Energy and charisma Essay Example for Free

Energy and charisma Essay Throught the entire play Richard is without a doubt a character of energy and charisma, but in comparison to others is a very debatable question. That is why I am going to try and look at both sides of the arguement fairly to see if Richard is a character of strong energy and charisma compared to the others or if, he infact, is not. I think that the only person throught the play who see past Richards lies and deceit is his own mother (The Duchess) as in Act 2, scene 1-4 she talks about how unusually fast he grew as a child and how he was born with teeth. She goes on to talk about how he was mischevious (Parlous) and sharp tongued (Shrewd). There is also another character in Act 2, scene 4 who fears herself to be in danger from Richard duke of Gloucester. This character is Elizabeth. She realizes she is in great peril when her son (Grey) and her brother (Rivers) are both arrested. Elizabeth says: Come, come, my boy, we will to sanctuary.  Madam, farewell.  Elizabeth decides to flee, and go into hiding because she fears for her life from Richard. Elizabeth at this point I dont think knows exactly what Richards up too, but she does know Richard will come after her aswell. This is quite an unpredictable event as she does not wait around and fall into Richards evil plot. So i would say that she showed a knowledge and used initiative by pre-determining Richards plans for her, this shows that she is quite energetic. I would definetly say that she doesnt seem to be dull or predictable. A character that doesnt see what Richard has planned is Lord Hastings for in Act 3 scene 2 all the way to Act 3 scene 4 Hastings misses all the signs that almost blatantly show that Richard intends to kill him. This does not make him predictable or dull, just easily fooled. For example in Act 3 scene 2 Lord Stanley sends a messenger to Hastings telling him his dream was The boar razed off his helm in other words Lord Stanley was convinced that Hastings was in great danger of Richard, but Hastings calmy says:  To fly the boar before the boar pursues  Were to incense the boar to follow us  And make pusuit were he did not mean to chase. What Hastings is trying to says is that Stanley is just being paranoid and that it was just a simple dream, he says if they were to flee from Richard for fear of death and Richard didnt want to kill Hastings then it would cause him to find him and kill him and he may not have wanted to do such a thing in the first place. This is dramatic irony because what Hastings says is the complete opposite to Richards intentions for him, Hastings thinks if he would flee, Richard would kill him but infact Richard lures him and then kills him. Hastings is trying to think with some logic here and what he is saying does make sense, but from here on he becomes more and more ignorant to other signs he recieves, truly convinced that Richard means no harm to him. That was the first sign for Hastings, and because he is so predictable himself he seems to think that everyone else is too. For example he thinks he has Richard all figured out by saying:  Can lesser he hide his love or hate, than he,  For but his face straight shall you know his heart  He assumes that Richard cannot hide his true feelings and these are expressed, he doesnt belive he can almost be two people, because one Richard appears to be good, faithful and loyal whilst the real Richard is lying, cheating and decietful. If you were to compare both Hastings to Elizabeth you would see an etirely different contrast between them both. Elizabeth clearly sees herself in great danger and goes into hiding which is the opposite to what Hastings did, he was even lured by Richard into his own death. I personally belive Hastings wasnt as stupid as he seemed to be when it came to knowing Richard, I belive he was in denial that Richards intentions for him were death, I am sure Hastings wanted to belive that this wasnt true and that is why whenever a sign showed for him he dismissed it quickly without a second thought, so if this was true Hastings may be an energetic character, but in a completely opposite way. He trys to butter up Richard in possibly a faint attempt for Richard to reconsider killing Hastings, he does this by saying: I thank his grace, I know he loves me well  There are some characters in the play who can almost tell that Richard is lying and decietful, for example the two young princes. Richard trys to convince the boys that his uncles were arrested because they were evil but infact they deny what Richard says and they say they know that there good people. Other characters in this play dont really show much charisma, or at least not as much as Richard. This again doesnt mean they lack charismatic and energetic influences, i think its because Richard seems almost the most unlikely person who would ever betray people due to the fact he is a social outcast and is deformed a little. Im sure they fell for Richards false charm because of the fact he appears harmless and he can play both good and evil so well, I think most people would belive how he acted towards them. There is also another character who I myself think made Richard seem predictable and that was Lord Buckingham. For when Richard asks him to kill the two princes up in the tower he pushs Buckingham to his limit and Buckingham refuses to do it. I thought that Richard should have possibly seen this coming as everyone has there limits and Richard found Buckinghams limits. Another reason for Buckingham being an extra-ordinary character is because I feel he out-wits Richard due to the fact that I dont think Buckingham really wants to help Richard, I think he knew what Richard was up to and Buckingham thought it would be safer to help Richard or he would almost certainly get killed, and now that Richard has the throne Buckingham possibly feels theres no real threat from Richard anymore because he has the thone now. There are many characters in this play and personally all of them how there own unique energetic spirit, its not because they are dull and predictable its simply because Richard is a flatterer, and he was the most unlikely person to try and take the throne due to his deforment. The other characters were all to busy worrying about other people betraying them they hardly had time to notice Richards evil plots.  To summarise, I belive there are equal arguements to say Richard is more charismatic and energetic than the other characters. There are some who are predictable and others who I feel out-master Richards charisma. So all in all, there are some chracters who dull, some who match Richards charisma and others who top it.

