Growing Up Essay Example for Free

Growing Up Essay The two poems I will be using are FOLLOWER and DIGGING. THe two poems say that at first, when you are young, you admire your father and constantly look up to them. However, eventually you see that it is highly unlikely that he can follow his father into jobs and so you want to become independent and do things yourself, without the need to look after your parents. At the beginning of Follower, he wants to be like his father; strong, powerful yet gentle, loving and a expert at his job. These connote to the admiration shown by Heaney towards his father, this is shown in the poem by The horse strained at his clicking tongue, An expert and Sometimes he rode me on his back dipping and rising to his plod. All of those examples combined implies that he is strong, in control, an expert with a horse-plough and he still has time for his son. He uses enjambament at the end of the second stanza, with a single pluck of reins, indicates it is in one swift movement, suggesting that he is entirely in control. In addition, he compares his father to a ship with phrases and similes such as his shoulders globed like a full sail strung , dipping and rising and mapping the furrow. These connote to the power, strength and degree of proficiency he has and uses with the horse-plough. In the fifth stanza he is still in admiration for his father, I wanted to grow up and plough, but realises that he will not be able to as he feel over burdened in expectations to be like his father and is constantly in his fathers shadow, All I ever did was follow in his broad shadow around the farm. At the end of the poem he is ambiguous as he loves his dad but wants him to go away as he is unable to tolerate his father being a nuisance, But today it is my father who keeps stumbling behind me, and will not go away. The final five words, and will not go away inimates that he is showered with guilt as he no longer wants to be around his father and have such a close relationship anymore. In Digging he starts off watching his father digging in the flowerbeds from above, inside the house. This is reinforced by the phrase Under my window at the start of the second stanza. The second line in the second stanza is memetic to the sound of digging, with the emphasis on the rs, s and the gs. The enjambament leading to the third stanza shows that these memories are extremely vivid as he changes from his father digging in the gravel to digging in the flowerbeds in one flowing movement. In comparison with Follower he signals admiration of fathers adeptness and uses many technical words to elevate the status of digging with phrases such as The coarse boot nestled on the lug and the shaft against the inside knee was levered firmly. Also the second quote connotes a machine by using words like levered. He uses a couplet of lines as a pivot to change the focus of the poem from his father to his grandfather and uses the term old man to show affection for them. Similarly to his father he admires his grandfather and is almost lauding about his skill and efficiency by saying My grandfather cut more turf in a day than any other man on Toners bog. In the penultimate verse he is depressed as he cannot follow in the family tradition literally, Ive no spade to follow men like them. In contrast to Follower, in the final stanza he decides to dig metaphorically with his pen, enabling him to follow his father, Between my finger and thumb the squat pen rests. Ill dig with it. In conclusion, there are many similarities between Follower and Digging, such as admiration, love and sadness and very few contrasts like in Follower he wants his dad to leave him alone, but in Digging he follows his fore-fathers metaphorically by digging with a pen instead of a spade.

