Paradise Lost Essay Example

Paradise Lost Essay Satan as the Hero of Paradise Lost Satan Arousing the Rebel Angels, William Blake (1808) Leontien Kouwenhoven 1260707 Supervisor: Dr. J. R. Veenstra Second Reader: Prof. Dr. A. A. MacDonald 06-03-2009 Doctoraalscriptie Engelse Taal- en Cultuur Faculteit der Letteren Rijksuniversiteit Groningen Wordcount: 17. 325 Table of Contents 1. Introduction 1 2. Background 5 3. Satan 13 4. Hell 21 5. Sin 30 6. Conclusion 39 7. Works Cited 43 1. Introduction Can the devil be an epic hero? This seems to be the case in John Milton’s Paradise Lost, the great epic from the English Renaissance. Milton’s Satan is brave, resourceful and powerful and an excellent leader as well. When reading the work, after a few pages, the reader may indeed get the impression that Satan is an epic hero. However, this idea does not last for long; when one reaches Book III, the favourable image of Satan as a heroic freedom fighter deteriorates and in the end he is transformed into a beast. Milton’s description of Satan stands in a long tradition of representations of the devil in European literature. One of the greatest earlier works that gives us an image of the devil is Dante’s La Divina Commedia, also a work of epic proportion. We will write a custom essay sample on Paradise Lost specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Paradise Lost specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Paradise Lost specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Dante’s Commedia will be used in this essay as a contrast to Milton’s epic: Dante’s Devil seems to be the complete opposite of Milton’s Satan. He is motionless, frozen in ice and represents a passive evil. This essay will try to answer the question whether or not the devil can be an epic hero. And if not, whether or not he can be another kind of hero? The descriptions of the devil in Dante and Milton are strongly influenced by their respective world views. Milton’s Renaissance perspective is different form Dante’s medieval outlook. Satan’s heroic status owes a lot to the Renaissance world view. With the books and articles written on Paradise Lost and La Divina Commedia, one could fill a library. However, some articles and books have been very useful in writing this essay. To give some examples, John Steadman has written many articles on John Milton and Paradise Lost, of which â€Å"The Idea of Satan as the Hero of Paradise Lost† and â€Å"Milton and St. Basil: The Genesis of Sin and Death† and â€Å"Milton and Mazzoni: the Genre of the Divina Commedia† have been particularly relevant. A book which gives an excellent insight in the medieval world view is C. S. Lewis’ The Discarded Image, which is very suitable in obtaining background information on both La Divina Commedia and Paradise Lost. Another work which provides relevant information on the history of the devil is Jeffrey Burton Russel’s Lucifer: The Devil in the Middle Ages, which gives an elaborate analysis of the position of the devil in society and literature. Singleton’s translation of Dante’s La Divina Commedia is used throughout this paper1. The translation is very good, but more importantly, Singleton added extensive notes and commentaries in separate volumes. In finding out what kind of hero Satan might be, Peter Thorslev’s The Byronic Hero has been most helpful. 1 Alighieri, Dante. The Divine Comedy: Inferno 1. Trans. Charles S. Singleton. New Jersey: Princeton: University Press, 1970. English translations of Italian quotes from La Divina Commedia have been taken from Singleton’s translation. The second chapter of this essay will provide background information on John Milton and his Paradise Lost and Dante and his La Divina Commedia. Both works can be regarded as epics and this chapter will give information on epics in general, the epic in the Renaissance and on the epic hero. Also, this chapter will discuss the epic conventions which can be found in both La Divina Commedia and Paradise Lost. Furthermore, some attention will be given to the authors themselves and their works. If Paradise Lost is an epic, then the work should contain an epic hero. The most likely character to be the hero would be Satan. This third chapter will analyse whether or not Satan can be the epic hero of Milton’s work. Romantic critics such as William Blake and Lord Byron argue that Satan is indeed the hero of the work, especially when taking into consideration books I and II of Paradise Lost. There were also critics, nowadays referred to as Anti-Satanists, who disagree with this. They generally find Satan’s speeches pompous and ridiculous and his behaviour despicable. Furthermore, these critics also take into consideration what happens to Satan after books I and II, in which Satan’s ethical and moral decline becomes apparent: as the story advances he experiences a strong regression and all his seemingly heroic traits are reduced to nothing. In establishing the heroic status of Satan, three separate elements will be analysed. The first one is Satan’s actions; the second is his appearance, and, thirdly, Satan’s character will be given attention. In Paradise Lost, Satan has a complex character, worthy of a hero. One thing that these three elements have in common is that in the beginning of Paradise Lost, they are described as being heroic: Satan’s courageous actions, his splendid exterior and brave character. However, as the story progresses, Satan loses his heroic qualities. He tricks Adam and Eve into their Fall, a non-heroic action. Furthermore, he realises that Hell is inside him and is part of his being, which shows a digression of his character. And finally, he turns into a snake, losing his former angelic appearance. Contrastingly, Dante’s Satan has no heroic qualities at all. He is an ugly brute, not able to move. He is a passive devil, as opposed to the active and well-established Satan in Paradise Lost. Dante’s Lucifer does not need many qualities attributed to him, heroic or otherwise. His role in the plot of La Divina Commedia is very limited: he is nothing more than a mere negation of God. The fourth chapter deals with Hell, since the greater part of Satan’s heroic behaviour in Paradise Lost takes place in Hell. It is not unusual for an epic hero to be placed in Hell or the underworld: the Aeneid and the Odyssey are famous works that refer to the underworld as well. However, these classical epics are not set entirely in Hades: only part of the tale is about the journey of the hero into the Underworld. Contrastingly, Satan travels out of Hell and returns to it during the poem and it forms the basis of the journey, as opposed to Aeneas and Odysseus, who have Earth as their basis. Milton’s Hell lacks order, which provides Satan with the freedom to manifest himself as leader and organiser. Hell in Paradise Lost gives Satan the opportunity to be a hero: the chains on the fiery lake are too weak to hold him and he can travel straight out of Hell without many obstacles. This lack of order in Hell stands in shrill contrast to the order of Heaven: Satan and the fallen angels have disrupted that natural order, so that now they are forced to dwell in a place where nature seems to make no sense and is chaotic. Contrastingly, the location of the devil in Dante’s Hell is very precise: he is located in the deepest pit. He is frozen in ice and not able to move. Whereas Milton’s Hell facilitates Satan’s active movement, Dante’s Hell does not provide this opportunity. The universe of Milton is very loosely structured: Heaven is above and Hell below, separated by Chaos, with Earth hanging down from Heaven by a golden chain. Later on in the poem, a bridge is created by Satan which links Earth to Hell. But when it comes to describing where precisely Hell is located and what it looks like, Milton explains this in a manner which does not reveal much about distances and dimensions. Hell is described as a â€Å"bottomless perdition† (I. 47)2 or the â€Å"vast and boundless Deep† (I. 47). Hell seems to have no borders, it is infinitely large. Yet it does have walls and gates: â€Å"Our prison strong, this huge convex of Fire, / Outrageous to devour, immures us round / Ninefold, and gates of burning Adamant / Barr’d over us prohibit all egress† (II. 434-437). This forms a contrast to Dante’s Hell , which is very ordered and consists of nine concentric circles. In every circle of Hell, Dante meets the souls that are allocated to their respective circle to undergo their eternal punishment. The fifth chapter of this essay will investigate the role of sin in Paradise Lost and La Divina Commedia. In Paradise Lost, Satan’s heroic deeds are actually rooted in sin and the sins that Satan commits make him lose his heroic status. Although Satan’s deeds may be labelled heroic when looking at books I and II, his motives are impure. The most important of these underlying motives are the sins of pride, envy and wrath. It was the sin of pride that led Satan into rebelling against God, thus causing the war in Heaven: Pride forms the beginning of Satan’s ‘heroic’ adventure. However, envy also plays a large role: Satan is envious of Christ as well as Adam and Eve. Quotations of Paradise Lost have been taken from: Milton, John. Paradise Lost. Ed. Christopher Ricks. 