American Revloution essays

American Revloution essays Between the years of 1763 and 1776 many acts and new laws were passed by the King of England and Parliment, which angered the colonists, enough to actually pull away from their founding country. The first in a series of direct and immediate events within these years, which eventually destroyed the relationship, was the Proclamation of 1763. By prohibiting settlement west of the Appalachian Mountains, England expected to save money by controlling expansion. Even though most colonists ignored this law, it angered them because it tried to restrict them. This act lead into a chain of acts including, in 1764, the Sugar Act and the Currency Act, in 1765, the Stamp Act and the Quartering Act, the Intolerable Acts of 1774, as well as many others that aggravated the colonists. The actions of the King and Parliament towards the colonies soon caused the loyal citizens to begin to hate the King and Parliaments rule. The colonists belived that the king and Pelliccia 2 Parliament were taking advantage of their power over the colonies, is summed up by the Declaration of Independence, "...it is the Right of the people to alter or to abolish ["...any Form of Government (that) becomes destructive of (the natural rights of Life, Liberty, and the pursuit of Happiness)..."]... In 1763 Britain attempted to show the power that King George III and the British Parliament thought they had. This began with the Proclamation of 1763, which prohibited the settlement of colonists west of the Appalachian Mountains. The colonists were used to the taxes Britain imposed on their trade but when parliament passed the Stamp Act, representatives from 12 of the 13 colonies joined together to form the Stamp Act Congress to take action against the Act. The outcome was the Declaration of Rights which said that they would only be taxed by their consent and they belived "no taxation without representation." ...

Using Can and Be Able to to Speak About Abilities

Using Can and Be Able to to Speak About Abilities Can and Be able to are both used to speak about abilities, and the possibility of doing something. Can and Be able to are known as modal verbs in English. Here are some examples of can and be able to used to speak about abilities. Can for Abilities She can play tennis.They could speak English at a very young age.Peter can type 100 words per minute. Be Able to for Abilities My sister is able to run a marathon.The students were able to get an A on the test.We will be able to attend the class next semester. Here are examples of the two forms to speak about possibilities. Can for Possibilities Can you come to the party next week?Do you think he can help with my homework?Peter told me he could pick you up at the airport. Be Able to for Possibilities We werent able to get tickets to the concert.Shell be able to study for the test tomorrow.Jack wont be able to come for another three days. Listed below are examples and explanations for can/could/be able to for ability and permission in the past, present. and future. Examples Usage He can play tennis well.She is able to speak five languages.They can come on Friday.Jack will be able to come next week. Use can or be able to to express an ability or possibilityNOTE: The future of be able to is will be able to He could swim when he was five. Could in the past means the general ability to do something. They were able to get tickets for the concert.I was able to finish before 6.I couldnt come last night, sorry. OR I wasnt able to come last night, sorry. IMPORTANT: If someone was in the position to do something, or managed to do something, we use was/were able to instead of couldIn the negative, wasnt able to OR couldnt are both correct. Note: Can is also often used to ask for permission, as well as may: Can I come with you? May I come with you? Practice Can/Be Able To Practice can and be able to with this role play. Once youve finished, make up some of your own dialogues and practice with a classmate or a friend.   Peter: Hi Janet. Can you help me for a moment?Janet: Sure, whats up? Peter: Im not able to understand this math problem.  Janet: Really. I think I can help, but Im not that good at math. Peter: You were able to all the problems last semester, werent you?Janet: Yes, thats right, but I cant do everything. Let me see.   Peter: Here you go.Janet: Interesting, are you sure youre not able to do this? Peter: Yes, thats why Im asking for help!Janet: OK. After I explain this, youll be able to do without any problems. Peter: Great. So whats the answer?!Janet: Dont be in a hurry. Can I have a few minutes to think? Peter: Of course you can. Sorry.  Janet: No problem.

Wester Civilization II paper #4 Essay Example | Topics and Well Written Essays - 1250 words

Wester Civilization II paper #4 - Essay Example stronomy and, after much deliberation, he presented a heliocentric world view: the sun was the centre around which the earth and other planets revolved. Brahe, in his turn, made observations through a large observatory; after observing a nova and a comet, he also decided that the old world view was incorrect. However, he propounded that all the planets except the earth moved around the sun and that these, in turn, moved around the earth. Kepler, who was Brahe’s student, took his teacher’s research further and made findings that supported a heliocentric view of the solar system. It was, however, Galileo who, by observing the galaxy through his telescope and coming to the conclusion that the stellar bodies did not move around the earth, popularized the Copernican theory. The Roman Catholic Church did not pay much attention to Copernicus, as they did not think his findings could damage their worldview. When the Church saw Copernican heliocentric theory being promoted and popularized in the masses by Galileo, it warned him to abstain and later forced him to recant. The Church held the doctrine that the earth was the centre of the universe, both physically and spiritually; the new scientific discoveries laid false this theory and were in direct contrast to the scriptures, that is why the Church felt threatened by their dissemination. The Hermetic beliefs stipulated that there was a universal spirit present in all objects, and that this universal spirit was evident therein. This belief was also held by Kepler, and it was because of it that Kepler studied planetary motion – so that he could discover a unifying spirit. Moreover, Paracelsus was an alchemist, and he built his theories upon the ideas stipulated by the ideas propounded by alchemy. He theorized that all matter was made up of three principles – salt, sulfur and mercury – as opposed to earth, fire, water and air as traditional alchemy laid down. He also digressed from traditional alchemy by denying

Prayer in Islam Research Paper Example | Topics and Well Written Essays - 2250 words