GUIDE TO HYPNOSIS :: essays papers

GUIDE TO HYPNOSIS HOW TO GUIDE SOMEONE INTO HYPNOSIS: NOTE THAT I SAID GUIDE, YOU CAN NEVER, HYNOTISE SOMEONE, THEY MUST BE WILLING. OK, THE SUBJECT MUST BE LYING OR SITTING IN A COMFORTABLE POSITION, RELAXED, AND AT A TIME WHEN THINGS ARENT GOING TO BE INTERRUPTED. TELL THEM THE FOLLOWING OR SOMETHING CLOSE TO IT, IN A PEACEFUL, MONOTINOUS TONE (NOT A COMMANDING TONE OF VOICE) NOTE: LIGHT A CANDLE AND PLACE IT SOMEWHERE WHERE IT CAN BE EASILY SEEN. TAKE A DEEP BREATH THROUGH YOUR NOSE AND HOLD IT IN FOR A COUNT OF 8. NOW, THROUGH YOUR MOUTH, EXHALE COMPLETELY AND SLOWLY. CONTINUED BREATHING LONG, DEEP, BREATHS THROUGH YOUR NOSE AND EXHALING THROUGH YOUR MOUTH. TENSE UP ALL YOUR MUSCLES VERY TIGHT, NOW, COUNTING FROM TEN TO ONE, RELEASE THEM SLOWLY, YOU WILL FIND THEM VERY RELAXED. NOW, LOOK AT THE CANDLE, AS YOU LOOK AT IT, WITH EVERY BREATH AND PASSING MOMEMENT, YOU ARE FEELING INCREASINGLY MORE AND MORE PEACEFUL AND RELAXED. THE CANDLES FLAME IS PEACEFUL AND BRIGHT. AS YOU LOOK AT IT I WILL COUNT FROM 100 DOWN, AS A COUNT, YOUR EYES WILL BECOME MORE AND MORE RELAXED, GETTING MORE AND MORE TIRED WITH EACH PASSING MOMENT." NOW, COUNT DOWN FROM 100, ABOUT EVERY 10 NUMBERS SAY "WHEN I REACH XX YOUR EYES (OR YOU WILL FIND YOUR EYES) ARE BECOMING MORE AND MORE TIRED." TELL THEM THEY MAY CLOSE THEIR EYES WHENEVER THEY FEEL LIKE IT. IF THE PERSONS EYES ARE STILL OPEN WHEN YOU GET TO 50 THEN INSTEAD OF SAYING "YOUR EYES WILL.." SAY "YOUR EYES ARE...". WHEN THEIR EYES ARE SHUT SAY THE FOLLOWING. AS YOU LIE (OR SIT) HERE WITH YOUR EYES COMFORTABLY CLOSE YOU FIND YOURSELF RELAXING MORE AND MORE WITH EACH MOMENT AND BREATH. THE RELAXATION FEELS PLEASANT AND BLISSFUL SO, YOU HAPPILY GIVE WAY TO THIS WONDERFUL FEELING. IMAGINGE YOURSELF ON A CLOUD, RESTING PEACEFULLY, WITH A SLIGHT BREEZE CARESSING YOUR BODY. A TINGLING SENSASION BEGINS TO WORK ITS WAY, WITHIN AND WITHOUT YOUR TOES, IT SLOWLY MOVES UP YOUR FEET, MAKING THEM WARM, HEAVY AND RELAXED. THE CLOUD IS SOFT AND SUPPORTS YOUR BODY WITH ITS SOFT TEXTURE, THE SCENE IS PEACEFUL AND ABSORBING, THE PEACEFULNESS ABSORBS YOU COMPLETELY... THE TINGLING GENTLY AND SLOWLY MOVES UP YOUR LEGS, RELAXING THEM. MAKING THEM WARM AND HEAVY. THE RELAXATION FEELS VERY GOOD, IT FEELS SO GOOD TO RELAX AND LET GO. AS THE TINGLING CONTINUES ITS JOURNEY UP INTO YOUR SOLAR PLEXUS, YOU FEEL YOUR INNER STOMACH BECOME VERY RELAXED.