1968. London: Penguin Group, 1989. Dante uses the order of the seven deadly sins of pride, envy, lust, gluttony, greed, sloth and wrath to structure his Inferno. He keeps a strict order in his Hell, this is because sin disrupts the divine order and those who have sinned have caused chaos in this order. Dante distributes the punishment for the seven deadly sins very neatly over concentric circles, with a systematic increase in wickedness. The souls of the damned are subjected to this order and are allocated according to their sins. Contrastingly, Milton does not follow this medieval list of seven sins. A very relevant reference to sins is the allegory of Satan, Sin and Death as an incestuous family. Satan has a daughter called Sin and together they have a son: Death. Sin is Satan’s first child, and she is brought into the world thanks to Satan’s disobedience to God. The fact that Satan and his daughter Sin have a child called Death, makes death the inevitable consequence of sin. Although Milton perhaps did not intentionally incorporate the seven deadly sins in his work and although pride, envy and wrath are the most important sins of the work, the other four sins of lust, gluttony, greed and sloth can also be found in the poem and will also receive attention in this chapter. Additionally, some attention will be given to another well-known account of sin and Hell from the Romantic period, namely William Blake’s The Marriage of Heaven and Hell. The analyses made in the chapters mentioned above will make it possible to answer the question whether or not Satan can be an epic hero. And if he is not an epic hero, can he be regarded as another kind of hero? It is interesting that throughout the centuries, many scholars have shared the opinion that Satan is indeed the hero of the work, while others have strongly opposed this view. This concluding chapter will investigate further how these two opposing views came into existence and will try to give an answer to the question. 2. Background This chapter will provide background information on John Milton’s Paradise Lost (1667) and Dante Alighieri’s La Divina Commedia (1321). Both works are epics and are widely considered to be masterpieces that are still read today. This chapter will give some general information on epics, as well as the epic in the Renaissance period and why La Divina Commedia and Paradise Lost can be considered as epics. Furthermore, attention will be given to the epic hero. However, first of all we must focus on the authors themselves and their works. It seems likely that Milton when writing his Paradise Lost, was inspired not only by Dante’s vision of Hell, but also by Classical literature. Milton had an exceptionally great knowledge of La Divina Commedia. David Masson states in his Life of Milton, that Milton ‘must have known this great poem better than any other Englishman alive’ and remarks that Milton read the Commedia ‘attentively and reverently. ’ Milton studied the Italian language and during his Cambridge years he widely read in Dante, Petrarch, and other Italian poets. In a letter to Benedett o Buonmattei, the leading Dante-expert of the day, he writes of the depth of his study of Italian literature, especially the works of Petrarch and Dante. Milton even provides an English poetic translation of a few lines from the Inferno in his work Of Reformation. This information and the many similarities between the two works may indicate that Milton was inspired to use the genre of the epic for his work, as applied by Dante and by classical authors before him. Dante finished his Commedia in 1321 and he is considered to be one of the greatest poets of all times. His La Divina Commedia can be regarded as one of the works of art that initiate the beginning of the Renaissance in Italy. 5 The story tells of the character Dante, who travels through the afterlife. The work consists of three different parts, containing Dante’s journey through Hell, Purgatory and Heaven. The work had quite an impact and it had a wide range of audiences: students read it in grammar school and the work was discussed in the marketplace and even in church. One of the main reasons for this impact is probably the fact that is was written in the vernacular as opposed to many works written in Latin. 6 It was 3 Butler, George F. Giants and Fallen Angels in Dante and Milton: The Commedia and the Gigantomachy in Paradise Lost. Modern Philology. 95. 3 (1998): p. 352. 4 Butler, George F. The Fall of Tydeus and the Failure of Satan: Statius Thebaid, Dantes Commedia, and Miltons Paradise Lost. Comparative Literature Studies. 3. 1-2 (2006): p. 143. 5 Lewis, R. W. B. Dante: a Life. London: Phoenix, 2002: p. 15. 6 Parker, Deborah. Commentary and Ideology: Dante in the Renaissance. Durham: Duke University Press, 1993: pp. 28-31. Boccacio who added the word Divina to the title of the work, stressing the divine meaning it contains. In literature, an epic is a grand narrative poem in maje stic style about the exploits and adventures of a superhuman hero engaged in a quest or some serious endeavour. The hero is distinguished above all others by his strength and courage. The subject-matter of epic includes myth, legend, history, and folk tale. Battles and perilous journeys play a large part, as do gods, the supernatural, and magic; scenes are often set in the Underworld or in Heaven. Certain formal features are conspicuous: the narrator vouches for the truth of his story; there are invocations, elaborate greetings, long speeches, detailed similes, digressions, and the frequent repetition of elements typical of an epic. 7 There is a standard distinction between traditional and literary epics. Traditional epics are works such as the Iliad and the Odyssey, while literary epics were composed in deliberate imitation of the traditional form. Literary epics do not necessarily have to contain all of the epic conventions as the ones mentioned above, as long as it manifests the epic spirit and grandeur in the scale, the scope and the human importance of their subjects. 8 So, works do not have to comply to all the epic conventions in order to be called an epic. It is not difficult to apply the label of an epic to Paradise Lost, since it contains many epic conventions. La Divina Commedia may not contain an epic hero or lengthy descriptions of battles, but it does contain many epic features, such as the epic spirit and grandeur of the scale of the narrative. Furthermore, the subject of the redemption of the human soul is certainly of profound human interest. The Renaissance period shows the revival of art and literature under the influence of classical models, and many literary epics were written in this period, of which La Divina Commedia and Paradise Lost are certainly the most impressive ones. Milton’s Paradise Lost is generally looked upon as the main work of the English Renaissance. The Renaissance is believed to have originated in Florence in the fourteenth century, where there was a revival of interest in classical antiquity. Important figures of that era were Dante, Petrarch and Boccaccio, but also painters like Giotto. The period from the end of the fifteenth century has become known as the High Renaissance, when several Italian cities began to rival Florence’s leading position. Renaissance thinking spread from the early 7 â€Å"epic†, in: The Concise Oxford Companion to Classical Literature, ed. M. C. Howatson and Ian Chilvers, (Oxford University Press, 1996). Oxford Reference Online. Oxford University Press. See: www. oxfordreference. com, (16 January 2009). 