Prayer in Islam - Research Paper Example Prayer is that spiritual communication to God or an object that is being worshiped, it is making a petition to God, an object of worship or a god. Prayer has different meanings and practices around the world where there is the use of postures like kneeling, walking and bowing the head which is seen as a way of showing devotion. In some places prayer involves asking for forgiveness, praise and worship and thanks giving. Some religions have a certain or standard way of praying, for example, the Lord’s Prayer which is often said by a group of worshipers. Islam is based on the five pillars which are the foundation of the Islamic life. The first pillar is the I-man or faith where Muslims believe in the oneness of Allah and that Muhammad is his messenger. This declaration or Shahada is the believe that serving and obeying Allah is the only purpose one has in their life and this is normally achieved through the teachings and practices of Prophet Muhammad. Prayer is the second pillar which involves declaring a testimony of faith. Prayer in Muslim is seen to be important since it is a way of worshiping and establishing a close relationship with Allah who is the creator. It is seen as way of acknowledgement ones weakness and need to ask for Devine grace, forgiveness, mercy and abundance which is believed to be of interest to every Muslim. Prayer in Islam is referred to as Salat and is believed to have been made a mandatory obligation by Allah for every Muslim to follow it as per the Hadith where Prophet Muhammad was asked, â€Å"which of the actions is best?† ... ayer is also believed to be able to prevent one from all immoral or sinful deeds and strengthens the relationship and bond between Muslims, that bond of unity and love. Prayer breaks all differences that exist among Muslims because every individual prays at the same time, facing the same direction and this can also be seen when all Muslims gather together in Mosques to pray and listen to sermons. Prayer involves certain body movement while reciting passages of the Quran and consists of defined movements and recitations of passages of the Quran. For the Muslim community prayers can be done in any place that is considered to be clean; however, it is believed that prayers done from a mosque will bring 27 times more blessings. Muslims believe that when one begins a prayer session, they should not stop until they are through but there is an exception, for example, in a situation where a woman sees her child in danger, she can save her child while reciting the prayer as per the teachings o f the Quran [2:239] "Under unusual circumstances, one may pray while walking or even riding. Once one is safe, one shall commemorate God as He taught them what they never knew."    There are several pre-requisites to make a prayer valid which include; the prayer time where prayers have to be during the specific times of the day. Mosques normally help the congregation note the prayer time through the Adan or call to prayer which translates to; God is the greatest (x 3) I confirm that there is no one worthy of worship except God (x2) I testify that Prophet Muhammad is the messenger of God (x2) Come for prayer (x2) Come for success (x2) God is the greatest (x2) there is no one worthy of worship except God. Pre-requisites in making a prayer valid also include the purification rituals or Taharah

Implications of Day Care in Young Children Essay Example for Free

Implications of Day Care in Young Children Essay Within this assignment I will be discussing the implications of day care for young children and giving both the positive and the negative aspects of this. A study was done in the united states by Kagen (1978), the study was done on children whose mothers worked, in which case the children were put into day care centres compared to home –reared children. Kagen found little difference between the children placed in day care centres and those raised at home either in the amount of protest or seeking closeness to their mothers when upset. From the findings it appears that it doesn’t matter if a child is in day-care or raised at home or the amount of hours spent with its mothers, there is a special bond between mother and child. Bee (1974) Concluded that there are no negative effects when a child is cared for in a day care centre, provided these are run by trained professionals and only a small number of children. However, Bee (1997) also suggests â€Å"The crucial issue is the discrepancy between the level of stimulation that the child would receive at home and the quality of day care. When the day care setting for the child provides more enrichment than the child would normally receive at home, we see some beneficial cognitive effects. When day care is less stimulating than the child’s home care would have been, it has negative effects.† Psychologists disagree about the developmental effects of day care on young children. Some agree with Bowlby’s prediction that long to medium term separation from the mother could have far-reaching consequences. Others claim that, provided day care is high quality day care has no adverse effects on intellectual development and does not disrupt the child’s attachments. Some psychologists believe that it might even make a positive contribution to the child’s development. The type and quality of care can influence many aspects of development—including memory, language development, school readiness, math and reading achievement, the nature of relationships with parents and teachers, social skills, work habits, and behavioural adjustments Below I have tried to outline the positive and negative aspects of day care: Positives * When children attend nursery or playschool it’s clear that peer relationships take on increasing importance but peer relationship importance  is important before this . Early as 6 months old babies smile and are more vocal to other infants. * Intellectual stimulation * Helps develop some social skills- building relationship with peers and other trusted adults other than those within the family. * Psychologists have shown there is no affect on the mother-child attachment * Children receive Adequate and nutritious meals Negatives * Putting a child into day care can cause the child stress ( i.e upset from being away from its mother)as can any situation in which the mother isn’t with the child. * If a day care doesn’t have the correct form of attachment for adults and the children as mentioned above ( conclusion raised by Barbara Tizard) this will not have as greater benefits as a quality day care that has this attachment and familiarity etc. * Some research in the US argue that day care can cause the child to grow up to be aggressive and disruptive once they reach school age (research taken from -NICHD national child care study)

Venus Essay -- essays research papers

Venus, the second planet from the Sun, is the hottest world in the solar system. It is blanketed by a thick atmosphere that heats its surface like the inside of a greenhouse. But with a surface temperature of almost 900 degrees Fahrenheit (480 C), this place is no garden! Other than its atmosphere, Venus is so similar to Earth that it is sometimes called Earth's sister planet. Its diameter and mass are almost identical to Earth's. Why, then, is it so hot? The "greenhouse effect" on Venus is caused by its atmosphere. Energy from the Sun passes through the atmosphere to the planet's surface, where it is absorbed and reradiated at longer wavelengths (as heat). Venus' atmosphere traps these longer wavelengths so they cannot escape into space. The trapped heat builds up, so the planet grows hotter and hotter. The same thing happens in an automobile on a hot day. Sunlight comes through the windows and warms the inside of the car, but the heat is trapped. Even though Venus' orbit brings it closer to Earth than any other planet, its blanket of clouds kept much of Venus a mystery. But space probes sent by the Soviet Union and the United States, as well as studies with ground-based radar, have allowed astronomers to "see" the surface of Venus for the first time. The first exploration of Venus by radar was in 1962. It revealed that Venus spins backward on its axis. If you could stand on the surface of Venus, and if you could see the Sun through the cloud cover, i...

