Themes in Poetry - 586 Words

Themes in poetry are about the topics the poet chooses to write about. It represents how the poet feels and thinks about the subject. Themes like childhood, comedy, war and imagination often appear in poetry. In Robert Frost’s poems â€Å"Out, Out† and â€Å"Birches† he uses the theme of death. Emily Dickinson also uses death for the theme in her poems â€Å"I heard a Fly buzz - when I died† and â€Å"Because I could not stop for death.† In the poem â€Å"Out, Out† by Robert Frost a young man in New England was using a buzz saw to cut firewood. When it started getting late, the boy’s sister tells him that it’s time for supper and, out of joy, the boy unknowingly cuts his hand off. He asks his sister not to let those doctors amputate his hand not realizing that he had lost massive amount of blood. He then dies under anesthesia and everybody else goes on with their business like nothing ever happened. Death showed in the last seve n lines of the poem describes the boy slipping into death: The doctor put him in the dark of ether. He lay and puffed his lips out with his breath. And then-the watcher at his pulse took fright. No one believed. They listened at his heart. Little-less-nothing!-and that ended it. No more to build on there. And they, since they Were not the one dead, turned to their affairs (Frost 681). Robert Frost made the theme of this poem death because it concentrates on the people’s reaction to death and on death itself. On the other hand, in the poemShow MoreRelatedThemes in Poetry: Death761 Words   |  4 PagesThemes in Poetry: Death There are many frequently occurring ideas in poetry. The basic message of a poem is called a theme. All poems have a certain theme that they revolve around, such as love, nature, life, and confusion. In different poems by different poets, the same themes correlate with each other because they all revolve around the same subject matter. Although seen through different angles and viewpoints, the same message is present and intertwined within the poems. One of the mostRead MorePoetry : Theme Of Love1638 Words   |  7 PagesLove in Poetry Studying the theme of love in poetry can help a relationship to move from one level to another. Poems express love in unique ways that draws the attention of both the poet and the recipient to focus and express love in powerful ways. The choice of words and phrases used in poems can provide the insight lovers needs to keep their love strong and live for as long as possible (Literary Devices, 2015). Sometimes love fades because people take each other for granted and forget expressingRead MoreThe Theme of Love in Poetry1916 Words   |  8 PagesThe Theme of Love in Poetry Love is a very common theme in poetry. By closely examining the ways in which two poets(one must be pre 1900) have explored this theme. Show what you have found to be similar/different in their handling of this theme. Many people have different views on love. Many of these views throughout the ages are explored through poetry as love has much contemporary relevance in todays society as it ever did before. Two love poems I read whichRead MoreThe Themes of Emily Dickinsons Poetry3970 Words   |  16 PagesThe Themes of Emily Dickinsons Poetry Emily Dickinson was a great American poet who has had a lasting effect on poetry, yet she was a very complicated poet in the 1860s to understand, because of her thought patterns. Dickinson wrote from life experiences and her deepest thoughts. She wrote for herself as a way of letting out her feelings. Dickinson Wrote 1,775 hundred poems but only published seven in her life time because she did not write poetry for publishing. In fact, Emily Dickinson left aRead More The Theme of Death in Poetry Essay819 Words   |  4 PagesThe Theme of Death in Poetry Robert Frost and Emily Dickinson are two Modern American Poets who consistently wrote about the theme of death. While there are some comparisons between the two poets, when it comes to death as a theme, their writing styles were quite different. Robert Frost’s poem, â€Å"Home Burial,† and Emily Dickinson’s poems, â€Å"I felt a Funeral in my Brain,† and â€Å"I died for Beauty,† are three poems concerning death. While the theme is constant there are differences as well as similaritiesRead More The Theme of Loss in Poetry Essay2004 Words   |  9 PagesThe Theme of Loss in Poetry Provide a sample of poetry from a range of authors each of whom portray the theme of loss in some way. Anthology Introduction The object of this collection is to provide a sample of poetry from a range of authors each of whom portray the theme of ‘loss’ in some way. ‘Loss’ has been a recurring theme in literature for centuries, from early poets such as William Shakespeare who portrays loss in many of his tragedies including the loss of sanity in ‘King Lear’Read MoreEssay on The Theme of Freedom in Poetry2575 Words   |  11 PagesThe Theme of Freedom in Poetry Write about three poems on freedom: On Liberty and Slavery (George Moses Horton), Sympathy (Paul Laurence Dunbar) and Caged Bird (Maya Angelou). I have chosen to write about three poems on freedom: On Liberty and Slavery (George Moses Horton), Sympathy (Paul Laurence Dunbar) and Caged Bird (Maya Angelou). The full text of the poems is attached. I chose these three poems because the subject matter appealed to me and I believe that the poems convey theirRead MoreThemes in Cesar Vallejos Poetry529 Words   |  2 PagesStudent first and last names Course title and number Professors name Due date Themes in Cesar Vallejos Poetry The Eternal Die is a meditation and conversation about many grave subjects. The narrator of the poem seems to be shouting aloud in some kind monologue or rant, but at the same time, seems to be engaged with a debate with the God the narrator identifies with. There are clues that the God is the Catholic God, or at least the Christian God. There are many statements that are thrownRead More Common Themes in Poetry Essay4006 Words   |  17 PagesCommon Themes in Poetry After reading and analysing numerous poems, I have chosen two examples of the famous Irish Poet, Seamus Heaneys work: Follower and Mid-Term Break. Both poems relate to the poets past, and are certainly associated with a specific loss of a loved one - one a literal loss, and the other a subconscious loss. Mid-Term Break, which I found to be a very touching and poignant poem, describes the loss of the poets younger brother, Christopher when Heaney wasRead MoreDominant Themes In Whitmans Poetry Essay711 Words   |  3 PagesThe dominant themes that are more pervasive in Whitman’s poetry are democracy, life/death cycles, individualism, and nature. These themes play major roles in some of his more notable poems such as â€Å"Songs of Myself† or â€Å"Crossing Brooklyn Ferry.† He used democracy as a theme to bring society together, and unite everyone based on their general beliefs. He depicted life and death cycles to merge society together on a spiritual level. Despite his eagerness to unite society he also embraced individualism

George Lennies Relationship in Of Mice And Men, by John...

