Dickinson And Hughes Essays - Jazz Poetry, Guggenheim Fellows

Dickinson And Hughes After reading both "Tell All the Truth but Tell It Slant" by Emily Dickinson and "Harlem" by Langston Hughes, I determined that the main difference between the two poems is both poets' use of diction. Dickinson makes use of abstract diction in her poem, using words like bright, delight, superb, and dazzle. Using the word "truth" in itself is an enormous abstraction. Hughes, however, uses more concrete diction, with words such as raisin, fester, sore, meat, and load. These are actual, physical things that exist. I see this as the most significant difference between the two poems. At first glance, Dickinson's poem made no sense to me. I then, however, tore it apart and came up with the following explication. Line one basically states "tell me the whole truth, but don't be so direct. Don't just come out and say it." In line two, when the speaker refers to a circuit, she is most likely comparing the way they tell the truth to the way circuits wind their way around a room, mostly hidden, but getting their job done. Lines three and four are saying the direct truth may be too much to handle, such as the sun may be too bright to look at directly. Lines five and six are telling this person to explain the truth like one might explain lightning to a child, with a kind, soothing tone of voice that's easy to understand. Lines seven and eight say that the truth must come a little at a time, or gradually, so that it may leave us in some suspense, rather than hitting us all at once and leaving us unable to comprehend the whole truth for what it is. Dickinson's use of alliteration shows in the poem, especially in lines one, two, four, and seven, where she uses words in pairs, such as tell, truth, success, circuit, the, truth, superb, and surprise. The author also uses an a b c b rime scheme. Langston Hughes's poem "Harlem" was bit easier to explicate because of his use of concrete diction. The first line is simply an introduction into the poem, which in itself is a pondering of what happens to a dream when it must be postponed or put off. The main body of the poem goes into detail about what happens to the dream. Does it dry up like a raisin in the sun? Fester like a sore? The whole poem is basically a simile. The author compares this deferred dream to a dried up raisin, a festering sore, rotten meat, syrupy sweetness that's crusty and sugary, a heavy load that just sags, and finally, does it just explode? He uses very good imagery, and I'm almost able to see this dream being put off, forgotten about, or deteriorating. Both authors, although using completely different methods, come across very clearly with their main point. While Dickinson is abstract, and Hughes is more concrete with his diction, they both use considerable similes, Hughes more than Dickinson. For example, Hughes uses similes in almost every line of his poem. Dickinson uses only a few, such as "as lightning to the children". Dickinson also uses personification, in saying that the truth must dazzle gradually, or using the phrase "the Truth's superb surprise", referring to the truth as a proper noun, giving it human characteristics. The tone of Dickinson's poem differs from that of Hughes's poem in the sense that Hughes's poem is inquisitive, while Dickinson's is more commanding. The speaker of "Tell all the Truth..." is saying exactly that- tell all the truth but tell it slant, while the speaker in "Harlem" is more contemplative, asking what happens to a dream deferred. The imagery of both poems leaves me with solid pictures in my mind. In "Tell All The Truth..." the Truth takes on this certain aura, where you feel that experiencing it would be something wonderful, and it would dazzle you to no end. Also, as mentioned above, "Harlem" creates the picture of a dream deteriorating, in one way or another. Hughes's use of language easily put these images in front of us for us to see. Bibliography Kennedy, X.J. and Gioia, Dana. An Introduction to Poetry. 9th ed. New York: Harper Collins, 1994.

The Significance of Symbols in Modern Witchcraft essays

The Significance of Symbols in Modern Witchcraft essays The Significance of Symbols in Modern Witchcraft Witchcraft, also known as wicca, is a religion with ancestry in an ancient Pagan religion of Northern Europe which pre-dates the Christian era (Simms 30.) It is an earth religion and its main deity is a goddess. Most participants worship the earth and belong to a coven, or group of believers, run by a high priestess. Most covens meet on days determined by solstices and equinoxes or on seasonal or full moon rituals(Luhrmann 46.) During such rituals, many symbols emerge so important that the ritual would not exist without them. Perhaps one of the most important aspects of modern witchcraft is that of the Goddess. She is very different from that of the Judeo-Christian god. She is considered both a deity that controls the earth and she is the earth itself. The Goddess is the personification of nature and is ever changing as the earth is ever changing. The Goddess is symbolized by the moon. It is said that each phase of the moon symbolizes a different time in the Goddesss life or in the cycle of life. The new moon phase symbolizes the Goddess giving birth to the Sun Child and new light is born. The first quarter phase signifies the point just before life bursts forth and the chains of winter are broken. The full moon phase indicates the joining of the Sun King and the Queen of Summer, a time of abundance ad fulfillment. The last phase in the lunar cycle is the last quarter phase which designates a time of harvest, joy, and thanksgiving (Simms 148.) Another important symbol used in witchcraft is that of the pentagram. Often viewed by Christians as satanic, it was not always seen as such. Early Christians viewed the five pointed star as symbolizing the five wounds of Christ. The pentagram originated as the symbol of a Goddess who was worshipped over an area which extends from present-day England to Egypt and beyond. Her name was Kore. Kore's sacred fruit is the apple. Whe ...

Reading blog Assignment Example | Topics and Well Written Essays - 250 words

Reading blog - Assignment Example An aspect of the book that needs further clarification has to do with the state of human freedom before civilization. This is because the author creates the impression that civilization came with several laws which came to suppress the human instincts for pleasure. With this said, one is forced to ask if there was a state of lawlessness and anarchy before the very first forms of civilizations were realized. This connects with other texts that seek to justify the position that civilization cannot be dated and that it has been with men since the beginning. To a very large extent, culture context influences the text and the validity of its arguments. For example, even though it is accepted that we are now in a civilized, there continues to be places of the world where cultural and religious principles are made to reign above other forms of laws that are universally accepted to be appropriate. A typical example of this is the practice of stoning of women caught in adultery in some religious settings. Until now, I still hold the opinion that it is culture rather than civilization that makes the individual

Constructed Textiles for Fashion Coursework Example | Topics and Well Written Essays - 2000 words

Constructed Textiles for Fashion - Coursework Example From this paper it is clear that  there are numerous innovations   those has been made in the interior decorations such as   carpet designing, curtains designing as well as several other clothing fields by utilizing textiles designing. Currently, textile-designing clothing is gaining huge popularity among people throughout the world. Besides, textile designing is noted as one of the most important job role for a fashion designer, as it require higher level of creativity as well as specialist skills.This essay discusses that  with the advent of globalization in business domain, it has also influenced fashion industry to adopt various changes in the fashion line. People belonging to different age groups have varied and dynamic preferences regarding apparels, which need to be satisfied by the modern fashion industry. Besides, the recent changes in the clothing style have also influenced the fashion industry to apply new techniques for meeting the current requirements of designer clothes. Therefore, in the global retail industry, the demands for creative designer has also been raising in a rapid manner.  Haider Ackermann is a well-known fashion designer. Haider Ackermann is a specialist designer, who designs clothing considering the recent market demands of ready-to wear cloths. Recently, the increasing demand of the creative clothing has influenced Ackermann to launch a new trend of creative designing.

Ayatollah Khomeini and Gamal Abdul-Nasser Essay

Ayatollah Khomeini and Gamal Abdul-Nasser - Essay Example However, this assertion is contested. This is because at the time of the revolution, Iran was experiencing un-employment rate of approximately 30%1. Unemployment is one of the indicators of poor development and economic growth. Based on this fact, the assertion that Iran was politically and economically stable is false, and does not hold any ground. On the other hand, the revolution in Egypt occurred when the country was experiencing a series of poor political and economic governance. Despite the differences in these revolutions, and the two leaders, Gamal Abdul Nasser and Ayatollah Khomeini shared a lot of similarities as well as differences in their leadership structure and system2. One major similarity is that the two leaders were charismatic, and they sought to eliminate any form of opposition to their leadership. For instance, Nasser ordered a crackdown on the Muslim Brotherhood, a group that was opposing his leadership, while Ayatollah Khomeini sought to kill any political supporters of the Shah. This paper takes a stand that both Ayatollah Khomeini and Gamal Abdul-Nasser were charismatic leaders, who influenced their societies and people, despite their undemocratic systems of governance. Gamal Abdul Nasser was the second Egyptian president, and he began his presidency in the year 1956, to the time he died, which was in 1970. He played an instrumental role in the overthrow of the Egyptian monarch in the year 1952, and as a result, he was rewarded with a post, as a deputy prime minister3. This is an indication that Gamal Abdul Nasser was an important leader to the revolutionaries, and he was held in high esteem. Furthermore, the power and authority that Gamal Abdul Nasser had is depicted when he managed to arrest President Muhammad Naguib, and place him under house arrest.