In the lake of the woods Essay

In his novel In the Lake of the Woods Tim O’Brien paints a vivid image of the horrors of the Vietnam War, particular the savagery of the Thuan Yen massacre. While prior to reading the novel readers instinctively blame the soldiers themselves for their immoral actions, as the novel progresses, O’Brien shows that while the soldiers may have physically committed the brutal acts of murder, blame cannot solely be placed on them. O’Brien depicts the Vietnam landscape as one that, due its elusive and chaotic nature, was partially responsible for the horrors that the men committed. Furthermore, the very nature of man and our innate capacity for evil suggests that while the soldiers themselves committed the physical acts of terror, our capability to commit such atrocities when placed within the scenario of war means that any individual would have been taken over by the insanity of the conflict. Ultimately, O’Brien demonstrates that while the horrors of My Lai are unforgivable, there are extenuating circumstances which suggest that blame cannot solely be placed on the soldiers who themselves were at times victims to the nature of war. While O’Brien depicts the nature of war as chaotic, he never denies the individual responsibly that each soldiers had for the evils they committed while at war. Sorcerer comments that â€Å"this was not madness, this was sin. † By differentiating between â€Å"sin† and â€Å"madness† O’Brien shows the immorality of the soldier’s actions, rather than simply blaming the evils they committed on the Vietnam landscape. While â€Å"madness† suggests a lack of control and that the soldiers were unable to make moral decisions, â€Å"sin† is associated with a conscious decision to commit evils and thus an understanding of one’s immoral actions. The fact that in between the savage killing and sexual perversion of the Thuan Yen massacre solders were able to take smoke breaks suggests that the soldiers knew of the â€Å"pure wrongness† of their actions and yet never made the moral decision to stop the killings. If soldiers did in fact understand their actions, O’Brien asks whether they can ever be forgiven. â€Å"Justifications are futile† states O’Brien – the total disregard for the mores of our society means that we cannot justify nor excuse the ultimate acts of savagery that were exhibited in Thuan Yen. Such evils committed by men are unforgivable and thus, the soldiers who partook in the massacre must accept responsibility for their actions, at least to some extent. However, within a landscape as chaotic as that of the Vietnam War, O’Brien asks whether any individuals could have retained his sanity. If not, O’Brien suggests that some blame can be placed on the insanity of the environment of war that warped the moral codes of those who fought in there. Vietnam is depicted as a â€Å"the spirit world†¦ dark and unyielding†; a hellish environment in which the line between good and evil, moral and immoral and right and wrong had been blurred to such an extent that soldiers who had to endure the war landscape were sucked in by the chaos and the amorality. The question of whether any individual, let alone any soldier, would have been able to make moral decisions during war is one that is ever-present in O’Brien’s text. As readers witness the total disregard for human life that was the Thuan Yen massacre, it is hard to believe that any person, no matter how sane and morally upright one may have been before the war, could have retained their sanity within an environment that appears to reach into the soul of every soldiers and dislodge the part that enables us to make moral decisions. Varnado Simpson, a member of the Charlie Company states that â€Å"we simply lost control†¦ we killed all that we could kill. † In his court trial, Simpson defines the very nature of war, with its aimless shooting, elusive enemy and constant paranoia, as a scenario in which any individual would have been taken over by the hysteria that war created. Ultimately, O’Brien graphic depictions of the war landscape allow readers to sympathise with the soldiers and thus allow the blame to shifted, however not excused, from the soldiers themselves. In light of the very nature of war, O’Brien suggests that despite the atrocities of their actions, the inability to make moral and ethical decisions within the world of â€Å"ghosts and graveyards† means that the evils committed by the soldiers must be, at times, viewed with sympathy as well as the scorn that readers naturally thrust upon them. Furthermore, O’Brien demonstrates that it is the very nature of man and our innate capacity for both undying love and unbelievable destruction that ensures that, while their actions are unforgivable, soldiers can be viewed with sympathy. The â€Å"impossible combinations† of the war depicted by O’Brien reflect the ability of man to express both the dichotomies of love and destruction equally and at the same time – a seemingly â€Å"impossible combination† of its own. However, the very fact that these two traits are not mutually exclusive suggests that it is in our very nature to commit acts of evil when placed within a landscape such as that of war. John Wade did not go to war to kill or brutalise or even to â€Å"be a good citizen. † O’Brien ensures through repetition of the statement that â€Å"it was in the nature of love† that Wade went to war. How then, O’Brien asks, can Wade be solely blamed for his actions when his intentions in going to war were pure? While we cannot simply forgive Wade for the massacre in which he partook, O’Brien leads readers to view Wade not â€Å"as a monster, but a man. † Despite the horrors that he committed while at war, it appears as if John Wade was a victim not only of the war landscape, but of ultimately of human nature. In the concluding pages of the novel, as Wade slowly loses himself within the tangle of his own deceit, O’Brien asks if Wade was â€Å"innocent of everything but his own life. † The more poignant question, however, is whether Wade and the rest of the Vietnam veterans are innocent of everything but human nature and our innate ability to commit acts of evil. It is thus that O’Brien suggests that while the actions of the soldiers at Thuan Yen cannot be excused completely, the soldiers themselves cannot solely be blamed. â€Å"Can we believe that he was not a monster, but a man? † It is with this open ended question that Tim O’Brien draws to a conclusion the enigmatic story of Vietnam veteran John Wade. Despite the horrors that he committed throughout his life, most notably the Thuan Yen massacre, O’Brien asks whether humanity can view Wade as a man who was a victim to the chaos of war, to the capacity of human nature to commit evil and ultimately, to his own reality. The actions of soldiers at war cannot be justified – it is with this sentiment that O’Brien writes this antiwar protests – however there are undeniably extenuating circumstances which lead soldiers to commit acts of evil. While culpability should not be lifted from the soldiers completely and their actions should not be excused, O’Brien ensures that we sympathize with the soldiers as many of them were simply swept away in the amorality of the landscape. Ultimately, O’Brien explores human nature and the capacity that man had for destruction. It is this weakness, rather than that of any individual soldiers, that is ultimately responsible for the evils of war.