When the Great Depression was rampant, a lot of people would live job-to-job, just to get by. In the novel Of Mice And Men, by John Steinbeck, George and Lennie have an odd relationship by how its both positive and negative. George and Lennie were chased out of a town called Weed, because Lennie was feeling a girls skirt; the girl had been scared by Lennie, and tried to run away, but Lennie wouldnt let go. After being chased out of Weed, George and Lennie rode a bus south, away from Weed, but were dropped off a few miles back, George and Lennie had to walk the rest of the way, until the came to the ranch. After killing a dog and someones wife, Lennie was chased out of the ranch, and killed by George, to keep Lennie from a painful death. George and Lennies relationship is uniquely positive and negative because of Lennies mental incappability, Georges short temper, and how George kills Lennie an the end of the novel. Lennies mental incappacility brings negativity towards the relationship. I forgot, Lennie said softly. I tried not to forget. Honest to God I did, George (Steinbeck 12). Lennie is retarded, or slow of the mind; his abillity to use his brain as well as George is very limited. Always forgeting what George tells him, he is angered with Lennie as he always needs to remind him what to do. When George reminds Lennie of what to do, hes going to forget it again. Lennies has the mentality of a child. I done another bad thing (178). Lennie hasShow MoreRelatedGeorge And Lennie Relationship Analysis871 Words   |  4 PagesIn the novella Of Mice And Men by John Steinbeck, the relationship between Lennie Small and George Milton is complex. Lennie and George are two companions who look for work and brave the hardships of the Dust Bowl and the Great Depression together. Although Lennie and George are both grown men, their relationship resembles more of a child and a single parent, or a boy and h is dog. Lennie is portrayed as animalistic and childish through his behavior and Steinbeck’s comparisons. This reveals the crucialRead MoreOf Mice And Men By John Steinbeck894 Words   |  4 PagesOf Mice and Men Essay John Steinbeck once said, â€Å"A journey is a person in itself; no two are alike. And all plans, safeguards, policing, and coercion are fruitless. We find that after years of struggle that we do not take a trip; a trip takes us†. In his novella, Of Mice and Men, two men go on an unexpected journey in search for their dream of happiness. There are many themes that come from their journey such as, the gilded American dream, the bond of male friendships, the power of women and femininityRead MoreCharacterization Of Lennie In Of Mice And Men746 Words   |  3 PagesIn Of Mice and Men by John Steinbeck, two men named Lennie and George work as laborers on a ranch in Salinas Valley, California. They have the American Dream of owning a piece of land one day, and work very hard to try to achieve it. Through traits and dialogue, Steinbeck successfully portrays Lennie as a sympathetic character. He shows Lennie’s reliance on George, gives Lennie childlike behavior, and reveals Lennie’s lack of intelligence. Lennie is reliant on George because George acts as theRead More Comparing Of Mice and Men and John Steinbecks Life Essay849 Words   |  4 Pages   John Steinbecks agricultural upbringing in the California area vibrantly shines through in the settings and story lines of the majority of his works. Steinbecks novel, Of Mice and Men, takes place in the Salinas Valley of California. The drama is centered around two itinerant farm workers, George Milton and Lennie Small, with a dream of someday owning a place of their own. Lennie Small is a simple-minded, slow moving, shapeless hulk with pale eyes whose enormous physical strength often causesRead MoreAnalysis of Of Mice and Men by John Steinbeck1493 Words   |  6 PagesAnalysis of ‘Of Mice and Men by John Steinbeck ‘Of Mice And Men by John Steinbeck is a classic novel, tragedy, written in a social tone. The authorial attitude is idyllic, however, as the story develops it changes into skeptic. It is evident that Steinbeck knew the setting and places he is writing about. In my opinion Steinbeck drew the subject matter from his own experience of working on ranches, he was interested in special kinds of relationships among men working on ranches with him. ThereRead MoreEssay about Analysis of ‘Of Mice and Men by John Steinbeck 1488 Words   |  6 PagesAnalysis of ‘Of Mice and Men by John Steinbeck ‘Of Mice And Men by John Steinbeck is a classic novel, tragedy, written in a social tone. The authorial attitude is idyllic, however, as the story develops it changes into skeptic. It is evident that Steinbeck knew the setting and places he is writing about. Read MoreEssay on Theme of Loneliness in John Steinbecks Of Mice and Men1136 Words   |  5 PagesThe Theme of Loneliness in Of Mice and Men      Ã‚  Ã‚   In the novel, Of Mice and Men John Steinbeck used George and Lennies relationship and the theme of hope to point out the loneliness in the novel. The novel starts off and is set in Soledad which means lonely. At the beginning they get a job working on a farm together. Lennie is a little retarded and has great physical strength that isnt too controllable. As they work from ranch to ranch, Lennie relies on George for guidance and help. RatherRead MoreSelf-Discovery Through Relationship in John Steinbecks Of Mice and Men706 Words   |  3 PagesRelationships are the key to learning about oneself. The novel Of Mice and Men, by John Steinbeck, proves that a relationship with another results in self-discovery. Throughout the story, it is shown that Lennie causes George to learn more about himself through friendship, responsibility, and his need for others. Lennie’s presence in George’s life causes George to learn about his friendship. An example of this is when George talks to a friend about his relationship with Lennie. He says that â€Å"LennieRead MoreA Character and Moral Study of George Milton: Of Mice and Men by John Steinbeck920 Words   |  4 Pages during the Great Depression, the idea of human companionship was drowned out by the lonely road that many men walked in search of jobs. This period showed the true impacts of the loneliness of man and also asked very important questions: are we responsible for the welfare of others? Or is it better to just be alone? In John Steinheck’s novel Of Mice and Men, one of the protagonists, George Milton, struggles with this very concept. Stuck with his disabled best friend, Lennie Small, he feels a senseRead MoreMice of Men Dreams of Commitment2273 Words   |  10 PagesOf Mice and Mein The Dream of Commitment. Louis Owens The Eden myth looms large in Of Mice and Men (1937), the playnovella set along the Salinas River a few miles south of Soledad (Of Mice and Men, p. 1). And, as in all of Steinbecks Califomia fiction, setting plays a central role in determining the major themes of this work. The fact that the setting for OfMice and Men is a Califomia valley dictates, according to the symbolism of Steinbecks landscapes, that this story will take place in a fallen