8 Abrams, M. H. Glossary of Literary Terms. 1971. Fort Worth: Harcourt Brace College Publishers, 1999: pp. 77-78. sixteenth century onwards. 9 This influence and revival of classical culture, art and literature is represented in both Paradise Lost and La Divina Commedia, notably in the framework of the setting of the underworld, which is a common literary motif of classical epic literature. Other famous literary examples with the same motif are Hercules’ journey into the underworld to capture Cerberus, Orpheus’ descent into Hades to retrieve his wife, after she had died because of a snake-bite, or Virgil’s Aeneid, in which Aeneas travels into the underworld to meet his father. Inspired by stories such as these, Dante and later Milton wrote their epic poems. Milton had the intention of writing an epic poem on an exalted subject decades before he started writing Paradise Lost in 1658. In his At a vacation Exercise in the College (1628), he already mentioned that he wanted to devote himself to â€Å"singing in the manner of Homer† and he envisioned writing a poem concerning â€Å"wars and heaven under Jupiter†. Notes and drafts from around 1640 contain four drafts of projections of the Fall of man, one of them called Paradise Lost and another Adam unparadiz’d. Milton spent almost twenty years writing controversial prose and political pamphlets and he was a strong supporter of liberty of conscience, human choice and free will, themes also recurring in Paradise Lost. 10 The story itself tells of the fall from heaven of Satan and the other angels who rebelled against God. Milton’s work shows many influences of the Classics and can be classified as an epic. The epic poem Paradise Lost was originally published in ten books, but from 1674 onwards the work consisted of twelve books after the Virgilian model, by splitting books seven and ten. Paradise Lost is the poem Milton is still famous for today. 11 Paradise Lost is seen by many scholars to be one of the most sublime products of the Renaissance and especially as the great epic of that age. 12 Two very important epic conventions which can be found in both the works of Milton and Dante, are the recapitulation of the past and prophecy of the future. 13 In Paradise Lost, the recapitulation of the past takes place in book V where Raphael tells Adam the story of the war in heaven and the Fall of Satan and the other angels. The epic convention of the prophecy can be found in books 11 and 12, where Michael reveals to Adam the future of his descendants. He tells Adam about the Flood: 9 â€Å"Renaissance†, in: The Oxford Reference Online. A Dictionary of Phrase and Fable, ed. Elizabeth Knowles, ( Oxford University Press, 2006). Oxford Reference Online. Oxford University Press. See: www. oxfordreference. com, (16 January 2009). 10 Loewenstijn, David. Milton, Paradise Lost. A Student Guide. 2nd ed. Cambridge: Cambridge University Press, 2004: pp. 10-14. 11 The Norton Anthology of English Literature. 7th ed. Vol 1. Ed. M. H. Abrams. New York: W. W. Norton Company, 2000: p. 1816. 12 Loewenstijn, David. Milton, Paradise Lost. A Student Guide. 2nd ed. Cambridge: Cambridge University Press, 2004: p. 16. 13 Bush, Douglas. â€Å"Virgil and Milton†. The Classical Journal. 17. 5 (1952): p. 180. †¦Till God at last Wearied with their iniquities, withdraw His presence from among them, and avert His holy eyes (XII. 106-109) Michael also talks about the journey of the Hebrews: Till by two brethren (those two brethren call Moses and Aaron) sent God to claim His people from enthrallment, they return With glory and spoil back to their promis’d Land (XII. 169-172) These Biblical events that Milton mentions here, have not yet happened, but cast a look into the future. There are many other epic conventions to be found in Paradise Lost. To begin with, the work has a beginning in medias res; the work begins when Satan and the other angels that rebelled against God have already fallen: â€Å" the Poem hastes into the midst of things, presenting Satan with his Angels now fallen into Hell† (I. Argument). Secondly, Milton uses the classical notion of the invocation of the Muse: â€Å"Sing Heaven’ly Muse† (I. 6). Another important epic convention is the elaborate descriptions of battles. We find this in Paradise Lost when Michael tells Adam the story of the War in Heaven: â€Å" when all the Plain / Cover’d with thick embattled Squadrons bright, / Chariots and flaming Arms, and fiery steeds / Reflecting blaze on blaze† (VI. 15-18). Milton has also incorporated epic catalogues, an example of which can be found in Book I, where there is a lengthy description of the angels that fell together with Satan into Hell: â€Å"First Moloch † (I. 392). Furthermore, the notion of supernatural intervention occurs when Christ offers to sacrifice himself for mankind. Paradise Lost contains many epic similes, for example: Angel forms, who lay intranc’t Thick as Autumnal Leaves that strow the Brooks In Vallombrosa, where th’Etrurian shades High overarch’t embow’r; or scatter’d sedge Afloat, when with fierce Winds Orion arm’d Hath vext the Red-Sea Coats, whose waves o’erthrew Busiris and his Memphian Chivalry, While with perfidious hatred they pursu’d The Sojourners of Goshen, who beheld From the safe shore their floating Carcasses And broken Chariot Wheels (I. 301-311) The last significant epic convention to be found in Paradise Lost is the descent into the underworld. Like in Milton’s Paradise Lost, there are many examples of epic conventions to be found in Dante’s La Divina Commedia. The most obvious one is the epic convention of the descent into the underworld: just as in the Aeneid, Dante’s hell consists of circles separated by geographical boundaries. 14 However, there are many more epic conventions Dante makes use of. One of them is the beginning in medias res: â€Å"Nel mezzo del cammin di nostra vita / mi ritrovai per una selva oscura† [Midway in the journey of our life I found myself in a dark wood] (Inferno I. -2). Dante also invokes the muse, as is often done in classical epics: â€Å"O Muse, o alto ingegno, or m’aiutate; / O mente che scrivesti cio ch’io vidi, / Qui si parra la tua nobilitate† [O Muses, O high genius, help me now! O memory that wrote down what I saw, here shall your worthiness appear! ] (Inferno II. 7-9). Furthermore, the work contains three events which can be classified as supernatural interventions. The first one is the moment when Dante encounters three animals on his way: a she-wolf, a leopardess and a lion, hich form an allegory of the temptations of Sin. The second intervention is when Dante meets Virgil, who is to be his guide: â€Å"Mentre ch’i’ rovinava in basso loco, / dinanzi a li occhi mi si fu offerto / Chi per lungo silenzio parea fioco† [While I was ruining down to the depth there appeared before me one who seemed faint through long silence] (Inferno I. 61-63). However, the most important intervention is that of Beatrice: â€Å"Io son Beatrice, che ti faccio andare; / vegno del loco ove tornar disio; / amor mosse che mi fa parlare. † [I am Beatrice who sent you. I come from a place to which I long to return. Love moved me and makes me speak. ] (Inferno II. 70-72). Beatrice is sent to help Dante when he strays from the right path in his life and she wants him to learn the knowledge he needs in order to redeem himself. Beatrice tells Dante that when she was still alive, she was his inspiration and this inspiration kept him on the straight and narrow path of a good Christian life: Quando di carne a spirto era salita E bellezza e virtu cresciuta mera, Fu io a lui men cara e men gradita; 14 Feldherr, Andrew. Putting Dido on the Map: Genre and Geography in Vergil’sUnderworld†. Arethusa. 