Jekyll And Hyde The Musical Essay

The play was preformed in Bristol Hippodrome on the 11th May. The musical was about a doctor, Jekyll, who wants to see the other side of a person’s soul. He believed that in every person there is a darker side, the opposite of a person’s soul. He believes he has way of seeing this other person. He has an experiment that will enable him to do so but people won’t listen to him and knock back his ideas. After his idea being rejected he decides what to do. He takes the potion, and from it emerges as his other double side, Hyde. Hyde is the opposite of Jekyll, and is a cold-blooded murderer. Jekyll and Hyde both know about each other and as Hyde finds out about Lucy he plans to do something about it. Jekyll can’t control Hyde as Hyde forms a strong part of him. Throughout Hyde, kills people, one of which includes Lucy, a prostitute whom Jekyll had formed a friendship with. At the ending as Jekyll is about to marry Lisa, he makes himself get shot to end Hyde ever coming back. The main character in the play played both parts of Jekyll and Hyde. Whilst he was playing Jekyll, his appearance was smart and clean, whereas when he turned into Hyde his appearance was rough and sinister looking. Jekyll’s personality was kind and he was a gentle man. Hyde was his other side, being Vulgar and violent. Lisa was Jekyll’s fiancà ¯Ã‚ ¿Ã‚ ½e and was one of the only people whom listened to Jekyll. At the start they appeared to have a close relationship but as Jekyll turned into Hyde they became more distant, also this occurred when Jekyll met Lucy. Lucy was a prostitute who although seemed confident there was times when she showed her vulnerability and longing to go away from her life. When she met Jekyll, he was different and treated her with respects unlike all the other men. She falls in love with him, but as Hyde finds out about her he then kills her. The other characters in the play treat Jekyll as if he is just a doctor who has mad ideas but not worth the time to listen too. Hyde meanwhile makes people listen to him, right before he kills them. Jekyll’s relationship to other characters is distant apart from his fiancà ¯Ã‚ ¿Ã‚ ½e Lisa. Also when he meets Lucy, he is kind to her and they form a connection. Hyde doesn’t care about anybody. But when he finds out about Lucy, he makes himself involved with her. At the end Hyde visits Lucy and kills her. Throughout the play Jekyll constantly changes into Hyde, and as the play progressed the transformation was sudden and at the end the change between them was every second or two as they spoke to each other before transforming. He changes throughout the play because of the potion’s effect and he changes without his consent, as Hyde starts to overpower him. There were contrasts between pace between and within scenes. These occurred when Hyde would emerge from Jekyll or the suddenness of the next scene change. The effect this created was to make the scene more alive with what the characters were feeling and what the situation was about. Some changes of paced were specifically linked to characters such as Hyde’s would be loud and lively whereas Jekyll’s would be more calm and quiet. The changes in pace added to the tension. The set was made up of one floor, which was changed into a bar, a street scene and mostly Jekyll’s laboratory. Then there were two flights of stairs leading to another floor, like a balcony. Both of the floors were used for different parts of the play. When Hyde killed a man on the top floor he would drop down onto the next one. There was a number of exists. The set was mostly dark colours but between the scenes the mood of the set could change. The colours were made lighter for the scene in the bar but darker for Jekyll changing into Hyde. The lightning added to the effect of the different atmospheres of the scenes. The effects used when Jekyll and Hyde were changing straight after one another were the lightning would swirl and for Jekyll a calm, good blue colour whereas Hyde had a blood red colour. It showed the contrast between the two characters. When Hyde first came and was in Jekyll’s room, the lightning used was Hyde hitting a table and the candle on it light up and the lightning was more dramatic and the music was rushed. When something dramatic happened the lighting would add to this by bright colours and the fastness of it. The lights had patterns on them, which showed, as well as the colours, what the action mood was. When it was calmer such as Jekyll it would be softer. The music used were suited to the part of the play it accompanied, such as when Hyde was on a killing spree the music was fast and dramatic. The opposite to when Jekyll was with Lisa or Lucy. Obviously as this play was a musical the words spoken would be a song about how that character was feeling or what was happening in that event of the play. The sound and music produced an atmosphere as it expressed clearly people’s emotions as to what was happening. One of the best moments was when Lucy and Lisa sang together. They both had feelings for Jekyll and combined them into one song with each other. The costumes of the characters were suited to them. Jekyll was smart and organised looking whereas Hyde was scruffy and threatening. Lucy’s was suited to her but when she met Jekyll she changed a bit as she had feelings for him. When Hyde kept changing more frequently it affected Jekyll’s appearance, as Jekyll seemed more worried his appearance would be nervous. The overall success of the play was good. There were some scenes which were better than others, Lucy and Lisa singing together, which lifted the play and improved it. There were parts of the play, Hyde first emerging from Jekyll, which also added to the feeling of the play. The main characters of the play stayed in character and played their parts well.