Budgetary Control: Advantages and Disadvantages

Budgetary Control: Advantages and Disadvantages Budget and budgetary control are the two most important aspects of any business. The budgetary control acts as a complimentary aspect to budget and works and in hand. Budget can e termed as an accounting concept, whereby, an organization and its members, try to define the trend of activities of an organization during a course of time, depending on the past experience. Budgets, comes up various figures relating to sales, purchase etc. and puts forward a frame of reference in front of its employees and other members. Thus, it helps an organization to keep a check on its present activities in relation to budget thus provided, and this check in words can be termed as budgetary control. Budgets, by definition, have to be prepared in advance; and as a result, often referred to as the feed forward system. Feed forward incorporates the most important aspect of budgeting: looking at situations in advance, thinking about the impact and implications of things in advance and attempting to take control of situations in advance. Budget and budgetary control seems to stream line the activities of organizations and provides a disciplinary outlook. Budgets are often termed as integral part of any business and thus, play a vital role in a organizational success. In the following report, an attempt has been made to put across a brief overview in regard to the same. A budget can be described as a plan expressed in quantitative and money terms. Budgets are usually prepared and approved in advance and take into consideration the period it needs to be used and the similar period on the previous years. Budgets are prepared to put across a picture whereby, an organization tries to implement different actions and planning to attain the budgetary figures. Budgets are prepared on a department wise as well as a whole. The budgetary figures put across helps an organization to gear up its activities and often act in boosting up the employee motivation. However, since budget and budgetary facts and figures relates to future, the forecasting and its preparation should be taken care off. BUDGETORY CONTROL As already mentioned, budget and budgetary control works hand in hand. A budget puts forward the financial data representation of certain facts and figures depending on the past, which needs to be fulfilled in the near future. However, budgetary control ensures the fact that the budget is properly followed and an organization attains the predetermined growth. In other words, the concept of budgetary control can be described as an action relating to the usage on the budget to attain pre-determined organizational success. The whole phenomenon can be described as a chain of activities whereby, budgets are prepared to attain an organizational goal and then, the successful implementation and following those figures in different sphere of activities can be described as budgetary control. In simple words, budgetary control relates to the establishment of budgets relating the responsibilities of budget holders the needs of a policy. Budgetary control also relates to the continuous comparison of actual with budgeted results to ensure that the objectives of the same are properly achieved; or to provide a basis for the change of those objectives. In summary, a budget is a statement setting out the monetary, numerical or non quantitative aspects of an organisations plans for the coming week or month or year. Budgetary control is the analysis of what happened when those plans came to be put into practice, and what the organisation did or did not do to correct for any variations from these plans. BENEFITS OF BUDGET AND BUDGETARY CONTROL Budgets provide benefits both for the business, and also for its managers and other staffs: The budget assists planning A budget is prepared for the future in order ensures proper allocation of resources among all the departments and so that the organization attains the predetermined success. A budget thus assists a business to plan its future course of action. The budget communicates and co-ordinates A budget once prepared and accepted by the authority is usually communicated to all the departments and other members so that all the work can be properly co-ordinated. The budget helps in controlling over-utilisation of resources or increase in cost/expenses and a decrease in incomes/sales. The budget helps in decision-making process A budget is designed kept in mind the future course of action and thus, helps in the decision-making activities of the future. The budget can be used to monitor and control A budget helps in keeping a control on the overall activities of a business organization. The budget can be used to motivate and control A budget puts forward certain monthly and quarterly figures which different departments needs to attain during that specific. Often on attaining such figures, the employees are rewarded with bonus or increments. The budget maintains a discipline A budget helps an organization to maintain a discipline over its expenditure trends and thus, keeps a maintains an organizational discipline. LIMITATIONS OF BUDGET BUDGETARY CONTROL Though there are various benefits to the fact of budget and budgetary control, however, there are few limitations also and these are described below: Benefits of producing a budget should exceed its cost Often small organizations cannot cope up with the cost of budgeting and maintain its activities at par. For tem, budgets are of mere use. Budgets are often not accurate This document provides details based on the figures of the past and therefore, it often happens that the budgets are not realistic because of the changes in the market structure and demand pattern. The budget might demotivate Employees who might not be able to achiee the budgeted targets might be demotivated with the budget. Budgets might lead to dysfunctional management Targets might pose in a threat within various departments of an organization. For example, a production department might achieve extra output than the sales department actually requires. As a result, budgets need to be set at realistic levels and linked and co-ordinated across all departments with proper informations. Budgets might be set at too low levels Budgets being prepared by individuals can be manipulated and hence, should be properly checked because low level budgets might effect the work culture. Applicability of Budgeting and Budgetary Control Budgeting can be applied to virtually every situation. Different organizations require different types of budgeting in order to achieve its organizational goal. As it can be pointed out, there are many issues underlying the use of a budgeting system that need careful consideration. For example, the budgeting systems cannot just be imposed on an organisation nor do they run themselves. Managers at all levels often resent revised budgets and budget targets afer closely inspecting the present scenario. The budgeting process The budgeting process is a very lengthy process: typically, for a large organisation, the pre budgeting phase can begin up to a year before the budget period starts. In this section, Jones and Pendlebury (1984), pp62-63, gives some insight into the beginning of the budgeting cycle for the preparationTimetable for preparation of detailed revenue budget and capital programme for a Local Authority. The process starts in June in the year preceding the budget period with the draft budget manual being sent to Finance Officers, who discuss this draft with their departmental staff (with a view to adoption or amendment). The budgetary planning phase is completed in March (ready for an April start) when the printed budget book is published and the approved estimates are put into the financial control system. The budget period The budget period is the period for which a set of budgets is prepared: typically the budget period is of one years duration, and will be designed to coincide with an organisations financial, or fiscal, year. There is no reason why a budget period has to be one year, but typically it is. However, a fiscal year is usually divided into several smaller periods such as monthly or quarterly to keep a close check on the departmental activities. However, in certain situations, the budget period will be analysed according some particular feature of the work in that situation: for example, stockbrokers have their year divided into accounts of two and three weeks duration. These divisions of a budget period are control periods. Budget centres Different organizations are tend to be divided in various organizational departments to ensure the maximum benefit of the budget and the budgetary control. A budget centre is one part of an organisation for which budgets are prepared. That is, a budget centre, like a cost or profit centre, is a section of an organisation (division, department, building, individual) for which a separate budget is prepared. Interrelationships of budgets As mentioned, different budget centres get their specific budget and according to them they plan their activities. But, strikingly, all these departmental budgets has interlinked and possess inter-relationships and as a result, has to be worked out properly, in order to apply it effectively. On preparation of sales budget, it can be easily noted that the same has got strong links with the stock budget and the stock budget has strong links with the cash budget. Therefore, when any of the budgets are changed it has its direct impact on the other related budgets. The more complex the organisation and the more complex the processes within that organisation, the greater the number and variety of interrelationships that any budget for that organisation is bound to contain. Conclusion In the above paragraphs, various aspects of budgeting has been discussed. After all the discussions it can be further concluded that a budget plays an integral part of any business operations and in order to assure the proper utilisation of budget and to keep a close check on the different activities of an organization, budgetary control is necessary. Both these process helps an organization to attain its organizational goal. However, all the details provided in this report are not absolute and are subject to various limitations pertaining to limited knowledge, time and resources. But, we hope that the report will provide a brief idea about the subject. Art Therapy: Types and Effectiveness Art Therapy: Types and Effectiveness [D1] Art[D2] therapy is part of communicative therapy that focuses on the creative process for building up an artistic approach to recover a person’s mental, physical, emotional well-being. The artistic process [D3]involve in one expressing itself artistically which can support people to understand issues and to develop and accomplish their feelings and behavior, to reduce stress and to improve self-esteem and self-awareness. You do not need to be a talented or artist person to get the  benefits. There are experts that will work with you to get deep into the primary messages delivered through your arts, which will support in the remedial process. Art therapy can accomplish several things for several people. Therapists use art for counseling by, healing, rehabilitation, treatment, psychotherapy and in a broad sense of the term; it is used to manipulate one’s inner self in a way, which may provide the person with the deeper understanding of him/her self. Art therapists are experts, trained in both therapy and art. They are familiar about human growth, psychological concepts, clinical training, divine, diverse and creative traditions and the remedial potential of the art. Art is used in treatment, valuation, investigation, and provide consultations to associated professionals. Art therapist work with people of every age: individuals, families, couples, groups and societies. They provide facilities both individually and as a part of clinical groups, in situations that contain mental health, rehabilitation, remedial and scientific institutions; community outreach programs; schools; corporate structures; and independent practices.The best part is tha tanyone can use the art therapy. In the world where there is the multitude of methods to express and communicate one’s self. One of major differences among art therapy and the other methods of communication is that maximum other methods of communication provoke the use of words and la nguage as a mean of communication. One of the splendors of art as therapy is the capability of a person to express their feelings through any kind of art. However there are various other types of expressive therapies but expressive art therapy typically uses more traditional forms of the art such as painting, drawing, sculpture, or the variety of other types of graphic art expression.Art counselors are skilled to understand nonverbal symbols metaphors that are frequently expressed through the art and through the creative procedure, ideas that are typically hard to express through words. It is with this process that the person really originates to notice the effects of the art therapy and discoveries that can be made. Multiple sclerosis(MS) is aprovocativedisease in which theshielding coversofnerve cellsin thebrainandthe spinal cordare damaged. This damage interrupts the capacity of portions of the nervous system to communicate. There is no known cure for multiple sclerosis. Treatments endeavor to improve the function after the attack and avert new attacks. Art counselors work with these patients to support them to come to the terms with their condition and understand to accept their reality. Art therapy doesn’t always change peoples lives in a small period of time though but it does compromise a solution to their issues that is less clinical and complex than what they had tried before. MS is a complex disease that is difficult to define and hard to describe to those who doesn’t experience the nerve pain or the muscle spasms and the other physical limitations. Unfortunately, if you keep your feelings and thoughts to only yourself it can become both emotionally and physically harmful. Art therapies can help a persondevelop and express theemotional effect of MSwithout the use of words, improving stress situations and helping the person forge better contacts with friends, family and the medical team. The main purpose of art therapy is to relieve the stress, understand emotions, and to restore the sense of control confidence. Though it is a broad term but art therapy classically refers to any type of creative expression that is directed by an expert therapist who is committed to helping a patient revitalize their bodily and psychological health and skills. However doing art at your home on your own can also have positive effect. Here are few of the most important benefits of art therapy on MS patients, they include: Stress