Intro to Microeconomics Study Guide free essay sample

Economics is the study of allocation of scarce resources 1) Chapter One: The Principles of Microeconomics a. Four resources: Land, Labor, Capital (machinery), Entrepreneurship (human capital) b. Principle #1: People face trade-offs, government also faces them, the main one the gov. faces is efficiency vs. equity i. Efficiency is when everyone who makes the most, keeps the most money ii. Equity would be if everyone was taxed the same c. Principle #2: The cost of something is what you give up iii. Opportunity cost = the measurement of trade-off you give up something you can have later, to get something now d. Principle #3: Rational people think at the margin iv. They do what’s best for them and maximize benefits v. Think at the margin = thinking about the NEXT one vi. Margin=small incremental changes e. Principle #4: People respond to incentives vii. Prices are major incentives viii. Taxes/tax credit f. Principle #5: Trade can make everyone better off ix. We will write a custom essay sample on Intro to Microeconomics Study Guide or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Everybody can specialize x. More variety of goods xi. Doesn’t always make everyone better off ex: Jamaica, NAFTA xii. One partner can be strong and over power others g. Principle #6: Markets are a good way to organize economic activity xiii. People are guided by self-interest xiv. Markets are where consumers and suppliers come together and trade-off occurs h. Principle #7: The government can improve market outcomes xv. Main act of government – enforce property rights xvi. Government can step in if there’s market failureexternalities occur (taxes can be enforced for cigarettes), people who aren’t in the market are ffected xvii. Government can step in when there’s market power xviii. Monopoly/oligopoly-government might step in 2) Chapter 2: What does it mean to think like an economist? i. Objectively j. Scientific method xix. Observe, hypothesis, identify variables, collect data, test hypothesis, draw a conclusion k. Difficult to conduct a controlled experiment in economics l. Circular Flow Diagram = money and goods and services flow from input marketoutput market xx. Flow of Money: Market for factors of production (input market) households get income spending on markets of goods and services (output market) which generates revenue for firmswhich pay wages and rent for factors of production xxi. Flow of goods and services: Market for factors of production (input market) buys factors (land, labor, capital and entrepreneurship)firms which sell goods and servicesto market of gas and serviceswhich buy goods and services from households, which sell factors to market for factors of production xxii. This marketing is missing government, trade, savings, black market activities and charity work/non-profits m. Production Possibilities Frontier: how much a country can produce xxiii. Assumptions: one country, two goods, resource = labor xxiv. Bowed out PPF due to different resources (L) xxv. Opportunity cost increases with bowed out PPF because it takes more and more to make one more of the good xxvi. Any points along the PPF are efficient, outside the curve are not feasible and inside the curve is inefficient xxvii. Efficiency means we maximize our resources xxviii. To get more of the good, you have to give up some of the other good xxix. More resources for both goods increase: entire curve shifts out xxx. More resources for just one good increase: curve shifts on one side only xxxi. If the PPF is straight, it’s because there are multiple resources for both goods xxxii. Just stating a fact = positive statement and normative statement = subjective 3) Chapter 3: Absolute and Comparative Advantage n. Absolute advantage is when you make something more efficiently than someone else, so that less is required, which means less opportunity cost xxxiii. Assumptions: 2 people who can make goods, 2 goods that both people want to consumer, time is the only input, both people want to consume both goods and they’ll only trade if they can produce one good xxxiv. Each person works 8 hrs. per day o. Farmer can produce 8 donuts and 32 cups of coffee; Baker can produce 24 donuts and 48 cups of coffee xxxv. The baker has absolute advantage because he can make more donuts and more coffee than the farmer in 8 hrs. xxxvi. Graphing: use points (8, 0) and (0, 32) for farmer’s PPF and CPF (consumption possibilities frontier). Use points (24, 0) and (0, 48) for baker’s PPF and CPF p. Trade deal: Farmer will make only coffee (which is all 32 cups of coffee in 8 hrs. ), baker offers farmer 5 donuts for 15 cups of coffee xxxvii. Trade increases variety xxxviii. Farmer ends up with +5 donuts and 15 cups coffee = 5 donuts and 17 cups coffee q. Comparative advantage is when you have a lower opportunity cost xxxix. The opportunity cost of one donut for the farmer is 4 cups of coffee and for the baker is 2 cups of coffeebaker is comparative advantage in donuts because of lower opportunity cost xl. The opportunity cost for one cup of coffee for the farmer is ? donut and for the baker is ? donutfarmer has opportunity cost in coffee because of lower opportunity cost r. The price range after the trade deal will lie between opportunity cost of both people, so both are better off xli. 2 cups of coffee ? P ? 4 cups of coffee 4) Chapter 4: Supply and Demand s. Assumptions: one good, one market, market is perfectly competitive (many buyers and sellers, all goals are the same across firms and price takers) t. Demand xlii. Demand curve shows relationship between price and willingness to buy (P and Qd) xliii. Quantity demanded (Qd) is the amount consumers are willing and able to buy xliv. LAW OF DEMAND: P, Qd = negative correlation xlv. Market demand is the sum of individuals’ demands xlvi. Variables that increase or decrease demand: IP-TEN 1. Income a. I, Qd = Normal good b. I, Qd = Inferior good 2. Price of related goods c. Pa, QDb = Substitutes d. Pa, QDb = Complements 3. Taste and preferences 4. ExpectationsEx: when you except the price of a good to increase later on, you will buy more now when it’s cheaper 5. Number of buyersMore buyers = higher demand u. Supply xlvii. Supply curve shows relationship between Price and Quantity supplied (P and Qs) xlviii. Quantity supplied is the amount sellers are willing and able to sell xlix. LAW OF SUPPLY: P, Qd = Positive correlation l. Variables that shift supply curve: I-TEN 6. Input price (Ex: wages increase) e. IP, Qs f. IP, Qs 7. Technologyadvancement means Cost, Supply 8. Expectationsexcepting a technological advancement 9. Number of sellers g. # Sellers, Qs h. # Sellers, Qs v. Consider: market for hybrid cars li. Event: price of gasoline goes updemand is impactedP of gas so people will look for substitutesdemand for hybrids (curve shifts right) lii. Event: technology advance reduces cost of productionsupply impactedsupply because it’s easier and cheaper to produce (curve shifts right)P , Qs liii. Event (i) amp; (ii): P of gas amp; technology gt;D and S both impactedD, SQ and P is ambiguous (depends on degrees of shifts and how you graph curve shifts) w. Consider: market for bus rides liv.

Free Essays on Cicero

Summary of Cicero’s, On Duties This excerpt from the book, On the Good Life, is a letter from Cicero to his son. I couldn’t even imagine getting something like this from my father. It is full of great advice on how to live your life in such a way that you are regarded as a highly favorable person with impeccable morals. I agree with most of what Cicero has to say in his excerpt, On Duties. In this review I will summarize Cicero’s’ main arguments and his ideas for a better person and nation. I believe that Cicero wrote this book for intelligent individuals who wanted to attain power in life through morally positive avenues; it was written almost as an academic piece. It was also written as a gage with which a person who was reading it could weigh himself. Cicero begins the volume by relating to us why he has chosen Philosophy as his current field of study, his only field of study. He had once been a political leader but since the government â€Å"lay under domination of a single individual† (120) he was angry and sorrowful that he had lost some of his good friends to the uprising. That he was no longer able to practice politics deeply saddened Cicero. So to forget his sorrows he took up philosophy. Cicero believed that the best method for learning was philosophy because it literally meant love of wisdom. Even though Cicero thought himself a philosopher he was quick to disagree with those philosophers who he saw as tricky and misleading to the public. Cicero believed that the only way to â€Å"attain the objects of their desires† was â€Å"by moral goodness, both in thought and in action† (125). This leads us to Cicero’s classification of expediency and how it affects us as humans. Cicero classified the â€Å"things that go towards the maintenance of human life† (125) as either animate or inanimate. The inanimate objects consist of gold and silver and things from the earth. He then further classifies the animate into rationa... Free Essays on Cicero Free Essays on Cicero Summary of Cicero’s, On Duties This excerpt from the book, On the Good Life, is a letter from Cicero to his son. I couldn’t even imagine getting something like this from my father. It is full of great advice on how to live your life in such a way that you are regarded as a highly favorable person with impeccable morals. I agree with most of what Cicero has to say in his excerpt, On Duties. In this review I will summarize Cicero’s’ main arguments and his ideas for a better person and nation. I believe that Cicero wrote this book for intelligent individuals who wanted to attain power in life through morally positive avenues; it was written almost as an academic piece. It was also written as a gage with which a person who was reading it could weigh himself. Cicero begins the volume by relating to us why he has chosen Philosophy as his current field of study, his only field of study. He had once been a political leader but since the government â€Å"lay under domination of a single individual† (120) he was angry and sorrowful that he had lost some of his good friends to the uprising. That he was no longer able to practice politics deeply saddened Cicero. So to forget his sorrows he took up philosophy. Cicero believed that the best method for learning was philosophy because it literally meant love of wisdom. Even though Cicero thought himself a philosopher he was quick to disagree with those philosophers who he saw as tricky and misleading to the public. Cicero believed that the only way to â€Å"attain the objects of their desires† was â€Å"by moral goodness, both in thought and in action† (125). This leads us to Cicero’s classification of expediency and how it affects us as humans. Cicero classified the â€Å"things that go towards the maintenance of human life† (125) as either animate or inanimate. The inanimate objects consist of gold and silver and things from the earth. He then further classifies the animate into rationa...