32. 1 (1999): p. 90. E volse i passi suoi per via non vera, Imagini di ben seguendo false, Che nulla promession rendono intera. [When from the flesh I ascend And beauty and virtue in me increased I was to him less dear and delightful; And into ways untrue he turned his steps, Pursuing false images of good That never any promises fulfil] (Purgatory XXX. 127-132) Beatrice’s death signified the moment that Dante’s life started to go downhill and now she is chosen to turn his life in the right direction once gain, as she had done in life. He was tempted by sin and Beatrice offers Dante a chance to purify and save his soul. Dante’s work contains many elaborate epic similes, an example of which can be found in the description of some damned souls: â€Å"Come le rane innanzi al la nimica / Biscia per l’acqua si dileguan tutte, / Fin ch’a la terra ciascuna s’abbiaca† [As the frogs before their enemy the snakes all vanish through the water, till each cocks itself on the bottom] (Inferno IX. 76-78). Dante also makes use of the epic notion of catalogues. Especially in Canto IV, when Dante and Virgil are in Limbo, we see many of these epic lists: â€Å"Quelli e Omero, poeta sovrano; / L’altro e Orazio satiro che vene; / Ovido e ‘l terzo, e l’ultimo Lucano† [He is Homer, sovereign poet; next is Horace, satirist; Ovid comes third, and Lucan last. ] (Inferno IV. 88-90). All the characters named in this and the other catalogues, are names from the classical period, and hence proper to the epic genre. As well as Milton, Dante’s work casts a look into the future, which is an important epic convention. We find this in Dante’s conversation with Caccio, a Florentine punished in the Inferno. Caccio tells Dante about the future of Florence and the victory of Dante’s adversaries. Dante is able to make these kinds of references to the future, since the story is set in late March of the year 1300, but actually written between 1308 and 1321. Caccio tells Dante: â€Å"Dopo lunga tencione / Verranno al sangue, e la parte selvaggia / Caccera l’altra con molta offesine† [After long contention they will come to blood, and the rustic party will drive out the other with much offence] (Inferno VI. 64-66). He refers here to the May day festivities of 1300, where there was bloodshed between two Guelph factions, the Bianchi and the Neri. In June 1301, the Bianchi gained political control of Florence and banished the Neri from the city. 15 Caccio tells Dante more about this particular situation: â€Å"Poi appresso convien che questa caggia / infra tre soli, e che l’altra sormonti / Con la forza di tal che teste piaggia. † [Then, through the power of one who presently is temporizing, that party is destined to fall within three years, and the other to prevail] (VI. 67-69). Caccio here refers to the fact that the exiled Neri turned to Pope Boniface VIII for help and they managed to regain control of Florence and passed severe sentences against over six hundred Bianchi. Caccio predicts these events to happen within three years. 16 By deliberately setting the story in the past, Dante is able to incorporate such prophesies into the story. It is striking that Dante chooses Virgil, one of the most famous classical authors, to be his guide. Virgil has written a work containing a journey into the underworld as well. In his Aeneid, Virgil tells the story of Aeneas descending into the underworld. The fact that Virgil has already written about such a journey and therefore knows the way makes him the perfect guide. Another possible reason for choosing Virgil is the great admiration that the author Dante has for the poet, which he refers to when they first meet in Canto I: â€Å"Tu se’ lo mio maestro e il mio autore: / Tu se’ solo colui da cui io tolsi / Lo bello stile che m’ha fatto onore. † [You are my master and my author. You alone are he from whom I took the fair style that has done me honor. ] (Inferno I. 85-87). It is clear that La Divina Commedia belongs to the epic genre. However, the one thing that the work is missing, is an epic hero. Dante might be considered to be its hero, but he does not display much heroic behaviour. His main task in the work seems to be describing what he sees as an observer: to keep a traveller’s journal as it were. In the sixteenth century, this lack of a hero caused scepticism in regarding the work as an epic. Others hailed Dante as the best heroic poet, even surpassing Homer. However, as we have seen in this chapter, there are so many ways in which La Divina Commedia can be described as an epic, that scholars nowadays see the work as belonging to this genre. 17 There are two important qualities that enable Milton’s Satan to act as the epic hero of Paradise Lost: freedom and free will. In Milton’s day and age, individualism and liberty became important issues. The notion of freedom and equality often recurs in Paradise Lost, and in most instances this can be linked to Satan. Satan can be described as a free spirit and there seem to be no boundaries to his freedom; even the boundaries of Hell are hardly any 15 Alighieri, Dante. The Divine Comedy: Inferno 2 commentary. Trans. Charles S. Singleton. New Jersey: Princeton University Press, 1970: pp. 101-102. 16 Alighieri, Dante. The Divine Comedy: Inferno 2 commentary. Trans. Charles S. Singleton. New Jersey: Princeton University Press, 1970: p. 02. 17 Steadman, John. â€Å"Milton and Mazzoni: the Genre of the Divina Commedia†. The Huntington Library Quarterly. 23. 2 (1960): p. 108. restriction for him. But most of all, it is this notion of a new sort of freedom which enables Satan to become the hero of Paradise Lost: â€Å"Here at least / we shall be free† (I. 258-9). For Satan this means that he i s able to start his rebellion in Heaven and it gives him the opportunity to start his quest to cause the Fall of Adam and Eve. The theme of free will is also important. We see that in Paradise Lost, Adam and Eve are meant to make mainly good choices. Contrastingly, free will makes that Satan is only able to make bad choices. When taking into consideration only books I and II of the work, what we see is a rebel who fought for freedom: for himself and his peers. However, as the story continues, this heroic status of Satan becomes less likely. This chapter has shown that both La Divina Commedia and Paradise Lost can be regarded as belonging to the epic genre. Since Milton chose the epic as the structure to tell the tale of the War in Heaven and the Fall of Adam and Eve, one can validly bestow the title of ‘hero’ on Milton’s Satan. 8 However, this view is certainly not shared by all critics: Satan is by no means universally regarded as the hero of Paradise Lost. There is no easy answer to the question as to whether or not Satan deserves that title. 18 Steadman, John. â€Å"The Idea of Satan as the Hero of ‘Paradise Lost’. † Proceedings of the American Philosophical Society. 120. 4 (1976): p. 22 5. 3. Satan Both La Divina Commedia and Paradise Lost are widel

Preparing For Your AP English Sample Essay