relief –Distracting your feelings and concentrating on a positive activity for some time is beneficial for relieving stress. Art itself is a fantastic mode to transfer focus and the slow monotonous actions of painting, drawing or even sculpting can physically provide peace to the body. Depression less and isolation –As MS signs begin to hinder with your movement or energy levels, your social life starts to suffer and finally, numerous MS patients become isolated, nervous and depressed. Being with a person who understands your moods and symptoms can provide a healthy bonding opportunity. Graphical help for vocal problems –It is not rare to get tongue-tied or merely give up on explanation for your symptoms and to state of mind to public/people. Unfortunately, a deficiency of communication means less effective remedy which leads to more suffering. Various people found out that they could express difficult thoughts easily with a graphical representation, specifically after getting into the pace of the artistic method. For numerous MS patients, only holding on to the paintbrush is an important challenge. The final product is not essentially the most significant part of the treatment; the act of producing is what releases the tension, inspires self-exploration, and support social activities. Art therapists use lots of other genres to understand their patients, including music, movement, dance and writing. Artistic treatment is a way of using the arts for example art, music, dance or drama in a beneficial environment with a qualified therapist. In arts treatment, MS patient are helped to express themselves by creating something, anything such as any kind of music or a painting, sometimes even a play. This could help them express their feelings, without even using words. When some patients could not talk without choking on their tears, the treatment gives them a voice and a mode to express themselves without having to talk. They don’t need to have any kind of special skill or any experience of doing art, dance, music or drama to discover the arts therapy supportive. The target is not to yield a great work of art but to enhance their creations to understand them better. There are different arts therapies available for different type of MS patients. They all have recognized professional figures and provide guideline and codes of practice for their patients. Music therapy In this therapy, MS patient communicate with their therapist through music. This means playing, singing or even listening to music. If the patient is doing group music therapy, therapist can also use music to communicate with other patients in the group. Music therapies can be helpful in various ways. It could help patient express difficult feelings and hard memories that they find too hard to talk about in words. It could bring back the old feelings and the memories they thought they had forgotten, helping to deal with hard things in their past and move on. It could help them get used to expressing themselves, which can then help them write or talk about their feelings more easily. The therapist could use music to connect with their patients, even if they are not consciously listening. That may be helpful if they find it really hard to communicate with new people, and can help them feel more capable to involve with other people. Music therapy typically uses tapping or simple melodic instruments that can be played, even if patients don’t have any kind of experience of playing music. For example: drums wood blocks maracas bells chime bars Simple harps. In this therapy, you may improvise music or play precise bits of music that you can practice and progress over time. During the session, the therapist will listen to the music patients create, and they use it to try and apprehend how patients are feeling. They will respond to this by playing one of their own music and practice this to try make positive deviations to how a patient feels. They may also help patient to use music to explore their feelings and to think about how to relate to people. Dance therapy Dance therapy uses dance movements to help one express their feelings. It can help therapist to become aware of emotions that one find it hard to discuss, and to make a patient feel more comfortable with their body. Dance therapies can be mainly helpful if the MS patients are having these issues: Patients have negative feelings about their body for example, if they have a mental health issue related to their appearance, including eating problems orthe body dysmorphic disorderor (BDD). Their emotional problems come out as physical illnesses for example, if they have depression, they can experience physical pain as part of this issue. They find physical interaction with other people hard. They feel separate or disconnected from their surroundings, or even out-of-touch with normal life They are taking medication that disturbs the way they move They have been sexually or physically abused, or have experienced a trauma. In the dance therapy session, the therapist watches the way the patient move in order to comprehend more about how they are feeling, and helps them to express themselves through their movements. The therapist can encourage patients to change their movements to help change the way they feel. Like if a patient is feeling low or depressed, they may hunch their shoulders and appear smaller than they are. The therapist then can encourage them to reach up and stand more upright, to help them feel more self-confident. It is a nice idea to wear loose and comfortable clothes with light, flat shoes or even bare feet when doing dance therapy, so one can feel more comfortable when they are moving around. Drama therapy: Drama therapy is another form of therapy that uses the theatre and drama. It is mostly used in groups, but can also be offered as a one-to-one basis. In drama therapy, there are a range of different techniques. Improvisation: making up small plays or sketches Role play: acting the part of a specific person in a precise situation, such as being a parent or a child. Mime: acting without using any words Movement: using the body to express yourself Rhythm: using diverse rhythms in a speech to help develop your control on the way you express yourself. Speech: using voice in ways that one otherwise find difficult such as shouting, whispering or crying. Acting out: replaying behaviors that has caused one’s problem in the past, to help to learn to do things differently, or to replaying a situation you find difficult. However, you do not have to only act in drama therapy. You can also be part in other parts of theatre, like: being a director or producer lighting person making scenery, costume or the props Being the audience: this can be mainly helpful if you are feeling stunned or you want some space without wanting to leave the group. Drama therapy can help in several ways: Expressing how you feel in a drama can help you understand to put tough experiences behind you. Using Stories, imagery or symbols in a drama allows you to discover difficult or aching things that have occurred to you from a harmless distance, without having you to repeat the detail of your own story. It can also help you to explore and understand the relationships with people, and can help you to address various problems. During a session, therapist may use or adjust existing stories. They may improvise sketches or the plays. Patients have to act out a situation that has actually happened, or to make up a whole new one, to help them understand the feelings and relationships better. Arts therapy: Art therapy usually uses painting, clay and various other types of art to help patients get in touch with their feelings and express themselves. The art they make can also help their therapist understand more about their feelings and what is causing them, and can help them learn how to deal with things. The different materials that are used in the art can be helpful in various ways. For example: Objects as stones, pieces of trash or bark may help them reconnect with nature and help them feel closer to the world around them. Objects they find may remind them of experiences they have had and helped them express and explore their feelings around them. Clay can be valuable if they find using color difficult due to attack Clay may help them move on from difficult feelings and experiences. The shape of clay is easily changed and transformed to show changes in the emotions or circumstances. Using a camera can help them to connect with the present moment and with life it creates an immediate picture but at the same time keep them separate from what they are photographing, as they see it through a camera screen or lens. Taking a photo can help them deal with their situation, as they think about how the things they choose to photograph might be connected with memories and emotions in their past. During the session, a patient or a therapist can decide what type of things they might create, or they might use music, poetry or a story to give some ideas. As part of a therapy, a patient may display their artwork in an exhibition which can help them accept their state and emotions and feel more accepted by others, because their experiences are presented in a way that is better for other people to understand. This may be mainly useful if they have felt alienated after the attack. Various people find that enclosing their art is also a supportive part of therapy. For example, the frame may represent a limit that contains the emotions in a picture and makes them safe. These are few things that must be focused by a therapist while dealing with a MS patient during a therapy. Innovation: Use of a detailed art material or graphical media to address patient’s presenting problems or for the strength and well-being of patients. Adaptation: Development of a detailed interference based on a psychotherapeutic approach such aspsychoanalysis,CBT, or other model. Popularity: Consistent presence in literature conferences, or workshops, whether it is the actual intervention or variation of an intervention. Edith[D4] Kramer, a renowned USA art therapist, artist and author, who is working for MS patients for several years, is credited with inventing the term third hand, the idea central to her approach to the art as therapy. To Kramer, the art therapy’s purpose is to allow the individual to generate graphical images that expressively and truthfully connect with experience and to the best of the person abilities. Kramers position resonances psychoanalyst, Theodore Reikslistening with the Third Ear, a discourse describing how psychotherapists instinctively use their owninsensibleminds to decode and understand their clients. Here is an explanation of the third hand involvement in its modest form. When working with a child patient, therapist might cultivate a drawing for the kid to polish as a way of creating a relationship or communication. In another scenario, Therapist might save a childs clay character from tumbling apart by showing the child how to strengthen the legs or framework. Sometimes the art therapist literally becomes the hands for a specific patient; a mature with a incapacitating MS illness may need therapist to help cut and arrange the photos for a collage. Other times, therapist might make art during the session alongside a patient if it is therapeutically helpful or they might even communicate something nonverbally through an artistic communication rather than using words. Active imagination, in its widest sense, has a much greater role in the art therapy than just permitting impulsive images to disclose. It has a appropriate significance in modern practice because of fresh interest inm indfulness and methods such as dialectical behavior therapy and somatic experiencing, focusing on encouraging one to stick with the image and the bodys felt sense. These methods are progressively being used as methods for addressingtraumareactions and posttraumaticstress, among other emotional challenges and disorders due to MS. Mindfulness, adopted byneuroscience gurus likeDan Siegel and others, is a practice of harmonizing, very much similar to the nonjudgmental, alert concentration found in active imagination. Active imagination is just that a distinction on mindfulness exercise which is all about evolving a more serious ability to elucidate ones thoughts, feelings and physical experiences. The advantage in using art expression is that it takes the products of lively imagination into concrete form, something that art therapy grasps central and striking to the remedial process. And as Jung implicit, staying with the image just may be the excellent function that helps patients see who they are, hold the moment, and accept what is, rather than what ought to be. Art therapists and psychologists, along with some counselors have consequently adapted the idea of ‘how do you feel right now’ in a range of ways. Children, for instance, may be asked to draw faces articulating mad, sad, glad and scared to help them connect their emotional[D5]experiences to the therapist. An activity usually called a body scan is alternative general repetition that involves using a sketch of a body as stage for using drawing, collage or paint to portray where emotions are felt in the body. Its a method that is showing to be mainly useful with people who have posttraumatic stress symptoms and MS symptoms because it often helps them to graphically identify distressful body feelings related to suffering reactions. While there are other similar directives, many art therapists, take a more free form method and simply ask patients to use color, shapes and lines, or images to express feelings when suitable to thegoalsof therapy. Citations: http://www.arttherapyblog.com/what-is-art-therapy/#.VSQPE_mUdNM http://ms.newlifeoutlook.com/art-therapy-for-ms/ http://psychcentral.com/blog/archives/2011/08/17/5-quick-facts-about-art-therapy/ http://www.mind.org.uk/information-support/drugs-and-treatments/arts-therapies/#.VSQTVfmUdNM https://www.psychologytoday.com/blog/arts-and-health http://en.wikipedia.org/wiki/Multiple_sclerosis [D1]Give Proper Title [D2]Heading needed. What is this paragraph about? [D3]Font size is required to set as 12pts and Line spacing is required to be set as â€Å"Double or 2.0† [D4]Heading needed. [D5]Though it’s nice but you are required to get rid of the Image. An Inspector Calls: Character Analysis of the Inspector An Inspector Calls: Character Analysis of the Inspector The Inspector also interrogates the characters in a particularly harsh and rude manner. He scares them and pressures them until they finally break and confess the truth. He tries to make them feel guilty by continuously trying to make them see their errors and how they have been forgetting socialism, making them seem selfish and unbearable. He uses a lot of rhetorical questions to make the characters think about what they have done and probe at