Washington :: essays research papers

ASHINGTON, Jan. 6 — The Pentagon is pushing for a substantial increase, in the range of $20 billion or more, for its 2003 budget, confident that the war on terrorism has strengthened Congressional and public support for rebuilding the armed services, senior military officials say. Even as Congress is projecting a budget deficit next year, the Pentagon is arguing that it will need significantly more money to cover rising health care costs, stockpile precision-guided munitions and accelerate an array of big-ticket programs, including fighter jets and warships. "There is a real necessity to do something we didn't really address in the last budget, which is ramp up procurement," said Under Secretary of Defense Dov S. Zakheim, the Pentagon comptroller. "It's got to go up." Secretary of Defense Donald H. Rumsfeld has also vowed to use the budget for the 2003 fiscal year, which begins Oct. 1, to advance programs he has said will "transform" the military, including missile defense, unpiloted aircraft and high-tech battlefield communications equipment. Mr. Rumsfeld is expected to argue, for instance, that the armed services must stockpile laser- and satellite- guided weapons for future conflicts. Those munitions, which cost from $20,000 to $1 million each, exceeded expectations in Afghanistan, where they were used so extensively that the Navy arsenal came close to running dry, officials say. The secretary will also call for developing munitions that can penetrate caves and hardened, deeply buried bunkers — one area where military officials say American bombs were not always effective in Afghanistan. North Korea and Iraq are thought to have built many such bunkers for command centers and storage sites for biological and chemical weapons. Officials say Mr. Rumsfeld will also push for accelerating a program to convert Trident submarines, which are now armed with nuclear- tipped missiles, so they can instead carry precision-guided cruise missiles with conventional warheads. Dr. Zakheim said the Pentagon budget was still being negotiated with the White House and declined to provide figures. But senior military and Congressional officials have said the increase will be about $20 billion over the current $329 billion Pentagon budget, or about 6 percent, after adjusting for inflation. A $20 billion increase in the Pentagon budget would be less than the $33 billion increase approved by Congress last year, the largest since the Reagan era. But the new request comes in an economic downturn, when other federal agencies are being told to trim spending to balance declining tax revenues.

The Trauma Radiography Procedure Health And Social Care Essay

Trauma skiagraphy is one process contain in medical imagination. It is rather exciting or nerve-racking for radiographers. For certain radiographers maybe it is really nerve-racking because there are a batch of unexpected instances that required a batch of technique to use during plants in exigency room. To guarantee that the injury skiagraphy is non nerve-racking the radiographer must ache and hold a batch of accomplishments plants in exigency room. First of all, I would to specify that the definition of injury is as sudden, unexpected, dramatic, forceful or violent actions. In United states the individuals which age around 34years old can take to decease when there are in trauma skiagraphy. This statistics excludes suicide and homicide-related decease. Trauma, homicide and self-destruction rank foremost, 2nd and 3rd severally as the taking causes of decease in individuals age 15-24 old ages. Emergency medical attention of 10 is difference between life and deceases when knowing or u nitintentional injuires occur. Many types of installations provide exigency medical attention runing from major, metropolitan centres to little outpatients clinics in rural country. The term traumatic centres signifies a specific degree of exigency degree of exigency attention as defined by American College of Surgeons Commision on Trauma. Trauma centre are categorized into four degrees of attention. Level 1 is the most comprehensive and flat 4 is the most basic. A degree 1 is halfway normally a university based centre, research installation or big medical centre. It provide the most comprehensive exigency medical attention available with complete imaging capablenesss 24 hours a twenty-four hours. All types of forte doctors are available on sites 24 hours a twenty-four hours. Radiographers besides available for 24 hours a per twenty-four hours. A flat 2 centre likely has all of the same specialised attention available but differs in that it is non research or learning infirmary and some forte phcsicians may non be available for 24 hours. Level 3 possibly located in smaller community where degree 1 and 2 attention is non available. Level 3 besides possibly did n't hold any forte but they are stand by to reassign patient to a larger injury centre. A degree 4 is halfway possibly is non in infirmary at all but instead a clinic or outpatient setting.these installations normally provide attention for minor hurts every bit good as offer stabilisation and arrange for transportation of more serious hurts to a larger injury centre. The trauma incident that is normally happen that is including blunt, explosive, perforating and heat consequence in hurts. The illustrations of blunt injury that is motor vehicle accident ( MVA ) , which includes bikes incidents and hits with prosaic, falls and aggravated assault. The penetrating injury is includes gunshot lesions, stab lesions, impalent hurts and foreign organic structure consumption or aspiration. Explosive injury causes hu rts by several mechanism including force per unit area daze moving ridge, high speed missile and Burnss. Nathan birnbaums possibly because by a figure of agents including of fire, steam and hot H2O, chemicals, electricity and cryopathy. Specialized Equipment Time is critical component in injury skiagraphy in salvaging the patients. To minimise the clip required to acquired diagnostic xray images many exigency room that is located an imaging equipment to guarantee the process can be done every bit speedy as possible. The injury radiogram besides must non to travel a batch the patient and required more maneuvering of the tubing and images receptor. Specialized injury equipment is design to supply for a greater flexcibility in xray tubing and Ir maneuvering. These equipment is to assist the patient and minimise the motion of the hurt patient while executing imaging process. Additionally the exigency room are equipped with specialised beds or stretchers that have movable tray to keep the IR. This moveble tray can let the used of nomadic radiographic unit and eliminates the demand and hazard of reassigning an injured patient to radiographic tabular array. Mobile skiagraphy is midely utilised in the exigency room.many patient will hold hurts t hat prohibit to reassign to a radiographic tabular array or their conditions possibly excessively critical to disrupt intervention. Trauma radiographers must be competent in managing nomadic radiographic units on about any portion of the organic structure and utilizes accoutrement devices needed to bring forth quality nomadic images. Mobile fluoroscopy units normally referred to as c-arm because of their forms are going more platitude in exigency room. C-arm are design to cut down fractured process, foreign organic structure localisation in limb and cut downing articulations disruptions. Positioning assistance are necessary in trauma skiagraphy. Spoges, sandbags and the originative used of tapes are frequently thee most utile radiographer tools. Most trauma patient is unable to keep the needed places as a consequence of strivings or impaired consciousness. Other patients can non be moved into proper places because to make so would worsen their hurt. Proper used of positioning assist ance is assist in speedy process to suit the patient conditions. Grids and IR holders