The Best SAT Diagnostic Test

The Best SAT Diagnostic Test SAT / ACT Prep Online Guides and Tips If you’re preparing for the SAT, you may know how important it is to take a diagnostic test early on in your studying.An SAT diagnostic test will give you a baseline score you can use to develop an individualized study plan that’ll target your weaknesses and help you reach your target SAT score. In this guide, we’ll explain what an SAT diagnostic test is, where you can find the best free SAT diagnostic tests, and exactly how you can use every piece of information you get from the diagnostic test to create the best SAT study plan for you. What Is an SAT Diagnostic Test? How Can It Help You? An SAT diagnostic test is a practice test that you take at the beginning of your SAT prep to determine what your strengths and weaknesses are and how much you need to improve. Your diagnostic results give you an estimate of how well you’re currently scoring on the SAT and which parts of the test you’re struggling with.Without an SAT diagnostic test, it’s much harder to study effectively for the SAT because you don’t know how much progress you need to make or in which areas. Before you take a diagnostic SAT, you should know your goal score. A goal score is the score you're aiming for on the SAT, and it's based on the average SAT scores of admitted students for the colleges you're interested in attending. Check out our guide to learn how to set your own goal score. Where Can You Find the Best SAT Diagnostic Tests? The best SAT practice tests are always official tests, and this is also true for SAT diagnostic tests.Official practice SATs are made by the same people who create the actual SAT. This means that, if you take an official practice test for your SAT diagnostic, you can be sure you’re getting an accurate idea of the real SAT's content and difficulty, as well as how the questions are worded and how they can trick you. We have links to every free and official SAT available online. Use one of these for your free SAT diagnostic test.You can also take an official SAT practice test on Khan Academy which will automatically score your results for you. However, we don't recommend taking your SAT diagnostic test online since you'll be taking the real SAT with pencil and paper. Are there shorter options for a diagnostic test?We highly recommend taking a full-length SAT as your diagnostic test to give you the most accurate results, but if you really can’t find the time to do this, Khan Academy does offer short diagnostic quizzes for the SAT on its website. There are four quizzes for SAT Math and four for SAT Reading. Each quiz is ten questions long. You won’t be able to translate these results into an estimated score for the SAT since the format is so different, but they can be used to help you figure out which areas you need to improve the most in. How Should You Take Your SAT Diagnostic Test? When you take your SAT diagnostic, it’s very important to mimic real testing conditions as closely as possible so that you can get the most accurate score from your diagnostic. If you give yourself more breaks or time than you’d get on the real test, your diagnostic test results won’t be as useful because the extra time could cause you to get a higher score than you would on the real SAT. Here are the main rules you should follow when taking your diagnostic: Take the test with pencil and paper Take the test all in one sitting Keep strict timing for each section (don’t give yourself even one minute extra to complete a section!) Use only the breaks you’d get on the official exam (5 minutes after the Reading section, 5 minutes after the Math No Calculator section, and 5 minutes before the Essay if you’re taking it) Minimize distractions (no music, tv, people talking in the room, etc.) For a more in-depth look at the best way to take SAT practice tests, check out our guide specifically on the topic. How Should You Analyze Your SAT Diagnostic Results? Once you’ve taken your SAT diagnostic test, your work isn’t over! The reason you took the diagnostic was to get useful information from it, so these next two sections will explain how you should analyze your test results. In this section are four big picture questions you should ask yourself to see how much you need to study and what major areas your study plan should focus on. Grade your diagnostic test (all official practice tests include instructions on how to do this), then think about the following questions. How Far Are You From Your Goal Score? This is the key question. How far are your diagnostic test results from your SAT goal score? If you’re close to your target score, great! You may not have to do much studying beyond some quick review and taking a few more practice tests. If you’re farther from your SAT goal score, you’ll probably have to put some more time in, but that’s why you took the diagnostic test, to figure this out early so you have plenty of time to develop an SAT study plan. Keep reading for tips on how to figure out exactly where you can improve and what you can do to raise your score. Which Sections Did You Struggle the Most With? Now, look at each of your section scores. How do they compare to one another? Is your Reading score pretty good but your Math score far from where you want it to be? Then you know to focus more of your study time on math. Students often divide their study time equally between each of the SAT sections or read entire prep books all the way through to make sure they’re learning everything they can. However, if your section scores vary widely, this isn’t the most efficient use of your time. You want to concentrate more on the section(s) where you need to make the biggest improvement. That’s the way to raise your score a significant amount. Which Question Types Did You Struggle the Most With? Now go one step further. If you’re unhappy with your Math score, look more closely at which types of questions you answered incorrectly. Did you ace the algebra questions but struggle with geometry? Did the grid-in questions throw you for a loop? The more detailed your analysis is, the more it’ll help you develop a study plan that effectively targets your weaknesses and helps you raise your score.To help you with this, here are guides that explain every type of question you’ll see on SAT Math, Reading, and Writing. They’ll help you categorize the questions and figure out which ones you’re missing. Did You Run Out of Time on the Exam? Finally, did you struggle with the time limits on the SAT? Did you run out of time on any of the sections? Do you feel like you could have gotten a higher score if you’d had more time?The SAT expects you to answer a lot of questions in a short amount of time, and many students struggle with completing the test within the time limits. If you feel you knew most of the information being tested but simply didn’t have the time to answer all the questions completely, working on your timing skills will be key to improving your score. We explain how to do this in the next section. What Is the Best Way to Go Over Questions You Got Wrong? After you looked at the overall patterns in your diagnostic score results, it’s time for a more detailed analysis. To do this, you should go through every question you answered incorrectly and figure out why you got it wrong. This may seem time-consuming and boring, but don’t be tempted to skip it! Going over the answers you got wrong is the absolute best way to understand where you’re making mistakes and what you can do to correct them. Otherwise you’ll just keep repeating those same mistakes and not make improvements. For each question you answered incorrectly on your diagnostic, think about why you got it wrong. There are generally four reasons people make mistakes on exams: Time Issue: You were pressed for time. Question Comprehension Issue: You had the knowledge