The Philosophy of Action in Hamlet Free Essays

‘Words, words, words’: Hamlet’s philosophy of action Central to any drama is action. What distinguishes drama from other literary forms is the very fact that it is acted upon a stage, that voice is given to the words and that movement creates meaning. It is, therefore, puzzling that the most seminal dramatic work in the English language contains, arguably, precious little of what many might describe as dramatic action. We will write a custom essay sample on The Philosophy of Action in Hamlet or any similar topic only for you Order Now Nevertheless it has moved, enthralled and, what is more, entertained generations of theatre goers across the centuries and is still regarded as one of Shakespeare’s most popular play. It has divided critics: Johann Wolfgang von Goethe regards as central to the play Hamlet’s inability to act[1] whereas T. S. Eliot reduces the work to ‘an artistic failure’. [2] If Tom Stoppard is to be believed, even the characters are at odds with this apparent lack of drama as Stoppard’s Rosencrantz asks ‘is it too much to expect a little sustained action?! ’[3] If then, we are to acknowledge that action is central to drama, it is important to remember that such action is usually derived from conflict. When regarding Hamlet through this basic philosophy, the play is in every way dramatic. The play is concerned with conflict. We have international conflict, familial conflict and internal conflict and it is these conflicts that drive the play. This is confirmed within the opening line ‘Who’s there? ’(I. i. 1)[4] Immediately we are plunged into the state of paranoia that envelops Elsinore, the question is confrontational and, furthermore, directs us towards the international conflict between Denmark and Norway. The drama of the play, however, is not as simple as this. For instance, we must also consider the dramatic structure of a play and apply this to Hamlet; a structure that goes from equilibrium to conflict and then on to a new equilibrium. It is impossible to relate this to the play; for who would agree that the Elsinore, at the start of Hamlet, is in a state of equilibrium? Indeed, as Stephen Ratcliffe points out, the catalyst for all action in the play does not occur within the play[5]. The murder of Hamlet’s father has already happened when Barnardo delivers that famous first line, a line which itself suggests a response to something that has happened offstage. Ratcliffe goes on to discuss that the line could almost be a response to a ‘knock knock’ joke but more seriously that it: begin[s] the play in response not only to some implicit, unspoken physical action- some motion or noise in the dark, [†¦] but to an implicit action not performed on stage – some motion of the Ghost of Hamlet’s father which Bernardo, who speaks this line, must imagine he has seen and/or heard. [6] Ratcliffe also suggests that the action not performed on stage does not happen at all. Alarmingly, he refutes Claudius’s confession of fratricide in Act III, arguing unconvincingly that Old Hamlet’s murder had never taken place. [7] In spite of this he does raise an interesting issue that is concerned with the question as to why – when in Western literature dramatic narrative is defined by cause and effect – does Shakespeare place the primary cause off stage and beyond the gaze of his audience? We are left to imagine the dramatic possibilities of opening the play with the alarming and visually striking image of a brother’s murder. If Shakespeare’s decision to leave this exciting and sinister event in the wings confounds us, what, then, are we to make of the climax of the play? If we are to return to the classic dramatic structure of a play, we expect to see rising action leading to a climax that, in turn, leads on to the falling action culminated by the denouement. Hamlet gives us no such structure. There is no climax in the classic sense or if there is it appears in the final scene, not where one would expect. There is, nevertheless, one possibility that the climax may appear earlier in the play and that would be, in the traditional sense, in Act III. The murder of Polonius in Act III, scene iv might be regarded as the turning point of the play in the same way that Mercutio’s death in Romeo and Juliet is seen as such. It is at this point that we see Hamlet at a height of passion, ‘How now? A rat! Dead for a ducat, dead’ (III. iv. 23). The use of the word ‘rat’ shows Hamlet’s contempt for his supposed victim, the repetition of ‘dead’ embellishes his determination to kill, and the ducat is the small price Hamlet values the life he has just taken. The consequences of this action feed into every other event that is to happen: Claudius’s resolve to kill Hamlet, Ophelia’s eath and Laertes’s act of revenge which brings about the play’s final dynastic collapse. Once again, though, Shakespeare ‘removes’ the audience from the action, having the murder take place ‘offstage’. Polonius is murdered behind the arras and this takes us away f rom the immediacy of the action. There is no huge build up with a climactic duel as there is in Romeo and Juliet; we are not even given the drama of remorse that is evident in Macbeth. For these reasons, it is impossible to consider the death of Polonius to be the dramatic climax of the play, merely another cause leading on to another effect. This shortage of ‘action’, though, is illusory. A. C. Bradley comments on this when he suggests a hypothetical reaction to the play: What a sensational story! Why, here are some eight violent deaths, not to speak of adultery, a ghost, a mad woman, and a fight in a grave! [8] Hamlet does have a dramatic conclusion, of that no one is in doubt, but this has come after a series of procrastinations from the titular hero. All other action is kept firmly offstage. One might hear Bradley go on to say ‘Treason, pirates, war, the storming of a castle and a regime change! The latter two were included in Branagh’s film version strongly alluding to the storming of the Iranian embassy in 1981 an event that was intensely exciting and dramatic for any that can remember it. For Shakespeare, however, such extravagant action appears to be superfluous to his play and is, therefore, not of importance. As a consequence, it would appear redundant to continue analysing what is not in the play, as Ratcliffe has done at length[9], and to focus on what Shakespeare does give us. What Shakespeare does give us is words, ‘words, words, words’(II. i. 192) and it is through these words that he provides the action. It is here where I must agree with Ratcliffe when he suggests that, in Hamlet, it is the language that is of importance and not the action. [10] It is necessary, then, to look at the power of language within the play and how Shakespeare facilitates it in order to sustain a dramatic structure. Firstly, as mentioned above, the catalyst for all the action in the play happens off stage but is delivered to the audience, and Hamlet, through the words of the ghost. We know that these ords are to hold significance as we have shared Horatio’s anxiety for the ghost to ‘stay and speak’ (I. i. 142). The appearance of the ghost is not enough. It is, therefore, the words that are spoken to Hamlet in conjunction with the apparition that hel p to creates the first piece of dramatic action in the play: Now, Hamlet, hear. ’Tis given out that, sleeping in my orchard, A serpent stung me – so the whole ear of Denmark Is by a forged process of my death Rankly abus’d – but know, thou noble youth, The serpent that did sting thy father’s life Now wears his crown. [†¦] Ay, that incestuous, that adulterate beast, With witchcraft of his wit, with traitorous gifts- O wicked wit, and gifts that have the power So to seduce! – won to his shameful lust The will of my most seeming-virtuous queen. (I. i. 34-46) What is striking about this scene is how it is dominated by the ghost and how little Hamlet actually says. If it were one of the lesser characters, it could be assumed that they were struck dumb and in awe of the presence of a spectre but, even this early in the play, we know enough about Hamlet to realise that this would not be the case for him. He mentions a few lines earlier that he is not afraid, saying ‘I do not set my life at a pin’s fee’ (I. iv. 65), so why now is he so quiet? Surely Shakespeare feels that Hamlet, like the audience, should be still with trepidation at the drama that is unfolding before them. In this short passage of the ghost’s speech we have incest, adultery, witchcraft, treachery, not to mention murder. Here we see Shakespeare using the power of words to create the action upon the stage, words that, like Ratcliffe points out, enter through our ears as did Claudius’s poison. 