are necessities since many projections required the used of a horizontal cardinal beam. Inspect grids routinely because harm grid will be frequently cause image artefact. Exposure Factor The of import that should be considers in taking images of trauma patient is gesture. The shortest possible exposure clip that can be set should be used in every process except when take a breathing technique is desired. Unconscious patient are unable to suspend respiration for the exposure. Conscious patient are normally in utmost hurting and unable to collaborate for the process. Radiographic exposure factor compensations possibly required when devising exposure through immobilisations devices like a spine board or backboard. Most trauma patient arrive at the infirmary with some type of immobilisations devices. Pathological factors besides should be see when puting proficient factors. For case internal hemorrhage in the abdominal pit would absorb a greater sum of radiation than a bowel obstructor. Positioning of the patient The primary challenge of the injury radiographer is to obtain high quality, diagnostic images on the first effort when the patient is unable to travel into the coveted place. Many methods are available to accommodate a everyday projection and obtain the coveted images of the anatomical portion. To minimise hazard of worsening the patient status, the xray tubing and IR should be place instead than the patient or the portion. For illustration place the the stretcher adjacent to the perpendicular bucky or unsloped tabular array every bit frequently as the patient status allows. This location enable accurate placement with minimum patient motion for cross-table sidelong images ( dorsal decubitus places ) on legion parts of the organic structure. Additionally the grid in the tabular array or perpendicular bucky is normally high ratio than those used for nomadic skiagraphy, so image contrast is improved. Another technique to to increase efficiency while minimising patient motion is to take all of the ap projections og the requested scrutinies, traveling superiorly to inferiorly. Then execute all of the sidelong projections of the requested scrutinies traveling inferiorly to superiorly. The method travel the xray tubing in the most expeditious mode. When taking radiogram to laocalize a perforating foreign object or slug, the entryway or issue lesions should be Markss with radiopaque marker that is seeable on all projections. Radiographer Role in Trauma Radiography The function of radiographer within the ER finally depends on the section protocol and staffing, every bit good as the extent of exigency attention provided by the installation. Regardless of the size of the installation the primary duties of radiographer in an exigency state of affairss include the followers ; Perform quality diagnostic imagination as requested. Practice ethical radiation protection Provide competent attention It is impossible to rank these duties because they occur simulataneously and all are critical to quality attention in Er. Diagnostic Imaging Procedure Producing a high quality diagnostic images is one of the more obviously functions of radiographer. A radiographer in the injury environment has the added duties to execute that undertaking expeditiously. Efficiency and productiveness are common and practicals ends for radiology section. Diagnostic imagination in ER is paramount to accurate timely and frequently life salvaging diagnosing. Radiation Protection in Trauma Radiography One of the most indispensable responsibilities and ethical duties of injury radiographer is radiation protection of the patient the members of the injury squad and ego. In extremely critical attention state of affairss members of the injury squad can non go forth the patient while imaging processs are being performed. The injury radiographer must guarantee the other squad members are protected from any unneeded radiation exposure. Common patterns should minimally include the undermentioned ; Close collimation to the anatomy of involvement to cut down spread Gonadal screening for the patients of child bearing age ( when making so does non interfere with the anatomy og involvement Lead aprons for all forces that remain in the room during the process Exposure factors that minimize patient dosage and spread radiation Announcement of hindering exposure to let unneeded forces to go out the room Considerations besides must be given to patients nearby stretchers. If there are less than 6 pess of the distance from the xray tubing, appropriate should be provided. Some of the greatest exposure to patient and medical forces are from fluoroscopic processs. If the c-arm fluoro unit is used in er particular safeguards should be topographic point to guarantee that exposure clip is kept minimal and all forces are have oning protective aprons. Patient Care As with all imagination processs trauma processs required a patient history. The patient may supply this, if he or she is witting or the attending doctor may inform you of the hurt and the patient position. If the patient witting, explicate what you are making in item and in term the patient can understand. Listen to the patient rate and mode of address which may supply penetration into his or her mental and emotional position. Make an oculus contact with the patient to supply comfort and reassurance. Keep in head that a trip to the ER is emotionally nerve-racking event, irrespective of the badness of hurt or unwellness. Radiographers are frequently responsible for the entire attention of the trauma patient while executing diagnostic imagination process. Therefore it is critical that radiographers invariably assess the patient conditions, acknowledge any mark of diminutions or hurt and study any alteration in the position of the patient conditions to the go toing doctor. The injury r adiographer must be good versed in taking critical mark and cognizing normal scopes, competent in cardiorespiratory resusicitation, disposal of O and covering with all types of medical exigencies. The radiographer must be prepared to execute these processs when covered by a standing physician order or section policy allows. Additionally the radiographers should be familiar with the location and content of the grownup and peadiatric clang carts and understand how to used suctioning devices. The familiar ABC air manner external respiration and basic support life technique must be invariably assessed during the radiographic process. Ocular review and verbal inquiring enables radiographer to find if the position of patient alterations during the process Common Injuries Happen Hypovolemic or hemorrhagic daze is medical status where there are abnormally low degree in blood plasma in the organic structure such that the organic structure is unable to decently keep blood force per unit area. Vasovagal reactions is besides called a vasovagal onslaught or situational faint. It is a physiological reaction of nonvoluntary nervous system or normal physiologic response to emotional emphasis. The patient may kick of sickness, flowers, experiencing lightheaded and loss consciousness for several seconds. Cerebrovascular accident is normally called a shot caused by thrombosis, intercalation or bleeding in the vas of the encephalon. Best Practice In Trauma Radiography Speed- injury radiographers must bring forth high quality images in shortest sum of clip. Celerity in executing a diagnostic scrutiny is excessively critical to salvaging the patient life. Many practical method that addition scrutiny efficiency without giving image quality. Accuracy – Injury radiographers must supply accurate images with a minimum sum of deformation and the maximal sum record item. Shortest and minimising the exposure clip and uncontrolled patient gesture. Quality – Quality does non hold to be sacrificed to bring forth an image rapidly. Make non fall into the trap of the patient status as an excuses for careless placement and accepting less than high quality