Carbon cycle and climate change Essay Example | Topics and Well Written Essays - 1250 words

Carbon cycle and climate change - Essay Example Out of many other factors that cause global warming, one of the very important and significant factors is the increment of carbon dioxide gas (CO2) in the atmosphere. This paper basically includes the carbon cycle and the change in climate caused by this cycle. According to some statistics, the average annual concentration of carbon dioxide (CO2) was around 20% higher in Hawaii in the year 2010 than it was in the year 1960, and the rate of increase in its concentration in the 21st century is doubled as compared to that in 1960. Though, the ozone hole is being recovered because of the atmospheric concentrations of CFC gases. Because of these factors the average global temperature has increased up to 0.80C in the last century and this rate is increasing up to a significant figure during this era. Other than that, the global sea level, which could be and has been a great cause of natural disasters has increase at about twice as faster between 1992 to 2010 as it was in 1950 to 2000, and the Greenland ice sheet melting is also increased up to 30% in the during the year 1980 to 2010. Now let us discus something about the carbon cycle. Carbon cycle is basically the cycling and recycling of carbon between the atmosphere, the earth’s surface, and the oceans. Other than that it is also the recycling of carbon in the lithosphere as well. Though, this take spans of time. The regulation of the earth’s temperature greatly depends upon this cycle. ... So for the years ahead, regarding the climate change, the concentration of carbon dioxide is of a great concern. Here the question again arises, that what are the major factors that affect this carbon cycle. One of the factors that I would really like to mention here is the arbitrarily induced variation in the carbon and climate. The global population is also a major factor of that. Human beings and all the other living creatures inhale oxygen and exhale carbon dioxide (CO2). Thus the concentration of oxygen in the atmosphere is being reduced, and that of carbon dioxide (CO2) is increasing rapidly. The terrestrial and ocean ecosystem absorbing is even greater than half of the human carbon emissions. Let us deeply observe the connection of climate with the carbon cycle. Whenever some organic material is combusted, the products are always water and carbon dioxide gas. Nowadays the main sources of energy in the world are the fossil fuel, and the petroleum products, like petrol, diesel a nd the furnace oil. All of these things combine to result in the production of huge amount of carbon dioxide and reduction of oxygen gas when combusted in the vehicles, power houses and industries mainly. These main human activities thus result in increasing the overall temperature of the world, which is named as global warming. Basically the carbon cycle starts from these human activities, where they breath, and the fossils are burnt or combusted. Then this carbon dioxide is sent to the atmosphere, where the overall temperature is quite lower than the temperature on or near the surface of the earth. Here much of the carbon dioxide gas is absorbed, which

The Spanish Republic and the civil war 1931-1939 Essay Example for Free

The Spanish Republic and the civil war 1931-1939 Essay Tragically in 1939, after three years of bitter civil war and with the loss of around 750,000 Spanish lives, Spain fell to the rule of a Fascist dictatorship that was to last for almost four decades. The Spanish tragedy has been told and analysed by countless historians, and of these works Gabriel Jacksons The Spanish Republic and the Civil War 1931-1939 is widely referred to as the definitive liberal history of the Spanish Republic. Jackson begins with an outline of the nineteenth century monarchical and political upheavals that preceded the birth of the Spanish republic in 1931. From there, we are given a detailed account of events leading to Francos final victory in 1939 and finally a synopsis which attempts to address some of the criticisms that have been levelled at Jacksons depiction. One such criticism is that Jackson leaves a crucial part of the story untold, namely that of the struggle of workers and peasants against not just the nationalist forces, but too against the conditions of capitalism and semi-feudalism. One of Jacksons most ardent critics has been Noam Chomsky, who through his Objectivity and Liberal Scholarship has provided an excellent theoretical framework to enable a critical reading of Jackson, primarily in his depiction of events from 1936-1937. In this work Chomsky points to the subordination of liberal intelligencia, universities in particular, to the military- industrial complex, in this case the American State and big business. In other words, writers of ostensibly objective historical works become compromised by their social, economic and political ties to the prevailing ideology, leading them to interpret events with the notion in mind of the inevitability and desirability of bourgeois democracy. Alongside this, according to Zbigniew Brzezinski, the largely humanist-oriented, occasionally ideologically-minded intellectual-dissenter, who sees his role largely in terms of proffering social critiques, is rapidly being displaced either by experts and specialists, who become involved in special governmental undertakings, or by the generalists-integrators, who become in effect house-ideologies for those in power, providing overall intellectual integration for disparate actions.1 The search for objective truth then is subordinated in these instances to the subjectivity of the author/investigator and in the final instance we are given a partial and distorted view of historical events, as is the case with Jacksons work. The motivations and actions of those directly involved are written out of the story, and instead the logic of liberal scholarship gives precedence to the political leadership of the natural parties of government. As Chomsky points out, Jackson makes it abundantly clear that he is, in favour of liberal democracy, as represented by figures such as Azana, Casares Quiroga, Martinez Barrio, and other responsible national leaders. and, makes little attempt to disguise his antipathy towards the forces of popular revolution in Spain, or their goals. 2 Therefore, mass action is generally regarded as of secondary importance to the manoeuvrings of the Popular Front government, even when in practice it was often powerless. Further, when these masses threaten the natural order of capitalist production, by acts of collectivisation, expropriation, land seizure and abolition of money, they are described as, naà ¯Ã‚ ¿Ã‚ ½ve, counterproductive, ill educated, fundamentally conservative and misled. Only when these masses follow the lead and policies of the natural elite does Jackson recognise and applaud mass contribution, and Jackson fails to recognise the crucial nature of the revolutionary/counterrevolutionary period from the summer of 1936 to 1937 in which, the revolution was largely spontaneous with mass participation of anarchist and socialist industrial and agricultural workers; the counterrevolution was under communist direction3 To partly summarise Chomskys criticisms, two examples of Jacksons subjective analysis of this period are, the role of the Communist Party in Spain and collectivisation in Catalonia. Under a Moscow directive, the PCE was founded in Spain with only 800 