11] Later on in the play we will see words used as poison, again by Claudius, when, in true Machiavellian style, he corrupts the mind of the vengeful Laertes. When discussing the power of words we must look at the play-within-a-play sequence of Act III, an aspect of the play which has been discussed at length by the critics but also one that brings into question another facet of action, that of ac ting. Hamlet is an extremely self-conscious play, bringing comedy into a highly dramatic moment in Act I, scene v when Hamlet asks the ghost ‘Canst work i’th’ earth so fast? (l. 170): this is an obvious comment on the crudeness of Elizabethan stagecraft. Earlier in the same scene Shakespeare has commented on the possibility of a bored audience when Hamlet comments on ‘this distracted globe’ (l. 97)[12] and, when Polonius states that when he played Caesar ‘Brutus killed me. ’ (III. ii. 103) Jenkins points out that the actors playing Hamlet and Polonius were likely to have played Brutus and Caesar respectively in an earlier play and therefore are about to ‘re-enact’ the murder. 13] If we look at Hamlet’s instructions to the players: Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; but if you mouth it as many of your players do, I had as lief the town-cryer spoke my lines. Nor do not saw the air too much with your hand, thus but use all gently; for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumb-shows and noise. I would have such a fellow whipped for o’erdoing Termagant. It out-Herods Herod. Pray you avoid it. (III. ii. 1-14) Again, we have a very self-conscious speech where there seems to be an in-joke upon the acting style of the actor who plays Polonius, if not intended by Shakespeare it could certainly be performed as such. There is also the awareness of audience as well in the comments about the groundlings which is rather a brave joke which, had they been enjoying the play, would have gone down in good humour. It might also be considered that Shakespeare followed up the joke by including the dumb-show that followed! If we look closely at the instructions, however, we notice the emphasis on the words rather than the action. The opening imperative is ‘Speak the speech’ and interestingly ‘as I pronounced it’ not as I acted or showed it which seems strange to say when instructing actors. It is true that in the restricted views of an Elizabethan playhouse an audience would go to hear a play but this would not be the case in a private courtly performance. Also we must remember that Hamlet is only concerned with one member of the audience; someone who, one might assume, would have the best view of the play. Hamlet’s instructions are followed by references to the tongue and mouth where the words must inevitably come from and then the simile of the town cryer again placing stress on verbal communication. Hamlet requests a limit to the ‘action’, the body movement – the acting- so that it is the language that is of paramount importance. In such a self-aware moment of the nature of acting and drama in the play are we not to assume that this is coming from Shakespeare as much as Hamlet? The players’ sequence has significance because here we have on stage the mechanics of Hamlet. There is the murder of Gonzago/Hamlet acted out on stage, the betrayal of Lucianus/Claudius and the union between the Lucianus/Claudius and Queen/Gertrude. Here Shakespeare gives us what we were denied in the first act the event which sets the whole play in motion. Not only that but by having Lucianus as the nephew to Gonzago we are also witnessing the events that are about to happen on stage or, at least, those that we expect to happen. Interestingly enough, though, is that Shakespeare has included a dumb-show as if to appease the groundlings despite his earlier comments but it is not through watching this that Claudius reacts but rather the words of the players that follows. At the line ‘On wholesome life usurps immediately’ (III. ii. 254) Claudius can no longer remain seated for he cannot deny the words, something that has been discussed and embellished by Ratcliffe. [14] The question as to why Claudius does not react to the dumb-show can be resolved in performance by choosing to have Claudius showing signs of discomfort throughout until he can finally stand it no more as in Olivier’s film version. There is nothing in the text, however, that suggests that this is how it should be performed. The king questions Hamlet, Is there no offence in’t? ’ (III. ii. 227) and in this dialogue there is nothing to suggest that he is suffering from any anxiety regardless of how this line has divided critics. [15] So once again we see that it is words that have more power, more effect and more significance than mere actions. In looking at the philosophy of action in the play one must recognise that the play is essentially a revenge play and that all action must stem from the concept of revenge. Michael Mangan defines the revenge play as a play which: harts the protagonist’s attempts to [revenge]: this may involve a period of doubt, in which the protagonist decides whether or not to go ahead with the revenge, and it may also involve some complex plotting (in both senses of the word) as the protagonist decides to take revenge in an apt or fitting way. The revenger, by deciding to take revenge, places himself outside the normal order of things, and often becomes more and more isolated as the play progresses – an isolation which at its most extreme becomes madness. [16] It would appear, from this definition, that Hamlet is, indeed, a revenge play but who is it that seeks revenge? I would argue that it is not Hamlet for, as Catherine Belsey notes, ‘[r]evenge is not justice’[17] and we are reminded throughout the play that Hamlet seeks justice. For instance, Hamlet does not act rashly for he states: Give me that man That is not passion’s slave, and I will wear him In my heart’s core, ay, in my heart of heart (III. ii. 71-73) This might suggest that Hamlet holds reason close to his heart. Here we see that contrary to popular belief Hamlet is not a man that is ruled by passion but that is not to say that he is not passionate. If Hamlet were ruled by passion he would not have devised such an elaborate ploy to confirm the guilt of the king but would have acted straight away. Gone would be the procrastinations and Hamlet could have roused up the populace as easily as Laertes does in Act IV, as Bradley points out[18], and Claudius would have been dead by Act II. Many critics that have argued this case seem to suggest that Shakespeare’s reason for prolonging the action was to fill out the five act structure of the play. [19] We are given three possible revenge heroes in the play: Hamlet we can discount, Fortinbras and Laertes. Shakespeare has provided these two characters to put Hamlet’s inability to act into stark contrast. Through Fortinbras we see the noble prince revenging the death of his father through careful planning and sharp resolve and in Laertes we see a rash young man whose desperate bid for revenge only quickens his own demise. It is important to note that even with the careful planning Fortinbras still shares Hamlet’s prolonging of the act when we consider that Denmark’s defeat of Norway was at the time of Hamlet’s birth some thirty years previous. Hamlet, however, does not seek revenge. He could have easily been able to exact it when he says ‘Now might I do it pat’ (III. iii. 73). The semantics of the word ‘might’ suggest that he has no intention of committing the murder. ‘Will’ or ‘must’ would imply a more decisive move yet Shakespeare gives us a Hamlet who is questioning his actions. His decision to spare Claudius whilst at prayer further indicates that it is justice and not revenge that Hamlet desires. Claudius points out to Laertes that ‘No place indeed should murder sancturise’ but Hamlet delays his action because he wants justice – a death for a death- like for like. Significantly, Hamlet is a revenger who is unable to act as Calhoun states he is unable to ‘play the role’,[20] or to use Ted Hughes’s metaphor: Like the driver of a bus containing all the characters of the drama, he hurtles towards destruction, in slow motion, with his foot jammed down hard on the brakes. [21] Having established the substance and value of words in Hamlet it is necessary to return to the question of dramatic climax in the play. It has always been recognised that it is a dramatic impossibility to act Hamlet on the stage in its entirety and it is not unknown for students of the text to skip through sections when reading but one thing always remains and that is the soliloquies. Within the play we have the most beautiful speeches composed in the English language and it is one of these that, I believe, forms the climax of the play. The climax of language that we are given in the play does follow the classic dramatic structure coming in Act III and at the risk of sounding cliched I would suggest that it is the ‘To be or not to be’ speech. It is in this soliloquy that we have the nub of the play rests and that is Hamlet’s