images. Positioning – Careful safeguards must be taken to guarantee that public presentation of the imaging process does non worsen the patient hurts. The aureate regulation of two projections at he right angle from one another still applies. Equally frequently as possible, place the tubing and the IR instead than the patient, to obtain the coveted projections. Practice Standard Precaution – Exposure to the bloody and organic structure fluids should be expected in the injury skiagraphy. Wear baseball mitt, mask and the gown when appropriate. Place IR and sponges in nonporous plastic to protect from the organic structure fluids. Wash hands decently and maintain all equipment Is clean and ready to used. Immobilization- Never take any immobilisation device without doctors order. Supply proper immobilisation and support to increase patient comfort and minimise hazard of gesture. Expecting – Anticipating required particular projections or diagnostic processs for certain hurts makes the radiographer critical portion of the ER squad. For illustration patient necessitating surgery by and large required an xray of the thorax. Fracture of pelvic girdles frequently required cystogram to find the position of urinary vesica. Bing prepared to execute these scrutiny rapidly and understand the necessity of the extra images instill assurance in and creates an grasp for the function of the radiographer in exigency scene. Attention To Detail – Never leave a trauma patient or any patient unattend during imaging process. The patient status may alter at any clip and it is radiographer duty to observe these alterations and describe them instantly to go toing doctor. If you are unable to treat images while keeping oculus contact with your patient, call for the aid. Person must be with the injured patient all the clip. Attention To Department Protocol And Scope Of Practice – Know the section protocol and pattern merely within your competency and abilities. The range of pattern for radiographer varies from province to province and from state to state. Be certain to analyze and understand the range of your function in exigency scene. Do non supply or anything by oral cavity. Always ask the doctor before giving the patient anything to eat or imbibe no affair how relentless the patient may be. Professionalism- Ethical behavior and professionalism in all state of affairss and with every individual in demand of all wellness attention professional but the conditions encounter in the ER can be peculiarly complicated. PATIENT PREPARATIONS It is of import to retrieve that the patient has endured and emotionally distressing and straitening event in add-on to physical hurts he or she may hold sustained. If the patient is witting, speak calmly and look straight in the patient eyes while explicating the process that have been ordered. Make non presume that the patient can non or will react. Check the patient exhaustively for the point that might do an artefact on the images. Explaining what you are taking from the patient and why. Be assure to put all the removal personal effects particularly valuable in the proper container used by the installation or in the designated secure country. Every installation has process sing proper storage of patient personal belonging. Be certain to cognize the process and follow it carefully.

Worldshaker - 755 Words

â€Å"Those who stand for nothing fall for anything.† - Alexander Hamilton Good morning ladies and gentlemen. I am here today to encourage my peers and to also challenge my peers. The message I have focused on today is critical for the future is standing up for what is right. The future of humanity depends on our ability to speak and stand up for what we believe in and our values. We must use the youth to help this work and make this society a much more supportive and understanding society to live in. Today, I will discuss three texts that deal with the issue â€Å"Standing up for what is right†. These texts are: â€Å"WorldShaker† written by Richard Harland, Bob Marley’s song â€Å"Get Up, Stand Up† and the song â€Å"Caught in the Crowd† written by Kate†¦show more content†¦This is similar to the book because the filthies are fighting for acceptance and respect. This is important to the youth because teenagers are going to need the ability to fight for respect. The song â€Å"Caught in the Crowd† is about a girl that had befriend a boy. She had witnessed the boy being bullied physical and verbally but she had decided to walk away when he needed her the most. The issue is represented positively because by telling us that we should stand up for what isShow MoreRelatedGender and Col862 Words   |  4 PagesRichard Harland’s Worldshaker, both entertains and informs us. The reoccurring matter of discrimination brings forth the themes of disrespect of females, morals and ethics, self discovery and growth, and hierarchy of classes which don’t fail to provide information presented in ways which further intrigue us in the novel. Through these aids Richard Harland has pieced together a book keeping readers on their toes as we take a journey through the history of the juggernaught, ‘Worldshaker’, therefore informing

Arthur Clarke Essay - 670 Words

Arthur C. Clarke was born in 1917 in Minehead, Somerset. His mother was Nora Clarke and his father was Charles Wright Clarke. He had two brothers, Frederick and Michael and one sister, Mary. There were many events that helped to shape him and his writing style. The first major event in his early life was his first plane ride. He went on a Avro 504 biplane with his mother in 1927, this ride remained in his mind forever, and as he progressed as a writer it fueled his science fiction from jet-planes to space travel. Soon thereafter in 1928 Arthur read his first science fiction magazine. At the young age of twelve he began to develop his almost fanatic obsession with Science Fiction. This forever curved his path towards writing Science†¦show more content†¦This gave him the base of knowledge, which he used to understand space and underlay many of his fiction works with true physics of movement. Other important events in 1946 include his election to Chairmanship of the British In terplanetary Society and his meeting of C.S. Lewis and J.R.R. Tolkein. In 1948 he graduated college with first class honors. He then attended University College for post-graduate studies in Astronomy. This further reinforced his knowledge of space and helped allow him to write the myriad of non-fiction books about space that he has written. In June of 1952 his book, The Exploration of Space is sold for some 50,000 dollars, this marks a turning point in his career as being known to only a select few to becoming widely known. He appeared on quot;The Today Showquot; that same month. He also meets Robert Bloch quot;Psychoquot; and E. E. quot;Docquot; Smith at the American Science Fiction convention. In June of 1953 Clarke is married to Marilyn Torgenson. This marriage lasts only until the Christmas of the same year. 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Although there are many themes present between the story and the film, the following are the most dominant. I will be discussing Scientific themes, Religious and Moral Themes, and Clarke’s development of the short story into a full-length film. nbsp;nbsp;nbsp;nbsp;nbsp;The first issue, I will be discussing the scientificRead More2001: A Space Odyssey Compare and Contrast Essay903 Words   |  4 PagesRecently, our class read the book and watched the movie 2001: A Space Odyssey. The book is written by Arthur C. Clarke and the movie was directed by Stanley Kubrick. The book was written as a framework for the movie, so the two are mostly the same. But, while there were similarities, there were also some major differences. The story started with pre-historic ‘humans’ called man-apes. The man-apes were very primitive and on the brink of survival. One day, a huge monolith showed up and started

In this compare and contrast paper I will highlight the...