members in 1930. This number grew to around 20,000 in 1934 while the PCE had dropped its social fascist stance regarding other left groupings, to embrace all parties of the left under the Popular Front umbrella. Stalin had concluded that international fascismposed a threat after allHis answer was the adoption during 1934/35 of a Popular Front policy for resisting fascism.4 This membership grew to over 250,000 during the first eight months of the war, 40% of this number being made up the petit bourgeoisie. The PCE, again under orders from Moscow, embraced bourgeois democracy, their only task to defend the Republic, and revolutionary action by the masses was not on Stalins agenda. In responding to a plea from help from Spains Popular Front government, Stalin was perusing what he perceived to be in the foreign policy interest of the Soviet UnionWhat Soviet aidbegan to reach Spain in October 1936, was emphatically not intended to advance the cause of social revolution in Republican Spain.5 Jackson however claims, The interrupted movement toward world revolution, as well as the security of the Soviet Union, might well be advanced by a Republican victory in Spain.6 Chomsky rightly regards Jacksons view of The Soviet Union as a nation hungry to embrace world revolution as entirely mistaken, and indeed the Soviet Union of the 1930s had come a long way from the days of the storming of the Winter Palace in the November Revolution of 1917. Russia is a totalitarian regimethe frame of mind its leaders is cynical and opportunist. To expect such men to lead a social revolution in Spain, where the wildest idealism is combined with great independence of character, was out of the question.7 Political purges and show trials in the Soviet Union in 1934-36 had seen potential political opposition to Stalin brutally removed, many being accused, as was Leon Trotsky, of having been in league with Hitler. Russia was then a country with a revolutionary past, not a revolutionary present.8 Stalins main aim in 1936 was to ward off any threat from Hitlers Germany, by allying himself with Britain and France. Accordingly, a proletarian revolution in Spain could not be allowed to succeed, bringing as it would a threat of instability to ruling classes the world over, and a shift in the balance of European power. Communist policy as regards Spain then was one of subordinating their [PCE] national policies to the USSRs supposed international interests.9 In effect this meant the defence of all legitimate middle-class authority at the expense the grass root militancy that could have helped avert the tragic outcome to Spains civil war. As one communist student of the time, critical of such policy noted, But a more revolutionary course will only frighten the democracies, people said. What nonsense! The capitalist democracies were frightened enough already by what was happening in Spain. Stalin wont agree, said others. But was that the case? Would Stalin not have had to do what he did anyway and a lot more, perhaps if we had pursued a more revolutionary course? Could he afford to be seen betraying a proletarian revolution?10 The next bone of contention, is the account Jackson gives of collectivisation. In the initial process of collectivisation, Jackson berates unions in Valencia and Barcelona for abusing their sudden authority to place the sign incautado on all manner of buildings and vehicles.11 However, as Chomsky notes, this wording belies Jacksons ignorance towards the reality of the revolutionary situation. While Jackson recognises the occurrence of ..the most profound social revolution since the fifteenth century..12, it seems that he is not inclined to recognise the actions that are an integral part of such a profound social revolution. Later, Jackson claims that in 1936, the revolutionary tide began to ebb in Cataloniaaccumulating food and supply problems, and the experience of administering villages, frontier posts, and public utilities, had rapidly shown the anarchists the unexpected complexity of modern society.13 Chomsky on the other hand points to the attack led by the Communist Party to destroy the gains made by workers and peasants without the blessing of any legitimate government force. First win the war then make the revolution, was the slogan that epitomised the drive to subordinate the revolutionary aspirations of the masses to the will of the legitimate powers. Collectivisation brought order to the chaotic situation All the parties and organisations solemnly agreed to respect the letter and the spirit of the new law; but within three months the Republican parties were systematically obstructing it; and soon afterwards the communists were sabotaging it..14 and International capitalism was determined to do everything in its power to force the failure of the collectivised Catalan economy.15 Chomsky too challenges Jacksons attitude towards and analysis of war production and distribution in collectivised areas. For example, In Catalonia, the CNT factory committees dragged their heels on war production, claiming that the government deprived them of raw materials and was favouring the bourgeoisie,16 Firstly this is in stark contrast to Jacksons charitable attitude towards production methods in fascist controlled areas, and his fairly uncritical depiction of later communist methods which involved substantially restoring a free market in essential without any apparent benefits to the war effort. Secondly, as Chomsky notes, Jackson does not substantiate his statement with fact. These two criticisms perhaps point to another instance where Jackson noticeably favours traditional capitalist production against that of the collective. In any case, evidence points to the fact that while conditions were favourable, with access to raw materials for example, collective production rivalled that elsewhere in Spain. The war industry in Catalonia had produced ten times more than the rest of Spanish industry put together and .this output could have been quadrupled as from beginning of September if Catalonia had had access to the necessary raw materials that were unobtainable in Spanish territory.17 Further, it is evident that the central government denied much needed financial assistance because of its lack of sympathy with, rather hostility towards collectivisation. Only in exchange for government control would they give financial assistance.18 Whatever accusations may be levelled at the running of the collectives, at least two points must be remembered. Firstly, in many instances, collectivisation came as the result of a huge surge from below, The revolution was like a dog shaking itself when it comes out of the water the Spanish people shaking itself free of 400 years injustice. There was nothing we militants could do but go ahead or shoot ourselves.19 Secondly, against overwhelming odds, the Catalan working class kept collectivised production going for thirty months of war.20 In conclusion, this paper has only managed to briefly capture Chomskys detailed criticism of Jackson, and to follow on from Chomsky is no easy task given his coherent, thoroughly researched critique. Chomsky highlights Jacksons apparent lack of understanding of the true nature of revolutionary struggle, which leads him to mistakenly identify the 1930s Soviet Union as a revolutionary force and to disparage the actions of mass movements lacking conventional political leadership. The first mistaken belief is, as Chomsky points out, entirely in keeping with the American Cold War mythology that has invented