to get the right answer, but the question was too complicated, you weren’t exactly sure what was being asked, or you were tricked by the question. Procedural/Content Issue: You didn’t know how to solve a question, or you didn’t have the background knowledge needed to answer the question. Careless Error: Often the most frustrating mistake, this is when you knew exactly how to get the right answer, but you made a silly mistake that caused you to choose the wrong answer. We give detailed explanations for how to overcome each of these issues in our guide to going over SAT questions you missed, but below are key solutions for each of the four issues. Time Issues To figure out if you have time management issues, take a timed practice test (under realistic conditions). If you run out of time to answer all of the questions, continue answering questions, but mark the questions for which you needed the extra time. How many questions did you get right with the extra time, compared to the number of questions you answered correctly within the official time limits? If your scaled scores differ by more than either 50 points on any section of the SAT, then you have a time management problem. We have guides specifically on how to stop running out of time on SAT Math andSAT Reading, but below are a few key tips for helping you manage your time on the SAT better. Know how long you have for each question:Having an idea of how long to spend on each question will help you plan out your time better and make it easier to stay on track. Move on if you're stuck on a question:If you’ve stared at a question for 60 seconds and have no idea how to solve it, skip it and move on. Practice, practice, practice:There’s a reason we keep encouraging you to take practice tests; they’re one of the best ways to get faster on the SAT.When you take practice SATs, you become more familiar with the exam and get a better idea of how long you can spend on each question, both of which help with your time management skills. Question Comprehension Issue This issue is especially common with people who read questions quickly in hopes of saving time. Even though you’ll be pressed for time on the SAT, spending an extra few seconds to figure out exactly what a question is asking you is well worth your time. Many students underline key parts of a question to make sure they’re not missing any important information when they read it. It may also help you to write out the info a question gives you in a simpler form to help you understand it. This can be especially helpful with math questions that dump a lot of info on you in the question. Procedural/Comprehension Issue Both of these issues can be solved by building up your knowledge of what the SAT tests and how it tests it.For procedural problems, the best way to improve is to answer lot of practice questions so you become familiar with what SAT questions look like and the ways they ask information. Prep books can also give you insight into how to solve questions. For comprehension issues, you can brush up on the content the SAT tests by using class notes, textbooks on the material, an SAT prep book or a complete prep program like PrepScholar. Careless Error The best way to overcome careless errors is to stop and think about why you’re making them. Were you pressed for time? Then improving your time management skills will help.Did you get tripped up by one of the SAT’s common tricks, like only solving for x when you were supposed to give the answer for 3x? Then taking more practice tests will help you identify these tricks more easily.Leaving yourself a few minutes at the end of each section to go over your answers can also help you avoid careless mistakes. How Can You Create the Best SAT Study Plan for You? Once you’ve taken your SAT diagnostic test and gone over your results, you can use that information to develop an SAT study plan completely tailored to you. Below are the five steps to follow to create a study plan that’ll help you build up your weaknesses and reach your target score. #1: Figure Out How Much Time You Need to Study Your first step for your study plan is to figure out how many hours you need to devote to studying. This is based on how much you want to improve from your diagnostic score results. Here are our estimates for the total number of hours you'll need to prep based on the SAT score improvement you want: 0-30 point improvement: 10 hours 30-70 point improvement: 20 hours 70-130 point improvement: 40 hours 130-200 point improvement: 80 hours 200-330 point improvement: 150 hours+ Once you know the number of hours you plan on studying, you can decide how many hours you want to study a week and work backwards to figure out how many weeks/months you’ll need to prepare and when you should take the SAT. For example, if you’re hoping to improve your score by 150 points, you’ll need to spend about 80 hours studying. If you can manage ten hours of SAT prep a week, it’ll take you about ten weeks, or 2.5 months to be fully prepared. #2: Get High-Quality Prep Materials You can create the perfect study plan, but if you’re using low-quality materials, it’ll be hard for you to make real improvements.We’ve already mentioned the importance of using official practice tests when you study. Unofficial practice tests can sometimes vary greatly from the real SAT, which means you’ll be taking tests that don’t help or, worse, prepare you for the wrong material. Always use official practice tests when you can. A prep book can also be one of the most useful tools for your SAT studying. They can be especially helpful at explaining difficult concepts and breaking down how to solve different types of SAT problems.Check out our guide to the best SAT prep books to learn which are the best prep books out there. #3: Drill Your Content Weaknesses As we mentioned above, it’s important to identify your weak areas and prioritize strengthening them. Once you know which subjects or question types you want to improve in, there are several ways to go about doing this: Reviewing content, either in a prep book or school notes Answer practice questions Asking for help if needed. If you’ve read through all your relevant notes on a subject, you may want to try asking a classmate who’s also taking the SAT for help or look into getting a tutor. #4: Take Regular Practice Tests Your SAT diagnostic test isn’t the only practice test you should take before exam day. Regular practice tests will help you track your progress and get more familiar with the exam.We recommend taking three to six full-length practice SATs.There are currently eight official practice SATs available for free, so definitely make good use of them. #5: Analyze Your Progress During your preparation for the SAT, you should regularly step back and analyze how things are going. Are you making the progress you’re wanting? If not, what do you think you should change about your study plan? Are you able to get in the number of study hours you want to? Where are you still struggling? How can you fix that issue? This is a really important step to follow because if something’s not working, you’re not going to see the improvements you want, no matter how often you keep doing it. If you’re stuck you might consider looking at tutors or reading our list of the 23 best tips for the SAT to get some new study ideas. What's Next? Want to get a perfect SAT score?Take a look atour famous guide to a 1600,written by an expert 2400 SAT scorer. Looking for practice tests?We have links to every free and official SAT practice exam available. Aiming high on each SAT section? Then read our individual, in-depth strategy guides to help you reach an800 on SAT Reading, SAT Math, and SAT Writing. Disappointed with your scores? Want to improve your SAT score by 160 points?We've written a guide about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