The 20 Poetic Devices You Must Know

The 20 Poetic Devices You Must Know SAT / ACT Prep Online Guides and Tips Looking to spice up your writing? Poetic devices are the salt and pepper (and, if you get really into them, the saffron and caraway) of writing; when deployed effectively, they add flavor and texture to your work. But what is a poetic device? Do they only work in poetry? In this article, we’ll cover what they are, when you can use them, and how to better understand their function in any literary form! What Is a Poetic Device? At its most basic, a poetic device is a deliberate use of words, phrases, sounds, and even shapes to convey meaning. That sounds so broad that it could basically encompass any form of written expression, but poetic devices are generally used to heighten the literal meaning of words by considering sound, form, and function. There are a lot of poetic devices, just as there are a lot of literary and rhetorical devices. Anything that impacts the way a poem or other written work looks or sounds is a type of poetic device, including devices that are also classified as literary or rhetorical devices. Consider your writing- whether it’s an essay, poem, or non-fiction article- as a meal you’re cooking. You use good ingredients and put a lot of care into the dish, so you know it’s going to taste good. But there are ways to make it taste even better, little additions that can bring out the taste of each ingredient to make it even tastier- a pinch of salt, a touch of cumin. That’s what poetic devices do. Like the metaphor I used in the last paragraph, poetic devices infuse literal meanings (what words actually say) with figurative meanings (implications, unexpected connotations, and so on). You might have gotten the point that poetic devices improve writing without me comparing them to spices, but that metaphor added flavor and enhanced the meaning that was already there. But metaphors are only one method of enhancing your writing. A poem about a horse may use a hoofbeat rhythm (otherwise known as an anapest or dactyl, depending on which syllable is stressed- da-da-DUH for the former and DUH-da-da for the latter) to really draw the reader in. The reader doesn’t have to notice the hoofbeat rhythm for it to be effective, either; often, a rhythm helps readers remember what they’ve read without them necessarily realizing it. One important thing to remember is that literary devices, like spices, are great in moderation, but overpowering if overused. Nobody wants to eat a bowl of pepper, just like nobody wants to read something if its meaning is totally obscured by flowery language. You don’t have to hold back entirely- many wonderful poets, essayists, and authors can use flowery language to great effect- but do make sure that your poetic devices are enhancing rather than overshadowing your point. Writers commonly use literary devices in poetry to help make their points memorable or their language more evocative. You’ve likely used poetic devices without thinking about it, but deliberate use can make your writing even stronger! A little skillful use of spices and poetic devices goes a long way. 20 Top Poetic Devices to Remember There are tons of poetic devices out there- it would be nearly impossible to list all of them. But to get you started, we've compiled some of the most common poetry terms, along with a few of the more interesting ones! Allegory An allegory is a story, poem, or other written work that can be interpreted to have a secondary meaning. Aesop’s Fables are examples of allegories, as they are ostensibly about one thing (such as â€Å"The Ant and the Grasshopper†) but actually have a secondary meaning. Fables are particularly literal examples of allegories, but there are many others, as well, such as George Orwell’s Animal Farm or Christina Rossetti’s â€Å"Goblin Fruit.† Alliteration Alliteration is the repetition of a sound or letter at the beginning of multiple words in a series. â€Å"Once upon a midnight dreary, while I pondered, weak and weary†¦Ã¢â‚¬ -Edgar Allen Poe, â€Å"The Raven† Poe uses alliteration with the â€Å"wh,† sound at the beginning of multiple words. The repetition here mimics the sound of the wind (something you might hear on a dreary night), and also sounds a little soothing- something that’s interrupted in the next couple of lines by a different sound, just as Poe interrupts his soothing, round vowel sounds with repetition of the ‘p’ sound in â€Å"suddenly there came a tapping, / As of some one gently rapping, rapping at my chamber door†¦.† Allusion An allusion is an indirect reference to something. â€Å"The Cunninghams are country folks, farmers, and the crash hit them hardest.† - Harper Lee, To Kill a Mockingbird Lee isn’t speaking of a literal crash- she’s referencing the stock market crash of the late 1920s, which left many people without money. Scout, To Kill a Mockingbird’s narrator, references the stock market crash in a way that’s appropriate for her context, which readers can gather from the novel’s setting. Using this allusion allows Lee to do some quick scene-setting. Not only does it establish the novel firmly within its setting, but it also shows that Scout herself is a clear part of that setting- she speaks to the audience in the way that a child of that era would speak, giving the story a greater sense of realism. Apostrophe An apostrophe is a poetic device where the writer addresses a person or thing that isn’t present with an exclamation. â€Å"O stranger of the future!O inconceivable being!whatever the shape of your house,no matter how strange and colorless the clothes youmay wear,I bet nobody there likes a wet dog either.I bet everybody in your pubeven the children, pushes her away.†- Billy Collins, â€Å"To A Stranger Born In Some Distant Country Hundreds Of Years From Now† Though we know from the title that Collins is addressing a stranger from the future, in the final stanza of the poem he addresses that stranger directly. Apostrophe was particularly common in older forms of poetry, going all the way back to Ancient Greece- many works of Greek literature begin with an invocation of the Muses, typically by saying something like, â€Å"Sing in me, O Muse.† Because the narrator of Collins’ poem is calling out to someone in the future, he mimics the language of the past and situates this poem in a larger context. Assonance Assonance is the repetition of vowel or diphthong sounds in one or more words found close together. â€Å" Hear the loud alarum bells- Brazen bells!/ What tale of terror, now, their turbulency tells! In the startled ear of night How they scream out their affright! Too much horrified to speak, They can only shriek, shriek, Out of tune†¦.†- Edgar Allen Poe, â€Å"The Bells† When Poe talks about alarm bells, he uses sharp, high-pitch vowels to echo their sound: notice the repetition of long â€Å"e† and â€Å"i† sounds, both of which sound a bit like screams. Blank Verse Blank verse refers to poetry written without rhyme, especially if that poetry is written in iambic pentameter. â€Å"But, woe is me, you are so sick of late,So far from cheer and from your former state,That I distrust you. Yet, though I distrust,Discomfort you, my lord, it nothing must. †¦Ã¢â‚¬ - William Shakespeare, â€Å"Hamlet† Many of Shakespeare’s plays are written in blank verse, including much of â€Å"Hamlet.† Here, the dialog is without rhymes, which makes it sound more realistic, but it still follows a strict meter- iambic pentameter. This lends it a sense of grandiosity beyond if Shakespeare had tried to mimic natural speech, and the deliberate space of stressed and unstressed syllables gives it a satisfying sense of rhythm. Consonance Consonance is the repetition of specific consonant sounds in close proximity. â€Å"Tyger Tyger, burning bright,In the forests of the night; What immortal hand or eye,Could frame thy fearful symmetry?† - William Blake, â€Å"The Tyger† Black repeatedly uses multiple sounds in the first stanza of this famous poem. One of the most prominent is ‘r,’ which shows up in every line of the first stanza, and almost every line of the poem as a whole. As Blake is writing about the tiger, he’s musing on its fearsome nature and where it comes from, with the repeated ‘r’ sound mimicking the tiger’s growl like a small, subtle threat in the poem’s background. Enjambment An enjambment is the continuation of a sentence beyond a line break, couplet, or stanza without an expected pause. â€Å"What happens to a dream deferred?Does it dry up like a raisin in the sun? Or fester like a sore- And then run? Does it stink like rotten meat? Or crust and sugar over- like a syrupy sweet?Maybe it just sags like a heavy load.Or does it explode?† - Langston Hughes, â€Å"Harlem† Hughes plays with multiple methods of ending lines in this poem, including enjambment. The first two lines of the second stanza and the second-to-last stanza are examples of enjambment, as the thought continues from one line to the next without any punctuation. Notice the way these lines feel in comparison to the others, especially the second example, isolated in its own stanza. The way it’s written mimics the exhaustion of carrying a heavy load, as you can’t pause for breath the way that you do with the lines ended with punctuation. Irony Irony has a few different meanings. The most common isthe use of tone or exaggeration to convey a meaning opposite to what's being literally said. A second form of irony is situational irony, in which a situationor event contradicts expectations, usually in a humorous fashion. A third form is dramatic irony, where the audience of a play, movie, or other piece of art is aware of something that the characters are not. Basic irony, where what someone says doesn't match what they mean, might look something like this: "Yeah, Ilove dogs," she said dryly, holding the miniature poodle at arm's length as hives sprang up along her arms. Situational irony would include things like a police station getting robbed or a marriage counselor getting a divorce- we would expect police to be able to resist getting robbed and a marriage counselor to be able to save their own marriage, so the fact that these unexpected things occur is darkly funny. One of the most famous examples of dramatic irony is inRomeo and Juliet. The audience knows that Juliet isn't dead when Romeo comes to find her in the tomb, but obviously can't stop Romeo from killing himself to be with her. Unlike other forms of irony, dramatic irony often isn't funny- it heightens tension and increases audience investment, but doesn't necessarily have to make people laugh. Metaphor A metaphor is when a writer compares one thing to another. â€Å"An emotional rollercoaster† is a common example of a metaphor- so common, in fact, that it’s become cliche. Experiencing multiple emotions in a short period of time can feel a lot like riding a roller coaster, as you have a series of extreme highs and lows. Meter Meter refers to the rhythm of a poem or other written work as it’s expressed through the number and length of the feet in each line. â€Å"But, soft! what light through yonder window breaks?It is the east, and Juliet is the sun.Arise, fair sun, and kill the envious moon,Who is already sick and pale with grief†¦Ã¢â‚¬ - William Shakespeare, Romeo and Juliet Shakespeare famously wrote frequently in iambic pentameter, a specific type of meter containing five iambic feet. Iambs are a foot- a unit of rhythm- consisting of one unstressed and one stressed syllable. In the first line of this passage, you have five iambs, which produces a sort of heartbeat-esque rhythm. â€Å"But soft / what light / through yon- / -der win- / -dow breaks?† Meter like this gives readers expectations about how each line will go, which can be very useful if you want to subvert them, such as how Shakespeare does in Hamlet: â€Å"To be / or not / to be / that is / the ques- / -ion.† Because we expect iambic pentameter, the rule-breaking here clues us in that something isn’t right with Hamlet. Ode An ode is a short lyrical poem, often in praise of something. â€Å"Thou still unravish'd bride of quietness, Thou foster-child of silence and slow time,Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme:What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth?What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy?†- John Keats, â€Å"Ode on a Grecian Urn† Keats’ â€Å"Ode on a Grecian Urn† covers all the required bases of the ode- it’s short at just five stanzas, it’s lyrical (the language is clearly elevated above regular speech), and it’s written in praise of a scene on an imagined Grecian urn, which preserves the beauty of several scenes for eternity. Though Keats’ ode here may be in earnest, the deliberate use of language far outside our normal method of speaking often makes the form ripe for satire. In this case, Keats is using this language to discuss beauty and truth, two rather lofty themes that work in tandem with the lofty language. Pun A pun is a play on words, using multiple meanings or similar sounds to make a joke. "Mine is a long and a sad tale!" said the Mouse, turning to Alice, and sighing. "It is a long tail, certainly," said Alice, looking down with wonder at the Mouse's tail; "but why do you call it sad?" And she kept on puzzling about it while the Mouse was speaking...." - Lewis Carroll, Alice’s Adventures in Wonderland Here, Alice clearly misunderstands what the mouse is saying- he says ‘tale,’ referring to his long and sad story, and she hears ‘tail,’ referring to his literal tail. The result is a misunderstanding between the two that ends with Alice looking rude and uncaring. Though it makes Alice look bad, it’s quite entertaining for the reader. The world of Wonderland is full of strangeness, so it’s not really a surprise that Alice wouldn’t understand what’s happening. However, in this case it’s a legitimate misunderstanding, heightening the comedy as Alice’s worldview is once again shaken. Repetition Repetition is fairly self-explanatory- it’s the process of repeating certain words or phrases. â€Å"Do not go gentle into that good night,Old age should burn and rave at close of day;Rage, rage against the dying of the light.Though wise men at their end know dark is right,Because their words had forked no lightning theyDo not go gentle into that good night.Good men, the last wave by, crying how brightTheir frail deeds might have danced in a green bay,Rage, rage against the dying of the light.Wild men who caught and sang the sun in flight,And learn, too late, they grieved it on its way,Do not go gentle into that good night.†- Dylan Thomas, â€Å"Do Not Go Gentle Into That Good Night† Throughout this poem, Thomas repeats the lines, â€Å"Do not go gentle into that good night,† and â€Å"Rage, rage against the dying of the light.† The two lines don’t appear together until the final couplet of the poem, cementing their importance in relation to one another. But before that, the repetition of each line clues you in to their importance. No matter what else is said, the repetition tells you that it all comes back to those two lines. Rhetorical Question A rhetorical question is a question asked to make a point rather than in expectation of an answer. â€Å"Look at me! Look at my arm! I have ploughed and planted, and gathered into barns, and no man could head me! And ain't I a woman? I could work as much and eat as much as a man - when I could get it - and bear the lash as well! And ain't I a woman? I have borne thirteen children, and seen most all sold off to slavery, and when I cried out with my mother's grief, none but Jesus heard me! And ain't I a woman?† - Sojourner Truth, â€Å"Ain’t I a Woman?† Sojourner Truth’s question to the Women’s Convention of 1981 in Akron, Ohio isn’t a question that needs an answer. Of course she’s a woman- she, as well as everybody else in the audience, knew that perfectly well. However, Sojourner Truth was a black woman in the time of slavery. Many white women wouldn’t have considered her to be part of the women’s rights movement despite her gender. By asking the question, Sojourner Truth is raising the point that she is a woman, and therefore should be part of the conversation about women’s rights. â€Å"Ain’t I a woman?† isn’t a question of gender, but a question of race- if it’s a conference about women’s rights, why weren’t black women included? By asking a question about an undeniable truth, Sojourner Truth was in fact pointing out the hypocrisy of the conference. Rhyme A rhyme is a repetition of syllables at the end of words, often at the end of a line of poetry, but there are many unique kinds of rhymes. â€Å"It was many and many a year ago, In a kingdom by the sea,That a maiden there lived whom you may know By the name of Annabel Lee;And this maiden she lived with no other thought Than to love and be loved by me.†- Edgar Allen Poe, â€Å"Annabel Lee† Poe’s poem starts off with a fairly typical ABAB rhyme scheme- the first line rhymes with the third, the second with the fourth. However, in line five, we get a jarring line that does not rhyme, which is carried through the rest of the poem. The rhyming sounds hearken back to classic songs and stories, but is undone by something that doesn’t sound right, just as the classic love story of the narrator and Annabel Lee is undone by tragedy. Rhythm Rhythm refers to the pattern of long, short, stressed, and unstressed syllables in writing. â€Å"Double, double toil and trouble;Fire burn and caldron bubble.Fillet of a fenny snake,In the caldron boil and bake†¦Ã¢â‚¬ - William Shakespeare, Macbeth In this scene from Macbeth, the witches are positioned as being strange and unnatural, and the rhyme scheme Shakespeare uses is also unnatural. It lends the passage a sing-song quality that isn’t present in other parts of the play, which is easy to get stuck in your head. This is important, because their prophecies also get stuck in Macbeth’s head, leading him to commit his horrible crimes. Sonnet A sonnet is a fourteen-line poem with a strict rhyme scheme, often written in iambic pentameter. â€Å"How do I love thee? Let me count the ways.I love thee to the depth and breadth and heightMy soul can reach, when feeling out of sightFor the ends of being and ideal grace.I love thee to the level of every day’sMost quiet need, by sun and candle-light.I love thee freely, as men strive for right;I love thee purely, as they turn from praise.I love thee with the passion put to useIn my old griefs, and with my childhood’s faith.I love thee with a love I seemed to loseWith my lost saints. I love thee with the breath,Smiles, tears, of all my life; and, if God choose,I shall but love thee better after death.†- Elizabeth Barrett Browning, â€Å"How Do I Love Thee† Sonnets were a standard poetry format for a long time- Shakespeare famously wrote sonnets, as did poets like Browning. As with blank verse, sonnets are often written in iambic pentameter, which gives the writing a sense of realism, as it’s not quite as affected as other rhythms, but also makes it feel purposeful and different from natural speech. Because sonnets have a rhyme scheme, they feel removed again from realistic speech. But that works in form’s favor- the rigid structure encourages unconventional word use (hence the memorability of â€Å"How do I love thee? Let me count the ways.†) and marks poems in this style as having a kind of heightened reality. Because blank and free verse arose later, writing sonnets in modern times gives poems a classic or even intentionally antiquated feeling, which can work in the poet’s favor. You probably don't need to light a candle and bust out your magnifying glass to understand poetic devices, but nothing's stopping you! How to Identify and Analyze Poetic Devices It’s nearly impossible to remember every poetic device, but teaching yourself to identify and analyze them is a great way to increase your vocabulary and writing ability. To learn more about them, you can: Read More Reading widely in a variety of literary forms- poetry, prose, essays, non-fiction, and so on- is one of the best ways to learn more poetic devices. You may not notice them all, but challenge yourself to find one example of a poetic device every time you read. Remember, there are lots of kinds of poetic devices; they don’t always have to be things you’d only find in poetry. The more you read, the more exposed you are to different kinds of writing styles. If you read widely, you’ll see more people using language creatively- when you see something interesting, make note of it and see if it’s a poetic device you can use in your own writing! Use Them In Your Own Writing Identifying them is great, but to really understand poetic devices, try using them. Not every device is right for every situation, but playing a little with your language can reveal to you exactly how these devices work. Challenge yourself to use new devices to get a better appreciation for how they can elevate your writing. Question Poetic Devices When you come upon a poetic device in something you’re reading, ask yourself what the author is doing with it. What purpose does alliteration serve in a specific context? Why did I choose to use that spices metaphor earlier in this article? Was it effective or confusing? The more you think about these devices, the more you’ll get a feel for how they work and why writers use them. Understanding the different ways they can be used will help you discover how to use them better, so don’t be afraid to start questioning how and why professionals do it! Key Tips for Literary Devices in Poetry Enhancing your writing with poetic devices is great, but there are a few things to keep in mind to be sure you’re doing it right. First, don’t overuse them. Poetic devices can be great for making your writing sound more interesting or to deliver information in a more impactful manner, but too much really stands out. Alliteration is great, but an alliterative sonnet that’s an allusion to Greek literature can feel a little gimmicky. Even too much alliteration can quickly feel hackneyed if it’s not done with a purpose. Ask yourself why you’re using these devices and trim them if you can’t think of a reason- restraint is as much a part of good writing as the skillful use of a poetic device. Don’t forget that poetic devices are good for more than just poetry. A well-written essay can use a great metaphor. A sonnet can be written in plain English for a great effect. An article for your school newspaper might be improved with a little alliteration. Feel free to experiment with how and when these devices are used- adding in an unexpected poetic device is a great way to elevate your writing. What’s Next? Poetic devices are just one of the many kinds of tools you can use to enhance your writing. Check out this list of rhetorical devices for even more things you can doto liven up your work! Want even more poetic devices? Check out this article on personification, which covers examples of this device in both poetry and literature! Dylan Thomas' "Do Not Go Gentle Into That Good Night," is a great example of repetition, but there's a lot more to it than that! This article will give you some in-depth information on the meaning of Dylan Thomas' poem, including how to analyze it!