an international Communist conspiracy directed from Moscow to justify its own interventionist policies.21 The two beliefs together lead him to significantly underplay the destructive role played by Communist policy in Spain, which, while not wholly to blame for the Fascist victory, significantly dented the workers will to fight. Many theorists have argued that only a successful revolution could have ultimately beaten the fascists, and that an early arming of workers could have averted three years of carnage. However, We werent being armed because the Republican authorities were more frightened of the working class than off the military. (Francisco Cabrera, Communist Youth, Seville) Communist insistence on an exclusively Popular Front, petty bourgeois programme was disastrous, which ultimately undermined the fight against Fascism. The loss of the Civil War in Spain to the fascists was more than just a military defeat, as in the words of Ronald Fraser, For the objective was not only to castigate the defeated but to crush for all time working class militancy and the threat of socialist revolution, so that Spanish capitalism could prosper. Quotes 1 Chomsky, N, Objectivity and Liberal Scholarship, p30 2 Chomsky, p75 3 Chomsky, p81 4 Blinkhorn, Democracy and Civil War in Spain, p36 5 Blinkhorn, p36 6 Jackson, The Spanish Republic and the Civil War 1931-1939, p259 7 Chomsky, p84 8 Chomsky, p85 9 Fraser, Blood of Spain, p328 10 Fraser, p329 11 Jackson, p279 12 Jackson, p277 13 Jackson, p314 14 Fraser, p215 15 Fraser, p216 16 Jackson, p365 17 Chomsky, p89 18 Chomsky, p90 19 Fraser, p229 20 Fraser, p234 21 Chomsky, p86 Bibliography Jackson, G, 1965, The Spanish Republic and the Civil War 1931-1939, Princeton University Press Fraser, R, 1979, Blood of Spain, Penguin Blinkhorn, M, Democracy and Civil War in Spain Chomsky, N, Objectivity and Liberal Scholarship

Patient-Nurse Relationship: Alcohol Dependency Care

Patient-Nurse Relationship: Alcohol Dependency Care Diagnosis J.H was admitted to Unit 9 with a diagnosis of alcohol dependence causing induced mood disorder with depressive features. The diagnostic criteria outlined by the DSM-IV for substance dependence states that three or more of the following impairments must be seen in the patient, a tolerance for the specific substance, withdrawal symptoms if the substance stops being taken, persistent desire or unsuccessful efforts to cut back or control substance use, reduction or even cessation of important social, occupational, or recreational activities, and substance use in spite of knowledge of having a substance abuse problem (Austin Boyd, 2008). The etiology behind substance abuse is still being researched but the evidence suggests that there are both psychological and biological aspects to addictive personalities. It is also evident that substance abuse and dependence can lead to problems in all parts of the biopsychosocial well being. The interaction took place on unit 9 of the QEH hospital on September 24th at approximately 1530 hrs. The client and the student nurse had discussions in the pantry area of the unit as well as in the common area the conversation of focus took place in the common area. Preceding Critical Events The student nurse had met the client once before and had already started the orientation phases of the nurse-client relationship. The client was cleaning the pantry area of the unit while making himself a cup of coffee. This is when the student nurse approached the client and began a conversation which led to the discussion of focus. Phase of the Nurse-Client Relationship During the conversation of focus the student nurse and the client were in the working phase of the nurse-client relationship. They were in this phase because the client was beginning to outline areas of his illness that needed to be worked on in order to recover. Client and Nursing Partnership Goals Client Health Goals Short Term 1.) Client wants to get into an addiction center outside of PEI. The client has already tried the addiction center at Mt. Herberts and feels that the program does not work for him. This goal was identified by asking the client about the various treatments he has used in the past few years and he mentioned his application to a treatment center in Ontario. 2.) Client also wanted to go on a three hour pass that evening in order to complete some errands at his home. This goal was established after I asked the client what his plans were for the rest of the day. Long Term 1.) Client wants to gain control over his alcohol dependence by attending more AA meetings and getting the proper psychiatric treatment including medications and group work. 2.) Client wants to better his relationship with his two daughters but feels that he first needs to get control of his illness. 3.) Client wants to finalize his divorce, at the current time he is legally separated in order to complete the d ivorce the client must speak to his lawyer and finish some paperwork. Nursing Partnership Goals Short Term 1.) Establish a nurse-client relationship by defining boundaries, assuring confidentiality, and explaining the purpose of the relationship. 2.) Provide client with information regarding treatment center in Ontario. 3.) Gain enough trust with the client so that he feels comfortable to discuss his illness and his history with the student nurse. What I Observed Client was in the pantry area of the unit cleaning while making a cup of coffee. He seemed a little anxious and somewhat rushed (it was later observed that this is simply a part of the client personality.) When I entered the room J immediately greeted me saying Hello Greg, Im just making myself a cup of coffee. I like to try and do my part to keep the place clean his tone, volume, and rhythm were all within normal limits and he seemed to be in a pleasant mood. The client then said Oh, I dont clean up that often the other people here are pretty good at cleaning up after themselves I just like to keep busy. After the patient finished making his cup of coffee he moved to a couch in the common area. His mood was still pleasant and he was very talkative. After J was finished he said something that really caught my attention I know I have a problem but I only binge drink, its not like I drink all the time. Pause Well I shouldnt say that because it is bad enough to just binge drink and I ne ed to get better At this point the patient started to ask questions about me such as where I was from, what I thought of the nursing school, and a few other things. The client was now very relaxed in the couch with his feet up on the coffee table drinking his coffee. What I Thought and Felt When the client greeted me so quickly and in such a pleasant tone I felt that the nurse-client relationship was developing very well and that it was time to start the working phase of the relationship. By the way the client talked about his co-patients and the staff I could tell that he was quite comfortable on the unit. I felt that this would be a good time to start a conversation. I thought that now would be a good opportunity to ask J about what brought him to the unit and to explore his diagnosis. I felt a little nervous thinking of what to say I feared that I may be asking something to private this early in the relationship I was surprised at how easily J opened up about his history and I was slowly starting to feel more comfortable with asking questions about his illness. Again I felt that J was being very honest with me and I could sense that he trusted me as a nurse.