Preparing For Your AP English Sample EssayIf you're taking the AP English test, you'll have to prepare for your Pa School sample essay. Most high schools don't require that you write a comprehensive essay, but many do expect you to get a full account of yourself and tell a story from start to finish. Let's go over the requirements for a high school essay.First, you will need to choose a particular topic that you feel is relevant to your education. While this may sound easy, it's actually harder than it sounds. If you don't know the subject matter, how do you even begin? The best way to choose a topic is to look at what has been mentioned in recent school-related news or books, as well as browse on-line discussion boards.Part of the difficulty lies in the fact that no two students are alike. Some are better writers than others, and some will be more satisfied with a carefully worded essay that others will have a hard time writing. No one's perfect, and neither are the people who make essays for high school students.The second step is to research the different formats for sample essays. You'll find them in all kinds of media - print, online, and even on the internet. The formats vary, but they are all designed to encourage you to include the best information possible. Many include a theme, or theme letter, and this will give you an idea of how much you can expect to write.Most of the time, the writer will be asked to write a brief, five-page letter that includes a story that's given specific instructions on how to write. Then, the teacher will critique your work. This will help you determine what parts of your work need improvement. As you finish, you should have a rough draft that you can revise from time to time.Your first draft of a high school essay should be fairly straightforward. Many writers try to be too long, with too many ideas. Also, they may end up being too technical. Both of these problems will show up in your final draft.Some writers have trouble coming up with the proper structure, which is important because of how difficult it is to tell whether one should use an outline or not. You should begin with a general premise, but a list of instructions about what you're going to say is a good way to get the ball rolling. You'll also want to think about what details you need to add.To prepare for your Pa School sample essay, you should begin by writing a series of short paragraphs that involve your personal experience in the most detailed way possible. Another idea is to use examples from a range of subjects, such as history, literature, or sports. The idea is to bring your experience to life, so any examples need to be as close to reality as possible.

The Concept of Design Icons

The Concept of Design Icons Abstract The concept of design has evolved along the same lines as human civilization. Perhaps this is the paramount aspect that has contributed to the evolution of design both as utilitarian and functional concept. Equally, the very dynamics of design is thus correlated to environment this is testified by the diverse artistic designs that have been created imitating biological concepts.Advertising We will write a custom essay sample on The Concept of Design Icons specifically for you for only $16.05 $11/page Learn More Hence, the emergence of modernism makes the concept of design more simplified and more functional. By attempting to examine the evolution of designs it becomes apparent that design icons are a product of human creation. The plethora of designs as well as architectural values is thus produced. The ancient artifacts demonstrate that styles, designs as well as decorative motifs forms a crucial part of design evolution. Design icons Design icons are in essence representation of style, fashion or objects, imperative not only for aesthetic objectives but as a component of visual identity. This includes utilitarian objectives as well for they act as shorthand tool of sending the meaning or identity to the users. The manner the design icons have evolved captures countless analogies concerning the evolution of diverse organisms as well as human generation of artifacts, in particular buildings. The way designs have over the time developed provides a priceless insight into the evolution of design icons. These developments are profoundly apparent in diverse social aspects especially in architectural including design concepts. Exploring the dynamics of human production in regard to artifacts it would be essential to argue that design icons have evolved from a biological perspective (Wohl 1999). From the ancients times designers have demonstrated that they looked for inspiration from natural features. This has resulted in the creatio n of design icons generated as replica of diverse natural forms either be it a plant or an animal. This illustrates why the pre-modernist designers sought to create features that were almost analogous with the aspects of growth as well as evolution of diverse designs. In essence, the design icons have evolved from the biological perspective. However, in scope of presentation the common approach relied on static emphasis on finished icons which illuminated the completed designs. Therefore, with the years diverse methods were developed in order to establish refined design icons.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Though, there were diverse approaches of enhancing the scope of design icons, their evolution touches on such aspects as religious figures, nature and ethnic aspects (Kumar, et al 2004). The diverse designs witnessed all over the world testify to this. Therefore, fr om religious perspective to ethnic approach design icons evolved gradually presenting insight into the community’s innate relationship with the nature. Despite the existing theoretical frameworks existing today, the cultural and technological aspects have continued to impact on designs. Therefore, the manner designs have continued to change can be attributed to historical evolution of designs. While in academic disciplines the evolution of designs is correlated to economic and technological history. Hence, the scope of architecture provides a profound explanation concerning the evolution of design icons. Exploring the typical aspects apparent in the existing assumptions on design the essential elements pertaining to design evolution lays its significance to the society. As is today the design icons have evolved due to the innate aspects of social changes in taste, focus as well as ethnic and environmental influences. Consider that such aspects as cultural influences which inc lude economic and ethnic influences have played a considerable role in reshaping the design models. From environmental perspective researchers have established design icons to be key features that have contributed to the growth of architecture. Therefore, the manner the aspects of design icons have developed illuminates the development of diverse artifacts that defines our tastes and social preferences in both clothing and architecture. It is thus imperative to argue that the current theoretical premises in regard to development of designs are rooted in the ancient aspects of design. Hence, from the scope of aesthetic, moral and cultural context the evolution of design added value to the society. Eventually, such aspects go beyond scientific research in understanding how the ancient designers embraced and propagated designs. Hence, the growth of architectural design has witnessed the development and evolution of design concepts. By evaluating the fundamental questions regarding desi gn concepts we find that the evolution of design icons was fundamental to the growth of diverse design concepts. Though it has taken a considerable period to establish the genesis of design icons but exploring the modern aspects of designs we find the analogy steps back during the ancient period.Advertising We will write a custom essay sample on The Concept of Design Icons specifically for you for only $16.05 $11/page Learn More Under the scope of empirical analysis as well as theoretical investigations the scope of design icons is shown to have been rooted in the ancient traditions. These traditions rotated around the scope of architecture, cultural identity as well as religious context. Therefore, designs or design icons being objects of human creation illustrated the manner the design evolution withstood the times and established itself as core aspect of human civilization. From the scope of utilitarianism we find that designs have continued to grow with time attaining more profound meaning, more so, becoming visual aspects of identity. Hence, as archeologists have established it is through designs that diverse social artifacts are identified. Design icons can be said