Compare and Contrast Paper Jeremiah Barwick Liberty CCOU 201 In this compare and contrast paper I will highlight the differences and commonalities between Larry Crabb’s biblical model of counseling, theories, and techniques of Rodgerian theory called Rodgers’ Client-Centered Therapy (RCCT), Rational Emotive Behavior Therapy (REBT), and Cognitive-Behavioral Therapy (CBT). All of these theories are a form of psychotherapy. Couselors today use techniques such as pharmacological intervention and cognitive and behavioral therapy. They are not wrong in using these techniques, but rather should seek the Lord and take a biblical approach in therapy. Part 1: Goal of Christian Counseling In part one – â€Å"A Few†¦show more content†¦The model I am proposing might be labeled Spoiling the Egypians† (Crabb, 1977). Part 3: Basic Strategy Two basic strategies or concepts are found in part three – â€Å"Basic Strategy: How to Understand and Deal with Personal Problems† in Larry Crabb’s Book. The first concept is â€Å"needs† and the second concept is â€Å"motivation†. People have needs of significance and security. In reality only Jesus Christ can give a person significance and security. Philippians 4:19 in the King James Bible states, â€Å"But my God shall supply all our needs according to his riches in glory by Christ Jesus† (KJV, Bible). Larry Crabb states that, â€Å"†¦motivation is the drive or urge to meet our needs. It is that sense of momentum that impels us to do something to become significant and secure. We are willing to expend tremendous personal energy in an effort to satisfy these needs. We call this profound, compulsive willingness to meet needs motivation† (Crabb, 1977). On the topic of motivation in Christ, Poverbs 3:5-6 in the Bible states: â€Å"Trust in the Lord with all your heart and lean not on your own understanding; in all your ways acknowledge Him, and He shall direct your paths† (Bible). 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Kubla Khan (5570 words) Essay Example For Students

Kubla Khan (5570 words) Essay Kubla KhanKubla KhanIf a man could pass thro Paradise in a Dream, ; have a flower presented to him as a pledge that his Soul had really been there, ; found that flower in his hand when he awoke Aye! and what then? (CN, iii 4287)Kubla Khan is a fascinating and exasperating poem written by Samuel Taylor Coleridge (. Almost everyone who has read it, has been charmed by its magic. It must surely be true that no poem of comparable length in English or any other language has been the subject of so much critical commentary. Its fifty-four lines have spawned thousands of pages of discussion and analysis. Kubla Khan is the sole or a major subject in five book-length studies; close to 150 articles and book-chapters (doubtless I have missed some others) have been devoted exclusively to it; and brief notes and incidental comments on it are without number. Despite this deluge, however, there is no critical unanimity and very little agreement on a number of important issues connected with the poe m: its date of composition, its meaning, its sources in Coleridges reading and observation of nature, its structural integrity (i.e. fragment versus complete poem), and its relationship to the Preface by which Coleridge introduced it on its first publication in 1816. Coleridges philosophical explorations appear in his greatest poems. Kubla Khan, with its exotic imagery and symbols, rich vocabulary and rhythms, written, by Coleridges account, under the influence of laudanum, was often considered a brilliant work, but without any defined theme. However, despite its complexity the poem can be read as a well-constructed exposition on human genius and art. The theme of life and nature again appears in The Rime of the Ancient Mariner, where the effect on nature of a crime against the power of life is presented in the form of a ballad. Christabel, an unfinished gothic ballad, evokes a sinister atmosphere, hinting at evil and the grotesque. In his poems Coleridges detailed perception of nature links scene and mood, and leads to a contemplation of moral and universal concerns. In his theory of poetry Coleridge stressed the aesthetic quality as the primary consideration. The metrical theory on which Christabel is constructed helped to break the fetters of 18th-century correctness and monotony and soon found disciples, among others Walter Scott and Lord Byron. Opium and the Dream of Kubla KhanColeridges use of opium has long been a topic of fascination, and the grouping of Coleridge, opium and Kubla Khan formed an inevitable triad long before Elisabeth Schneider combined them in the title of her book. It is tempting on a subject of such intrinsic interest to say more than is necessary for the purpose in hand. Since the medicinal use of opium was so common and wide-spread, it is not surprising to learn that its use involved neither legal penalties nor public stigma. All of the Romantic poets (except Wordsworth) are known to have used it, as did many other prominent contemporaries. Supplies were readily available: in 1830, for instance, Britain imported 22,000 pounds of raw opium. Many Englishmen, like the eminently respectable poet-parson George Crabbe, who took opium in regular but moderate quantity for nearly forty years, were addicts in ignorance, and led stable and productive lives despite their habit. By and large, opium was taken for granted; and it was only the terrible experiences of such articulate addicts as Coleridge and Dequincy that eventually began to bring the horrors of the drug to public attention. Coleridges case is a particularly sad and instructive one. He had used opium as early as 1791 (see CL, i 18) and continued to use it occasionally, on medical advice, to alleviat e pain from a series of physical and nervous ailments. But the opium cure proved ultimately to be more devastating in its effects than the troubles it was intended to treat, for such large quantities taken over so many months seduced him unwittingly into slavery to the drug. And his life between 1801 and 1806 (when he returned from Malta) is a somber illustration of a growing and, finally, a hopeless bondage to opium. By the time he realized he was