The Ginge Industry Essay Example | Topics and Well Written Essays - 1500 words

The Ginge Industry - Essay Example The demand for space has driven exploration and globalization. Its value has not just been recognized economically but also socially as an element of culture and scientifically for its potential in pharmacology and medicine. Considering the Europe naval race for the Asian spice islands which laid the foundation for imperialism in the 14th and 15th century, there is no doubt that it is an industry of world importance. One of the spices that have figured well in the spice trade is ginger, a spice that seems inconsequential today but was once considered as an indication of class and culture (Hutton & Cassio 2003). Estimates of the global spice industry have been generally positive, growing by about 5% since 1998 (Food and Agricultural Organization [FAO] 2005). The industry is dominated by India followed by Indonesia and China, which is exhibiting the most significant growth in recent years (see Appendix A). Spice production in Thailand from 1998 to 2001 list garlic, ginger, hot pepper, chili pepper, shallot, clove and pepper as key products (â€Å"Ginger† 2003). In previous years, there has been a focus on peppers because of rising in world prices. However, subsequent declines in global indices have also been credited for the deceleration of the industry. Appendix A also documents the 2001 standing of the Thai spice industry worldwide. Based on estimates done by the Thai Ministry of Agriculture and Cooperatives (MAC), it estimates the value of the industry to US$19.36 million in 2001 (FAO 2005). As seen in Appendix B, pepper cultivation represents the bulk of spice production in country. Thus, though there has been decline in the price of the commodity, the size of its market supports its role as primary spice commodity for the country. The bulk of revenues from the trade of spices are supported significant domestic consumption but the main motivation for players in the Thai spice industry is to supply international demand. As seen in Appendix C, Thai spice exports make up the majority of total production. Ginger Cultivation and Trade China holds market leadership in the ginger category, 25% of the total world production, eclipsing spice trade leader India ("Ginger", 2003). However, though China ranks as the world's leader in production, export of ginger has been dominated by Japan. This is because much of China's production has been directed to its domestic markets (FAO 2005). Cultivation of ginger was