the truth. A good example of this is when the Inspector is talking to Sheila, just after she admits to having Eva Smith fired from Milwards. He says, And so you used the power you had, as a daughter of a good customer and also of a man well known in the town, to punish the girl just because she made you feel like that? he makes Sheila feel guilty and say, And if I could help her now, I would-. The Inspector then goes on to say, (harshly) Yes, but you cant. Its too late. Shes dead. Even though Sheila was already feeling guilty, the Inspector continues to remind her what she has done and the fact that Eva Smith is dead, making Sheila feel even worse. The Inspector makes the characters own up to their actions and reveal what he already seems to know, for example, towards the conclusion of the first act, when Gerald talks to Sheila about the time he spent with Daisy Renton last summer. He knows by now that Gerald has somewhat to establish and its just a matter of time before everything should unravel: The door opens and the Inspector walks in the room constantly in mind of questioning them. Inspector Well? At this moment in time he uses technique to give a bit on the next part of the story and where we could decide what may or may not happen. We see how the Birling and Gerald react, such as using the word good? At the exact moment this way, the characters will confess, Its as if they knew what was expected of them when they are wrong, because the Inspector is bluffing stories out bit by bit, only giving them one small bit of something, its as if he is starting a story and the Birlings are finishing it. Consequently the characters too are confused themselves in my opinion, because they are doing him a vast favour by telling him the truth, and this is one my favourite functions where he is able to manipulate the mind of the family through his interrogation in a situation where he knows he is bluffing and therefore it is a very good effect. It is used for large results, for example when he mentions the name Daisy Renton, Gerald suddenly says What? The Inspector responds instantly to the reaction of Gerald also now knowing that Gerald had known and expecting that he can hide this fact from the Inspector. However, the Birling family begin to see what the Inspector has done to them; however it is a little too late. For example, at the end of the second act, Sheila said: It gives us the rope so that we will hang him. Its like in the beginning when they commence to understand that they all had something to do with the death of Eva Smith and the Inspector comes eye to eye with each of them and with all the knowledge they need he ends up coming down hard on them, because the Inspector wants to see that the family feel remorse for their actions. In this moment in time Sheila is seeing this interrogation clearly and demonstrates this by saying somehow, he makes you. She sees clearly that the Inspector was knocking or building a wall between them and what they hide away from the Inspector. This is because it originates in their household since most of the information and each characters role in suicide of Eva Smith. In addition to the family of the Birling, they reveal more of the truth behin d their stories to the Inspector, whilst he has just supplied them with very little information. The Inspector also controls speech and movement on stage, for example, it controls speech as he admitted their connection with the death of Eva Smith, but he also controls the movement, for example at the beginning of the third act: Eric Can I have a drink first? The Inspector said very positively: Yes! I know it is your son and your home, but to watch. He needs a drink now, just to see it through. That is why Mr. Birling is literally forced to say Then go to Eric that he is hump by the Inspector Goole. It seems that if a higher power, and the power of authority is clearly established here. So he tries to show he is not here to mess about, but comes here to get the facts and deal directly with the murder mystery. Ideally there are many other occasions when similar actions occur in the room. At the end of the second act, the Inspector is able to Mrs. Birling to say that whoever got the Eva Smith pregnant should be punished severely; its show when she said: It must be dealt with very harshly. In telling her story in a very swollen and in a very emotional, so it feels great remorse that he and the family to find it was Eric who got her pregnant. It also creates irony and tension moments, it also hinders it, because it means that everything she said, is regretted by her. Finally, it pays the most money. I also believe that we have sympathy for that because the unborn baby has grown to own grandchildren Mrs. Birling and all this leading to his refusal to help when she came to ask for help when she needed most, so that lead to the accumulation of the death of his granddaughter when she is extremely sad over. One of the functions of Inspectors worked to good effects as it impact on the mind of Mr. Birling mind being changed. This relates to its function in the game as a sort of manipulative character that may also be brainwashing some of the characters in the room. In my opinion, that is what makes this wonderful and unique Inspector. It is really the only reason the Inspector Goole, visit the Birling. He just literally gets his point across and let them helpless. Leaving them wondering. Its like trying to find the pieces to join them to form a puzzle, and this is exactly the case with the Inspector, and they finished it, when they understand what the Inspector has really done for them. At the beginning of the play when he said that if Eva Smith wasnt sacked from his works, people like herself may eventually ask for the world. Then later in the play, he said: I would give thousands. He directs this to help out in knowing that now she is dead, and it all started because he was fired from his works. I think Mr. Birling is not too concerned about the scandal Eva Smith / Daisy Renton. But I also think it takes maturity and responsibility, and show some remorse for his actions and what is shown when the exact words said above I would give thousands. Inspector creates moments of tension in the room, like when he stops and says good. He slowed his speech for the person to talk to their point, he does so skilfully to let them clean what they have done. Currently, the public is at the edge of their seat because it is repeated continuously as happens throughout the piece. For example, in the first act ends so the word good is just perfect for creating a cliff hanging and JB Priestley, clearly demonstrated. Mrs. Birling I do not know anything about this girl. The Inspector seriously good, we shall see, Mrs. Birling. This then gives a chance to own before Inspector Goole to act on itself. However little we can hardly ever gives the public an idea of what is coming next. Inspector Goole is acting like a say in the moral history of Priestley and this is reflected in the dialogue of fence-viewers. It teaches that everyone is linked and we should all cooperate to make the world a better place. Thats when the speech begins, One Eva Smith has gone, but there are many more Eva Smith and John Smiths currently with us. This shows a contrast with the public good prospects in the hope of something. With their lives, their hopes and fears. This is a memorable phrase that will highlight the dialogue, and it is also an example of three things listed. Continuing his final dialogue with all the confusing our presence, with what we do, believe and think with each other. It shows a most memorable phrasing which then leads to a positive impact on readers that we will be more committed. Also at the end of the sentence, the list of three. This may be in minds of readers and their influence on socialism. We do not stay and live by ourselves, we are associates of a community as a whole, and we are responsible to each other. This is about as positive as it includes the word we, which makes the public to identify what is being said. In the last sentence of the Inspectors dialogue, he said, If men will not learn this lesson, the consequences are that fire, blood and anguish would be brought up against them. In this sentence the introduction of the first person singular is put forward to the audience he speaks directly with a serious tone towards what he says. In addition, some phrases are memorable, like fire and blood and anguish. They could be regarded as a prophecy of two world wars yet to come that Priestley wrote the play to make a political point in ending the dialogue. In addition, this makes the game more inexplicable. The Inspector is considered a time traveler . As if he is a man who has traveled back in time to tell everyone back in 1912 (when the room has been created), which is approaching here two world wars. This is another effect used by JB Priestley to recognize this game as a message to the people of the world. It can also be regarded as a time unit, where he went in the past and the story told in the future, this extension to intensify the effect. It then ends with Good Night which is a positive way to conclude his speech. To include to Priestleys voice, the character, Mr. Birling is presented as a sort of capitalist slave and the Inspector is charged in the fight with him all the way by showing him as an increasingly negative influence. Probably a socialist when we, like most readers realize the problems in the book, then looking at a wider horizon, they can also be debated issues around the world who are currently in progress, For as we, as the Inspector said in his final speech. In addition, this greatly helps change the publics views on politics and in giving them a slightly different viewpoint, like what is happening on the planet we live now? Such as the current wars and other issues. In my opinion, Inspector Goole is the speech, not necessarily for the characters on stage, but the audience. It may be a bit of a fascinating dialogue because it is very well built and it persuades people to learn from their mistakes and act on them. Priestley has done an excellent job of putting ideas across most of them are very important points that are generally neglected in our daily lives. I think the inspector is able to put the point across and Priestley that captures public attention, very well with his speech-making, and (Priestley) objectives have been successfully proposed. The Inspector is the maker of all the tension and drama as well as the mystery in which this play has to offer, and he used incredibly well to capture the attention of the audience. I think Priestley, as done well using Inspector Goole as the main character in the play because of the development he has to shows throughout the many different scenarios. The whole piece concludes with a sense that has demonstrated very well that priests can be considered a moral of the play, which is that the actions of everyone affects everyone and no one should be selfish as this may have an effect on anyones personal lives greatly in a sequence of events. The Inspector makes the characters own up to their actions and reveal what he already seems to know, for example, towards the conclusion of the first act, when Gerald talks to Sheila about the time he spent with Daisy Renton last summer. At the exact moment this way, the characters will confess, Its as if they knew what was expected of them when they are wrong, because the Inspector is bluffing stories out bit by bit, only giving them one small bit of something, its as if he is starting a story and the Birlings are finishing it. The Inspector responds instantly to the reaction of Gerald also now knowing that Gerald had known and expecting that he can hide this fact from the Inspector. Its like in the beginning when they commence to understand that they all had something to do with the death of Eva Smith and the Inspector comes eye to eye with each of them and with all the knowledge they need he ends up coming down hard on them, because the Inspector wants to see that the family feel remorse for their actions. The Inspector also controls speech and movement on stage, for example, it controls speech as he admitted their connection with the death of Eva Smith, but he also controls the movement, for example at the beginning of the third act: To include to Priestleys voice, the character, Mr Birling is presented as a sort of capitalist slave and the Inspector is charged in the fight with him all the way by showing him as an increasingly negative influence. I think Priestley, as done well using Inspector Goole as the main character in the play because of the development he has to shows throughout the many different scenarios I think the purpose of his visit was to show the family that their  lives and what they do during their life is far more influential than they realise, either positively or negatively. Had they helped Eva  Smith, her life may not have been lost, but in fact, the Inspectors intention was to help them see where they went wrong and secure them on the right path if they were willing to respond. He wanted to aid  them in their understanding that in life there are huge decisions and choices to make which, if are chosen wrongly, can have devastating effects, not only for them but for other people . The reason the Police Inspector arrived here at the Birling household was to investigate a suicide. He seemed to already know everything that the family told him of the questions he was asking. It was as though he had been watching them for the past 10 or so years and knew everything  that had gone on. It appears innocent, just routine innocuous questioning. Sheila used her authority, coming from a wealthy family, to get Eva Smith fired, I went to the manager at Milwards and I told him that if they didnt get rid of that girl, Id never go near the place again and Id persuade mother to close our account with them. When Sheila hears the news that Eva Smith has killed herself she is devastated. She looks at the photograph of Eva Smith, (recognizes it with a little cry, gives a half stifled sob, and then runs out). Her mood also changes and she starts to see things in a different perspective to try and understand the situation and her involvement in it. She regrets what she has done and promises to never, never do it again to anybody. At this stage the audience sees Sheila as a very honest individual. She admits that she was jealous and that her pride was insulted and that If shed been some miserable plain little creature, I dont suppose Id have done it. But she was very pretty. Eva Smith killed herself because she could not withstand the pro blems mounting in her life; she had no money, no friends and no family. As Sheila observes everyones involvement in Eva Smiths downfall she begins to recognize the message behind Inspector Gooles visit to the Birling Family, Well he inspected us alright.