addicted, however, it was too late. He consulted a variety of physicians; he attempted more than once (with nearly fatal results) to break off his use of opium all at once; and, at last, in 1816, when he submitted his case to James Gillman (in whose house he was to spend the rest of his life), he was able to control his habit and reduce his doses, although he was never able to emancipate himself entirely. But to return to the 1790s: what can we say about Coleridges experience of opium at the time of composing Kubla Khan? The effects produced by opium in the early stages were soothing and seductive: Laudanum, he wrote his brother George in March 1798 (in terms which recall the imagery of Kubla Khan), gave me repose, not sleep: but YOU, I believe, know how divine that repose is what a spot of enchantment, a green spot of fountains, flowers trees, in the very heart of a waste of Sands! (CL, i 394). Opium, it seems (to cite an earlier letter, of October 1797, which may well be describing a drug experience), tended to raise spiritualize his intellect, so that he could, like the Indian Vishnu, float about along an infinite ocean cradled in the flower of the Lotos (CL, i 350). Such an experience and such a mood are reflected in Kubla Khan. As we know from the Crewe endnote, Coleridge took two grains of Opium before he wrote Kubla Khan; and this fact naturally raises the issue of the drugs effect on the poets creative imagination. Early critics, guided by Coleridges statements in the 1816 Preface, assumed that there was a direct and immediate correlation between opium and imagination. In 1897 J.M. Robertson could not bring himself to doubt that the special quality of this felicitous work is to be attributed to its being all conceived and composed under the influence of opium; and in 1934 M.H. Abrams declared that the great gift of opium to men like Coleridge and Dequincy was access to a new world as different from this as Mars may be; and one which ordinary mortals, hindered by terrestrial conceptions, can never, from mere description, quite comprehend. More recent criticism, however, grounded on modern medical studies, controverts such conclusions decisively. According to Elisabeth Schneider, it is widely agreed now t hat persons of unstable psychological makeup are much more likely to become addicted to opiates than are normal ones and that, among such neurotic users of opium, the intensity of the pleasure produced by the drug seems (on the evidence of medical case-studies) to be in direct proportion to the degree of instability. The explanation (she continues) of the supposed creative powers of opium lies in the euphoria that it produces: With some unstable temperaments the euphoria may be intense. Its effect is usually to increase the persons satisfaction with his inner state of well being, to turn his attention inward upon himself while diminishing his attention to external stimuli. Thus it sometimes encourages the mood in which daydreaming occurs. The narcosis of opium has been popularly described as having the effect of heightening and intensifying the acuteness of the senses. This it quite definitely does not do. If anything, the effect is the reverse. Alethea Hayter, although she wishes to avoid the extremes of the positions of Abrams and Schneider, nevertheless comes much closer in her conclusions to the latter than to the former. Opium, she argues, can only work On what is already there in a mans mind and memory, and, if he already has a creative imagination and a tendency to reverie, dreams and hypnologic visions, then opium may intensify and focus his perceptions. Her final verdict which can be no more than a hypothesis is that the action of opium, though it can never be a substitute for innate imagination, can uncover that imagination while it is at work in a way which might enable an exceptionally gifted and self-aware writer to observe and learn from his own mental processes. The most reasonable conclusion to be drawn from these various explorations of the relationship between opium and the operation of the creative imagination is that, while Kubla Khan might well not have been produced without opium, it most assuredly wo uld never have been born except for the powerfully and innately imaginative mind of Samuel Taylor Coleridge. Interpretative Approaches to Kubla KhanThere is an observation Never tell thy dreams, and I am almost afraid that Kubla Khan is an owl that wont bear day light, I fear lest it should be discovered by the lantern of typography clear reducting to letters, no better than nonsense or no sense. (Charles Lamb)In a moment of rash optimism a notable scholar once began an essay by declaring that We now know almost everything about Coleridges Kubla Khan except what the poem is about. The truth of the matter, however, is that we know almost nothing conclusive about Kubla Khan, including what it is about. In fact, by far the most intriguing question about this most intriguing of poems is What does it mean? if, indeed, it has or was ever intended to have any particular meaning. For the overwhelming majority of Coleridges contemporaries, Kubla Khan seemed (as Lamb foresaw) to be no better than nonsense, and they dismissed it contemptuously. The poem itself is below criticism, declared the anonymous reviewer in the Monthly Review (Jan 1817); and Thomas Moore, writing in the Edinburgh Review (Sep 1816), tartly asserted that the thing now before us, is utterly destitute of value and he defied any man to point out a passage of poetical merit in it.While derisive asperity of this sort i s the common fare of most of the early reviews, there are, nevertheless, contemporary readers whose response is both sympathetic and positive even though they value the poem for its rich and bewitching suggestiveness rather than for any discernible meaning that it might possess. Charles Lamb, for example, speaks fondly of hearing Coleridge recite Kubla Khan so enchantingly that it irradiates brings heaven Elysian bowers into my parlour while he sings or says it; and Leigh Hunt turns hopefully to analogies in music and painting in an effort to describe the poems haunting but indefinable effect: Kubla Khan is a voice and a vision, an