past, which makes use of the past in its attempt to think its present: All day I bang and bang at you in thought (Abraham Lincoln 485). The book is a gesture toward realizing Lukacss hope of the concrete possibilities for men to comprehend their own existence as something historically conditioned, for them to see in history something which deeply affects their daily lives and immediately concerns them (24). It is from this awareness that the facts of history resonate with such urgency for Lowell; as Benjamin reminds us, every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably (255). Lowells relentless anachronism is an attempt to stave off this disappearance; his frantic interweaving of past and present an effort to make each unthinkable without the other.WORKS CITEDBakhtin, M.M. The Dialogic Imagination. Trans. by Caryl Emerson and Michael Holquist. Austin: U of Texas Press, 1981.Benjamin, Walter. Illuminations. Ed. Hannah Arendt. New York: Schocken Books, 1968.deCerteau, Michel. The Writing of History. Trans. Tom Conley. New York: Columbia UP, 1988.Lowell, Robert. History. Collected Poems Ed. Frank Bidart and David Gewanter. New York: FSG, 2003. 421-604.Lukacs, Georg. The Historical Novel. Trans. Hannah and Stanley Mitchell. Lincoln: U of Nebraska Press, 1983.Vendler, Helen. The Given and the Made: Strategies of Poetic Redefinition. Cambridge: Harvard UP, 1995.White, Hayden. The Content of the Form: Narrative Discourse and Historical Representation. Baltimore: The Johns Hopkins Press, 1987.

Premier vs. Premiere How to Choose the Right Word

The words premier and premiere are related in meaning—but theyre not interchangeable. Premier, which entered the English language first, originated with the Latin word primarius, meaning principal. Premiere, which didnt enter the English language until the 19th century, comes from France. How to Use Premier The word premier can be used as a noun or an adjective. As a noun, it relates to heads of state. Many nations have premiers rather than presidents, kings, or emperors. As an adjective, premier means the best, top-notch, or first in rank; for example, The Smithsonian Institution is Americas premier museum, or New York is the premier location for top-quality theater. How to Use Premiere Traditionally, the word premiere has been used as a noun, meaning a first public performance, as in the premiere of the newest Disney movie. Since the 1930s, however, the word has gained traction as a verb with essentially the same meaning, as in The new Disney movie will premiere in Los Angeles). Because the word premiere invariably relates to a production of some sort, it is often used in advertising. The word, of course, implies newness, but it is possible to premiere a play, which then premieres as a movie and then later premieres as a television production. Premiere is used less often to describe the first appearance of an actor or actress, as in Bill Smiths premiere performance. Examples The following examples make it clear that a premier is a political leader; a person, place, or thing described as premier is the best of its kind; and a premiere is an event. The prime minister was briefed on the case before meeting the Spanish premier. (The Spanish premier is the head of his country.)The premier attended the premiere of the new Spielberg movie. (The head of a country attended the first showing of a movie.)This remarkable vineyard makes a premier chablis. (In this sentence the word extraordinary or excellent could be substituted for premier.)The Bayreuth Festival began with the world premiere of the Ring cycle in 1876. (In this case, premiere is used to describe the first-ever presentation of a set of operas.)Former Black Eyed Peas singer Fergie premiered her new video over the  weekend. (In this case, premiere is used as a verb meaning showed for the first time.)Joe Smith premiered in the movie Death by Accident and later appeared in a long series of murder mysteries. (In this sentence, the word premiere is used to mean appeared for the first time.) How to Remember the Difference One of the best ways to choose correctly between premiere and premier is to connect the e at the end of premiere with the idea of entertainment, which begins with an e. If the subject at hand is the opening of some type of production, such as a play or movie, choose the word that ends with the letter e. Otherwise, choose premier, the word without an e at the end. Sources Premier vs. Premiere: Whats the Difference?  Writing Explained, 24 Oct. 2015. Premiere.  Merriam-Webster, Merriam-Webster.