Evil Dead Movie Review Example | Topics and Well Written Essays - 1000 words

Evil Dead - Movie Review Example Applied upon on a vague background of movingfogappears the title, swaying waywardly. It fades away and the camera begins to move over what is exposed to be a dark pond in a gloomy forest in the kind of 'how do they do it' tracking shot for which the film is known (America Online, 1994). The camera races through the woods evading trees with inches to spare, in place of some subjective point of viewthat is clearly not human beings. The soundtrack is a loomingdissonance of hollow laughter and bizarre howling tones. Inter-cut with these glimpses of a world seen through the eyes of some inconceivable evil, are shots of a car wandering through a forest. Inside are five innocent looking youngsters, two of them are singing happily. There is no clear connection between the two until thecamera comes to the edge of the forest and takes a glimpse down onthe automobile that the youngsters are traveling in. At thesame time some kind of unknown force takes control of the car, almost crashing it into a meeting truck. It is then apparent that they are not welcome into these woods. A rather indiscrete indication is received in the way common to many horror movies of the lesser kind, most particularly the "Friday 13th" series. A slight remark, an improbablejustification and then the event is forgotten. What could go wrong They're blissful school kids going away to have fun. The bridge that nearly collapses beneath their car is passed in a similar, hasty fashion. Not even the hammock on the porch ofthe house that swings by it self without any wind draws more than a brief, uncomfortable glance. As is often the case in horror movies, the actualhorrorstarts off comparatively peacefully. The hints of what is tocomearerather subdued, but not essentially less scary. One memorable scene, for example,where one of the girls is making a drawingofaclockonthe wall; suddenly the swinging pendulum stops, as if this is only happening in her individual time zone, and her hand starts awkwardly to draw of its own concurrence. The result, on a torn, shrunk paper is a rudimentary sketch of a book with face-like features on thecover. As she regards it with a disgusted sort of wonder, thetrapdoor in the floor in front of her rattles on its hinges andsomething is heard diminishing down in the darkness. Technical Aspects "The Evil Dead", like all Sam Raimi films, contains an abundance of energetic, flamboyant camera moves and some very effectual editing. However, there are some who would say that this is nothing but cheap effects anticipated to cover up weaknesses in the story line, which is a bit like saying that any movement in a balletthatisn't necessary for the characters to get from one place to another is to be evaded. Camera moves canhave a splendor of their own, lending essence to people and things and making the screen seem 'less flat'. In "Evil Dead" they also serve to create a feeling of unknowingness and threat, especially combined with peculiar sound effects and a musical score that is often close to complete noise. Conclusion The total budget for the film was less than 350.000 American dollars (worldwideboxoffice.com). As a consequence, the make-up and effects don't look like something from

Save girl Essay Example for Free

Save girl Essay Nearly half of India’s children are girls. However, the girl child is considered a lesser child in our society. Irrespective of class, caste and economic conditions, she is discriminated against and neglected at all the levels. This result in the denial of basic services required for her survival, welfare and development. The girl child is perceived as a burden to be passed on to another family. Her contribution in the household economy is not acknowledged. Various factors contribute towards the increase of offences/crime against women, including dowry deaths, rape, and eve-teasing, etc. The girl child has to be brought up with utmost care and regard by instilling in her the sense of pride and responsibility of nurturing the future generation. Faster development can only be possible by the human resources development. Therefore, our ultimate aim should be improving the lot of the girl child. I sincerely believe that those who do not respect the girl child. Nearly half of India’s children are girls. However, the girl child is considered a lesser child in our society. Irrespective of class, caste and economic conditions, she is discriminated against and neglected at all the levels. This result in the denial of basic services required for her survival, welfare and development. The girl child is perceived as a burden to be passed on to another family. Her contribution in the household economy is not acknowledged. Various factors contribute towards the increase of offences/crime against women, including dowry deaths, rape, and eve-teasing, etc. The girl child has to be brought up with utmost care and regard by instilling in her the sense of pride and responsibility of nurturing the future generation. Faster development can only be possible by the human resources development. Therefore, our ultimate aim should be improving the lot of the girl child. I sincerely believe that those who do not respect the girl childNearly half of India’s children are girls. However, the girl child is considered a lesser child in our society. Irrespective of class, caste and economic conditions, she is discriminated against and neglected at all the levels. This result in the denial of basic services required for her survival, welfare and development. The girl child is perceived as a burden to be passed on to another family. Her contribution in the household economy is not acknowledged. Various factors contribute towards the increase of offences/crime against women, including dowry deaths, rape, and eve-teasing, etc. The girl child has to be brought up with utmost care and regard by instilling in her the sense of pride and responsibility of nurturing the future generation. Faster development can only be possible by the human resources development. Therefore, our ultimate aim should be improving the lot of the girl child. I sincerely believe that those who do not respect the girl child

Germany Essay -- essays research papers

None of the European power wanted World War I, but they feared Germany. Germany was newly unified, and was beating the European powers in population and Industry. France wanted to recover the Alsace-Lorraine. Britain was a country used to being on the ocean, so they felt threatened by Germany’s colonial expansion and William II’s insisting on a large navy. Russia and Austria feared pressure on their unstable empires. In 1894, russia made an alliance with France, and Great Britain settled it’s differences with France in the Entente Cordiale in 1904 forming the Triple Entente.   Ã‚  Ã‚  Ã‚  Ã‚  The assassination, with Serbian Knowledge, of the liberal Austrian archduke Francis Ferdinan in Sarajevo in June 1914 was the spark that set off the war. Germany assured Austria full support, which resulted in an Austrian ultimatum that serbia could not accept. Austria declared war with Serbia. Russia mobilized to defend Serbia, then Germany declared war on France. To avoid the French frontier, German forces moved through neutral Belgium thinking they would take Paris by surprise. The Germans encountered more resistance than expected in Belgium, giving France time to prepare. (Gray) These violations of international law destroyed all sympathy for the Central Powers. Although German forces nearly reached Paris, the British and French miraculously turned back the Germans at the Battle of Marne. The two sides dug trenches for a war that would last a four years. The Russians then attacked sending Germany into a two front war. The Germans defeated the Russians Many tim es on the east. But the allies blockaded the Germans on the east by cuttunf off food and raw materials, the Germans became desperate to break the blockade, so they declared unrestricted submarine warfare. (Hadley) After several American ships were sunk, the United States entered the war in 1917. The Russians were in the middle of several revolutions so they were not a threat to the Germans. In 1918 when the Germans did not have to worry about the east, they launched an all out offensive attack in the west, but the United Allies slowly turned the tide. Realizing the situation was hopeless the German High Command urged william to let a new civil government sue for peace. Woodrow Wilson, U.S. President from 1913 ro 1921, insisted on dealing with citizens. Williamgrudgingly appointed Prince Max of Ba... ...nized the monetary system and encourage industry. Stresemann introduced a new currency and paved the way for more reasonable reparation schedules. For five years Germany enjoyed relative peace and prosperity. In 1926 Germany joined the league of Nations. In 1929 when the worldwide depression hit it plunged the city into disaster. Millions of unemployed, disillusioned by capitalist democracy, turned to communism or to the party of National socialism led by Aldolf Hitler. (Griffith) In notable efforts called the Munich Putsch of 1923 Hitler and the Nazis made a farcical attempt to seize power in Bavaria. From 1930 on the government functioned by emergency decree. The communist profited briefly from radicalization, but the main beneficiary was the Nazi party. The Nazi party had twin attractions of appearing to offer radical solutions to economic problems while upholding patriotic values. (Hadley) By 1932 it was the largest party in the Reighstag. The next year President Paul von Hin deburg appointed Hitler Chancellor after allowing himself to be convicted by generals and right-wing politicians that only the Nazi leader could restore order in Germany and that he could be controlled.