everlasting tune in our mouths, a dream fit for Cambuscan and all his poets, a dance of pictures such as Giotto or Cimabue, revived and re-inspired, would have made for a Storie of Old Tartarie, a piece of the invisible world made visible by a sun at midnight and sliding before our eyes. Throughout the nineteenth century and during the first quarter of the twentieth century Kubla Khan was considered, almost universally, to be a poem in which sound overwhelms sense. With a few exceptions (such as Lamb and Leigh Hunt), Romantic critics accustomed to poetry of statement and antipathetic to any notion of ars gratia artis summarily dismissed Kubla Khan as a meaningless farrago of sonorous phrases beneath the notice of serious criticism. It only demonstrated, according to William Hazlitt, that Mr Coleridge can write better nonsense verses than any man in England and then he added, proleptically, It is not a poem, but a musical composition. For Victorian and Early Modern readers, on the other hand, Kubla Khan was a poem not below but beyond the reach of criticism, and they adopted (without the irony) Hazlitts perception that it must properly be appreciated as verbalised music. When it has been said, wrote Swinburne of Kubla Khan, that such melodies were never heard, such dreams never dreamed, such speech never spoken, the chief thing remains unsaid, and unspeakable. There is a charm upon which can only be felt in silent submission of wonder. Even John Livingston Lowes culpable, if ever anyone has been, of murdering to dissect insisted on the elusive magic of Coleridges dream vision: For Kubla Khan is as near enchantment, I suppose, as we are like to come in this dull world. While one may track or attempt to track individual images to their sources, Kubla Khan as a whole remains utterly inexplicable a dissolving phantasmagoria of highly charged images whose streaming pagent is, in the final analysis, as aimless as it is magnificent. The earth has bubbles as the water has, and this is of them. Callahan Chronicals EssayThis is not to say, of course, that the poem is unrelated to the theory: it is only to insist that Kubla Khan, rather than being a material anticipation of later critical precepts, is a part of the process that leads eventually to the development and articulation of those ideas in a systematic way. And it is not surprising, therefore, that the meaning of the poem should be obscure and ambiguous for Kubla Khan records an early, perhaps largely unconscious, exploration of critical perceptions united only loosely in an inchoate theory of literature. Freudian Analysis A poem such as Kubla Khan so provokingly enigmatic and so deliciously suggestive also provides an irresistibly fertile ground for psychological speculation, especially on the part of Freudian critics. When Coleridge called the poem a psychological curiosity in his 1816 Preface and confessed that Kubla Khan was the record of an actual dream, he unwittingly opened wide the door to analysts anxious to expound the latent psychological implications of his symphony and song. One of the earliest of the Freudian readings was offered in 1924 by Robert Graves, who proposed that Kubla Khan expressed Coleridges subconscious determination to shun the mazy complications of life by retreating to a bower of poetry, solitude and opium a serene refuge beyond the bitter reproaches of Mrs Coleridge (the woman who is wailing for her demon lover) and almost beyond the gloomy prophecies of addiction uttered by the ancestral voices of Lamb and Charles Lloyd. By comparison with recent Fr eudian interpretations, this is pretty tame stuff. Nevertheless, it was enough to alert I.A. Richards almost immediately to the chilling possibilities of such an approach: The reader acquainted with current methods of analysis, he warned, can imagine the results of a thorough going Freudian onslaught. In general, the Freudians treat Kubla Khan as an unconscious revelation of personal fantasies and repressed, usually erotic, urges; but there is little agreement about the precise nature of these subliminal drives. Douglas Angus argues that the poem illustrates a psychoneurotic pattern of narcissism that reflects Coleridges abnormal need for love and sympathy; Eugene Sloane, however, is convinced that Kubla Khan is an elaborate development of a birth dream, expressing an unconscious desire to return to the warmth and security of the womb (the hair in line 50, for example, is floating in amniotic fluid); and Gerald Enscoe finds the core of the poems meaning in the unresolved struggle between two conflicting attitudes toward the subject of erotic feeling, i.e. the attitude . . . that the sexual impulse is to be confined within a controlled system is opposed to the anarchistic belief that the erotic neither should nor can be subjected to such control. Still other readers prefer to follow Robert Graves by concentrating on what the poem implies about Coleridges experience with opium: James Bramwell reads Kubla Khan as a dream-fable representing conscience in the act of casting him out, spiritually and bodily, from the paradise of his opium paradise; and Eli Marcovitz, who sets out to treat as we would a dream in our clinical practice, confidently concludes that Kubla Khan is almost a chart of the psychosexual history of a personality ineluctably embarked on the road to addiction: It depicts the life of the poet his infancy and early childhood, the pleasures and deprivations of the oral period, the stimulation and dread of his oedipal period, the reaction to the death of his father at nine, the fear of incest and genitality with the regression to passive-femininity and orality, and the attempt to cope with his lifes problems by the appeal to the muse and to opium. Who would have supposed, without guidance, that so much repressed meaning was compressed into fifty-four lines?Even this brief sampling illustrates clearly enough the limitations and liabilities of using Freudian keys to unlock the mysteries of Kubla Khan. In the first place, of course, there is no received consensus (as we have just seen) about precisely what the poem reveals about Coleridges subconscious mind. Nor is there agreement about the