internal conflict on how he should act. It has long been considered to be the musings of a troubled mind contemplating suicide and whilst no one will argue that Hamlet’s is not a troubled mind is he really deliberating the end of his own life? I would argue no. Shakespeare has already given us such ruminations earlier in the play with ‘o that this too too sullied flesh would melt’ (I. ii. 129) and I find it difficult to accept that a dramatist of Shakespeare’s calibre would not have developed his main character by the third act. In fact, I would argue that after confronting the ghost and hearing the charge against Claudius, Hamlet has been given new meaning to his life and that all thoughts of suicide have faded. ‘To be or not to be’ should read as ‘To do or not to do’ or ‘To act or not to act’ for it is in this speech that we witness Hamlet’s thoughts on whether to proceed with the killing of Claudius. Not once in the speech is there an ‘I’, nowhere does Hamlet refer to himself. His examples of the ‘whips and scorns of time’ (III. i. 70) save one do not seem to be justifications for taking one’s own life: Th’oppressor’s wrong, the proud man’s contumely, The pangs of dispriz’d love, the laws delay, The insolence of office, and the spurns That patient merit of th’unworthy takes (III. i. 71-74) Apart from unrequited love, for which many have taken their life, these seem to be the wrongs that are urging Hamlet to seek justice against Claudius. I might take this further and suggest a reading of the soliloquy where Hamlet knows that Claudius is eavesdropping, something that seemed to me implicit in Brannagh’s film. Through this reading we can see that Hamlet is acting a role for us as an audience but specifically for Claudius and Polonius. He is diverting attention from his true thoughts of murder whilst also confirming his ‘antic disposition’ (I. v. 180). In addition to this it explains why he apparently forgets the ghost of his father as he claims ‘No traveller returns’ (III. i. 80) as it would not be practical to reveal the truth at this stage. Also, the speech concludes that it is conscience that prevents him and the fear of the unknown when prior to this he has stated that it was because that God has ‘fix’d / His canon ’gainst self-slaughter’ (I. ii. 131-132). Arguably, this could be a variation of the same rationale yet there is a distinct change in tone which suggests a difference in attitude. Therefore, it is within this soliloquy where Hamlet reaches his decision which he reveals to Ophelia (and Claudius) when he says that ‘all but one – shall live’ (III. i. 150). One might argue that the opening line of this speech, ‘To be or not to be’ (III. i. 56), uncontrovertibly suggests that Hamlet is, indeed, reflecting on suicide but, once again, this is another self-conscious reflection upon the nature of drama. For Hamlet, the character in the play Hamlet, must act in order to ‘be’ and as a revenge hero, that act is the murder of Claudius. While Claudius is alive, Hamlet’s mind and soul are troubled and only through the act of revenge with ‘a bare bodkin’ can he bring about his ‘quietus’ (III. i. 75-6). Words, therefore, are the focus of this play. It is Shakespeare’s longest and in it we are given a character who ‘â€Å"comes alive† only in language’[22], it is through words that the dramatic action, except the final scene, takes place upon the stage. In terms of drama, the play is at odds with its form in that the driving action of the plot precedes the start of the play. We are given a revenge hero who is unable to live up to that title and only seems to spring into what one might call action when he has been hit by Laertes poisoned rapier and he knows that he is about to die, something which he points out twice in the scene. Indeed, in performance, the final scene can be played as equally low-key as it can be played dramatic. In a self-conscious play such as this it seems clear that Shakespeare understands the power of words. To a dramatist, all action that can be created on a stage is a representation – one that is created through words. Crucially it is through language that the world of Elsinore is created and all those that exist within it exist through the words that they speak. It is, therefore fitting that Hamlet’s dying words are ‘the rest is silence’ (V. ii. 363) for he knows that without language he is nothing. Through Hamlet Shakespeare gives us a world where action is secondary to language because, in drama, one creates the other. 3967 words (exc. footnotes) 4338 words (inc. footnotes) Bibliography Primary Sources Shakespeare, William, Hamlet, ed. Harold Jenkins, The Arden Shakespeare, 3rd series (London and New York: Routledge, 1994) Stoppard, Tom, Rosencrantz and Guildenstern are Dead (London: Faber Faber, 1967) von Goethe, Johann Wolfgang, Wilhelm Meister’s Apprenticeship, ed. and trans. Eric A. Blackall (Princeton, NJ: Princeton University Press, 1995) Secondary Sources Belsey, Catherine, ‘Revenge in Hamlet’, in Hamlet: Contemporary Critical Essays, ed. Martin Coyle (London: Macmillan, 1992), pp. 154-159. Bloom, Harold, Hamlet: Poem Unlimited, (Edinburgh: Canongate, 2003) Bradley, A. C. , Shakespearean Tragedy, 3rd edn. London: Macmillan, 1992), pp. 84-166. Calhoun, Jean S. , ‘Hamlet and the Circumference of Action’, Renaissance News, Vol. 15, No. 4. (Winter, 1962), 281-298. Dickson, Andrew, The Rough Guide to Shakespeare, (London: Rough Guides, 2005) Eliot, T. S. , ‘Hamlet’ in Selected Essays (London: Faber Faber, 1951), p. 141-146. Fernie, Ewan, ‘Terrible Action: Recent Criticism and Questions of Agency’, Shakespeare, Vol. 2, No. 1 (June, 2006), 95-118. Hughes, Ted, Shakespeare and the Goddess of Complete Being (London: Faber Faber, 1992), pp. 233-239. Jump, John D. , (ed. ) Hamlet: A Selection of Critical Essays (London: Macmillan, 1968), pp. 2-32. Kettle, Arnold, ‘From Hamlet to Lear’, in Shakespeare in a Changing World, ed. Arnold Kettle (London: Lawrence Wishart, 1964), pp. 146-159. Mangan, Michael, A Preface to Shakespeare’s Tragedies (London and New York: Longman, 1991) Ratcliffe, Stephen ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’, Modern Language Studies, Vol. 28, No. 3/4. (Autumn, 1998), 125-150. ——————–, ‘‘Who’s There? ’: Elsinore and Everywhere’, Modern Language Studies, Vol. 29, No. 2. (Autumn, 1999), 153-173. ————— Ã¢â‚¬â€Ã¢â‚¬â€œ [1] Johann Wolfgang von Goethe, Wilhelm Meister’s Apprenticeship, ed. and trans. Eric A. Blackall (Princeton, NJ: Princeton University Press, 1995), p. 146. [2] T. S. Eliot, ‘Hamlet’ in Selected Essays (London: Faber Faber, 1951), p. 143. [3] Tom Stoppard, Rosencrantz and Guildenstern are Dead (London: Faber Faber, 1967), p. 86. [4] William Shakespeare, Hamlet, ed. Harold Jenkins, The Arden Shakespeare, 3rd series (London and New York: Routledge, 1994), subsequent references are to this edition. [5] Stephan Ratcliffe, ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’, Modern Language Studies, Vol. 28, No. 3/4. (Autumn, 1998), pp. 125-150. [6] ——————–, ‘‘Who’s There? : Elsinore and Everywhere’, Modern Language Studies, Vol. 29, No. 2. (Autumn, 1999), p. 153. [7] Ratcliffe, ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’, pp. 135-139. [8] A. C. Bradley, Shakespearean Tragedy, 3rd edn. (London: Macmillan, 1992), Lectur e III, p. 93. [9] Ratcliffe, ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’ pp. 125-150 [10] Ibid. , p. 129. [11] Ibid. p. 131 [12] Having opened my Christmas presents and receiving Bloom’s Poem Unlimited after I had written this essay, I feel obliged to cite him for what I assumed to be an acute and original observation. If only Father Christmas hadn’t been so efficient, I could have at least pleaded ignorance! Harold Bloom, Hamlet: Poem Unlimited (Edinburgh: Canongate, 2003), p. 10 [13] Jenkins (ed. ), Hamlet, p. 294 [14] Ratcliffe, ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’, pp. 131-132. [15] Jenkins explains how the line has been used to show Claudius’s calm attitude to the play and to prove his unease in Jenkins (ed. ), Hamlet, p. 301. [16] Michael Mangan, A Preface to Shakespeare’s Tragedies (London and New York: Longman, 1991), p. 67. [17] Catherine Belsey, ‘Revenge in Hamlet’, in Hamlet: Contemporary Critical Essays, ed. Martin Coyle (London: Macmillan, 1992), p. 154. [18] Bradley, Shakespearean Tragedy, p. 98. [19] Notably the anonymous critic in ‘Extracts from Earlier Critics, 1710-1945’ in Hamlet: A Selection of Critical Essays, ed. John D. Jump (London: Macmillan, 1968), p. 22. [20] Jean S. Calhoun, ‘Hamlet and the Circumference of Action’, Renaissance News, Vol. 15, No. 4. (Winter, 1962), p. 288. [21] Ted Hughes, Shakespeare and the Goddess of Complete Being (London: Faber Faber, 1992), p. 236. [22] Ewan Fernie, ‘Terrible Action: Recent Criticism and Questions of Agency’, Shakespeare, Vol. 2, No. 1 (June, 2006), p. 96. How to cite The Philosophy of Action in Hamlet, Papers