A Game of Thrones Chapter Twenty-four

Bran In the yard below, Rickon ran with the wolves. Bran watched from his window seat. Wherever the boy went, Grey Wind was there first, loping ahead to cut him off, until Rickon saw him, screamed in delight, and went pelting off in another direction. Shaggydog ran at his heels, spinning and snapping if the other wolves came too close. His fur had darkened until he was all black, and his eyes were green fire. Bran's Summer came last. He was silver and smoke, with eyes of yellow gold that saw all there was to see. Smaller than Grey Wind, and more wary. Bran thought he was the smartest of the litter. He could hear his brother's breathless laughter as Rickon dashed across the hard-packed earth on little baby legs. His eyes stung. He wanted to be down there, laughing and running. Angry at the thought, Bran knuckled away the tears before they could fall. His eighth name day had come and gone. He was almost a man grown now, too old to cry. â€Å"It was just a lie,† he said bitterly, remembering the crow from his dream. â€Å"I can't fly. I can't even run.† â€Å"Crows are all liars,† Old Nan agreed, from the chair where she sat doing her needlework. â€Å"I know a story about a crow.† â€Å"I don't want any more stories,† Bran snapped, his voice petulant. He had liked Old Nan and her stories once. Before. But it was different now. They left her with him all day now, to watch over him and clean him and keep him from being lonely, but she just made it worse. â€Å"I hate your stupid stories.† The old woman smiled at him toothlessly. â€Å"My stories? No, my little lord, not mine. The stories are, before me and after me, before you too.† She was a very ugly old woman, Bran thought spitefully; shrunken and wrinkled, almost blind, too weak to climb stairs, with only a few wisps of white hair left to cover a mottled pink scalp. No one really knew how old she was, but his father said she'd been called Old Nan even when he was a boy. She was the oldest person in Winterfell for certain, maybe the oldest person in the Seven Kingdoms. Nan had come to the castle as a wet nurse for a Brandon Stark whose mother had died birthing him. He had been an older brother of Lord Rickard, Bran's grandfather, or perhaps a younger brother, or a brother to Lord Rickard's father. Sometimes Old Nan told it one way and sometimes another. In all the stories the little boy died at three of a summer chill, but Old Nan stayed on at Winterfell with her own children. She had lost both her sons to the war when King Robert won the throne, and her grandson was killed on the walls of Pyke during Balon Greyjoy's rebellion. Her daughters had long ago marr ied and moved away and died. All that was left of her own blood was Hodor, the simpleminded giant who worked in the stables, but Old Nan just lived on and on, doing her needlework and telling her stories. â€Å"I don't care whose stories they are,† Bran told her, â€Å"I hate them.† He didn't want stories and he didn't want Old Nan. He wanted his mother and father. He wanted to go running with Summer loping beside him. He wanted to climb the broken tower and feed corn to the crows. He wanted to ride his pony again with his brothers. He wanted it to be the way it had been before. â€Å"I know a story about a boy who hated stories,† Old Nan said with her stupid little smile, her needles moving all the while, click click click, until Bran was ready to scream at her. It would never be the way it had been, he knew. The crow had tricked him into flying, but when he woke up he was broken and the world was changed. They had all left him, his father and his mother and his sisters and even his bastard brother Jon. His father had promised he would ride a real horse to King's Landing, but they'd gone without him. Maester Luwin had sent a bird after Lord Eddard with a message, and another to Mother and a third to Jon on the Wall, but there had been no answers. â€Å"Ofttimes the birds are lost, child,† the maester had told him. â€Å"There's many a mile and many a hawk between here and King's Landing, the message may not have reached them.† Yet to Bran it felt as if they had all died while he had slept . . . or perhaps Bran had died, and they had forgotten him. Jory and Ser Rodrik and Vayon Poole had gone too, and Hullen and Harwin and Fat Tom and a quarter of the guard. Only Robb and baby Rickon were still here, and Robb was changed. He was Robb the Lord now, or trying to be. He wore a real sword and never smiled. His days were spent drilling the guard and practicing his swordplay, making the yard ring with the sound of steel as Bran watched forlornly from his window. At night he closeted himself with Maester Luwin, talking or going over account books. Sometimes he would ride out with Hallis Mollen and be gone for days at a time, visiting distant holdfasts. Whenever he was away more than a day, Rickon would cry and ask Bran if Robb was ever coming back. Even when he was home at Winterfell, Robb the Lord seemed to have more time for Hallis Mollen and Theon Greyjoy than he ever did for his brothers. â€Å"I could tell you the story about Brandon the Builder,† Old Nan said. â€Å"That was always your favorite.† Thousands and thousands of years ago, Brandon the Builder had raised Winterfell, and some said the Wall. Bran knew the story, but it had never been his favorite. Maybe one of the other Brandons had liked that story. Sometimes Nan would talk to him as if he were her Brandon, the baby she had nursed all those years ago, and sometimes she confused him with his uncle Brandon, who was killed by the Mad King before Bran was even born. She had lived so long, Mother had told him once, that all the Brandon Starks had become one person in her head. â€Å"That's not my favorite,† he said. â€Å"My favorites were the scary ones.† He heard some sort of commotion outside and turned back to the window. Rickon was running across the yard toward the gatehouse, the wolves following him, but the tower faced the wrong way for Bran to see what was happening. He smashed a fist on his thigh in frustration and felt nothing. â€Å"Oh, my sweet summer child,† Old Nan said quietly, â€Å"what do you know of fear? Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods.† â€Å"You mean the Others,† Bran said querulously. â€Å"The Others,† Old Nan agreed. â€Å"Thousands and thousands of years ago, a winter fell that was cold and hard and endless beyond all memory of man. There came a night that lasted a generation, and kings shivered and died in their castles even as the swineherds in their hovels. Women smothered their children rather than see them starve, and cried, and felt their tears freeze on their cheeks.† Her voice and her needles fell silent, and she glanced up at Bran with pale, filmy eyes and asked, â€Å"So, child. This is the sort of story you like?† â€Å"Well,† Bran said reluctantly, â€Å"yes, only . . . â€Å" Old Nan nodded. â€Å"In that darkness, the Others came for the first time,† she said as her needles went click click click. â€Å"They were cold things, dead things, that hated iron and fire and the touch of the sun, and every creature with hot blood in its veins. They swept over holdfasts and cities and kingdoms, felled heroes and armies by the score, riding their pale dead horses and leading hosts of the slain. All the swords of men could not stay their advance, and even maidens and suckling babes found no pity in them. They hunted the maids through frozen forests, and fed their dead servants on the flesh of human children.† Her voice had dropped very low, almost to a whisper, and Bran found himself leaning forward to listen. â€Å"Now these were the days before the Andals came, and long before the women fled across the narrow sea from the cities of the Rhoyne, and the hundred kingdoms of those times were the kingdoms of the First Men, who had taken these lands from the children of the forest. Yet here and there in the fastness of the woods the children still lived in their wooden cities and hollow hills, and the faces in the trees kept watch. So as cold and death filled the earth, the last hero determined to seek out the children, in the hopes that their ancient magics could win back what the armies of men had lost. He set out into the dead lands with a sword, a horse, a dog, and a dozen companions. For years he searched, until he despaired of ever finding the children of the forest in their secret cities. One by one his friends died, and his horse, and finally even his dog, and his sword froze so hard the blade snapped when he tried to use it. And the Others smelled the hot blood in him, and came silen t on his trail, stalking him with packs of pale white spiders big as hounds—† The door opened with a bang, and Bran's heart leapt up into his mouth in sudden fear, but it was only Maester Luwin, with Hodor looming in the stairway behind him. â€Å"Hodor!† the stableboy announced, as was his custom, smiling hugely at them all. Maester Luwin was not smiling. â€Å"We have visitors,† he announced, â€Å"and your presence is required, Bran.† â€Å"I'm listening to a story now,† Bran complained. â€Å"Stories wait, my little lord, and when you come back to them, why, there they are,† Old Nan said. â€Å"Visitors are not so patient, and ofttimes they bring stories of their own.† â€Å"Who is it?† Bran asked Maester Luwin. â€Å"Tyrion Lannister, and some men of the Night's Watch, with word from your brother Jon. Robb is meeting with them now. Hodor, will you help Bran down to the hall?† â€Å"Hodor!† Hodor agreed happily. He ducked to get his great shaggy head under the door. Hodor was nearly seven feet tall. It was hard to believe that he was the same blood as Old Nan. Bran wondered if he would shrivel up as small as his great-grandmother when he was old. It did not seem likely, even if Hodor lived to be a thousand. Hodor lifted Bran as easy as if he were a bale of hay, and cradled him against his massive chest. He always smelled faintly of horses, but it was not a bad smell. His arms were thick with muscle and matted with brown hair. â€Å"Hodor,† he said again. Theon Greyjoy had once commented that Hodor did not know much, but no one could doubt that he knew his name. Old Nan had cackled like a hen when Bran told her that, and confessed that Hodor's real name was Walder. No one knew where â€Å"Hodor† had come from, she said, but when he started saying it, they started calling him by it. It was the only word he had. They left Old Nan in the tower room with her needles and her memories. Hodor hummed tunelessly as he carried Bran down the steps and through the gallery, with Maester Luwin following behind, hurrying to keep up with the stableboy's long strides. Robb was seated in Father's high seat, wearing ringmail and boiled leather and the stern face of Robb the Lord. Theon Greyjoy and Hallis Mollen stood behind him. A dozen guardsmen lined the grey stone walls beneath tall narrow windows. In the center of the room the dwarf stood with his servants, and four strangers in the black of the Night's Watch. Bran could sense the anger in the hall the moment that Hodor carried him through the doors. â€Å"Any man of the Night's Watch is welcome here at Winterfell for as long as he wishes to stay,† Robb was saying with the voice of Robb the Lord. His sword was across his knees, the steel bare for all the world to see. Even Bran knew what it meant to greet a guest with an unsheathed sword. â€Å"Any man of the Night's Watch,† the dwarf repeated, â€Å"but not me, do I take your meaning, boy?† Robb stood and pointed at the little man with his sword. â€Å"I am the lord here while my mother and father are away, Lannister. I am not your boy.† â€Å"If you are a lord, you might learn a lord's courtesy,† the little man replied, ignoring the sword point in his face. â€Å"Your bastard brother has all your father's graces, it would seem.† â€Å"Jon,† Bran gasped out from Hodor's arms. The dwarf turned to look at him. â€Å"So it is true, the boy lives. I could scarce believe it. You Starks are hard to kill.† â€Å"You Lannisters had best remember that,† Robb said, lowering his sword. â€Å"Hodor, bring my brother here.† â€Å"Hodor,† Hodor said, and he trotted forward smiling and set Bran in the high seat of the Starks, where the Lords of Winterfell had sat since the days when they called themselves the Kings in the North. The seat was cold stone, polished smooth by countless bottoms; the carved heads of direwolves snarled on the ends of its massive arms. Bran clasped them as he sat, his useless legs dangling. The great seat made him feel half a baby. Robb put a hand on his shoulder. â€Å"You said you had business with Bran. Well, here he is, Lannister.