The Lost Symbol Chapter 122-126

CHAPTER 122 The secret is how to die. Mal'akh knew it had all gone wrong. There was no brilliant light. No wondrous reception. Only darkness and excruciating pain. Even in his eyes. He could see nothing, and yet he sensed movement all around him. There were voices . . . human voices . . . one of them, strangely, belonging to Robert Langdon. How can this be? â€Å"She's okay,† Langdon kept repeating. â€Å"Katherine is fine, Peter. Your sister is okay.† No, Mal'akh thought. Katherine is dead. She must be. Mal'akh could no longer see, could not tell if his eyes were even open, but he heard the helicopter banking away. An abrupt calm settled through the Temple Room. Mal'akh could feel the smooth rhythms of the earth becoming uneven . . . as if the ocean's natural tides were being disrupted by a gathering storm. Chao ab ordo. Unfamiliar voices were shouting now, talking urgently with Langdon about the laptop and video file. It's too late, Mal'akh knew. The damage is done. By now the video was spreading like wildfire into every corner of a shocked world, destroying the future of the brotherhood. Those most capable of spreading the wisdom must be destroyed. The ignorance of mankind is what helped the chaos grow. The absence of Light on earth is what nourished the Darkness that awaited Mal'akh. I have done great deeds, and soon I will be received as a king. Mal'akh sensed that a lone individual had quietly approached. He knew who it was. He could smell the sacred oils he had rubbed into his father's shaved body. â€Å"I don't know if you can hear me,† Peter Solomon whispered in his ear. â€Å"But I want you to know something.† He touched a finger to the sacred spot atop Mal'akh's skull. â€Å"What you wrote here . . .† He paused. â€Å"This is not the Lost Word.† Of course it is, Mal'akh thought. You convinced me of that beyond a doubt. According to legend, the Lost Word was written in a language so ancient and arcane that mankind had all but forgotten how to read it. This mysterious language, Peter had revealed, was in fact the oldest language on earth. The language of symbols. In the idiom of symbology, there was one symbol that reigned supreme above all others. The oldest and most universal, this symbol fused all the ancient traditions in a single solitary image that represented the illumination of the Egyptian sun god, the triumph of alchemical gold, the wisdom of the Philosopher's Stone, the purity of the Rosicrucian Rose, the moment of Creation, the All, the dominance of the astrological sun, and even the omniscient all-seeing eye that hovered atop the unfinished pyramid. The circumpunct. The symbol of the Source. The origin of all things. This is what Peter had told him moments ago. Mal'akh had been skeptical at first, but then he had looked again at the grid, realizing that the image of the pyramid was pointing directly at the lone symbol of the circumpunct–a circle with a dot in its center. The Masonic Pyramid is a map, he thought, recalling the legend, which points to the Lost Word. It seemed his father was telling the truth after all. All great truths are simple. The Lost Word is not a word . . . it is a symbol. Eagerly, Mal'akh had inscribed the great symbol of the circumpunct on his scalp. As he did so, he felt an upwelling of power and satisfaction. My masterpiece and offering are complete. The forces of darkness were waiting for him now. He would be rewarded for his work. This was to be his moment of glory . . . And yet, at the last instant, everything had gone horribly wrong. Peter was still behind him now, speaking words that Mal'akh could barely fathom. â€Å"I lied to you,† he was saying. â€Å"You left me no choice. If I had revealed to you the true Lost Word, you would not have believed me, nor would you have understood.† The Lost Word is . . . not the circumpunct? â€Å"The truth is,† said Peter, â€Å"the Lost Word is known to all . . . but recognized by very few.† The words echoed in Mal'akh's mind. â€Å"You remain incomplete,† Peter said, gently placing his palm on top of Mal'akh's head. â€Å"Your work is not yet done. But wherever you are going, please know this . . . you were loved.† For some reason, the gentle touch of his father's hand felt like it was burning through him like a potent catalyst that was initiating a chemical reaction inside Mal'akh's body. Without warning, he felt a rush of blistering energy surging through his physical shell, as if every cell in his body were now dissolving. In an instant, all of his worldly pain evaporated. Transformation. It's happening. I am gazing down upon myself, a wreck of bloody flesh on the sacred slab of granite. My father is kneeling behind me, holding my lifeless head with his one remaining hand. I feel an upwelling of rage . . . and confusion. This is not a moment for compassion . . . it is for revenge, for transformation . . . and yet still my father refuses to submit, refuses to fulfill his role, refuses to channel his pain and anger through the knife blade and into my heart. I am trapped here, hovering . . . tethered to my earthly shell. My father gently runs a soft palm across my face to close my fading eyes. I feel the tether release. A billowing veil materializes around me, thickening and dimming the light, hiding the world from view. Suddenly time accelerates, and I am plunging into an abyss far darker than any I have ever imagined. Here, in the barren void, I hear a whispering . . . I sense a gathering force. It strengthens, mounting at a startling rate, surrounding me. Ominous and powerful. Dark and commanding. I am not alone here. This is my triumph, my grand reception. And yet, for some reason, I am filled not with joy, but rather with boundless fear. It is nothing like I expect. The force is churning now, swirling around me with commanding strength, threatening to tear me apart. Suddenly, without warning, the blackness gathers itself like a great prehistoric beast and rears up before me. I am facing all the dark souls who have gone before. I am screaming in infinite terror . . . as the darkness swallows me whole. CHAPTER 123 Inside the National Cathedral, Dean Galloway sensed a strange change in the air. He was not sure why, but he felt as if a ghostly shadow had evaporated . . . as if a weight had been lifted . . . far away and yet right here. Alone at his desk, he was deep in thought. He was not sure how many minutes had passed when his phone rang. It was Warren Bellamy. â€Å"Peter's alive,† his Masonic brother said. â€Å"I just heard the news. I knew you'd want to know immediately. He's going to be okay.† â€Å"Thank God.† Galloway exhaled. â€Å"Where is he?† Galloway listened as Bellamy recounted the extraordinary tale of what had transpired after they had left Cathedral College. â€Å"But all of you are okay?† â€Å"Recuperating, yes,† Bellamy said. â€Å"There is one thing, though.† He paused. â€Å"Yes?† â€Å"The Masonic Pyramid . . . I think Langdon may have solved it.† Galloway had to smile. Somehow he was not surprised. â€Å"And tell me, did Langdon discover whether or not the pyramid kept its promise? Whether or not it revealed what legend always claimed it would reveal?† â€Å"I don't know yet.† It will, Galloway thought. â€Å"You need to rest.† â€Å"As do you.† No, I need to pray. CHAPTER 124 When the elevator door opened, the lights in the Temple Room were all ablaze. Katherine Solomon's legs still felt rubbery as she hurried in to find her brother. The air in this enormous chamber was cold and smelled of incense. The scene that greeted her stopped her in her tracks. In the center of this magnificent room, on a low stone altar, lay a bloody, tattooed corpse, a body perforated by spears of broken glass. High above, a gaping hole in the ceiling opened to the heavens. My God. Katherine immediately looked away, her eyes scanning for Peter. She found her brother sitting on the other side of the room, being tended to by a medic while talking with Langdon and Director Sato. â€Å"Peter!† Katherine called, running over. â€Å"Peter!† Her brother glanced up, his expression filling with relief. He was on his feet at once, moving toward her. He was wearing a simple white shirt and dark slacks, which someone had probably gotten for him from his office downstairs. His right arm was in a sling, and their gentle embrace was awkward, but Katherine barely noticed. A familiar comfort surrounded her like a cocoon, as it always had, even in childhood, when her protective older brother embraced her. They held each other in silence. Finally Katherine whispered, â€Å"Are you okay? I mean . . . really?† She released him, looking down at the sling and bandage where his right hand used to be. Tears welled again in her eyes. â€Å"I'm so . . . so sorry.† Peter shrugged as if it were nothing of consequence. â€Å"Mortal flesh. Bodies don't last forever. The important thing is that you're okay.