Yeats and The Symbolism of Poetry

Yeats and 'The Symbolism of Poetry' One of the greatest poets of the 20th century and a recipient of the Nobel Prize, William Butler Yeats spent his early childhood in Dublin and Sligo before moving with his parents to London. His first volumes of poetry, influenced by the symbolism of William Blake and Irish folklore and myth, are more romantic and dreamlike than his later work, which is generally more highly regarded. Composed in 1900, Yeatss influential essay The Symbolism of Poetry offers an extended definition of symbolism and a meditation on the nature of poetry in general. The Symbolism of Poetry    Symbolism, as seen in the writers of our day, would have no value if it were not seen also, under one disguise or another, in every great imaginative writer, writes Mr. Arthur Symons in The Symbolist Movement in Literature, a subtle book which I cannot praise as I would, because it has been dedicated to me; and he goes on to show how many profound writers have in the last few years sought for a philosophy of poetry in the doctrine of symbolism, and how even in countries where it is almost scandalous to seek for any philosophy of poetry, new writers are following them in their search. We do not know what the writers of ancient times talked of among themselves, and one bull is all that remains of Shakespeares talk, who was on the edge of modern times; and the journalist is convinced, it seems, that they talked of wine and women and politics, but never about their art, or never quite seriously about their art. He is certain that no one who had a philosophy of his art, or a theory of ho w he should write, has ever made a work of art, that people have no imagination who do not write without forethought and afterthought as he writes his own articles. He says this with enthusiasm, because he has heard it at so many comfortable dinner-tables, where some one had mentioned through carelessness, or foolish zeal, a book whose difficulty had offended indolence, or a man who had not forgotten that beauty is an accusation. Those formulas and generalisations, in which a hidden sergeant has drilled the ideas of journalists and through them the ideas of all but all the modern world, have created in their turn a forgetfulness like that of soldiers in battle, so that journalists and their readers have forgotten, among many like events, that Wagner spent seven years arranging and explaining his ideas before he began his most characteristic music; that opera, and with it modern music, arose from certain talks at the house of one Giovanni Bardi of Florence; and that the Plà ©iade laid the foundations of modern French literature with a pamphlet. Goethe has said, a poet needs all philosophy, but he must keep it out of his work, though that is not always necessary; and almost certainly no great art, outside England, where journalists are more powerful and ideas less plentiful than elsewhere, has arisen without a great criticism, for its herald or its interpreter and protector, and it may be for this reason that great art, now that vulgarity has armed itself and multiplied itself, is perhaps dead in England. All writers, all artists of any kind, in so far as they have had any philosophical or critical power, perhaps just in so far as they have been deliberate artists at all, have had some philosophy, some criticism of their art; and it has often been this philosophy, or this criticism, that has evoked their most startling inspiration calling into outer life some portion of the divine life, or of the buried reality, which could alone extinguish in the emotions what their philosophy or their criticism would extinguish in the intellect. They have sought for no new thing, it may be, but only to understand and to copy the pure inspiration of early times, but because the divine life wars upon our outer life, and must needs change its weapons and its movements as we change ours, inspiration has come to them in beautiful startling shapes. The scientific movement brought with it a literature, which was always tending to lose itself in externalities of all kinds, in opinion, in declamation, in pic turesque writing, in word-painting, or in what Mr. Symons has called an attempt to build in brick and mortar inside the covers of a book; and new writers have begun to dwell upon the element of evocation, of suggestion, upon what we call the symbolism in great writers. II In Symbolism in Painting, I tried to describe the element of symbolism that is in pictures and sculpture, and described a little the symbolism in poetry, but did not describe at all the continuous indefinable symbolism which is the substance of all style. There are no lines with more melancholy beauty than these by Burns: The white moon is setting behind the white wave,And Time is setting with me, O! and these lines are perfectly symbolical. Take from them the whiteness of the moon and of the wave, whose relation to the setting of Time is too subtle for the intellect, and you take from them their beauty. But, when all are together, moon and wave and whiteness and setting Time and the last melancholy cry, they evoke an emotion which cannot be evoked by any other arrangement of colours and sounds and forms. We may call this metaphorical writing, but it is better to call it symbolical writing, because metaphors are not profound enough to be moving, when they are not symbols, and when they are symbols they are the most perfect of all, because the most subtle, outside of pure sound, and through them one can the best find out what symbols are. If one begins the  reverie  with any beautiful lines that one can remember, one finds they are like those by Burns. Begin with this line by Blake: The gay fishes on the wave when the moon sucks up the dew or these lines by Nash: Brightness falls from the air,Queens have died young and fair,Dust hath closed Helens eye or these lines by Shakespeare: Timon hath made his everlasting mansionUpon the beached verge of the salt flood;Who once a day with his embossed frothThe turbulent surge shall cover or take some line that is quite simple, that gets its beauty from its place in a story, and see how it flickers with the light of the many symbols that have given the story its beauty, as a sword-blade may flicker with the light of burning towers. All sounds, all colours, all forms, either because of their preordained energies or because of long association, evoke indefinable and yet precise emotions, or, as I prefer to think, call down among us certain disembodied powers, whose footsteps over our hearts we call emotions; and when sound, and colour, and form are in a musical relation, a beautiful relation to one another, they become, as it were, one sound, one colour, one form, and evoke an emotion that is made out of their distinct evocations and yet is one emotion. The same relation exists between all portions of every work of art, whether it be an epic or a song, and the more perfect it is, and the more various and numerous the elements that have flowed into its perfection, the more powerful will be the emotion, the power, the god it calls  among  us. Because an emotion does not exist, or does not become perceptible and active among us, till it has found its expression, in colour or in sound or in form, or in all of the se, and because no two modulations or arrangements of these evoke the same emotion, poets and painters and musicians, and in a less degree because their effects are momentary, day and night and cloud and shadow, are continually making and unmaking mankind. It is indeed only those things which seem useless or very feeble that have any power, and all those things that seem useful or strong, armies, moving wheels, modes of architecture, modes of government, speculations of the reason, would have been a little different if some mind long ago had not given itself to some emotion, as a woman gives herself to her lover, and shaped sounds or colours or forms, or all of these, into a musical relation, that their emotion might live in other minds. A little lyric evokes an emotion, and this emotion gathers others about it and melts into their being in the making of some great epic; and at last, needing an always less delicate body, or symbol, as it grows more powerful, it flows out, with all it has gathered, among the blind instincts of daily life, where it moves a power within powers, as one sees ring within ring in the stem of an old tree. This is maybe what Arthur OShaughnessy meant when he made his poets say they had built Nineveh with their sighing; and I am certainly never certain, when I hear of some war, or of some religious excitement or of some new manufacture, or of anything else that fills the ear of the world, that it has not all happened because of something that a boy piped in Thessaly. I remember once telling a seer to ask one among the gods who, as she believed, were standing about her in their symbolic bodies, what would come of a charming but seeming trivial  labour  of a friend, and the form answering, the devastation of peoples and the overwhelming of cities. I doubt indeed if the crude circumstance of the world, which seems to create all our emotions, does more than reflect, as in multiplying mirrors, the emotions that have come to solitary men in moments of poetical contemplation; or that love itself would be more than an animal hunger but for the poet and his shadow the priest, for unless we believe that outer things are the reality, we must believe that the gross is the shadow of the subtle, that things are wise before they become foolish, and secret before they cry out in the  market-place. Solitary men in moments of contemplation receive, as I think, the creative impulse from the lowest of the Nine Hierarchies, and so make and unmake mankind, and even the world itself, for does not the eye altering alter all? Our towns are copied fragments from our breast;And all mans Babylons strive but to impartThe grandeurs of his Babylonian heart. III The purpose of rhythm, it has always seemed to me, is to prolong the moment of contemplation, the