† Bran was uncomfortably aware of Tyrion Lannister's eyes. One was black and one was green, and both were looking at him, studying him, weighing him. â€Å"I am told you were quite the climber, Bran,† the little man said at last. â€Å"Tell me, how is it you happened to fall that day?† â€Å"I never,† Bran insisted. He never fell, never never never. â€Å"The child does not remember anything of the fall, or the climb that came before it,† said Maester Luwin gently. â€Å"Curious,† said Tyrion Lannister. â€Å"My brother is not here to answer questions, Lannister,† Robb said curtly. â€Å"Do your business and be on your way.† â€Å"I have a gift for you,† the dwarf said to Bran. â€Å"Do you like to ride, boy?† Maester Luwin came forward. â€Å"My lord, the child has lost the use of his legs. He cannot sit a horse.† â€Å"Nonsense,† said Lannister. â€Å"With the right horse and the right saddle, even a cripple can ride.† The word was a knife through Bran's heart. He felt tears come unbidden to his eyes. â€Å"I'm not a cripple!† â€Å"Then I am not a dwarf,† the dwarf said with a twist of his mouth. â€Å"My father will rejoice to hear it.† Greyjoy laughed. â€Å"What sort of horse and saddle are you suggesting?† Maester Luwin asked. â€Å"A smart horse,† Lannister replied. â€Å"The boy cannot use his legs to command the animal, so you must shape the horse to the rider, teach it to respond to the reins, to the voice. I would begin with an unbroken yearling, with no old training to be unlearned.† He drew a rolled paper from his belt. â€Å"Give this to your saddler. He will provide the rest.† Maester Luwin took the paper from the dwarfs hand, curious as a small grey squirrel. He unrolled it, studied it. â€Å"I see. You draw nicely, my lord. Yes, this ought to work. I should have thought of this myself.† â€Å"It came easier to me, Maester. It is not terribly unlike my own saddles.† â€Å"Will I truly be able to ride?† Bran asked. He wanted to believe them, but he was afraid. Perhaps it was just another lie. The crow had promised him that he could fly. â€Å"You will,† the dwarf told him. â€Å"And I swear to you, boy, on horseback you will be as tall as any of them.† Robb Stark seemed puzzled. â€Å"Is this some trap, Lannister? What's Bran to you? Why should you want to help him?† â€Å"Your brother Jon asked it of me. And I have a tender spot in my heart for cripples and bastards and broken things.† Tyrion Lannister placed a hand over his heart and grinned. The door to the yard flew open. Sunlight came streaming across the hall as Rickon burst in, breathless. The direwolves were with him. The boy stopped by the door, wide-eyed, but the wolves came on. Their eyes found Lannister, or perhaps they caught his scent. Summer began to growl first. Grey Wind picked it up. They padded toward the little man, one from the right and one from the left. â€Å"The wolves do not like your smell, Lannister,† Theon Greyioy commented. â€Å"Perhaps it's time I took my leave,† Tyrion said. He took a step backward . . . and Shaggydog came out of the shadows behind him, snarling. Lannister recoiled, and Summer lunged at him from the other side. He reeled away, unsteady on his feet, and Grey Wind snapped at his arm, teeth ripping at his sleeve and tearing loose a scrap of cloth. â€Å"No!† Bran shouted from the high seat as Lannister's men reached for their steel. â€Å"Summer, here. Summer, to me!† The direwolf heard the voice, glanced at Bran, and again at Lannister. He crept backward, away from the little man, and settled down below Bran's dangling feet. Robb had been holding his breath. He let it out with a sigh and called, â€Å"Grey Wind.† His direwolf moved to him, swift and silent. Now there was only Shaggydog, rumbling at the small man, his eyes burning like green fire. â€Å"Rickon, call him,† Bran shouted to his baby brother, and Rickon remembered himself and screamed, â€Å"Home, Shaggy, home now.† The black wolf gave Lannister one final snarl and bounded off to Rickon, who hugged him tightly around the neck. Tyrion Lannister undid his scarf, mopped at his brow, and said in a flat voice, â€Å"How interesting.† â€Å"Are you well, my lord?† asked one of his men, his sword in hand. He glanced nervously at the direwolves as he spoke. â€Å"My sleeve is torn and my breeches are unaccountably damp, but nothing was harmed save my dignity.† Even Robb looked shaken. â€Å"The wolves . . . I don't know why they did that . . . â€Å" â€Å"No doubt they mistook me for dinner.† Lannister bowed stiffly to Bran. â€Å"I thank you for calling them off, young ser. I promise you, they would have found me quite indigestible. And now I will be leaving, truly.† â€Å"A moment, my lord,† Maester Luwin said. He moved to Robb and they huddled close together, whispering. Bran tried to hear what they were saying, but their voices were too low. Robb Stark finally sheathed his sword. â€Å"I . . . I may have been hasty with you,† he said. â€Å"You've done Bran a kindness, and, well . . . † Robb composed himself with an effort. â€Å"The hospitality of Winterfell is yours if you wish it, Lannister.† â€Å"Spare me your false courtesies, boy. You do not love me and you do not want me here. I saw an inn outside your walls, in the winter town. I'll find a bed there, and both of us will sleep easier. For a few coppers I may even find a comely wench to warm the sheets for me.† He spoke to one of the black brothers, an old man with a twisted back and a tangled beard. â€Å"Yoren, we go south at daybreak. You will find me on the road, no doubt.† With that he made his exit, struggling across the hall on his short legs, past Rickon and out the door. His men followed. The four of the Night's Watch remained. Robb turned to them uncertainly. â€Å"I have had rooms prepared, and you'll find no lack of hot water to wash off the dust of the road. I hope you will honor us at table tonight.† He spoke the words so awkwardly that even Bran took note; it was a speech he had learned, not words from the heart, but the black brothers thanked him all the same. Summer followed them up the tower steps as Hodor carried Bran back to his bed. Old Nan was asleep in her chair. Hodor said â€Å"Hodor,† gathered up his great-grandmother, and carried her off, snoring softly, while Bran lay thinking. Robb had promised that he could feast with the Night's Watch in the Great Hall. â€Å"Summer,† he called. The wolf bounded up on the bed. Bran hugged him so hard he could feel the hot breath on his cheek. â€Å"I can ride now,† he whispered to his friend. â€Å"We can go hunting in the woods soon, wait and see.† After a time he slept. In his dream he was climbing again, pulling himself up an ancient windowless tower, his fingers forcing themselves between blackened stones, his feet scrabbling for purchase. Higher and higher he climbed, through the clouds and into the night sky, and still the tower rose before him. When he paused to look down, his head swam dizzily and he felt his fingers slipping. Bran cried out and clung for dear life. The earth was a thousand miles beneath him and he could not fly. He could not fly. He waited until his heart had stopped pounding, until he could breathe, and he began to climb again. There was no way to go but up. Far above him, outlined against a vast pale moon, he thought he could see the shapes of gargoyles. His arms were sore and aching, but he dared not rest. He forced himself to climb faster. The gargoyles watched him ascend. Their eyes glowed red as hot coals in a brazier. Perhaps once they had been lions, but now they were twisted and grotesque. Bran could hear them whispe ring to each other in soft stone voices terrible to hear. He must not listen, he told himself, he must not hear, so long as he did not hear them he was safe. But when the gargoyles pulled themselves loose from the stone and padded down the side of the tower to where Bran clung, he knew he was not safe after all. â€Å"I didn't hear,† he wept as they came closer and closer, â€Å"I didn't, I didn't.† He woke gasping, lost in darkness, and saw a vast shadow looming over him. â€Å"I didn't hear,† he whispered, trembling in fear, but then the shadow said â€Å"Hodor,† and lit the candle by the bedside, and Bran sighed with relief. Hodor washed the sweat from him with a warm, damp cloth and dressed him with deft and gentle hands. When it was time, he carried him down to the Great Hall, where a long trestle table had been set up near the fire. The lord's seat at the head of the table had been left empty, but Robb sat to the right of it, with Bran across from him. They ate suckling pig that night, and pigeon pie, and turnips soaking in butter, and afterward the cook had promised honeycombs. Summer snatched table scraps from Bran's hand, while Grey Wind and Shaggydog fought over a bone in the corner. Winterfell's dogs would not come near the hall now. Bran had found that strange at first, but he was growing used to it. Yoren was senior among the black brothers, so the steward had seated him between Robb and Maester Luwin. The old man had a sour smell, as if he had not washed in a long time. He ripped at the meat with his teeth, cracked the ribs to suck out the marrow from the bones, and shrugged at the mention of Jon Snow. â€Å"Ser Alliser's bane,† he grunted, and two of his companions shared a laugh that Bran did not understand. But when Robb asked for news of their uncle Benjen, the black brothers grew ominously quiet. â€Å"What is it?† Bran asked. Yoren wiped his fingers on his vest. â€Å"There's hard news, m'lords, and a cruel way to pay you for your meat and mead, but the man as asks the question must bear the answer. Stark's gone.† One of the other men said, â€Å"The Old Bear sent him out to look for Waymar Royce, and he's late returning, my lord.† â€Å"Too long,† Yoren said. â€Å"Most like he's dead.† â€Å"My uncle is not dead,† Robb Stark said loudly, anger in his tones. He rose from the bench and laid his hand on the hilt of his sword. â€Å"Do you hear me? My uncle is not dead!† His voice rang against the stone walls, and Bran was suddenly afraid. Old sour-smelling Yoren looked up at Robb, unimpressed. â€Å"Whatever you say, m'lord,† he said. He sucked at a piece of meat between his teeth. The youngest of the black brothers shifted uncomfortably in his seat. â€Å"There's not a man on the Wall knows the haunted forest better than Benjen Stark. He'll find his way back.† â€Å"Well,† said Yoren, â€Å"maybe he will and maybe he won't. Good men have gone into those woods before, and never come out.† All Bran could think of was Old Nan's story of the Others and the last hero, hounded through the white woods by dead men and spiders big as hounds. He was afraid for a moment, until he remembered how that story ended. â€Å"The children will help him,† he blurted, â€Å"the children of the forest!† Theon Greyjoy sniggered, and Maester Luwin said, â€Å"Bran, the children of the forest have been dead and gone for thousands of years. All that is left of them are the faces in the trees.† â€Å"Down here, might be that's true, Maester,† Yoren said, â€Å"but up past the Wall, who's to say? Up there, a man can't always tell what's alive and what's dead.† That night, after the plates had been cleared, Robb carried Bran up to bed himself. Grey Wind led the way, and Summer came close behind. His brother was strong for his age, and Bran was as light as a bundle of rags, but the stairs were steep and dark, and Robb was breathing hard by the time they reached the top. He put Bran into bed, covered him with blankets, and blew out the candle. For a time Robb sat beside him in the dark. Bran wanted to talk to him, but he did not know what to say. â€Å"We'll find a horse for you, I promise,† Robb whispered at last. â€Å"Are they ever coming back?† Bran asked him. â€Å"Yes,† Robb said with such hope in his voice that Bran knew he was hearing his brother and not just Robb the Lord. â€Å"Mother will be home soon. Maybe we can ride out to meet her when she comes. Wouldn't that surprise her, to see you ahorse?† Even in the dark room, Bran could feel his brother's smile. â€Å"And afterward, we'll ride north to see the Wall. We won't even tell Jon we're coming, we'll just be there one day, you and me. It will be an adventure.† â€Å"An adventure,† Bran repeated wistfully. He heard his brother sob. The room was so dark he could not see the tears on Robb's face, so he reached out and found his hand. Their fingers twined together.