Essay --

â€Å"Knowledge is Power.† When people are asked what the key to success in life is, a few things come to their mind: being charismatic, being born into a wealthy family and knowing the right people, have a high paying job, or just plain luck. Although all of the above are true, the true key to success is knowledge. To have knowledge is to have options is to have power. Illiteracy is derived from the lack of knowledge or awareness from people. To eradicate the social divide and economic decline people must first be informed of the causes and effects of illiteracy to draw an affective solution. The impending threats to global infrastructure are not economic collapse, terrorism, climate changes, overpopulation, poverty, or even lack of fossil fuels; it is a deeper and simpler threat- illiteracy, (Top Ten List). The estimated cost of global economy is USD 1.19 trillion dollars. One-fifth of the world is suffering with illiteracy, which means there are more than 796 million people who unable to read or write, (Cree, Kay, and Steward). This large number can be attributed to many causes such as attitudes towards learning, geographical factors, disabilities, and gender bias, (Nayak). Problems are present in third world countries as well as first world countries. These people are â€Å"trapped in a cycle of poverty with limited opportunities for employment or income generation,† (Cree, Kay, and Steward). This cycle of poverty leads to other problems such as crime, dependence on welfare, health issues, unemployment or debt. Illiterate people earn about â€Å"30%-40% less than literate counterparts,† (Cree, Kay, and Steward). The income they make stays consistent throughout their lives. On the other hand, literate people make 2 or 3 times more than wha... ... affects economy because of lost profitability and productivity, (Cree, Kay, and Steward). Constantly having to fix mistakes and losing potential customers are an opportunity cost from having illiterate employees. The cost of finding a skilled staff to fix issues is very difficult for smaller businesses. Illiterate employees make communication harder and often miscommunicate causing internal problems. Illiteracy â€Å"costs a developed nation 2% of its GDP, an emerging economy 1.2% of GDP, and a developing country 0.5% of GDP,† (Cree, Kay, and Steward). Illiteracy limits the ability to access, comprehend, and apply health related issues thus resulting in a household with poor personal hygiene and nutrition. Illiterate people are trapped in a â€Å"cycle of poverty† and are more likely to turn to a life of crime and depend on social welfare and charity, (Cree, Kay, Steward).

William Blake’s Songs of Innocence and Songs of Experience

Trace how Flake's thought develops from his poem ‘The Lamb' and ‘The Tiger' together- â€Å"l have no name: I am but two days old. † What shall I call thee? â€Å"l happy am, Joy is my name. † Sweet Joy befall thee! † ‘ The good character as well as the bad abstractions such as virtues and vices is framed up in symbols to elaborate their suggestiveness and implications. Flake's cosmology is too large and complex to be given in brief. His symbols help to express his visions which may be obscure to a common reader.Blake says: â€Å"Allegory is addressed to the intellectual powers, while it is altogether hidden from the corporeal. Understanding is my definition of the Most Sublime Poetry. † From this it is clear that in his view poetry is concerned with something else than the phenomenal world and that the only meaner of expressing it is through what he calls ‘allegory. For Blake allegory is a system of symbols which presents events in a spiritual world. The modest Rose puts forth a thorn, The humble Sheep a threatening horn; White the Lily white shall in love delight, Nor a thorn nor a threat stain her beauty bright. † Blake imagined himself under spiritual influences. He saw various forms and heard he voices of angels, fairies, kings of the past and even God; the past and future were before him and he heard in imagination, even the awful voice which called on Adam amongst the trees of the garden. In this kind of dreaming abstraction, he lived much of his life; all his s works are stamped with it.Though this visionary aspect explains much of the mysticism and obscurity of his work, it is also the element that makes his poems singular in loveliness and beauty. It is amazing that he could thus, month after month and year after year, lay down his engraver after it had earned him his lily wages, and retire from s the battle, to his imagination where he could experience scenes of more than-earthly splendor and c reatures pure as unfasten dew. Like Sweeteners, Blake narrates things unheard and unseen; more purely a mystic than Sweeteners, he does not condescend to dialectics and scholastic divinity.Those who fancy that a dozen stony syllogisms seal up the perennial fountain of our deepest questions, will affirm that Flake's belief was an illusion, constant and self-consistent and harmonious with the world throughout the whole of a man's life, cannot differ from much reality. However, it is also important to note hat he was unlike common atheists. â€Å"Selfish Father of Men! Cruel, Jealous, selfish Fear! Can delight, Chained in night, The virgins of youth and morning bear? In the clash of creeds, it is always a comfort to remember that sects with their sectaries, orthodox or otherwise, could not intersect all, if they were not in the same plane. [My spiritual intelligence is certainly becoming confused by your words of conflicting conclusions, therefore ascending one of them; please reveal definitely that by which I may obtain the greatest benefit. ] We find in Flake's poetry many of the elements characterizing Romantic poetry. The world of imagination is the world of Eternity', says Blake.In his championship of liberty, his mysticism, naturalism, idealization of childhood, and simplicity Blake could be called a precursor of Romantic poetry in nineteenth century England. â€Å"Now enjoy†¦. Dip him in the river who loves water†¦.. The busy bee has no time for sorrow†¦.. The most sublime act is to set another before you†¦ The cistern contains: the fountain overflow†¦. † In explaining these lines we waver in interpreting the drops of tears that water the heaven as the outcome of the rage of the defeated rebelling angels or as tears of Eric.If this wrath is one of the two aspects of God, the tiger's cruelty and wildness is only superficially fearful. It can otherwise be construed as a prophetic rage. But after, all wrath and mercy unite at the same point where the ultimate reality of God is felt. There are two meaner for the achievement of the goal, the first being through the ‘innocence' of the lamb and other being through the ‘experience' of the tiger. The close of the poem gives us the clue: the daring of the creator whether God or man is the cleansing wrath of the tiger. Blake is first and foremost a poet of visions and