Hospitality and Tourism Management Crowne Plaza †MyAssignmenthelp.co

Question: Discuss about the Hospitality and Tourism Management Crowne Plaza. Answer: Promotion of Crowne Plaza The promotion aspect in a marketing mix is vital for a business that operates in the hospitality and tourism sector. Since Crowne Plaza offers both tangible and intangible products, it believes in creating rightfeelingin its consumer. It promotes its hotels resorts as ultimate location that helps people to boost their productivity, energize body and soul, and feel inspired (Choy Elvirozita, 2017). Crowne Plaza introduces a number of promo codes and discount codes to attract its customers and have a competitive advantage over its rivals. It makes special offers onits dining, accommodation, spa treatments and other facilities provided in the Australian continent.Some of its promotional strategies that differentiate it in the hospitality industry include adoption of more connected, more digital, more flexible and more mobile means to connect with its target audience. It promotes its hospitality business by conducts special buffets that suit the occasion (Gao, 2016). Currently it has a number of offers and deals like Best Flexible Rate policy which allows visitors to get affordable online rate as per their flexibility requirements. It has a Senior Discount promotional strategy which allows customers to take advantage of Crowne Plazas Senior Discount and views the world without straining their budget. Promotion of Intercontinental hotel The Intercontinental hotel is an award winning luxury located on the river Torrens in the Adelaide, Australian. It adopts various promotional strategies to keep up to its reputation in the highly competitive hospitality industry. It promotes its hotel business by making different offers on its accommodation and dining services (Jack, Stansbie Sciarini, 2017). Intercontinental Adelaide believes in ensuring that its customers create a memorable Adelaide experience by using its promotional strategy that offers wide range of accommodation offers for its leisure and business guests alike. The hotel providesspecial accommodation deals with leading attractions to create unique experience for its visitors. It believes in creating a memorable experience for its target audience by combining the very best features of Adelaide with its amazing service quality (Walters Beirman, 2016). It promotes its accommodation facilities by adopting promotional techniques including introducing of exclusive package for accommodation with Adelaide Beer and BBQ Festival, offering royal treatments in special months of the year, making memorable escapes offers and allowing its customers to enjoy its accommodation, breakfast, valet car-parking and other facilities while rediscovering the city (Jack, Stansbie Sciarini, 2017). The hotel has included aWeekend Special pro motional strategy that includes accommodation, breakfast for two in the Riverside Restaurant and a late checkout of 4 pm that allows its visitors to enjoy the simple joys in life. It also promotes its dining service by focusing on its three world class restaurants namely Shiki, The Atrium Lounge and The Riverside Restaurant that are located within its premise. Its new and latest dining offersinclude royal high tea in June, experiencing worldly classics cocktail and enjoying specially crafted and complimentary canap (Gao, 2016). Such unique promotional strategies by Crowne Plaza and Intercontinental hotel help them to strengthen their marketing mix and have a competitive advantage in the hospitality industry. References Choy, S. C., Elvirozita, T. (2017). How and Why Malaysian Hospitality and Tourism Management Students Learn. InEmpowering 21st Century Learners Through Holistic and Enterprising Learning(pp. 59-67). Springer, Singapore. Gao, X. (2016). University of Surrey School of Hospitality and Tourism Management Conference: 1922 July 2016, Guildford, UK. Jack, K., Stansbie, P., Sciarini, M. (2017). An examination of the role played by internships in nurturing management competencies in Hospitality and Tourism Management (HTM) students. Walters, G., Beirman, D. (2016). Guest editorial for special issue of Journal of Hospitality and Tourism Management: crisis response and recovery for the tourism industry.Journal of Hospitality and Tourism Management,28, 1-2.

Chapter 35 Flashcard

Chapter 35

Parasite Rex essays

Parasite Rex essays Parasite Rex was a complex book describing the life of a parasite. In todays society, parasites are seen as useless creatures that live their lives at the expense of anothers, but Carl Zimmer portrays them in a much different light. He brilliantly displays that parasites have received a poor reputation but are in fact a major contributor to life on earth today. The beginning of the book describes how early scientists discovered parasites. Leeuwenhoek, Steenstrup and Koch, just to name a few, were the early scientists that discovered small creatures that seemed to infest others. One scientist, Ray Lankester, is responsible for parasites vicious reputation. He studied the parasite known as Sacculina, a parasite that inhabits crabs. He thought that it was born as a free-living organism that degenerated into a parasite, giving up the majority of its body to inhabit the body of another. Zimmer proved that these scientists were wrong about the evolution of the Sacculina, when in fact they are not degenerates, but rather very complex life forms. The book continues on to describe the lives of several other parasites. One group is known as blood flukes, which inhabit the liver. One fluke, Schistosoma mansoni, lives in snails as their intermediate host where it waits to get into a human. Like all parasites, Schistosoma is specially adapted to survive the turmoil of the human body. It can navigate inside the abdominal cavity as if it had a road map. Along side the blood fluke is mentioned other parasites including Hookworms, Tapeworms and Trichinella. Parasitic wasps lay their eggs inside caterpillars where they feed upon the guts and intestines, sparing the vital organs. One particular parasite mentioned is Plasmodium, the parasite that causes malaria and is transmitted by hungry mosquitoes. Plasmodium has a very complex way of infecting the body and like all parasites can gracefully evade the immune system. The nex...