It Is Better to Have Tried and Failed, Than Not to Have Tried at All

â€Å"It is better to have tried and failed, than not to have tried at all. † Do you agree? When one tries and fails, one has gained more knowledge than the one who has not tried at all. The person who has tried, will instead possess a greater understanding over the one who has not. However, that person must have tried his best in order for this statement to be applicable. Therefore, i agree with this statement provided that the person has tried his best. Firstly, in the process of learning as we grow up, we face different obstacles and challenges as we work towards our goal or dream.During these times of difficulty, we tend to stop in our tracks. Not many people would continue persevering and move forward to take their best shot. Even if we fail after trying, we would be able to realise the mistakes that we have made. As compared to not even trying at all, failing will benefit us in such a way that we can keep on improving ourselves to become better. In short, we will be able to learn from the mistakes that we made the first time we tried and failed Secondly, not trying at all will leave you with greater regrets than trying and failing.When you grow older, the amount of regrets for not trying would pile up. As you think back into your past, those regrets could have actually turned into valuable experiences. At least when you try, you attain new knowledge which will help in your future endeavours. The knowledge and experience you encountered could mean the difference between tasting the sweetness of success, or the bitter taste of failure. On the contrary, In some circumstances, it is better not to try if the end result is obvious. For example, it is a futile attempt to try and woo a girl that does not like you in return.In this case, trying to do so will just lead to disaster. Moreover, you may end up losing a friend, embarrassing yourself and possibly giving her discomfort. Sometimes a chance is never a chance at all and you should not bother to try kn owing that the outcome will be a negative one which will cause both parties to suffer. Thirdly, failure is the mother of success. Ask any successful person you know whether they have experienced failures, and they will definitely reply you with a nod of the head or a resounding yes.Indeed, the path to success is riddled with failures and setbacks, but those who are able to stand back up and learn from these experiences are the ones who will be guaranteed success. The world famous Thomas Edison had to try one thousand times before successfully inventing the light bulb. One of his famous quotes include,† I have not failed a thousand times but rather have found a thousand ways that do not work. † This optimistic and enduring attitude is another thing which successful people have in common. Thomas Edison was able to learn from his mistakes and effectively improve on them, this is why he was able to succeed.Theodore Roosevelt puts it amazingly well: â€Å"It's not the critic who counts; Not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit goes to the one who is actually in the arena; Who strives valiantly; who errs and comes up short again and again; Who knows the great devotions, the great enthusiasms, and spends himself in a worthy cause. Who, at the best, knows in the end the triumph of high achievement; and, at the worst, if he fails at least he fails while daring greatly; so that his place will never be among those timid and cold souls who know neither victory nor defeat. Life is a self-fulfilling prophecy, and everything that one person does may not necessarily mean success, but it is certain that different experiences will bring in different benefits. These experiences can carve the person’s personality and attitude to a better person as they continue forward and learn from his or her own mistakes. To round off, failures will give a person experience and a person who do es not try will not gain these experiences at all. Therefore, it is better to have tried and failed, than not to have tried at all.

J B Priestleys use of language, character, and setting for dramatic effect in An Inspector Calls Essay Example