mysticism.But of, his visions are not confined to a narrow streamline of thought about futurity alone; they take the present into consideration and unfold those aspects of contemporary society detrimental to free growth of the mental powers of man. He ridicules the artificial ethos of religion that professes a complete negation of man's sensual life and vehemently argues for a more complete life which combines the senses and the spirit. He probes beneath the surface of things and exposes the roots of social vices, the hidden sores and scars of a tradition-bound society. â€Å"Can a mot her sit and hear An infant groan, and infant fear? No, no! Ever can it be! Never, never can it be! † Flake's maxim that the human soul is made of contrary elements can be applied here also. Indistinct and imagination or the beastly and divine nature of man is necessary for a fuller life of the soul and for its progress. It is a grievous mistake to sanctify the lamb and turn an eye of defiance towards the tiger. Blake opposes such a view and gives equal prominence to sense and soul, the wild and meek aspects of human beings. â€Å"Does spring hide its Joy When buds and blossoms grow? † What holds our attention is not merely the brute's beauty but the mystery and repose behind its creation.In ‘The Lamb' the poet visualizes the holiness of the lamb and child and unifies them with Jesus Christ. It is obvious that the link that connects these figures is ‘innocence'. The harmlessness of the lamb and the purity of the heart of a child are nothing but the manifestat ion of heart nor does he act premeditatedly. The air of innocence is clearly visible on the face of all the three of them. â€Å"How sweet is the Shepherd's sweet lot! From the morn to the evening he strays; He shall follow his sheep all the day, And his tongue shall be filled with praise. †More than this element of innocence there is another thread of connection between the lamb and Christ. Christ refers to himself as the Lamb of God: â€Å"The lamb of God that take away the sin of the world. † In the Bible Christ is referred to both as a lamb and as a shepherd. In this aspect the lamb has a religious significance too. (â€Å"The whole universe is a symbol, and God is the essence behind. † ? Swami Vegetarian ?) ‘The Tiger' displays the poet's excellence in craftsmanship and descriptive skill. In the forest of experience Blake finds the bright- eyed tiger which appears to involve all the cosmic forces.The tiger has made its appearances in the ‘Prophe tic books' of Blake. The poet's reliance in the cosmic and preternatural forces is increasingly exemplified and asserted when he describes the creation and the creator of the tiger. The creator is a supernatural being and not necessarily the Christian God. The creation, according to another elucidation takes place in an extraordinary cosmic commotion. When the constellations turn round in their course there is a move from light to darkness. The pattern and method of asking questions here are quite different from those employed in ‘The Lamb'.In ‘The Tiger' the questions are put in a terrified and awe-inspired tone. It is also held that ‘The Tiger' deals with the colossal problem of evil, but in Blake evil does not exist as an abstract quality. Instead, the evil is embodied in the wrath of God. Christ, like all other Gods, has a dual duty. He punishes the sinners and offenders and loves the followers. Thus Christ or God becomes the God of both love and unkindness. Th e fire is a popular symbol of wrath. Milton and Spencer have described wrath as fire, but we are not to misapprehend Flake's use of wrath as one of the ‘deadly sins' by the miracle and morality plays.Blake finds virtue in wrath and what he describes in the righteous indignation or the wrath of a pious soul. In addition to this, if we also construe the symbolic meaning of the forest, then we can substantiate the meaning of the lines. â€Å"Tiger Tiger burning bright In the forests of the night. † The poet is struck with surprise and awe to behold the wild animal's majestic elegance and grandeur. Its symmetry is fearful and the glow of its eyes is unearthly. When the process of creation is over, â€Å"a terrible beauty is born. † The strength of the animal and its moves/ are its peculiar features.The tiger beyond its superficial tatty is a prototype of God whose harsher aspect is present n the wildness of the creature. It is a contrast and counterpart to the innoce nce of the lamb. The poet wonders: â€Å"Did he who made the Lamb make thee? † In the poem ‘The Tiger' a description of the process of creation is given, but no clarification is given about who the creator is. In the first stanza the creator is described as having wings by which he may have reached the skies to bring the fire for the luster of the wild beast.The creation of the tiger is conveyed in words and phrases which, though meaningful in their totality, do not yield any explicit elucidation of the creator. We sense the strong shoulders thrusting forward in the process of forging the body of the carnivore. The dexterity of the strokes is further conveyed in the ‘dread hand' which is gifted with unprecedented craftsmanship. If the ‘dread feet' and ‘dread hand' are applied to those of the busily engaged creator we can elicit the fact that those limbs are busy in working diligently.At the moment of achieving the perfection of his sublime creation the poem grows tense, the questions are broken in midway and the speaker's hindered gasps let out incomplete harass of exclamation. â€Å"The star floor. The watery shore. Is given thee till the break of day. † In the world of innocence even the meanest creature such as a lamb (which is low only in the eyes of human beings) is treated as having unbound divinity. Here is an exclusive unification of the three characters- Christ, child and the Lamb who constitute the Christian concept of ‘Trinity in the world of innocence. Flake's concept of God is closely aligned to his mysticism.He conceives of God as the very epitome of characteristics which man is capable of developing. If he nurtures these qualities, an can attain godliness-it merely depends on what set of qualities a man develops. A child asks a lamb if it knows its merciful creator, its feeder or the giver of its delightful and coos clothing of fleece. He also asks the lamb whether it knows who gave it its tender voice that fills the valleys with pleasant Joy and music. Quite childlike, the lines â€Å"Little lamb who made thee? Dost thou know who made thee? † are repeated, presumable with wonder in the eyes of the child. The speaker does not wait for any answer.He tells the lamb that its creator is one who is called after the name of the lamb itself. He is one who calls Himself a lamb. He is meek and mild and came on earth as a little child. The poem comes to have a meaningful pause at this juncture. The questions are asked, answers done and the child (or the poet) turns to conclude the lines in a wise