symbolic significance of the major images: is the stately pleasure-dome to be identified as the female breast (maternal or otherwise), or does it represent, as some think, the mons veneris? Similarly, what are we to make of the violent eructation of the fountain forced with ceaseless turmoil from the deep romantic chasm the ejaculation of semen, or the throes of parturition? And then there is the hapless Abyssinian maid, who has been variously identified as Coleridges muse, as his mother, as Mary Evans (an early flame), as Dorothy Wordsworth, and (since Abyssinian damsels are negroid) as the symbol of Coleridges repressed impulse toward miscegenation. A second and more serious problem with many Freudian readings, as the foregoing examples make clear, is a tendency to ignore basic rules of evidence and to indulge, as a consequence, in strained and unwarranted speculation. In one account, for example, we are asked (without irony) to believe that the last two lines of Kubla Khan point by indirection to fellatio, cunnilingus and deep oral attachment to the mother. Another analyst, James F. Hoyle, interprets Coleridges enforced retirement to the farmhouse near Porlock as the neurotic persons vegetative retreat to para-sympathetic preponderance with overstimulation of gastrointestinal functions, resulting in diarrhea and then, as if this were not enough, goes on to conclude that the costive opium taken to check the attack of dysentery probably helped in converting depression to hypomania and so was instrumental in transformi ng the diarrhea of failure in poetry and life to the logorrhea of Kubla Khan. A third problem with Freudian analysis is that, in general, it is more interested in the poet than in the poem and, in addition, often accords the 1816 Preface a stature at least equal to that of Kubla Khan itself. As with the source-studies examined in the previous section, Freudian readings use the poem largely as a pretext for exploring extrapoetic matters: the roads of psychological criticism customarily lead away from Xanadu into the charted and uncharted realms of the poets biography and subconscious psychosexual history. Jungian interpretationsUnlike the Freudians, who stress the psychological particularity of Kubla Khan, Jungian critics focus on the way in which the poem draws upon and perpetuates traditional images in which the age-long memoried self is repeatedly embodied. Often the results of such an approach are illuminating and useful largely because Jungian criticism, when it resists the reductivist temptation to explain away images with psychological tags, allows for ambiguities and the existence of half-seen truths. As Kathleen Raine points out in an engaging essay, Kubla Khan was written in that exaltation of wonder which invariably accompanies moments of insight into the mystery upon whose surface we live. The earliest (and still probably the best) Jungian interpretation is found in Maud Bodkins Archetypal Patterns in Poetry (1934). Her argument, in essence, is that Kublas pleasant gardens and the forbidding caverns under them correspond in some degree to the traditional ideas of Paradise and Hades: the image of the watered garden and the mountain height show some persistent affinity with the desire and imaginative enjoyment of supreme well-being, or divine bliss, while the cavern depth appears as the objectification of an imaginative fear. In Kubla Khan the heaven-hell pattern, presented as the vision of a poet inspired by the music of a mysterious maiden, evokes in the reader an organic response (through the collective unconscious) to these atavistic emotional archetypes. Subsequent Jungian critics have undertaken (with various degrees of success) to extend Bodkins thesis by developing the implications of the Edenic archetype, by invoking Platos doctrine of anamnesis or recollectio n, and by analysing Kubla Khan as a descriptive illustration of Jungs individuation process. There are, too, less respectably, some extreme Jungian (or pseudo-Jungian) interpretations: for example, Robert Fleissners catachrestic argument for Kubla Khan as an integrationist poem. The summary of criticism in the preceding pages has not, of course, exhausted the diversity of approaches to Kubla Khan. It has also been read as a landscape-poemand as a poetical day-dream; there are provocative interpretations of it as a political statement contrasting the profane power of the state with the sacred power of the poet; and there are theological readings quite important ones, in fact which explore the visionary and apocalyptic theme of fallen mans yearning to recover the lost Paradise. What, then, shall we say of Kubla Khan? that it has too much meaning, or too many meanings, or (perhaps) no meaning at all? Grammatici certant et adhuc sub iudice lis est: critics dispute, and the case is still before the courts (Horace, Ars Poetica, 78). In the circumstances, I will not presume to render a verdict, but merely to offer some advice. Literary criticism has more and more become a science of solutions. When a lurking mystery is discovered, analytical floodlights are trai ned upon it to dispel the shadows and open its dark recesses. But Kubla Khan, as Charles Lamb acutely perceived, is an owl that wont bear daylight. We must learn to take the poem on its own terms and, instead of attempting to salvage it by reducing it to a coherent substratum of symbols, we must reconcile ourselves to the fact that no single interpretation will ever resolve the complexities of so protean a product of the human imagination. Mystery and ambiguity, verisimilitude and teasing suggestiveness, are essential ingredients in Kubla Khan a poem which reflects, though darkly, Coleridges largely subconscious ruminations on poetry, paradise, and the heights and depths of his own unfathomable intellectual and spiritual being. Kubla Khan is one of those ethereal finger-pointings so prized by Keats; it is a poem that has no palpable design upon us, and it provides at least one instance of an occasion on which Coleridge did not let go by a fine isolated verisimilitude caught from th e Penetralium of mystery, from being incapable of remaining content with half knowledgePoetry Essays