moment when we are both asleep and awake, which is the one moment of creation, by hushing us with an alluring monotony, while it holds us  waking  by variety, to keep us in that state of perhaps real trance, in which the mind liberated from the pressure of the will is unfolded in symbols. If certain sensitive persons listen persistently to the ticking of a  watch,  or gaze persistently on the monotonous flashing of a light, they fall into the hypnotic trance; and rhythm is but the ticking of a watch made softer, that one must  needs  listen, and various, that one may not be swept beyond memory or grow weary of listening; while the patterns of the artist are but the monotonous flash woven to take the eyes in a  subtler  enchantment. I have heard in meditation voices that were forgotten the moment they had  spoken; and  I have been swept, when in more profound meditatio n, beyond all memory but of those things that came from beyond the threshold of waking life. I was writing once at a very symbolical and abstract poem, when my pen fell on the ground; and as I stooped to pick it up, I remembered some  phantastic  adventure that yet did not seem  phantastic, and then another like adventure, and when I asked myself when these things had happened, I found, that I was remembering my dreams for many nights. I tried to remember what I had done the day before, and then what I had done that morning; but all my waking life had perished from me, and it was only after a struggle that I came to remember it again, and as I did so that more powerful and startling life perished in its turn. Had my pen not fallen on the ground and so made me turn from the images that I was weaving into verse, I would never have known that meditation had become trance, for I would have been like one who does not know that he is passing through a wood because his eyes are on the pathway. So I think that in the making and in the understanding of a work of art, and the mo re easily if it is full of patterns and symbols and music, we are lured to the threshold of sleep, and it may be far beyond it, without knowing that we have ever set our feet upon the steps of horn or of ivory. IV Besides emotional symbols, symbols that evoke emotions alone,and in this sense all alluring or hateful things are symbols, although their relations with one another are too subtle to delight us fully, away from rhythm and pattern,there are intellectual symbols, symbols that evoke ideas alone, or ideas mingled with emotions; and outside the very definite traditions of mysticism and the less definite criticism of certain modern poets, these alone are called symbols. Most things belong to one or another kind, according to the way we speak of them and the companions we give them, for symbols, associated with ideas that are more than fragments of the shadows thrown upon the intellect by the emotions they evoke, are the playthings of the allegorist or the pedant, and soon pass away. If I say white or purple in an ordinary line of poetry, they evoke emotions so exclusively that I cannot say why they move me; but if I bring them into the same sentence with such obvious intellectual symbols a s a cross or a crown of thorns, I think of purity and sovereignty. Furthermore, innumerable meanings, which are held to white or to purple by bonds of subtle suggestion, and alike in the emotions and in the intellect, move visibly through my mind, and move invisibly beyond the threshold of sleep, casting lights and shadows of an indefinable wisdom on what had seemed before, it may be, but sterility and noisy violence. It is the intellect that decides where the reader shall ponder over the procession of the symbols, and if the symbols are merely emotional, he gazes from amid the accidents and destinies of the world; but if the symbols are intellectual too, he becomes himself a part of pure intellect, and he is himself mingled with the procession. If I watch a rushy pool in the moonlight, my emotion at its beauty is mixed with memories of the man that I have seen ploughing by its margin, or of the lovers I saw there a night ago; but if I look at the moon herself and remember any of her ancient names and meanings, I move among divine people, and thing s that have shaken off our mortality, the tower of ivory, the queen of waters, the shining  stag  among enchanted woods, the white  hare  sitting upon the hilltop, the fool of  faery  with his shining cup full of dreams, and it may be make a friend of one of these images of wonder, and meet the Lord in the air. So, too, if one is moved by Shakespeare, who is content with emotional symbols that he may come the nearer to our sympathy, one is mixed with the whole spectacle of the world; while if one is moved by Dante, or by the myth of Demeter, one is mixed into the shadow of God or of a goddess. So too one is furthest from symbols when one is busy doing this or that, but the soul moves among symbols and unfolds in symbols when trance, or madness, or deep meditation has withdrawn it from every impulse but its own. I then saw, wrote Gà ©rard de Nerval of his madness, vaguely drifting into form, plastic images of antiquity, which outlined themselves, became definite, and seemed to represent symbols of which I only seized the idea with difficulty. In an earlier  time  he would have been of that multitude, whose souls austerity withdrew, even more perfectly than madness could withdraw his soul, from hope and memory, from desire and regret, that they might reveal those processions of symbols that men bow to before altars, and  woo  with incense and offerings. But being of our time, he has been like Maeterlinck, like Villiers de IIsle-Adam in  Axà «l, like all who are preoccupied with intellectual symbols in our time, a foreshadower of the new sacred book, of which all the arts, as somebody has said, are beginning to dream. How can the arts overcome the slow dying of mens hearts that we call the progress of the world, and lay their hands upon mens heartstrings again, without becoming the garment of religion as in old times? V If people were to accept the theory that poetry moves us because of its symbolism, what change should one look for in the manner of our poetry? A return to the way of our fathers, a casting out of descriptions of nature for the sake of nature, of the moral law for the sake of the moral law, a casting out of all anecdotes and of that brooding over scientific opinion that so often extinguished the central flame in Tennyson, and of that vehemence that would make us do or not do certain things; or, in other words, we should come to understand that the beryl stone was enchanted by our fathers that it might unfold the pictures in its heart, and  not to  mirror our own excited faces, or the boughs waving outside the window. With this change of substance, this return to imagination, this understanding that the laws of art, which are the hidden laws of the world, can alone bind the imagination, would come a change of style, and we would cast out of serious poetry those energetic rhythms, as of a man running, which are the invention of the will with its eyes always on something to be done or undone; and we would seek out those wavering, meditative, organic rhythms, which are the embodiment of the imagination, that neither desires nor hates, because it has done with time, and only wishes to gaze upon some reality, some beauty; nor would it be any longer possible for anybody to deny the importance of form, in all its kinds, for although you can expound an opinion, or describe a thing, when your words are not quite well chosen, you cannot give a body to something that moves beyond the senses, unless your words are as subtle, as complex, as full of mysterious life, as the body of a flower or of a woman. The form of sincere poetry, unlike the form of the popular poetry, may indeed be sometimes obscure, or ungrammatical as in some of the best of the Songs of Innocence and Experience, but it must have the perfections that escape analysis, the subtleties that have a new meaning every day, and it must have all this whether it be but a little song made out of a moment of dreamy  indolence,  or some great epic made out of the dreams of one poet and of a hundred generations whose hands were never weary of the sword. The Symbolism of Poetry by William Butler Yeats first appeared in  The Dome in April 1900 and was reprinted in Yeats Ideas of Good and Evil, 1903.

An Analysis of the History and Development of the European Union Essay

An Analysis of the History and Development of the European Union - Essay Example This study focuses on the development of the European Union on account of integration. The European Community was constituted, in order to restore peace in Europe subsequent to the Second World War. It was formed with the sole objective of preventing war, and to bring about peace and friendship between the inimical countries of Europe. To this end, efforts were made to not only establish better relations between France and Germany, but also to reintroduce Germany into the comity of nations as a responsible and competent state. This move was undertaken, principally, to strengthen Western unity, which helped to establish unilateral action that dispelled the fear of retaliation by the Eastern countries. Therefore, the fundamental objective of establishing the European Community was to build up mutual confidence between the East and the West. The second objective of the EC was to eliminate economic disparities, which had emerged during the 1930s, in Europe by ignoring the global recovery policy. There was a huge economic crisis, and almost all the nations in Europe had sustained a downward economic trend. This situation resulted in a number of dictatorships. Subsequent to the end of World War II, the Organization for European Economic Cooperation or OEEC established some measures for economic uplift in the European nations. The European Community built upon the efforts of the OEEC and established a common market in Europe, by pooling all the economic resources of its Member States.