hymnal vein or spiritual implication. He says: â€Å"l a child, and thou a lamb, We are called by His name:† Blake intends to suggest that the great purpose of wrath is to consume error, to annihilate those stubborn beliefs which cannot be removed by the tame â€Å"horses of instruction. It is typical of Blake to ask questions when he is overpowered by wonder ND amazement and it is effective especially in the case of this poem, where it results in an â€Å"intense improvisation†. The phrase fearful symmetry- whatever is possible in symbolic suggestions- is clearly the initial puzzle† the ‘symmetry implies an ordering hand or intelligence, the fearful' throws doubt about the benevolence of the creator. The forest of the night' is the darkness out of which the tiger looms brilliant by contrast: They also embody the doubt or confusion that surrounds the origins of the tiger.In the case of the lamb the creator â€Å"is meek and he is mild†:†He became a little hill†. In the case of the tiger creator is again like what he creates. The form that must be supplied Him is now that of the Promethean Smith working violently at the forge. The tiger is an image of the Creator: its dreaded terror must be His. â€Å"In what distant deeps or skies Burnt the fire of thin eyes? On what wings dare he aspire? What the hand dare seize the fire ? † There is scarcely any poem in Songs of Innocence and of Experience which does not have a symbolic or allegorical or allusive implication.Though these poems are rendered in the simplest possible poems is somewhat scriptural- simple and rebound at the same time. The Biblical allusions add prodigious significance to his poems when foe example, we read the ‘The Shepherd' it commemorates Christ as the Good Shepherd and reminds us that the parables are clad in pastoral elements. Without reference to the Bible the poem, ‘The Shepherd' is meaningless and insignificant. Furthermore, Blake makes use of Biblical phrases too, as we see in the poem ‘The Lamb'. Gave thee life, and bid thee feed, By the stream and o'er the mead; Gave thee clothing of delight, Softest clothing, woolly, bright: Gave thee such a tender voice, Making all the vales rejoice? † In Songs of Innocence and of Experience, Flake's symbols are not as obscure or abstruse as we find them in his other poems. In his later poems (Prophetic Books) they are rather incomprehensible. The principal symbols used by Blake have been classified by critics as innocence symbols. Many of these, of course, overlap, and among themselves weave richness into Flake's poetry. Then come home, my children, the sun is gone down, And the dews of night arise†¦ † In the first, the word ‘dews' evokes an image of harmlessness but in the second context it evokes a feeling of chill and damp. In the first there is a feeling that the eight will pass, but in the second poem the word â€Å"dew' assumes further ramifications of meaning. It implies materialism, the philosophy of experience, the indifference to spiritual truth. Knowledge of these symbolic meanings enriches our understanding of the poem. Blake gives his own interpretation to traditional symbols.The rose traditionally associated with love and modesty assumes the aura of ‘sicknesses and disease in Blake for he considered l ove to be free and honest and open in order to be good. The lily's purity assumes added depth in Flake's poetry, not because it is chaste but because it feels honestly. The sun flower's movement with the sun has deep meaning: on the one hand it represents a search for spirituality: on the other, it expresses regret for being attached to the ground. The simple vocabulary and movement of Flake's verse should not lull us into a feeling that the thought too is childish.Indeed there is a complex thread of syllogism in his poetry that gives multiple layers of meaning to his words. Sometimes this syllogism even lends obscurity to his poems because it evolves out of Flake's own system of symbols. The manner in a particular mood is a remarkable illustrated in the ‘Nurse's Songs' in Songs of Innocence and Songs of Experience occur in both poems: yet the feelings evoked because of the accompanying words are in sharp contrast. â€Å"To this day they dwell In a lonely dell. Nor fear the w olfish howl Nor the lion's growl. The world of ‘Experience' welcomes a child of sorrow, who rather than being a fiend himself is also born into a monstrous world of totems and taboos. Strange to notice, it is not actually upon the growing boy that the shadows of prison house close; on the other hand, the shadows spread on the infant at the moment of birth itself. Predictably enough, there is no scope of a ‘heaven' lying about its infancy. Its struggle begins from the very moment of its birth, it is choked from the very start of its life and it finds its only rest on its mother's breast.As a contrast to ‘Infant Joy here the child is not a ‘Joy but a fiend' and neither its mother nor the father, though it is not explicit from Flake's poem, accords a warm s welcome to him. The child hides behind the cloud. The speaker is evidently the child himself who laments against life. â€Å"But to go to school in a summer morn, Oh! It drives all Joy away Under a cruel eye outworn The little ones spend the day In sighing and dismay. † Admittedly, the poem brings out Flake's ideas on love and hints at his well-known belief that sex is not sinful.For Blake nakedness is a symbol of pure innocence and he lauds uninhabited love. The Golden Age is that in which the people have love for their fellowmen and mingle with one another freely. In the Golden Age love is not a crime but a grace and beauty signaling unbridled innocence, but in the present age the most tender sentiments are frozen by the trembling fear' coming from the cruel eyes of experience. â€Å"In every cry of every Man In every Infant's cry of fear In every voice, in every ban The mind-forged manacles I hear. Flake's vision of man in Songs of Experience, especially with reference to ‘A Divine Image' can be summed up as, The human dress is forge iron The human form is a fiery forge, The human face a furnace sealed, The human heart its hungry gorge. † The poem ‘A Divine Image' is a contrast to ‘The Divine Image' in its very title. In ‘The Divine Image', the definite article ‘The' shows the real, one and only Divine Image. In ‘A Divine Image' the indefinite article ‘A' points at a particular divine image which has a unique growth.The contrast is also visible in the two stanzas of these two poems. â€Å"For Mercy has a human heart, Pity a human face, And Love the human form divine. Love, Mercy, Pity, Peace†¦ † Can be seen as a stark contrast to the lines of ‘A Divine Image' that run as: â€Å"Cruelty has a human heart And Jealousy a human face; Terror the human form divine And Secrecy the human dress. † This is truly terrifying. His soul (the human form) is burning with frightfulness within the iron body of secrecy (the condition of deceit; his face is a furnace sealed up