to have evolved due to diverse social or cultural assimilation with the nature resulting in the scope of human imitating the diverse forms of design presented by the environment. Therefore, from a biological standpoint the creation of artifacts and the presentation of architectural designs explain the innate evolution of designs. Through architecture one can easily identify a particular mood concerning a specific historical period. Through the integration of architecture with the development of design we are in a position to understand the way designs evolved. This is due to the fact that from social to ethnic viewpoint architectures are more involving in regard to designs presentations. The manner the design icons have continued to develop equally relates to diverse geometrical concepts within the ancient and existing geometrical designs. Therefore the critical assessment of design evolutions shows that it is from the growth of cultures that designs flourished. As a 17th century, for instance, the impacts of designs were being experienced and executed in diverse architectural tastes all over the world. Therefore, looking the development of designs from the social context, biological considerations must be also be given a greater consideration. This is due to the fact that design icons reflected the manner designs were presented and employed to communicate. Hence the dynamics of design wholeness, integration, coherence, and correlation became the epitome of design development (Goldthwaite 2000). More so, with the time they evolved to be the principal tools of expressing the mood and the relationship relating to design icons with the environment.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More As pundits and philosophers of ancient Greece established natural features provides the unique models of harmonious balance as well as proportion in regard to development of designs. Therefore, this testifies to the fact that all aspects of design evolution touches on the beauty offered by the intricate environment. Hence, the design icons were established on the same platform of providing aesthetic beauty and identity. Therefore, the production of designs demonstrates that the work of art cannot be separated from the concepts of aesthetics which governs the production of designs. This demonstrates the growth and evolution of design or design icons rests on the fact that works of art as well as living organisms are in essence schemate,unique in their own way, which man as well as the nature profoundly generates by qualifying diverse elements. Hence, this observation applies to the evolution of design which acquires definite shape, structures with the development of separate identiti es with established structural symmetry (Wilk 2006). Therefore, the above observation illustrate that the evolution of design icons was fuelled by the aspects of visual appearance as well as functional concepts. And both elements have evolved to be the base on which design wholeness is created becoming the source of the beauty as is seen in the production of design icons. Basically, this approach is well illustrated by the manner American architects have been doing in the course of 19th century. In their works it is evident that the evolution of design icons is as complex as is its organic and functional forms. Therefore, concerning the elements of designs, it’s apposite to argue that design icons evolved from static balance which is a product of generating something from the available materials. And this eventually established the profound context of designs. Modernist examples The dynamics of modernism reflects the modern aspect which strongly deviates from the traditional liberalism. Looking at the scope and the development of designs it would be instrumental to equally examine the aspects of modernism. The objective of such an approach is to understand the ancient and the modern flight of designs. This can be related to the fact that unlike in the previous periods modernism aspects came to establish design icons which have elements of simplification as their core foundation. This is well illustrated in the architectural designs which have moved away from designs which were popular during the classicism, gothic and romanticism period. It should be noted that some of the predominant designs iconic in nature were preceded by non-technological designs. However, today, the modernist designs are almost everywhere this can be testified by such iconic designs as the Salk institute complex which was designed by Louis Kahn (Thuku 2000). The manner this piece is done reflects the broad aspects which have evolved over the time. Hence, design icons have remained etched on the concepts of retaining the historicism while embracing the concepts of modernism. Therefore, the modernist example illustrates that simplicity and functional are the core elements of modern design icons. However, one of the key elements shared by the ancient aspects of design with the modernism scopes concerns the fact that both accepts that form and function are tied together. However, examining the instrumental dynamics of modernism simplicity as well as the clarity of form is given a greater weight. And this facilitates the elimination of unnecessary details. Exploring the concepts of designs leading to the modernism approaches it would be essential to realize that the old designs correlates in one way or the other with the modernist approaches. This is well reinforced by the manner the modernists create their designs though simple but employing the same principals as was employed during the gothic or romanticism period. For instance, the crystal palace though ancie nt overshadows the modern concepts of modernism theories. Therefore, the evolution of designs has taken a considerable duration to be where it is today. Despite the seamless changes the profound and iconic changes are all linked to functionality. Though the scope of modernism in evolution of designs can be defined as a revolt against the traditionalism realms of reality, the ancient approaches are equally incorporated into the modern designs. Hence what compels the modern design to be iconic is the manner they have been produced using the incorporation, as well as recapitulation of previous aspects of design into the emerging new world (Findlen 1998). The design discourse that has come to shape their iconic status regards the social changes which have been as a result of political and economic changes. Also it ought to be noted that despite the emergence of computer aided designs the old concepts as well as the modernist concepts are all linked. Take for instance, the emblematic des ign of world trade centre have a central design concept that can be said to be guided by the gothic or classism concepts. Therefore, in regard to the manner designs have evolved the diverse discourses can be allied to architects as well as design theorists interests. Looking at the aspects of applied arts concerning the past both the old and modern aspects of designs are connected by the desire to maintain design conservatism. The analogy of design history offers considerable insight into the manner diverse instruments influenced the development and evolution of design to the modern functional forms. From utilitarian scope the question of evolution is well explored where desire icons are examined from both functional and decorative perspective. Diverse elements concerning the evolution of design icons as is testified by such architectural pieces as Seagram Building in New York reflects the evolution of design icons. Hence such a design remains as iconic feature due to the manner the architectures as well as the designers modeled it on open-plan perspective. Therefore, it can be assumed that discourse that has come to shape their iconic status is founded on such assumption as artificial evolution which includes aspects of decoration (Childs 2000). That is why diverse architectural and design theorist asserts that designs are shaped by common evolutionary