J B Priestleys use of language, character, and setting for dramatic effect in An Inspector Calls Essay Example J B Priestleys use of language, character, and setting for dramatic effect in An Inspector Calls Essay J B Priestleys use of language, character, and setting for dramatic effect in An Inspector Calls Essay Essay Topic: Literature This essay shall examine the way in which J. B. Priestley uses dramatic effect in his 1945 play An Inspector Calls. The play is centred on an Inspector who gatecrashes the Birlings engagement party to their daughter Sheila and her Fiance Gerald croft, by announcing that earlier in the day a girl called Eva Smith, also known as Daisy Renton, committed suicide by drinking a bottle of disinfectant. The Inspector slowly makes his way around each of the Birlings and Gerald and asks them each a series of questions which results in each of the characters being convinced that they are to blame for her death. In this essay I will delve into the period and context of when the play was written, analyse the language used as well as the use of characters, the setting and the genre of the play. An Inspector Calls was written in 1945, but set one week before the Titanic set sail in 1912 the late Edwardian Era. I feel that this was done deliberately because J. B. Priestley may have intended to convey his optimism about World war one and how he thought a World War wouldnt begin. After World war two, I feel it was appropriate to release An Inspector Calls just for a simple morality play of which the morals could be not everything is what it seems and you never know what is going to happen. I feel this is due to dramatic irony as from the curtain opening there are many references towards disasters throughout history like the Titanic sinking in the middle of the Atlantic Ocean, after crashing into an Iceberg. Priestley conveys his optimism here as Mr. Birling says; the Titanic she sails next week. Another reason of which I feel that the playwright was a good release at the time was for the distinctions between the upper and lower classes within society. In 1912, there were strong divisions between the upper and lower classes, but after World War one, and World War two, the Holocaust, the Titanic sinking, and the Atom bomb, there was a great want for social change between the upper and lower classes for the country to stick together in the event of another disaster occurring. As this social reform had taken place, the effect on the audience was likely to be huge, and would make both the upper and the lower class audiences realise just how bad the upper class treated the lower class during the pre-war period. Throughout the play, the upper class audience should have perceived that they took great advantage of the lower class population. I therefore feel that one of J. B. Priestleys intentions for writing the play was to convey how the lower class were treated before the first World war, and he does this by portraying Eva Smith as vulnerable, weak and average. This is able to gain maximum impact on the audience as Evas character is built up slowly and emotionally throughout the play. This concept is shown as the Birlings and Gerald Croft take advantage of her and thus takes her own life. Throughout the playwright, J. B. Priestley uses many dramatic techniques and communicates these effects well. One way that the tension is sustained is by using dramatic irony. This is an occasion when a character makes predictions about the future now the past and the audience know that these predictions have been proven untrue, an example being when Mr. Birling says The Germans dont want war. Nobody wants war, except some half civilised folks in the Balkans, but the audience already know that the Germans did want a war and was dubbed World War one. Now the audience are likely to think that Mr. Birling is a completely over-opinionated plank. This allows the audience to engage and become involved in the play by answering back and saying oh, but yes that has happened you fool! I also feel the reason that Mr. Birling says these sentences is because J. B. Priestley is conveying his optimism through Mr. Birlings grand speeches to get his points over. Another technique used to keep tension throughout the performance is by the way that each member of the family seems to have had some involvement with Evas death. This tension leads to a pattern of new pieces of information being submitted, therefore developing the story and making the audience interested in how each character reacts to the revelations involved in the play. I feel that one of the most dramatic effects is created when the Inspector is introduced to the Birlings. Inspector Goole is very abrupt and gets straight to the point for example when hes describing Evas graphic death; Two hours ago a young woman died in the infirmary burnt her inside out of course. This quote is repeated about three times in the play, and is a good means of maintaining the tension within the play, by indicating that something substantial is going to happen rather soon whether this is something that someone is going to say or something that someone is going to do. The Inspector doesnt give any clues away about her death, but he makes sure that tension is kept by making a statement and making the Birlings finish off the story, telling him what has been going on. This makes the audience watch the play attentively to the end. I also feel that the Inspectors role is important as he keeps the pace of the plot running smoothly. This is done as he deals with one line of enquiry at a time, and Evas life is unravelled before the audiences eyes making sure that each of the characters of the play has an equal amount of blame placed upon each of them for her death. By the end of act one, the Inspector is in complete control of the family and the situation that theyre in. He does this gradually from his entrance. His entrance is effective, and he speaks very little at the beginning, and makes Mr. Birling feel anxious. As Mr. Birling asks the question; Some trouble about a warrant? the Inspector ominously replies No, Mr. Birling. The third line of this conversation is when Mr. Birling begins to get annoyed at the Inspectors small communication with him, and he asks Well, what is it then? ith a trace of impatience. This is just one of the many occurrences when the Inspector uses only a few words for a sentence, and makes the audience feel that the Inspector is going to rely on the Birlings and Gerald to do most of the talking unless he is asking a question. The Inspector controls the family by making out that he knows everything that has gone on. He seems to be an experienced Inspector as he knows how to get the information that he needs. The way that he seems to know everything that has gone on makes the other characters act irrationally and as a result the audience will enjoy the play even more than they would have if they didnt think he knew what he was talking about. I believe that the playwrights plot unravels extremely well. The tone of voice of the characters is crucial towards the play because it is one way that the audience gets to see the characters cracking and it shows us that theyre hiding things that the Inspector isnt meant to hear. This is quite important because unlike other plays this play doesnt contain soliloquys, which give an insight towards the thoughts and the feelings of the characters. The most important part of the play is when the phone rings and it echos that a girl has just died in the Infirmary, and that an Inspector will be calling in shortly to question them about her death. This is effective as the audience have already heard the sinister story and will then feel that the Birlings either got what they deserve, or will sympathise with them feeling that they shouldnt be put through all of the questioning again. Language in this specific play has a proficient impression on the audience. The sentence structure of the play is crucial. This includes the length of sentences within the play, the vocabulary, and the underlying meaning implied by the characters. The language in this play is vital towards the development of the story. Mr. Birling speaks in long, spaced out speechs and at the beginning, hes quite confident in his long speeches to the family, although Mr. Birlings confidence is soon enough replaced with apprehension and self justification though I feel that he is anxious for the wrong moral reasons, as he only seems to care about his knighthood and not the fact that a girl has died because of his family. I therefore feel that Mr. Birlings speeches depend on how much hes in control of a situation and how happy he is. This is indicated as he acts like a temperamental child if he gets wound up, hell storm out, which is visible on page twenty one of the play as the Inspector says Thats more or less what I was thinking earlier today asty mess somebodys made of it. Mr. Birling who is Provincial in his speech uses very gallant vocabulary on a day-to-day basis he doesnt use the simplest of terms for things. The vocabulary he uses wouldnt be used too freely in todays society, nor too frequently in the nineteen forties so insisting Mr. Birlings aim is to be on the upper part of the upper class, when all he is, is Middle Class (I will disc uss social class later in my essay). This vocabulary also speeds up the confrontations in the room throughout the play, because without realising, he is digging a larger and larger hole to get out of. The use of colloquial terms is effective nonetheless in the play, for example, squiffy could be perceived as meaning drunk, and by jingo could be perceived as meaning oh God when youre in a fluster, but these terms wouldnt be used nowadays. This is vital because it adds towards the character development in the play perhaps indicating that the Birlings feel the need to use these terms because they think that theyre better than others, and feel the need to speak in these colloquial terms. The language used is effective on the audience, in the way that theres virtually always an underlying meaning somewhere in each point brought up in the play in relation towards Evas death, and the Inspector nearly always brings about a confrontation somewhere along the line. The use of language during Mr. Birlings speeches are strong because he always seems to know what hes talking about, however the use of dramatic irony in the play is crucial to make the audience think Ha! What an idiot! Two examples of this dramatic irony are when Mr Birling makes the quotes about the war I say there isnt a chance of war and the Titanic; the Titanic she sails next week and unsinkable, absolutely unsinkable. This quote leads me to believe that hes too pessimistic about the world around him, and leads the audience to think that his heads too far up in the clouds and he believes anything that hes told. This is adding towards character development, as it shows that Mr. Birling is quite naive. Its necessary to have this use of language to develop the characters social status within the play. Although Mr. Birling would disagree with me, I feel that he and his family are of Middle class status, as he has a business that has only been open for a minority of years, and at the beginning of the show, Mr. Birling is confident in himself, as he says sentences about himself and his business like the following; and I speak as a hard-headed business man, however in great comparison, the Crofts business has been open for centuries, and therefore this leads me to the conclusion that the Crofts are of a high social status. This leaves no question of why Mr. Birling is happy about tonight, as he assumes that the Crofts will work together with the Birlings as he feels that they will be family and perhaps we may look forward to the time when Crofts and Birlings are no longer competing but working together I also feel that the use of language used is necessary by means of retaining authenticity. The language is therefore significant to both the effects on characters, and the audience. The effects on the characters will be varying from character to character, for example the use of language used by the Inspector may be harsh and impolite in Mr. Birlings eyes as hes very abrupt, but from Sheilas point of view, he could be speaking calmly and politely towards the family. This has an effect on the audience using drama, because it will be dramatic for them as the Birlings and Gerald may react in differing ways to the Inspectors language. Priestleys use of character and character development in the play is crucial towards the play just as it is within novels; however there are two main divisions between characters in the play both directly and non-directly. These divisions are between the adults in the play with the younger members of the theatrical production and there is also the division of different social classes within the play. The youngsters in the play are Gerald, Sheila, and Eric, each of whom in turn are helpful towards the Inspector by being truthful about what happened nearly all of the time. This makes me believe that they arent as scheming and are influenced more by the Inspector than Mr and Mrs Birling are. This connotation is based upon how Sheila realises that the Inspector only wants the Birlings to build a bigger wall between themselves therefore shed rather tell the truth. It is also apparent when the Inspector says We usually do on the younger ones, that the Inspector knows that hell have an affect on the younger members of the family. The division between the adults and the youngsters becomes apparent when Mr and Mrs Birling begin to cover up their tracks immensely, however the Inspector knows what hes doing he knows how to get down to the bottom of things, and by the end the audience are left in ore by the way that the whole truth has come out, without any ends being left untied. By the end of the play there have been visible divisions within each member of the family, for example, Sheila and Gerald wont be the same again by the way that Geralds little secret has come out in front of his fiance. From the entrance of the Inspector to the end of the play its visible hes there to forewarn the family of the real Inspectors trail of thinking and also to warn them not to lie to the Inspector as it will only work out to the Inspectors advantage, because he knows most of the facts anyway. Although An Inspector Calls is not the most ha-ha funny play that Ive read, it is fun to read in the way that the characters keep digging themselves into a larger more riveting hole, and by the end they become embarrassed by the lies that theyve told the Inspector, thus meaning more enjoyment for the audience. Most of the humour used in An Inspector Calls is conveyed through dramatic irony, and is a humour that makes the viewers think ah, I like what youve done there. This means that the plot line is mentally stimulating for the audience, and yet again the audience are able to become involved in the play. Having said that, there are some occurrences when there are some ha-ha funny sentences, one of which is when the Inspector says An hour ago, a girl was taken into the Infirmary after drinking a bottle of disinfectant, and Sheila replies Oh, was it an accident. My simple answer would be are you stupid girl? This would be perceived as funny as someone can hardly drink a bottle of disinfectant by accident misplacing it for a cup of Tea! When Sheila finds out what happened to Eva, it shows that she has a conscience, by sympathising with her. When she finds out who she was and she finds out her story, her empathy for Eva grows, and she solely feels to blame for her suicide even though I feel she had the smallest part to play in her suicide. The same goes for Eric and Gerald who feel great sympathy for her too, but they seem to have had much more to do with her suicide. Whilst watching the play, the audience notice that the oldest members of the family Mr. and Mrs. Birling give very little sympathy for Eva throughout the play. This brings me to the conclusion that the younger members of the family have much more sympathy for other people, and that they are influenced much more easily by the Inspector, unlike Mr. and Mrs Birling who show very few signs that the Inspector is influencing them with his questions unless you look at the way that they act, which changes dramatically within the play. This gives the impression that the youngsters are more in touch with their senses too. One of the main reasons that the characters have been developed in these ways is to get the audience involved, by making them feel annoyed at the characters who you are supposed to feel annoyed at, for example Mr. and Mrs. Birling are the characters in this play who are meant to make the audience feel annoyed at them because they take no responsibility for Evas death, which is rather cowardly of them. I feel that Eric has been placed in the play to be funny, however, he still has many sides to him which are like his parents like the way that he runs away from the truth. I feel that the audience are meant to feel inspired and sympathetic towards Gerald and Sheila because of their honesty towards the Inspector and the way that they stand up in front of each other and tell the brutal truth of the way that they see Evas death, and Sheila unlike the rest of her family doesnt run away once. The way that they are inspired by the couple is mainly because of their honesty in front of each other. Similar couples wouldnt have the guts to admit what theyd done to themselves, never mind their partner. This is therefore a good situation to place the sympathetic couple in. I feel this because itll be the best day of their lives so far together, so people will think awww, what a shame but in relation to what Eva must have been put through other people would think that they deserve it. The use of setting in the play is very necessary to this play and therefore this essay. When the Inspector is introduced to the play the lighting changes drastically, from an intimate pink colour to a much harsher, harder colour, thought to be red. This immediately affects the audience because it indicates that the inspector will have a huge impact on the play. From the beginning of the play, there are many references towards stage directions and setting which are vital, for example on page three of the play it quotes Half playful, half serious to Gerald. This builds up the atmosphere that Sheilas excited for her engagement party, but it also adds to the early character development within the play. The fact that the play is set in one room may be boring for some viewers, however I feel that it is rather effective towards the play in order for the tension to be kept within the playwright, and also so it doesnt turn into some sort of wild Goose chase for the Inspector. This is effective in the way that the Inspector can ask each of the characters, in turn, questions without having to ask where they are in the household and find them, which would get boring and expensive for theatre companies in a society still recovering from two World Wars. This therefore gives the effect of an interrogation room for the characters. There are many entrances and exits within the play, and this is extremely effective in the way that the audience get to find out that the characters are under pressure by the Inspectors questions. When characters leave the room, we find out even more about the characters involvement in her death, which leads up to tension, because the audience begin to get an adrenaline for the next entrance of that character. When the Inspector arrives its nothing short of fantastic. I feel this is because of the way that the happy atmosphere has been built up fantastically, and then an Inspector walks in with the news that a girl died earlier in the day after drinking a bottle of disinfectant, therefore when the Inspector arrives the atmosphere drastically changes. This therefore proposes the notion that the play is made successful by the use of entrances and exits of characters. I wouldnt particularly say that this play is typical of a morality play or of a detective play in terms of the setting however it does create the sense that it has been created as a morality play as it is quite emotional I feel its emotional in the way that it illustrates how badly the lower class were treated by the upper class before world war one. I therefore feel that this play is good in terms of the genre and the setting within the play. I feel that J. B. Priestley has used the correct media type in a play, as the audience build up an affinity with each of the characters (especially Eva though shes not directly involved in the play), as they are seeing it being made more dramatic by terms of acting which wouldnt be as effective if it were portrayed in a novel or poem. This is definitely meant to be performed for an audience.