wherein Jealousy rages; his heart is recklessly cruel.The imagery is similar to that of ‘The Tiger', but where the Tiger had broken all bounds as a symbol of regeneration, man is here imprisoned in a ‘dress' of an iron suit, of his own forging; and all his energies burn within it, consuming him. â€Å"For I dance, And strength and breadth, And the want Of thought is death;† Blake is not merely a revolutionary thinker on man's physical or corporeal freedom; he is also one who broods over the spiritual freedom or spiritual salvation of mankind.The former point, showing Blake as a humanitarian, cans be well understood from poems such as ‘The Chimney-sweeper', ‘Holy Thursday and ‘A little Girl Lost'. In all these cases Flake's fury makes him lash out at the hypocrisy of man and the society that enslaves children to utter lifelessness. In ‘Holy Thursday Flake's sympathetic and compassionate heart shares the agony of the children and his pent up feelings are let out through an ironical comment: â€Å"Beneath them sit the aged men wise guardians of the poor, Then cheris h pity, lest you drive an angel from your door. William Blake is considered a precursor of Romantic Movement in English Literature. Romanticism laid considerable stress on the elements of imagination, tauter worship, humanitarianism, liberty, mysticism and symbolism. It differed from the outlook expounded by the preceding age of Neo classicism which promoted the notion of reason, balance and logic with regard to prose and poetry. The Romantic creed of poetry rests on recording the simple emotions of humanity in a simple diction. Recollections of childhood (nostalgia) are also a common subject of Romanticism. When the voice of children are heard on the green And whisperings are in the dale, The days of my youth rise fresh in my mind, My face turns green and pale. † But of, the flood of feelings gains more fury in the poem of the same title in Songs of Experience: â€Å"Is this a holy thing to see In a rich and fruitful land. Babes reduced to misery, Fed with cold and usurious hand? † With vehemence Blake argues for the freedom of human energy too. He deplores any religion that denies sexual and emotional life of man. Virility and vigor are divine and its free play should never be hindered. He is called by thy name, For he calls Himself a Lamb. He is meek, and He is mild; He became a little child. † Many of Flake's poems celebrate the divinity and innocence of not merely the child UT also the least harmless of creatures on earth, namely the lamb. The child asks the lamb if it knows who has created out. The child does not wait but answers his questions himself. He does so, we feel, not because the lamb cannot communicate, but because the child is so enthusiastic and eager to mention the creator and his virtues.He refers to the meekness of Christ, his glorious infancy as well as his reference to himself as a lamb. He concludes with a reference to his own and the lamb's affinity to God and thus establishes their oneness. Qualities of simplicity, innocence and divinity are extended even to the world of animals and the innocent creatures like the lamb are raised from their level of lowness in the human eye. Both the child and Christ are unified with the lamb and the three forms the Trinity on earth. â€Å"Tiger! Tiger! Burning bright In the forest of the night, What immortal hand or eye Dare frame thy fearful symmetry? In ‘The Shepherd' the Shepherd is depicted as enjoying vast freedom, and his fortune is praised. He is so fortunate that he can wander about in carefree way wherever he chooses and sing in praise of God. Not only is he always near his lambs, listening to heir innocent cries, bleats and answering bleats ,but he is never exposed to the world of ‘Experience' where he may be startled by roars of cruelty and fierceness. This is a simple pastoral poem in which liberty and freedom are praised. We are again brought to realize the affinity of lamb and innocence. Frowning, frowning night, O'er this desert br ight Let the moon arise, While I close my eyes. † The pastoral convention, which represents the occupations of shepherds in an idealized way, against an idealized country background had to face severe criticism in the eighteenth century because of its unreality. It was held that men and women were neither so Joyful nor carefree, nor so innocent, as they were represented; but according to Blake, young children do have these qualities, they live in a golden world of their own. This convention is used by Blake to give us an insight into childhood, and one ‘state of human soul'.In the poem, the poet tells us about the valley along which he goes piping and about his sudden meeting with a child. The child bids him pipe a song about a lamb- another pastoral element. The ‘pipe' is a conventional pastoral musical organ on which the shepherds play melodiously as the sheep graze. It is also worth nothing that when the child appeals to him to write down the song, the poet says â€Å"And I plucked a hollow reed, And I made a rural pen And I stained the water clear, And I wrote my happy songs Every child may Joy to hear. The phrase ‘reed', ‘rural pen' and Water clear' contributes much to the elements of pastorals or rustic innocence. In the so-called world of experience, callousness, tyranny and insincerity await the blithe new-comer and subject him to an entire transformation. The child -turned-youth experiences a curb on his spontaneous instincts, by the repelling codes of social moralities and etiquette. There is hypocrisy in full swing and there is cruelty. In this unsanitary forge, he is reshaped and bestowed with an altered outlook. He is no more the rollicking child.His fertile imagination yields to the aged atrophied intellect and mature reason. He is in fact fallen' or ‘lapsed'- fallen from his primordial abode of life. â€Å"What the hammer? What the chain? The two diverse natures- Innocence and Experience are essential for th e ultimate salvation of his soul. From experience man moves to a world of higher innocence. Blake seems to argue that Joy and peace, which man had experienced in his holding, can have solid foundations only if man has experienced and overcome the impediments and unpleasant realities which day to-day life presents.That is to say, to attain a higher innocence man must be tested by suffering and misery, physical as well as emotional; he must go through the actual experience of life. Through the state of childhood innocence is charming; it is not prefect and cannot last long. For spiritual elevation, lessons from both experience and innocence are essential. â€Å"And it bears the fruit of Deceit, Ruddy and sweet to eat: And the raven his nest has made In its thickest shade. † Flake's The Tiger blends child-like innocence with adult wisdom.The child-like innocence is revealed in the volley of questions and exclamations about the fearful symmetry of the tiger's body and the reactio ns of the stars and God to the tiger's