† Peter's lighthearted response tore at her emotions, reminding her of all the reasons she loved him. She stroked his head, feeling the unbreakable bonds of family . . . the shared blood that flowed in their veins. Tragically, she knew there was a third Solomon in the room tonight. The corpse on the altar drew her gaze, and Katherine shuddered deeply, trying to block out the photos she had seen. She looked away, her eyes now finding Robert Langdon's. There was compassion there, deep and perceptive, as if Langdon somehow knew exactly what she was thinking. Peter knows. Raw emotion gripped Katherine–relief, sympathy, despair. She felt her brother's body begin trembling like a child's. It was something she had never witnessed in her entire life. â€Å"Just let it go,† she whispered. â€Å"It's okay. Just let it go.† Peter's trembling grew deeper. She held him again, stroking the back of his head. â€Å"Peter, you've always been the strong one . . . you've always been there for me. But I'm here for you now. It's okay. I'm right here.† Katherine eased his head gently onto her shoulder . . . and the great Peter Solomon collapsed sobbing in her arms. Director Sato stepped away to take an incoming call. It was Nola Kaye. Her news, for a change, was good. â€Å"Still no signs of distribution, ma'am.† She sounded hopeful. â€Å"I'm confident we would have seen something by now. It looks like you contained it.† Thanks to you, Nola, Sato thought, glancing down at the laptop, which Langdon had seen complete its transmission. A very close call. At Nola's suggestion, the agent searching the mansion had checked the garbage cans, discovering packaging for a newly purchased cellular modem. With the exact model number, Nola had been able to cross-reference compatible carriers, bandwidths, and service grids, isolating the laptop's most likely access node–a small transmitter on the corner of Sixteenth and Corcoran–three blocks from the Temple. Nola quickly relayed the information to Sato in the helicopter. On approach toward the House of the Temple, the pilot had performed a low-altitude flyover and pulsed the relay node with a blast of electromagnetic radiation, knocking it off-line only seconds before the laptop completed its transfer. â€Å"Great work tonight,† Sato said. â€Å"Now get some sleep. You've earned it.† â€Å"Thank you, ma'am.† Nola hesitated. â€Å"Was there something else?† Nola was silent a long moment, apparently considering whether or not to speak. â€Å"Nothing that can't wait till morning, ma'am. Have a good night.† CHAPTER 125 In the silence of an elegant bathroom on the ground floor of the House of the Temple, Robert Langdon ran warm water into a tile sink and eyed himself in the mirror. Even in the muted light, he looked like he felt . . . utterly spent. His daybag was on his shoulder again, much lighter now . . . empty except for his personal items and some crumpled lecture notes. He had to chuckle. His visit to D.C. tonight to give a lecture had turned out a bit more grueling than he'd anticipated. Even so, Langdon had a lot to be grateful for. Peter is alive. And the video was contained. As Langdon scooped handfuls of warm water onto his face, he gradually felt himself coming back to life. Everything was still a blur, but the adrenaline in his body was finally dissipating . . . and he was feeling like himself again. After drying his hands, he checked his Mickey Mouse watch. My God, it's late. Langdon exited the bathroom and wound his way along the curved wall of the Hall of Honor–a gracefully arched passageway, lined with portraits of accomplished Masons . . . U.S. presidents, philanthropists, luminaries, and other influential Americans. He paused at an oil painting of Harry S. Truman and tried to imagine the man undergoing the rites, rituals, and studies required to become a Mason. There is a hidden world behind the one we all see. For all of us. â€Å"You slipped away,† a voice said down the hall. Langdon turned. It was Katherine. She'd been through hell tonight, and yet she looked suddenly radiant . . . rejuvenated somehow. Langdon gave a tired smile. â€Å"How's he doing?† Katherine walked up and embraced him warmly. â€Å"How can I ever thank you?† He laughed. â€Å"You know I didn't do anything, right?† Katherine held him for a long time. â€Å"Peter's going to be fine . . .† She let go and looked deep into Langdon's eyes. â€Å"And he just told me something incredible . . . something wonderful.† Her voice trembled with anticipation. â€Å"I need to go see it for myself. I'll be back in a bit.† â€Å"What? Where are you going?† â€Å"I won't be long. Right now, Peter wants to speak with you . . . alone. He's waiting in the library.† â€Å"Did he say why?† Katherine chuckled and shook her head. â€Å"You know Peter and his secrets.† â€Å"But–â€Å" â€Å"I'll see you in a bit.† Then she was gone. Langdon sighed heavily. He felt like he'd had enough secrets for one night. There were unanswered questions, of course–the Masonic Pyramid and the Lost Word among them–but he sensed that the answers, if they even existed, were not for him. Not as a non-Mason. Mustering the last of his energy, Langdon made his way to the Masonic library. When he arrived, Peter was sitting all alone at a table with the stone pyramid before him. â€Å"Robert?† Peter smiled and waved him in. â€Å"I'd like a word.† Langdon managed a grin. â€Å"Yes, I hear you lost one.† CHAPTER 126 The library in the House of the Temple was D.C.'s oldest public reading room. Its elegant stacks burgeoned with over a quarter of a million volumes, including a rare copy of the Ahiman Rezon, The Secrets of a Prepared Brother. In addition, the library displayed precious Masonic jewels, ritual artifacts, and even a rare volume that had been hand-printed by Benjamin Franklin. Langdon's favorite library treasure, however, was one few ever noticed. The illusion. Solomon had shown him long ago that from the proper vantage point, the library's reading desk and golden table lamp created an unmistakable optical illusion . . . that of a pyramid and shining golden capstone. Solomon said he always considered the illusion a silent reminder that the mysteries of Freemasonry were perfectly visible to anyone and everyone if they were seen from the proper perspective. Tonight, however, the mysteries of Freemasonry had materialized front and center. Langdon now sat opposite the Worshipful Master Peter Solomon and the Masonic Pyramid. Peter was smiling. â€Å"The `word' you refer to, Robert, is not a legend. It is a reality.† Langdon stared across the table and finally spoke. â€Å"But . . . I don't understand. How is that possible?† â€Å"What is so difficult to accept?† All of it! Langdon wanted to say, searching his old friend's eyes for any hint of common sense. â€Å"You're saying you believe the Lost Word is real . . . and that it has actual power?† â€Å"Enormous power,† Peter said. â€Å"It has the power to transform human kind by unlocking the Ancient Mysteries.† â€Å"A word?† Langdon challenged. â€Å"Peter, I can't possibly believe a word–â€Å" â€Å"You will believe,† Peter stated calmly. Langdon stared in silence. â€Å"As you know,† Solomon continued, standing now and pacing around the table, â€Å"it has long been prophesied that there will come a day when the Lost Word will be rediscovered . . . a day when it will be unearthed . . . and mankind will once again have access to its forgotten power.† Langdon flashed on Peter's lecture about the Apocalypse. Although many people erroneously interpreted apocalypse as a cataclysmic end of the world, the word literally signified an â€Å"unveiling,† predicted by the ancients to be that of great wisdom. The coming age of enlightenment. Even so, Langdon could not imagine such a vast change being ushered in by . . . a word. Peter motioned to the stone pyramid, which sat on the table beside its golden capstone. â€Å"The Masonic Pyramid,† he said. â€Å"The legendary symbolon. Tonight it stands unified . . . and complete.† Reverently, he lifted the golden capstone and set it atop the pyramid. The heavy gold piece clicked softly into place. â€Å"Tonight, my friend, you have done what has never been done before. You have assembled the Masonic Pyramid, deciphered all of its codes, and in the end, unveiled . . . this.† Solomon produced a sheet of paper and laid it on the table. Langdon recognized the grid of symbols that had been reorganized using the Order Eight Franklin Square. He had studied it briefly in the Temple Room. Peter said, â€Å"I am curious to know if you can read this array of symbols. After all, you are the specialist.† Langdon eyed the grid. Heredom, circumpunct, pyramid, staircase . . . Langdon sighed. â€Å"Well, Peter, as you can probably see, this is an allegorical pictogram. Clearly its language is metaphorical and symbolic rather than literal.† Solomon chuckled. â€Å"Ask a symbologist a simple question . . . Okay, tell me what you see.† Peter really wants to hear this? Langdon pulled the page toward him. â€Å"Well, I looked at it earlier, and, in simple terms, I see that this grid is a picture . . . depicting heaven and earth.† Peter arched his eyebrows, looking surprised. â€Å"Oh?† â€Å"Sure. At the top of the image, we have the word Heredom–the `Holy House'–which I interpret as the House of God . . . or heaven.† â€Å"Okay.