progressions. Therefore, considering the given examples of modernist designs it is imperative to point that they attained their iconic status due to the simple and natural prominence of the designers. In that respect, exploring the dynamics of design we are allowed to understand that the iconic status of these given designs are predominant in nature. These attributes are due to the structural, motif as well as natural forms they tend to embrace. Hence, considering designs do undergo continuous seamless abstractions and formalizations hence their origin is not obvious. Also another considerable feature giving th e mentioned designs regards the concepts tied to structural as well as the material used. Therefore, the decorative attributes offers the design structures artistic attributes. Conclusion The aesthetic beauty of designs plays a considerable role in our lives. However when we look at the concepts of design in regard to modernism we find elements of rejection which tend to sideline the aspects of former designing concepts. Despite that, it would be instrumental to assert that each period provides critical insights into the aesthetics of designing which is a trend that have continued to change (Berman 1988). Therefore, the modernist approach which ahs evolved from such periods as romanticism, classism and gothic is today influenced by technological advancements. Today the aspects of modernism designs take the central role in our social lives which are more and more are linked to diverse natural aspects. Therefore, in regard to such approach we can conclude that both old and new aspects of design have evolved as a consequence of our environment. Thus, though the design icons have evolved but the critical aspect it is equally based on what we see or relate with the natural phenomenon. Annotated bibliographies Berman, Marshall. (1988)The Experience of Modernity. London, Penguin. The aspects of modernity are examined from a critical point of view. The author looks at the development of designs in regard to the evolution of design aesthetics. Therefore, examining the elements of nature as well as the manner designs evolve the author correlates the dynamism of modernism in design to the previous patterns preceding modernity. In his opinion he captures the genesis of designs and how they have evolved. More so he delves into the various aspects related to design models and their significance. Therefore, looking through the historical lens he offers a candid insight into the scope and the nature of incorporated designs aspects which have come to be defined as modernity. C hilds, Peter (2000) Modernism.NY, Routledge. The impacts of modernism on designs cannot be under looked. Perhaps it is from such a stand the author embarked on examining the relationship and effects of modernism on designs. This is demonstrated in the manner he examines the assumptions of design evolution touching on the relationship between modernism as well as gothic periods. Using well researched and articulated observation he offers a candid insight into the genesis of designs both in functionality and utilitarianism context to the realm of modernism. Findlen, Paula. (1998)Possessing the Past: the Material World of the Italian  Renaissance. American History, 103, (1), pp. 83-114. The author has profoundly delved into the significance of material cultures in regard to aspects of design. Using a critical approach to decorative aspects the author explores the dynamics of modernism concepts in regard to the past structural features as etched in design icons. Equally, she touches o n diverse objects that embrace the designing features in our daily engagements. Using a plethora of sources she examines the impact of renaissance mindset on design icons. More so, her approach too touches on the impact of design on humanistic aspects which blends into the natural beauty we cherish. Therefore, the consequential balance touches on the convincing measures that design both in ancient and modern context. Goldthwaite, Richard A. (2000)The Economic and Social World of Italian  Renaissance Maiolica. Renaissance Quarterly, 42 (1), pp. 1-32. The evolution of design can be compactly explored from the stance projected by the author on this article. From the authors perspective the changes in styles defines the designs essence both in and after production. Therefore, the author looks at the core features of luxury market which operates in line with the production of artifacts. In regard to such engagement he highlights the potter’s expertise in styles and designs. Thus in analogy to potters approaches the author explores the historical analysis of design, growth and creation of design icons. Hence, with structural and material consideration he offers profound insight into the significance of design as is opposed to the modernists who had the knack to reject the old design features. Kumar, Sandeep, et al. (2004) Analyzing planning and design  discourses.London,Pion The authors have employed the critical features of design discourses in regard to models. Their argument illuminates the significance of having analytical approach in regard to designs. This they assert in instrumental in developing apposite methods of evaluating the stability of evolving designs. Therefore, according to their analysis design discourses is paramount in identifying diverse discrepancies. Equally, they have noted that designs do evolve within definite platforms which must be established effectively. Looking at the concepts of design from the scope of art, film, style ar chitecture the authors touches on the significance of design and their prominence. Thuku, Daniel. (2000).Designing the world.Capetown, Blackman Book. The author explores the aesthetics of designs, investigating the structural motifs as well as the patterns which define ancient and the modern design models. In essence, the author takes us through the history of design models which have shaped the world. In his approach the author notes designs provides essential concepts which are fundamental ways. Wilk, Christopher. (2006) What was modernism. London, V A Publications. From a profound perspective the author tackles the broad aspects of modernism in the ever changing world of design. By exploring the diverse aspects of design he offers a decisive insight into growth of modernism. This he does by explaining the manner design models have acquired prominence and influenced the society. The author tackles the question of what is modernism by exploring the previous design aspects which wer e popular during the renaissance. Looking at the effect of art he touches on the foundational concepts of art which reflects natural scope of designs. Wohl, Hellmut. (1999) A Reconsideration of Style. Cambridge, Cambridge  University. Through a critical culture analysis the author delves into the world of renaissance art. Using the contextual understanding of cultural context he explores the value as well as the significance of design and style in the Italian art. From his perspective he traces the path designs undertake when evolving. From his stance we get the reflection of such aspects as artificial design evolution, the relationship between romanticism and constructivism in regard to design. More so he touches on concepts of decorative features most commonly evaluated by architectural and design theorists. References List Berman, Marshall. (1988)The Experience of Modernity. London, Penguin. Childs, Peter. (2000) Modernism.NY, Routledge. Findlen, Paula. (1998)Possessing the Pas t: the Material World of the Italian Renaissance. American History, 103, (1), pp. 83-114. Goldthwaite, Richard A. (2000)The Economic and Social World of Italian Renaissance Maiolica. Renaissance Quarterly, 42 (1), pp. 1-32. Kumar, Sandeep, et al. (2004) Analyzing planning and design discourses.London, Pion Thuku, Daniel. (2000).Designing the world.Capetown, Blackman Book. Wilk, Christopher. (2006) What was modernism. London, V A Publications. Wohl, Hellmut. (1999) A Reconsideration of Style. Cambridge, Cambridge University.