Organizing Essay Example | Topics and Well Written Essays - 1000 words

Organizing - Essay Example Furthermore, the paper entails valued suggestions, which will assist the company in mitigating the key challenges. Discussion Reorganization is considered to be a major part of any business who files for bankruptcy, as it is considered that reorganization can either dissolve a firm or help the business to attain a leading position in the global platform (United States Court, n.d.). The plan that has been designed with respect to the reorganization proposed by GM is stated here under: Development of a Competitive Product Mix along with a Balanced Cost Structure It is measured that GM is listed among those automobile organization that owes many well reputed automobile brands like Chevrolet, GMC, Cadillac, and Isuzu among others. The first reorganizational plan of the company inculcate to rationalize its vehicle brands by discontinuing well-known automobile brands like Hummer and many others and focusing on its core brands. The company then planned to reduce its name plates by 25% which is estimated to increase around 80% by 2014. GM is considered to be one of the oldest automobile companies in the world, which also implies the same for their dealers. However, it has been found that the dealers of the company are comparatively outdated in comparison to the other competitors resulting in decreased marginal sales of their products. In this regard the company planned to reshape its dealer and expand it dealership in all major part of its operating area. Additionally, the company merged its four product development organization, which was located in diversified part of the globe to foster effectiveness of reorganizational plan and to maximize the cost. Furthermore, these strategies will assist the company to develop better vehicles for its customers. It has also been identified that though the company has reduced its total labor cost by 28% from 2004 till 2008. However, there was no significant outcome of the implemented policies. It is also estimated that the company spends about $100 billion on retiree benefits irrespective of its losses (General Motors Corporation, 2009). The main issue that can act as a barrier for the company is the increasing cost of raw materials. The plan that has been made by the company has been estimated with the current prevailing cost of raw materials which are likely to increase in the future. Additionally the plan of refurnishing the existing dealers may be a challenging task which would require adequate amount of time (Kunze, 2012). Compliance with the Federal Environmental Regulation The second plan that has been proposed by the company i.e. GM is to develop vehicles to meet up the environmental regulation passed by the government of the United States of America. The company also developed plans to manufacture alternative fuel vehicles, adapting the company’s technological aspects in countries like Brazil. The increasing pollution has forced the government of different countries to pass laws that set guid elines for automobile industry to manufacture vehicle accordingly. In this aspect the company has planned to replace some of its higher authorities to maintain an effective structural management in Brazil, as it accounts about 60% of the vehicle sale in the South American region (Higgins, 2013;

Bipolar Assignment Example | Topics and Well Written Essays - 500 words

Bipolar - Assignment Example There are certain forms of medication that are used to control the symptoms of bipolar disorder It is important to note that, bipolar has different types of medications that can help control its symptoms. However, not every patient with bipolar disorder responds to medications in a similar manner. This means that doctors could prescribe different medications before coming to the ones that work best for a particular patient. The types of medications generally used in the treatment of bipolar disorder include atypical antipsychotics, mood stabilizers and antidepressants (Grunze, et.al, 2013). Mood stabilizers are normally the first choice in the treatment of bipolar. Patients with bipolar generally use mood stabilizers for years. There are several mood stabilizers that are good for people with bipolar. First, lithium also known as Lithobid or Eskalith is an effective mood stabilizer for bipolar patients. It treats both manic and depressive episodes. However, lithium could have side effects including restlessness, bloating, dry mouth, acne and joint and muscle pain among other side effects. The doctor should first check the amount of lithium in the body before prescribing the medication. Secondly, anticonvulsants are also used as stabilizers for people with bipolar disorder. They help control moods. Examples of anticonvulsants include Valproic acid, Lamotrigine, gabapentin, oxcarbazepine and topiramate. However, anticonvulsants could have side effects including drowsiness, headache, dizziness, heartburn, constipation and mood swings (McCance & Huether, 2010). Atypical antipsychotics are used to treat the symptoms of bipolar, however, not all the time. They are prescribed among other medications such as antidepressants and they include olanzapine, aripiprazole and quetiapine. These also have side effects that include dizziness, drowsiness, sensitivity to the sun, menstrual problems for women and rapid heartbeat

Research Empirical Studies Coursework Example | Topics and Well Written Essays - 2500 words

Research Empirical Studies - Coursework Example 217-241). The sample data is taken from existing studies, in this case a study from the National Crime Panel that details the determination of available data from mapped an unmapped information sources in crime investigation settings. Such data is then factored into analyses of the effectiveness of law enforcement use of data and information to solve crimes. The thinking is that the more effective use of more information can lead to better law enforcement work as such work relates to crime investigations. The data analysis flows from this look into the availability of data and the degree of law enforcement use of such data (Skogan et al., 1979). The key threat to the validity of the research and its findings is that there is only one data source used, and that is a study that was done six years prior to the conduct of the research being described here. The reliance on one set of data limits the general applicability of research findings. This threat to validity is somehow addressed by the integrity of the institution that conducted that older study, and that the study was on a national scale, implying ample representation and ample population sizes (Skogan et al., 1979). Among the findings are that the status quo, where police leaned on data that they had at their disposal historically for particular crimes, yielded crime investigation outcomes that were far from ideal. On the other hand, the study also noted that there existed a larger amount of information from more sources, including bystanders and witnesses to crimes, than are being collected and used. The implication here is that with more rigorous ways of information collection, crime investigation outcomes would improve. The implications of the findings include that there needs to be a more rigorous attempt to gather data and to put up standard procedures