† â€Å"The downward-facing arrow after Heredom signifies that the rest of the pictogram clearly lies in the realm beneath heaven . . . that being . . . earth.† Langdon's eyes glided now to the bottom of the grid. â€Å"The lowest two rows, those beneath the pyramid, represent the earth itself–terra firma–the lowest of all the realms. Fittingly, these lower realms contain the twelve ancient astrological signs, which represent the primordial religion of those first human souls who looked to the heavens and saw the hand of God in the movement of the stars and planets.† Solomon slid his chair closer and studied the grid. â€Å"Okay, what else?† â€Å"On a foundation of astrology,† Langdon continued, â€Å"the great pyramid rises from the earth . . . stretching toward heaven . . . the enduring symbol of lost wisdom. It is filled with history's great philosophies and religions . . . Egyptian, Pythagorean, Buddhist, Hindu, Islamic, Judeo-Christian, and on and on . . . all flowing upward, merging together, funneling themselves up through the transformative gateway of the pyramid . . . where they finally fuse into a single, unified human philosophy.† He paused. â€Å"A single universal consciousness . . . a shared global vision of God . . . represented by the ancient symbol that hovers over the capstone.† â€Å"The circumpunct,† Peter said. â€Å"A universal symbol for God.† â€Å"Right. Throughout history, the circumpunct has been all things to all people–it is the sun god Ra, alchemical gold, the all-seeing eye, the singularity point before the Big Bang, the–â€Å" â€Å"The Great Architect of the Universe.† Langdon nodded, sensing this was probably the same argument Peter had used in the Temple Room to sell the idea of the circumpunct as the Lost Word. â€Å"And finally?† Peter asked. â€Å"What about the staircase?† Langdon glanced down at the image of the stairs beneath the pyramid. â€Å"Peter, I'm sure you know as well as anyone, this symbolizes the Winding Staircase of Freemasonry . . . leading upward out of the earthly darkness into the light . . . like Jacob's ladder climbing to heaven . . . or the tiered human spine that connects man's mortal body to his eternal mind.† He paused. â€Å"As for the rest of the symbols, they appear to be a blend of celestial, Masonic, and scientific, all lending support to the Ancient Mysteries.† Solomon stroked his chin. â€Å"An elegant interpretation, Professor. I agree, of course, that this grid can be read as allegory, and yet . . .† His eyes flashed with deepening mystery. â€Å"This collection of symbols tells another story as well. A story that is far more revealing.† â€Å"Oh?† Solomon began pacing again, circling the table. â€Å"Earlier tonight, inside the Temple Room, when I believed I was going to die, I looked at this grid, and somehow I saw past the metaphor, past the allegory, into the very heart of what these symbols are telling us.† He paused, turning abruptly to Langdon. â€Å"This grid reveals the exact location where the Lost Word is buried.† â€Å"Come again?† Langdon shifted uneasily in his chair, suddenly fearing that the trauma of the evening had left Peter disorientated and confused. â€Å"Robert, legend has always described the Masonic Pyramid as a map–a very specific map–a map that could guide the worthy to the secret location of the Lost Word.† Solomon tapped the grid of symbols in front of Langdon. â€Å"I guarantee you, these symbols are exactly what legend says they are . . . a map. A specific diagram that reveals exactly where we will find the staircase that leads down to the Lost Word.† Langdon gave an uneasy laugh, treading carefully now. â€Å"Even if I believed the Legend of the Masonic Pyramid, this grid of symbols can't possibly be a map. Look at it. It looks nothing like a map.† Solomon smiled. â€Å"Sometimes all it takes is a tiny shift of perspective to see something familiar in a totally new light.† Langdon looked again but saw nothing new. â€Å"Let me ask you a question,† Peter said. â€Å"When Masons lay cornerstones, do you know why we lay them in the northeast corner of a building?† â€Å"Sure, because the northeast corner receives the first rays of morning light. It is symbolic of the power of architecture to climb out of the earth into the light.† â€Å"Right,† Peter said. â€Å"So perhaps you should look there for the first rays of light.† He motioned to the grid. â€Å"In the northeast corner.† Langdon returned his eyes to the page, moving his gaze to the upper right or northeast corner. The symbol in that corner was . â€Å"A downward-pointing arrow,† Langdon said, trying to grasp Solomon's point. â€Å"Which means . . . beneath Heredom.† â€Å"No, Robert, not beneath,† Solomon replied. â€Å"Think. This grid is not a metaphorical maze. It's a map. And on a map, a directional arrow that points down means–â€Å" â€Å"South,† Langdon exclaimed, startled. â€Å"Exactly!† Solomon replied, grinning now with excitement. â€Å"Due south! On a map, down is south. Moreover, on a map, the word Heredom would not be a metaphor for heaven, it would be the name of a geographic location.† â€Å"The House of the Temple? You're saying this map is pointing . . . due south of this building?† â€Å"Praise God!† Solomon said, laughing. â€Å"Light dawns at last.† Langdon studied the grid. â€Å"But, Peter . . . even if you're right, due south of this building could be anywhere on a longitude that's over twenty-four thousand miles long.† â€Å"No, Robert. You are ignoring the legend, which claims the Lost Word is buried in D.C. That shortens the line substantially. In addition, legend also claims that a large stone sits atop the opening of the staircase . . . and that this stone is engraved with a message in an ancient language . . . as a kind of marker so the worthy can find it.† Langdon was having trouble taking any of this seriously, and while he didn't know D.C. well enough to picture what was due south of their current location, he was pretty certain there was no huge engraved stone atop a buried staircase. â€Å"The message inscribed on the stone,† Peter said, â€Å"is right here before our eyes.† He tapped the third row of the grid before Langdon. â€Å"This is the inscription, Robert! You've solved the puzzle!† Dumbfounded, Langdon studied the seven symbols. Solved? Langdon had no idea whatsoever what these seven disparate symbols could possibly mean, and he was damned sure they were not engraved anywhere in the nation's capital . . . particularly on a giant stone over a staircase. â€Å"Peter,† he said, â€Å"I don't see how this sheds any light at all. I know of no stone in D.C. engraved with this . . . message.† Solomon patted him on the shoulder. â€Å"You have walked past it and never seen it. We all have. It is sitting in plain view, like the mysteries themselves. And tonight, when I saw these seven symbols, I realized in an instant that the legend was true. The Lost Word is buried in D.C. . . . and it does rest at the bottom of a long staircase beneath an enormous engraved stone.† Mystified, Langdon remained silent. â€Å"Robert, tonight I believe you have earned the right to know the truth.† Langdon stared at Peter, trying to process what he had just heard. â€Å"You're going to tell me where the Lost Word is buried?† â€Å"No,† Solomon said, standing up with a smile. â€Å"I'm going to show you.† Five minutes later, Langdon was buckling himself into the backseat of the Escalade beside Peter Solomon. Simkins climbed in behind the wheel as Sato approached across the parking lot. â€Å"Mr. Solomon?† the director said, lighting a cigarette as she arrived. â€Å"I've just made the call you requested.† â€Å"And?† Peter asked through his open window. â€Å"I ordered them to give you access. Briefly.† â€Å"Thank you.† Sato studied him, looking curious. â€Å"I must say, it's a most unusual request.† Solomon gave an enigmatic shrug. Sato let it go, circling around to Langdon's window and rapping with her knuckles. Langdon lowered the window. â€Å"Professor,† she said, with no hint of warmth. â€Å"Your assistance tonight, while reluctant, was critical to our success . . . and for that, I thank you.† She took a long drag on her cigarette and blew it sideways. â€Å"However, one final bit of advice. The next time a senior administrator of the CIA tells you she has a national-security crisis . . .† Her eyes flashed black. â€Å"Leave the bullshit in Cambridge.† Langdon opened his mouth to speak, but Director Inoue Sato had already turned and was headed off across the parking lot toward a waiting helicopter. Simkins glanced over his shoulder, stone-faced. â€Å"Are you gentlemen ready?† â€Å"Actually,† Solomon said, â€Å"just one moment.† He produced a small, folded piece of dark fabric and handed it to Langdon. â€Å"Robert, I'd like you to put this on before we go anywhere.† Puzzled, Langdon examined the cloth. It was black velvet. As he unfolded it, he realized he was holding a Masonic hoodwink–the traditional blindfold of a first-degree initiate. What the hell? Peter said, â€Å"I'd prefer you not see where we're going.† Langdon turned to Peter. â€Å"You want to blindfold me for the journey?† Solomon grinned. â€Å"My secret. My rules.†