Kurdistan Workers Party Paper Essay Example | Topics and Well Written Essays - 500 words - 1

Kurdistan Workers Party Paper - Essay Example Tom). While the network was not officially recognized as a unique entity until 1976, historically, this never stopped their activities any given time, it has held significant influence in the southern Philippines, where it established itself so strongly in the area solidifying its operation for long, therefore is largely a regional entity rather than a global movement. Throughout the 1980s, the SCU network received support from the United States, Pakistan, and other partner countries to support the Scandinavian campaign. From the 1990s through today, the SCU network has supported a variety of Scandinavian regimes and movements in an attempt to expand Protestant fundamentalist principals in the region where its effects still have seen to date. This shaped the entire history of the area. That the Swedish Chefs United is largely a proxy for Swedish interests in the Philippines. This duality of interests is at times confusing and reflects the complexities of the organization and its interests. Furthermore, the SCU network has limited political goals and has subordinated itself to other entities; instead seeking to maintain influence locally while supporting efforts to spread Crusades elsewhere. Their demands never had a powerful impact at any given time due lack of political will and power, therefore being in existence with no clear motive to drive the a gender The Swedish Chefs United, throughout its history, has served to recruit, train and fund militant groups in the region in support of expanding fundamentalist Lutheranrule. In this section I will further examine current US definitions of terrorism and depict that the SCU’s role as a geographically based vehicle for violence is almost indistinguishable from organizations like al Qaeda and the Pampered Chef because of their activities, goals and operations which are not clear but confusing. They

What are the major conventions of Revenge Tragedy Discuss how they are Essay

What are the major conventions of Revenge Tragedy Discuss how they are used, combined or altered in Cyril Tourneur's 'The revenger's tragedy' - Essay Example T.S. Eliot recognized the dominance of the Senecan mood in drama during the era of the revenge tragedy when he suggested, â€Å"No author exercised a wider or deeper influence upon the Elizabethan mind or upon the Elizabethan form of tragedy than did Seneca† (Arkins 2). Any analysis of the revenge play genre centers on two particular plays, which both typify and transcend the revenge play genre Thomas Kyd’s The Spanish Tragedy and ur-Hamlet. The blueprint of the revenge tragedy is laid out and executed here to brilliant and devastating effect, an effect which indeed defined the notion of how revenge was to be played out on stage. There is of course significant disagreement to how the concept of revenge was interpreted via Elizabethan mores, whether the multitude of avengers in the various stage dramas put on during the end of the 16th and beginning of the 17th centuries represented immoral exemplars, examples of Anglo-Saxon barbarianism combined with un-Christian Senecan ethic (Broude 39), or perhaps something more noble like retribution in the mode of divine justice. Regardless, the ethical valence in the standard form of the revenge tragedy was generally unambiguous and robustly on the side of revenge and its attendant carnage. As as interesting caveat to this, Shakespeare’s Hamlet often seen as a response to the non-extant ur-Hamlet offers a level of ambiguity that does not so much negate the vengeful mood of the play but nuances it in such a way that makes Hamlet the singularly important and influential play it is today. A purer example of the revenge tragedy is perhaps Cyril Tourneur’s The Revenger’s Tragedy. Though as we will show, while it is most obviously ruled by many of the conventions of the revenge tragedy and is clearly meant to fall within it as an artful example of the genre, it does not adopt all of its conventions carte blanche. In order to make sense of this it will

Boeing’s e-enabled advantage Essay Example for Free

Boeing’s e-enabled advantage Essay The Boeing Company is a major aerospace and defense corporation, originally founded by William E. Boeing in 1916 in Seattle, Washington. In 2004, it became one of the United State’s largest manufacturers with nearly 160, 000 employees and a net income of $1. 87 billion. It was the world’s largest aerospace company and for decades, had dominated the world’s commercial aviation market. THEIR STRATEGY Their main strategy was to streamline their core processes and to diversify. In streamlining their core processes, Boeing adopted simpler procedures for configuring aircraft to specifications, scheduling, ordering parts and managing inventory. They also diversified and entered into other markets, becoming more agile geographically and becoming less dependent on the highly cycled commercial jetliner market. They also integrated defense systems, Capital Corporation and the commercial airlines. HOW I. T. FACTORED INTO THAT In launching the aforementioned integration and innovative technologies, Boeing needed high end Information Technology expertise. That helped them launch a couple of websites including MyBoeingFleet. com. They also launched the Boeing Connexion and the Airplane Health Management (AHM). They went further and took great strides to understand both the airlines and the airline customers and integrate their business processes with Information Technology. This helped them provide broader services and is the main source of the e-enabled technology mentioned in the case study. This helped them plan and prioritize current and future processes effectively. THE MARKET Their market initially was the United States military which drove their technology but later grew to include commercial airliners. Their commercial airline market rapidly grew to 60% of the market world over and they appeared to have reached the pinnacle of the corporate might. As this happened, the only direction Boeing seemed to be headed was downward due to the emergence of big competitors. THEIR COMPETITION In the commercial airliner, Airbus seemed to be their biggest competition but because of all the technologies they integrated into their business, it was competing in segmented markets against industry giants like Oracle, IBM and Accenture as well as Garmin International and Aero Exchange International but their visionary leadership and their willingness to invest in technology sees them come out on top. THEIR WEAKNESS One of the main weaknesses of Boeing was their inablitiy to meet delivery schedules for airlines. Some airplanes they manufactured were also said to be inefficient but that did not stop them from producing more of those aircrafts which led to the belief that they are out of touch with their customers. Also, their frequent change of leadership could be considered a weakness as that makes them frequently go back to the drawing board to re-strategize.

Use of Symbols and Symbolism in Nathaniel Hawthornes The Scarlet Lette

Use of Symbols in The Scarlet Letter      Ã‚  Ã‚   In many stories, symbols included by the author add deeper meaning.   Nathaniel Hawthorne is one author who mastered the skill of using symbols effectively.   The Scarlet Letter is regarded as a "symbolic masterpiece" due to Hawthorne's exceptional use of the scarlet letter, the setting, and Pearl as symbols.    One of the main symbols of the novel is the basis for the title of the novel itself.   Hester Prynne's scarlet letter is attached to her dress, and appears "in fine red cloth surrounded with an elaborate embroidery with fantastic flourishes of gold thread" (Hawthorne 60).   The letter is said to have "the effect of a spell, taking her out of the ordinary relations with humanity and enclosing her in a sphere by herself" (Hawthorne 61).   The letter seems to be the focal point of Hester's figure, and the townspeople obsess about the blazing red sign of her sin for a long time after Hester's ignominy.    Hester's fantastically embellished red letter takes on many meanings as a symbol.   The gold thread with which the letter is embroidered symbolizes Hester's mockery of the Puritan way of punishment. A female spectator in the market place remarks, "Why, gossips, what is it but to laugh in the faces of our godly magistrates, and make a pride out of what they ... meant for a punishment?" (Hawthorne 61).   The embellishment of the letter physically displays Hester's reaction to her punishment.   Her strong will not only accepts the challenge that the Puritan church has laid before her, but she also laughs in mockery at it. The scarlet letter also shows the triviality of the community's system of punishment.   Whenever Hester walks outside of her cottag... ...efers to her being a blessing to Hester.   Pearl gives Hester a reason to live, and helps to keep Hester's spirits strong.  Ã‚      Hawthorne's use of symbols clearly enhances The Scarlet Letter.   From the setting to the characters themselves, the novel is filled with symbols that work together to provide a deeper, allegorical meaning.   The symbolism contained in Hawthorne's works provokes much thought in the reader, through which the reader can enjoy the story much more.   For this reason, The Scarlet Letter can accurately be described as a "symbolic masterpiece."    Works Cited Hawthorne, Nathaniel.   The Scarlet Letter.   New York: Penguin Putnam Inc., 1980.    Bradford, William.   "The Errand of the Early Puritans."   Class handout.   March 2002.    Winthrop, John.   "Life in Puritan New England."   Class handout.   March 2002.