Othello: Literary Essay on Iago Essay

Humans are born with a natural capacity for good and evil. As an individual develops, he or she is taught to distinguish between the two in order to strengthen a sense of right and wrong. Through Shakespeare’s play, ‘Othello’ (Heinemann Advanced Shakespeare, 2000) we are introduced to a meticulously devious character, Iago. Ironically affiliated with the military, a substandard moral compass, channels his unreasonable code of conduct. Well educated on human behaviour, his lack of ethics enables his character to exploit this skill set to deceive those around him, ultimately disguising his true character. Between self-perception, opposing character perceptions and audience perception, Iago portrays a brilliantly, manipulative villain whose two dimensional nature is concealed beneath sheets of false sympathy, integrity and empathy. Beyond all else, Iago considers himself a man of true wit and distinction. In Act I, he furiously declares, â€Å"I know my price† (p. 3). By this statement, he admits to Rodrigo, that upon oversight for the position of first lieutenant, his dedicated service and efforts have been in vain. Having served at the front lines of the war, Iago adamantly deems that his echelon of experience proves him a more deserving candidate, than young Cassio. More so, an over confidence in his abilities, lead to the belief that he is of a superior authority, â€Å"I am worth no worse a place† (ibid). Continuing his argument of non promotion, Iago sees it unbearable, even shameful that he has been regarded with such insignificance. A man of his status and self imposed importance should not be degraded to such a pitiable standard. In having lost out on the appointment, Iago’s pride and dignity have been considerably impaired. Once a devoted soldier under Othello’s command, Iago believed it was his rightful place to gain promotion to lieutenant. When these expectations were not met, it brought out the worst in Iago and the decision was interpreted as a personal offence to his proficiency. Although having already, risen to adequate ranks, Iago could not fathom the injustice. His superior and extensive knowledge had been undermined. In comparison to the present era, this form of ‘injustice’ is experienced frequently in professions where favoured parties lose out on coveted positions to seemingly less experienced oppositions. Victims feel at loss and that their competence has been jeopardised. Due to varying circumstances, these conceited opinions cannot be voiced as it translates into bad character and conduct. Consequently, Iago set out on a conquest for supremacy. Uncannily, abiding by modern day author, Robert Greene’s, â€Å"[Law] 3: Conceal your intentions†, of â€Å"The 48 Laws of Power’ (1998), detailing observational aspects profitable in a rise to command. Within the community of Cyprus, Iago gave no obvious reason for opposing characters to suspect his cunning. In this respect, he was constantly referred to as â€Å"Honest Iago† (p. 41). Specifically, Othello, affectionately used the term, â€Å"Honest Iago, My Desdemona must I leave to thee. I prithee let thy wife attend to her† (ibid). Not only does Othello impart trust with ease, but he mistakes Iago as a dear friend. One who would never think to bring harm to Desdemona or he. This misplacement of faith encourages Iago in his surreptitious endeavours. On several more occasions we witness other characters mistakenly confer with and about Iago’s sincere nature. Following a grave night for Cassio, he bids a farewell of, â€Å"Good night, honest Iago† (p. 99) unaware of Iago’s key role in his ruin. Desdemona continues the chain of mistrust when she speaks, â€Å"O, that’s an honest fellow† (p. 113) of Iago’s phony grievances of Ca ssio’s unfortunate predicament. An individual’s nature can be concealed in various forms within the company he keeps, â€Å"Law 12: Use selective honesty and generosity to disarm your victims† (Greene, 1998). Iago, around such company manipulates and deceives his companions that he is faithful. Having grasped an understanding of human behavior, this wisdom is disposed through cruelty and brutality. In persuading the Cyprus population of his sincerity, unknown to the other characters, Iago fuels his perception of his superiority. Such is his wit that for a much of the play, his deceit goes undetected. When it appears that a character may unknowingly expose Iago’s ulterior motives, he buries the potential realisation beneath artificial concern. Among the audience, the consensus is that Iago is purely composed of arrogance, jealousy and hostility. Triumphant in his succession to provide false evidence of Cassio’s incompetence, Iago announces, â€Å"And what’s he then that says I play the villain, When this advice is free I give and honest†(Shakespeare, p. 99). Arrogance radiates from his gloating manner, of having provided Cassio with ingenious and true advice. Jealousy held as incentive to which Iago brought about the demotion and discredit of Cassio. Moreover, this envy fuelled his ploy in planting a seed of convincing doubt to which Othello was wrongly mislead that his wife, Desdemona, was unfaithful. Not only in determining the detriment of the Moor’s marriage, Iago displayed hostility through his own relationship with Emilia, â€Å"To have a foolish wife† (p. 133), consistent with yet another law, â€Å"Law 20: Do not commit to anyone†, (Greene, 1998). Only to the audience is Iago’s evil nature revealed for a significant portion of the play. We are exposed to his ulterior motives, lies and ultimate betrayal, â€Å"I follow him to serve my turn upon him† (Shakespeare, p. 5). Unlike any other character in the play, Iago is not fazed by the level of destruction he causes, neither to whom. In subsequent scenes, viewers witness the steady yet gradual downfall of the Moor. Unsuspecting, characters, indirectly aid Iago’s cause, particularly his ignorant, praise seeking wife, Emilia, which furthermore increases his arrogance of his unmatched brilliance. To the audience each move Iago makes is calculated methodically and only adds to the current chaos of the present scene. Iago possesses an astute two dimensional disposition. His objective throughout the play is to ensure the Moor’s eventual ruin. He becomes the bane of Othello’s existence, through conniving, unforgivable means, only recognized by the audience if not himself. Born of a natural capacity for good and evil, it is evident that Iago acquires no good, a concept hidden from other characters within the play. In relation to the present, Iago demonstrates the extremity to which an individual will go in order to sabotage the happiness and prosperity of an enemy. Persecutors hold a high opinion of themselves, as Iago displayed. Yet, by all means this strategy to pursue such an attack is achieved through clandestine, surreptitious modes. Iago can distinguish between right and wrong but still, he opts for the latter. As Nobel Prize laureate, William Golding, once said, â€Å"We need more humanity, more care, more love. There are those who expect a political system to produce that; and others who expect the love to produce the system.† (Nobel Lecture, Dec 7, 1983). Humanity is defenceless against the erroneous nature of individuals like Iago. Repeatedly throughout ‘Othello’ (Shakespeare, 2000), his master scheme endures unnoticed. As children, we are prompted to ‘recognise virtue and vice’ (Zak. J. P. The Moral Molecule, 2011) to instil a sense of ethicality, nonetheless, alongside such vindictive figures like Iago, the ‘system’ (Nobel Lecture, 1983), political or military, regresses on any potential advancement, stunting ‘humanity, more care, more love’ (ibid). Humanity is susceptible to evil, regardless encouragement otherwise. As long as rouges exist, an eternal battle will ensue between good and bad, unmistakably demonstrated through I ago’s performance. Bibliography Novel References Gray, C. (Series 2000). Othello. Heinemann Advanced Shakespeare. London: Briddles Ltd. Website References Golding, G. W. (Dec 7, 1983). Nobel Lecture. Retrieved Aug 27, 2013, from http://www.nobelprize.org/nobel_prizes/literature/laureates/1983/golding-lecture.html Keltner, D. (2007-08). The Power Paradox. Retrieved Aug 28, 2013 from http://greatergood.berkeley.edu/article/item/power_paradox Unknown Author. (No date). The 48 Laws of Power. Retrieved Aug 28, 2013 from http://en.wikipedia.org/wiki/The_48_Laws_of_Power Zak, J. P. (Feb 10, 2011). The Moral Molecule: Are Humans Good or Evil?. Retrieved Aug 28, 2013 from http://www.psychologytoday.com/blog/the-moral-molecule/201102/are-humans-good-or-evil