“I’m nobody! Who are you?” by Emily Dickinson Essay

Never judge a book by its cover. Appearances can greatly deviate from what is hidden on the inside. â€Å"Richard Cory† by Edwin Arlington Robinson, â€Å"We wear the mask† by Paul Laurence Dunbar, and â€Å"I’m nobody! Who are you?† by Emily Dickinson each give examples of appearances in contrast to reality. Robinson’s â€Å"Richard Cory† is essentially about a man who is set upon a golden pedestal by others and due to his suppressed sadness, kills himself. â€Å"We wear the mask† by Dunbar shows us society’s use of a â€Å"mask† to hide their sorrow and grief, grinning and smiling when they truly feel overwhelmed with sadness. Dickinson’s â€Å"I’m nobody!† tells of the role of â€Å"somebody† in society as opposed to a â€Å"nobody†, deeming the truth as the latter of the two. In Robinson’s â€Å"Richard Cory,† Dunbar’s â€Å"We wear the mask,† and Dickinson’s â€Å"I’m nobody!† appearance versus reality is exhibited through the usage of poetic language evoking various feelings in the reader. With each authors use of poetic language feelings are stirred and the discrepancies between appearances and reality are clearly expressed. Robinson’s â€Å"Richard Cory† lets us closely examine appearances in contrast with reality. All who knew of Richard Cory held him in reverence; they glorified him and were quite jealous of his lifestyle. â€Å"And he was always quietly arrayed, and he was always human when he talked; but still he fluttered pulses when he said, ‘Good morning,’ and he glittered when he walked†¦. In fine we thought that he was everything to make us wish that we were in his place† gives a perfect example of how highly Richard Cory was thought of by â€Å"the people on the pavement† and how they wished to be of his status. Those who watched Richard Cory every time he went into town might have desired all Cory had and was, but they were deceived by his rejection of the eminence that his fellows would accord him. â€Å"And Richard Cory, one calm summer night, went home and put a bullet through his head,† although it may seem somewhat an ironic and abrupt ending, it suits the theme well, quickly identifying the concept of appearance versus identity. Robinson also shows us appearances versus reality through his use of poetic language. Robinson’s use of imagery, and irony enhances the poem greatly. Robinson uses imagery throughout the course of his poem. â€Å"And he was always quietly arrayed†¦and he glittered when he walked,† Robinson uses visually  stimulating words and phrases to show the magnitude of a man that was Richard Cory. Robinson also makes use of irony in â€Å"Richard Cory,† enabling us to understand the truth of Cory’s existence, that of a sad man, no better than any of those â€Å"on the pavement.† â€Å"And Richard Cory, one calm summer night, went home and put a bullet through his head,† after all that reverence, Richard Cory was in all respects unhappy. This use of poetic language in â€Å"Richard Cory† provokes feelings of grandness and jealousy. When Richard Cory’s fellows looked at him, they saw him as of royalty, of pertaining to that which heavenly or divine; howbeit, they were looking through eyes full of envy. Richard was held in high regards. â€Å"And he was rich – yes, richer than a king – and admirably schooled in every grace,† his ranking alongside Kings gives a sense of how grand a man the townspeople made Cory out to be. People on the street admired Cory from afar; they wished to be him, to walk in his shoes, they coveted his very essence. â€Å"In fine, we thought that he was everything to make us wish that we were in his place. So on we worked, and waited for the light, and went without meat, and cursed the bread†¦Ã¢â‚¬  the extent of their jealousy runs far. However, â€Å"We wear the mask† by Dunbar, in it’s own way, also deals with the same principles of appearance versus reality as did â€Å"Richard Cory.† â€Å"We wear the mask† allows us to delve into the psyche of humanity and explore its apparent need to hide behind a mask. In â€Å"We wear the mask,† the title alone gives us the theme for the entire poem. â€Å"We wear the mask that grins and lies, it hides our cheeks and shades out eyes–This debt we pay to human guile; with thorn and bleeding hearts we smile, and mouth with myriad subtleties,† shows that the mask that is worn hides the true self, instead, a false face is given, one which smiles and does not let the underlying, suppressed sorrows show. Humanity, as seen through the eyes of Dunbar in â€Å"We wear the mask,† is deceiving itself with these masks we wear, this fraudulent life which is lead by all. â€Å"This debt we pay to human guile; with thorn and bleeding hearts we smile, and mouth with myriad subtleties,† though we may be torn apart inside, to the world we are content with life; once again, appearance deviate greatly fro m reality. Moreover, through the use of poetic language, Dunbar also expresses appearance in contrast with  reality. Through the use of an extended metaphor and sensory, Dunbar further allows the exploration of appearances versus reality. â€Å"We wear the mask† tells of a mask which hides the face, which hides the emotions one is feeling, the term â€Å"mask† is used throughout the poem as a metaphor; Dunbar does not write of a mask which is adorned and used for masquerades, rather, he writes of the inherent suppression of emotions for fear of being ostracized from a society which is quick to do so. â€Å"Nay, let them only see us while we wear the mask,† the mask is a necessity in life, it is worn by all. Sensory language in â€Å"We wear the mask† enables the reader to feel the pains and sufferings of the human race. Dunbar’s use of extended metaphor and sensory in â€Å"We wear the mask† elicits pride and empathy in the reader. â€Å"We smile, but O great Christ, our cries to thee from tortured souls arise. We sing, but oh, the clay is vile beneath our feet, and long the mile†¦Ã¢â‚¬  lines such a these enable the reader to empathize with the narrator. The way poetic language was used in â€Å"We wear the mask† evokes feelings of empathy in the reader, as well as pride. Throughout the course of Dunbar’s poem, one cannot help but feel a sense of empathy and pride. Reading this poem, a sense empathy for humanity arises, for the pain we all face day in and day out. â€Å"We smile, but O great Christ, our cries to thee from tortured souls arise,† evokes the feeling of empathy towards the plights of humanity. A sense of pride is also given in the poem with the narrator’s refusal to let others see him without the mask. â€Å"But let the world dream otherwise, we wear the mask!† the narrator voices this statement with pride. In addition, â€Å"I’m nobody!† by Dickinson also faces the idea of discrepancies between appearance and reality. Dickinson’s â€Å"I’m nobody!† explores appearance in contrast with reality. The true face of the reader is being questioned, their identity so to speak. â€Å"I’m nobody! Who are you?† Dickinson suggests, through the persona of a child that the true somebody is, in reality, the nobody. In order to remain in society, one must adopt the views and beliefs of society regardless of your own. â€Å"Are you nobody too? Then there’s a pair of us–don’t tell! They’d  banish us you know,† this shows how people must appear to be the same as the majority, even though in reality, they may be quite different. Dickinson also shows us appearances versus reality through her use of poetic language. Dickinson’s use of similes and satire further enhance the theme of the poem. She compares and contrasts the role of â€Å"somebody† to a frog. â€Å"How dreary to be somebody! How public like a frog†¦ to an admiring bog!† Dickinson’s depiction of â€Å"somebody† is of a self-important and constantly self-promoting person and further shows the false values of a society that approves of people like the frog. Dickinson uses satire to illustrate the follies of mankind in accepting these frog-somebody’s. â€Å"How dreary to be somebody! How public like a frog to tell your name to the livelong June to an admiring bog!† Dickinson’s use of poetic language sound, at times, playful and comical. Dickinson’s use of tone in â€Å"I’m nobody!† is playful and at comical. The child persona she adopts gives the sense of a playful nature in the poem. â€Å"I’m nobody! Who are you? Are you nobody too?† gives the main evidence of its playful tone. At times, Dickinson pokes fun at society, comically pointing out its errors. â€Å"How dreary to be somebody†¦To an admiring bog!† gives a comical, yet true, depiction of society. This poem, like all the rest, expresses appearance in contrast with reality. In Robinson’s â€Å"Richard Cory,† Dunbar’s â€Å"We wear the mask,† and Dickinson’s â€Å"I’m nobody!† appearance versus reality is exhibited through the usage of poetic language evoking various feelings in the reader. Hiding the true self from society is a necessary part of life, everyday it must be worn in order be accepted, and these three poems are exemplary. Appearances are just that, appearances, and nothing more; the true individual is far different from that which we see. Are we all not quick to judge a book by its cover?

Fight for Equality essays

Fight for Equality essays The nineteenth century faced an abundance of hardships as well as triumphs and discoveries. The most significant issue faced during this time was the African Americans struggle to be equal. Equality was on every black man and womans mind during the nineteenth century and keeping them from being a success was on every white mans mind. Though it was a struggle, many black men and women stood up for what they believed in and made it happen. It is these determined black men and women that are responsible for opening Americas mind to accept people, no matter of race. There is no doubt that no other issue during the nineteenth century has had a more significant impact on the twentieth century and all centuries to come. African Americans were known as the working class. This is because blacks were only allowed to be farmers and work on plantations owned by white men. They worked the land and white men prospered from it giving the African Americans only pennies to live on each day (Straker 26). The white man would do anything to [keep] a Negro down (Straker 26). Not only were they given poor wages for hard work and poor rations to live off of, but they were also told they could not own land. The blacks began to educate themselves the best they could and the white man began to notice the success of African Americans and took away what the Fifteenth Amendment gave the black community; the right to vote. The Fifteenth Amendment made it illegal to deny blacks the vote but racists found ways around the amendment by creating poll taxes which they knew blacks could not pay and literary tests which they knew most blacks would not pass (Tindall and Shi 616). States began developing plans of their own to keep blacks from voting. In Mississippi the Mississippi Plan was developed which stated that voters must live in the state for two years and in the voting district for one year. They were not a...

Essay on Retailing and Social Media Mk

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Measurements And Methods Essay Example | Topics and Well Written Essays - 750 words

Measurements And Methods - Essay Example Some would argue that one method is better than the other. However, there are those that would suggest that any research or study must utilize a combination of the two methods. The only idea that researchers agree one is that qualitative and quantitative research methods are different in certain ways. Furthermore, there are cases when one of them is better suited for a particular study or research. Understanding the differences between the two will allow an individual to identify the situations wherein using one or a combination of the two is more suitable for a particular study. Moreover, researchers must realize the importance of their choice of approach especially in cases wherein the findings of their study are to be used as basis and guides for decisions about certain policies or practices. Qualitative vs. Quantitative The simplest way to distinguish the qualitative research method from the quantitative method is that qualitative data involves words while the latter works with numerical data. What this means is that in quantitative research, researchers work with numbers and express their results and findings through numerical information. On the other hand, qualitative research utilizes data that comes in the form of words. (Barnes et al, 2005) Another difference is that quantitative research is deductive while qualitative research is inductive. This implies that in quantitative research, the researchers go about their study using an established theory as basis of their analysis. As such, quantitative research requires the formulation of hypothesis which will be what the researchers will be trying to prove or disprove. On the other hand, the quantitative method builds upon the data that has been collected. Patterns emerge from the analysis of the collected data. Since the quantitative method does not have preconceived assumptions, it can proceed without stating a hypothesis. (Barnes et al, 2005) With regards to the collection of data, there is likewise a difference between the two approaches in question. Quantitative research occurs in a more controlled environment wherein the researcher merely serves as an objective observer. Intervention also plays a key role in the collection of quantitative data because it serves as a way of discovering new things. The researcher discovers new ideas and principles by observing the changes that result from changes or interventions made to the environment. In the case of the collection of qualitative data, the researcher is thought to collect the most significant data through participant observation. No changes are made to the environment and instead, the researcher attempts to get a feel of the environment so as to collect relevant data for his research. Lastly, quantitative and qualitative resea