creation. Like the innocent child the poet wonders to know who framed the tiger's body, fearful but well-proportioned: â€Å"What immortal hand or eye Could frame thy fearful symmetry? † The following volley of questions bears the stamp of child-like innocence: â€Å"Shades of the prison-house begin to close Upon the growing boy. †Like a child not contaminated by the evils of experience the poet is curious to know what instruments were used to frame the tiger's â€Å"fearful symmetry'. With the innocence of the child the poet thinks that the angels were so amazed to see the fearful tiger created that they threw down their spears and wept. He also wonders if God smiled with satisfaction to see his new creation (I. E. The tiger) – the wondering that becomes a child. Uniform spring and your day are wasted in play, And your winter and night in disguise. † With this child-like innocence is blended adult wisdom. The Tiger expresses the sadism (I. . Experience) that comes of age that becomes a man who has gone through his life. The wisdom sought to be conveyed is as follows. Man passes from innocence to experience. And for experience man has to pay a bitter price not merely in such unimportant things as comfort and peace of mind, but in the highest spiritual values. Experience debases and perverts noble desire. It destroys the state of childlike innocence and puts destructive forces in its place. It breaks the free life of imagination and substitutes a dark, cold, imprisoning fear, and the result is a deadly low to blithe human spirit.The fear and denial of life which come with experience breed hypocrisy which is as grave a sin as cruelty. To destroy these forces of experiences the benign creator assumes the role of a malignant creator. In the scheme of things the tiger is as much a necessity as the lamb. So the God who created the lamb also created tiger. In other words, is not only a God of mercy, b ut also a God of wrath, the creator of Satan and social and political cataclysms. Flake's conception of God here betrays a striking similarity with the Hondo hydrological Avatar theory. Round the laps of their mothers Many sisters and brothers, Like birds in their nest, Are ready for rest; And sport no more seen On the darkening Green. † It is indispensable that the boy who enjoyed full freedom and liberty in innocence ought to pass into experience. This is because the design of human life gives prominence to the contrariety of human nature without which there is no ‘progression'. A complete life on earth meaner the life of innocence and experience. Without experience or innocence the life cycle is incomplete and imperfect.The memos of Songs of Innocence and of Experience are based on this viewpoint of contrariety. â€Å"Why of the sheep do you not learn peace Because I don't want you to shear my fleece. † ‘The Tiger' is typically representative of the most characteristic features of ‘experience' which in the poetic context of Blake involves deep meaning. From this powerful symbol we construe that Blake was a devotee of energy which, for him, was an aspect of true divinity. In this poem the poet's irrepressible curiosity at the extraordinarily exquisite creation of God finds its vent in small broken questions.After wondering at the symmetry of its body and stripes, the luster of its eyes, the strong muscles, elegant paws and its powerful strides, the poet turns to the reaction of the creator when he beholds his own creation. The poet says that God may have smiled at the surrender of the rebelling angels at his own master craftsmanship in the creation of the tiger. The ‘stars' are the rebellious angels under Satan. When they failed to defeat God and were beaten they threw down their spears as in surrender and moaned for their defeat. It is after this event that God started creating inhabitants for the earth.So, at the time o f the defeat of the rebelling angels, God might have Just finished the creation of the awesome tiger and smiled on his hidden purpose behind all his acts. â€Å"Because I was happy upon the heath, And smiled among the winter's snow, They clothed me in the clothed of death, And taught me to sing the notes of woe. † ‘The Lamb' is the most significant poem in the section of Innocence not merely because it propounds the idea of innocence in the simplest way, but also because here we notice the poet extending the world of innocence even to the animals that re insignificant and base in the human eye.In this poem we see a child patting a lamb and asking if it knows who the giver of its life and brad is. He asks it whether it knows who has given it the silken fleece immaculate white and thin voice of its bleat. The child himself answers his questions. He defines the Almighty God as who is known after the name of his lamb who is meek and gentle. Since God descended to the earth as infant Jesus he is also called a child. The child, lamb and God are all brought to unite to form a single divine entity. The essence of the poem lies in these

Websites and the Internet essays

Websites and the Internet essays Throughout time man has constantly been trying to process and send information. Before the Internet we used mail and telephone. In order to get information about any topic people would have to travel to a library and research a lot to find things for a paper. With the Internet becoming constantly bigger the world is at your finger tips. Through Websites people find information that would take hours at a library now takes seconds. The point of a Web site is to get information to people. Web sites also provide entertainment and just plain fun. Web sites are fun to look at and make. But their history goes farther back then most people realize. Before starting to design a Web page you must know the history of Web sites, you must realize how they operate, and you must understand why you are making the site. You must know who youre making it for and what is going to go on the site. The modern day Internet evolved from a study from the U.S. Department of Defense. In 1969 the Department created a network of computers so if one failed, the information could be re-routed in case of an emergency. By 1972 this networking of computers was revealed to the public and had about fifty universities linked. At this point it was called the Advanced Research Projects Agency network. And a year later the first international computer link was made to England and Norway. In the early 90s the project was renamed the World Wide Web, then turned into a private sector. The Internet was in control of the people. In 1993 the Internet took a big boost in popularity. In 2000 it was estimated that over 100 million adults in the USA used the Internet. But even with all of this information, how does a Web site work? A Web site is a document just like a word document except a Web site has much more than a simple word document. The computer reads the Web site from a server in a computer language called HTML (Hypertext Mark U ...