The Day Before Jesus Christ - 952 Words

On the night before Jesus Christ was crucified, the Lord organized the last meal called the last super with His disciples. Here during this meal, He established/instituted a sacrament of His body and blood. He did this as a memorial from everlasting to everlasting of all generation of Christians. A perpetual sacrifice of the cross for all ages and to build his church. As written in Matthew, â€Å"And as they were eating, Jesus took bread, blessed and broke it, and gave it to the disciples and said, ’Take eat; this is my body.’ Then He took the cup, and gave thanks, and gave it to them, saying, ‘Drink from it, all of you.’ for this is my blood of the new covenant, which is shed for many for the remission of sins.† (Matthew 26:26-28) The meaning of what Christ did is in the Eucharist - - The Mystery of our Faith. The bread and the wine. â€Å"I am the living bread that came down from heaven; whoever eats this bread will live for- ever, and the bre ad that I will give is my flesh for the life of the world.† (John 6:51). The body and the blood of Jesus Christ, the Eucharist is a mystery that no Christian can unravel and the church cannot explain in words. In the Liturgy of the Eucharist we declare, â€Å"Christ has died. Christ is risen. Christ will come again.† Our Lord’s death was His mission to die for the sins of the world. Whoever that believes in Him will have life and have it more abundantly. (John 10:10). Going away from His disciples was a journey in two stages. Calvary was theShow MoreRelatedJohn 14 : 2-3 ( Niv ) Essay979 Words   |  4 Pagesall names, he holds the world in his hands, and one day Jesus promise us that he will come back and receive his children. â€Å"My Father’s house has many rooms; if that were not so, would I have told you that I am going there to prepare a place for you? 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