Management of Pain in Trigeminal Neuralgia

Management of Pain in Trigeminal Neuralgia Percutaneous management of pain in Trigeminal Neuralgia under computed tomography guidance Corersponding Author Dr. Mitesh Kumar Main Author Dr. Roy Santosham Co Authors Dr. Bhawna Dev Dr. Deepti Morais Dr. Rupesh Mandava Dr. R. Jeffrey Abstract Trigeminal Neuralgia (TN) is a brief, excruciating and perhaps the most severe pain known to man affecting the hemifacial region. It occurs mainly due to tortuous vessel compressing the trigeminal nerves, though in many cases, the exact etiology and pathogenesis remain undetermined. The first line therapeutic option for patients affected by TN is the medical line of management and patients refractory to the same, are offered various invasive procedures like balloon compression, gamma knife surgery, radiofrequency ablation, etc. In this paper, we present percutaneous management of the pain by injecting neurolytic drugs in the foramen ovale under Computed Tomography (CT) guidance as the new and promising technique of treatment in TN. Keywords Trigeminal Neuralgia, percutaneous management, CT guidance, neurolytic drugs Objective To evaluate the efficacy and safety of Computed Tomography guided percutaneous management of pain in trigeminal neuralgia using neurolytic drugs. Introduction Trigeminal Neuralgia is also known as tic douloureux, a term given to this painful disease by Nicolaus Andre in 1756 [1] . TN is a pain which typically is intense, brief, usually unilateral, recurrent shock like involving the branches of fifth cranial nerve [2]. It can be mainly classified into two types. First being, the classical TN (Type I), which is due to neurovascular compression, the most common vessel causing the same being superior cerebellar artery followed by anterior inferior cerebellar artery [3]. Second type is atypical TN (Type II), secondary to causes like trauma, tumor, multiple sclerosis or herpetic infections. The distinction between these two types is mainly based on clinical symptoms [4, 5] as Type I pain is episodic in nature whereas Type II pain is more constant. TN is often called by many as â€Å"the suicide disease† [6] as the patients who suffer from it would rather take their lives than bear the pain. The initial line of treatment for TN is medical management by drugs like Carbamazepine, Gabapentin, Oxcarbazepine among others. Patients of type I TN may also be advised microvascular decompression. Those patients who do not respond or have contraindications to the above mentioned drugs or experience no change in the intensity of the pain are called Refractory TN [7]. Such patients are advised invasive procedures like trigeminal nerve block neurolytic block, radiofrequency ablation, gamma knife surgery and balloon compression. We describe our experience in percutaneous management of pain by injecting neurolytic drugs in the foramen ovale under CT guidance in six patients, suffering from TN. Method and Materials used Pre procedural work up The pre procedural work up included clinical evaluation and thorough reading of the Magnetic Resonance Imaging (MRI) scans of all the patients to rule out any neurovascular conflict. Any patient with neurovascular conflict was considered an exclusion criterion in our study. These patients were reported taking the drugs for TN for over three months with no improvement in the pain. The pain score evaluation was done using Numeric Rating Scale [8] and Wong-Baker Faces Pain Rating Scale [9] as a baseline evaluating point to be compared to the same scoring system after the procedure. Routine investigations such as coagulation profile, liver function test, renal function test, HIV and HbsAg were done before the procedure. Numeric Rating Scale Patients rate pain on a number scale from 0-10, 0 being a depiction for no pain and 10 being the worst pain imaginable. Wong-Baker Faces Pain Rating Scale The Wong-Baker Faces Pain Rating Scale is a pain scale that was developed by Donna Wong and Connie Baker. The scale shows a series of faces ranging from a happy face at 0 (No Pain) to a crying face at 10 (Worst Pain Possible). The patient must choose the face that best describes how they are feeling. In our study, we use the Wong Bakers scale to assess the patients’ pain before and after the procedure. The neurolytic drugs and materials used in the procedure were 22 G spinal needle for block, 25 G needle for skin infiltration, 2% xylocaine , Iohexol Non ionic contrast medium, 100% alcohol, 1ml syringe and normal saline solution. The patient was put in the supine position with head placed in reverse occipitomental position (chin up and neck extended), turned 30 ° to the opposite side of the block. The foramen ovale was identified under CT guidance and a virtual track was made starting from a point which was 2-3cms lateral to the angle of mouth on the skin to foramen ovale (Figure 1). Once the trajectory of the needle and the foramen ovale was confirmed on CT scan, the skin at the point of entry was infiltrated by 2ml of 2% xylocaine using a 25G needle. Then, a 22G spinal needle was inserted at the same point and aimed in the direction of planned trajectory towards the foramen ovale (Figure 2). To prevent the needle from entering the oral cavity, a finger from inside the mouth can be used to guide the same [10]. Though, we did not apply this in any of our patients. Following this, negative aspiration was attempted to check for Cerebro Spinal Fluid (CSF) or blood aspirate. If the aspirate contained CSF or blood then the needle had to be readjusted. Then 0.5ml of mixture made from 1ml of iohexol and 2ml of 2% xylocaine was injected into the target site in order to check the spread of injectant and exact needle tip position. Once the tip of the needle touches the mandibular nerve root, the patient might complain of the exact similar pain which he/she has been suffering, thus confirming the accurate needle tip location. This injectant acts as a diagnostic block if the trigeminal ganglion is the pain generator with xylocaine providing anesthesia prior to alcohol injection. A mixture containing 3ml of 100% alcohol, 1ml of iohexol and 1 ml of saline was made. Of this 1ml of the mixture was injected into the foramen ovale (Figure 3 and 4). Post procedure check scan was performed to rule out any complication. Result Exact position of the needle tip in the foramen ovale was seen in all the six patients thus achieving 100% technical success. All these patients achieved a significant level of relief with an average pain score of two immediately after the procedure. Twenty four hours after the procedure, they rated their reduction of pain at an average pain score of one. Four out of the six patients ie Patient No. 1, 2, 4 and 6 were completely relieved of their pain with one year follow up without taking any medication. In Patient No. 3, the procedure was abandoned as during the diagnostic block, the injectant was seen tracking into CSF cistern and fourth ventricle. Patient No. 5 reported with a similar pain of TN within three months with a pain score of five, little less than the pre-procedure pain score of six. The pain was more severe in the pterygopalatine segment, hence a pterygopalatine block was carried out and the patient had a pain score of one twenty four hours after the procedure. Hence, the initial trigeminal neurolysis was partially successful in this patient. No post procedural complication was seen in any of our patients. Discussion The trigeminal nerve arises from the lateral pons at its superior to mid portion. It travels forward in posterior fossa and merges with the trigeminal ganglion in the Meckels cave. The trigeminal ganglion is located lateral to the cavernous sinus. It gives three divisions ophthalmic (V1) segment which emerges from superior orbital fissure, maxillary (V2) from foramen rotundum and mandibular (V3) from foramen ovale. The trigeminal nerve provides sensation for the face, mouth and supplies the muscles of mastication. TN mostly involves maxillary division and mandibular division of trigeminal nerve though it may also involve the ophthalmic division as well. The reported annual incidence rate of TN is about 4.5 per 100,000 persons [11] but the actual figures may be even much higher because of diagnostic challenges associated with the disease. TN is more common in females than males with a ratio of 3:2 and is usually seen after 50 years of age [11]. Trigeminal nerve block is an upcoming treatment in TN patients who are refractory to medical line of management. It relieves the pain and also reduces the side effects of drugs which are used for the treatment. Earlier studies were mainly done using x-ray or fluoroscopic guidance which had its own limitations in terms of image quality and two dimensional views. In contrast to this, CT scan provides excellent and direct visualization of foramen ovale leading to correct placement of needle [12] and thus scoring over fluoroscopy. This reduces the chances of injecting neurolytic agents at improper locations and thereby reduces the side effects. In our cases, initial check CT scan was done by injecting 1ml of iohexol to determine whether the needle is in exact location. This doubly ensured us about the location as well as the spread of injectant. This was different from previous studies done using fluoroscopy where a diagnostic block using xylocaine had to be given in order to confirm the location of the needle tip. We used a mixture of 3ml of 100% alcohol, 1ml of iohexol and 1ml of saline for trigeminal neurolysis however, Han et al stated that trigeminal nerve block with high concentration of lidocaine (10%) is capable of achieving an intermediate period of pain relief, particularly in patients with lower pain and shorter duration of pain prior to the procedure [13]. Alcohol spreads easily and should be used cautiously. The other agents which can be used but were not used in our study are phenol and glycerol. The side effects that may follow the procedure are numbness and hypoesthesia in the entire trigeminal nerve distribution. There can be abolition of corneal reflexes which can produce exposure keratitis and dryness of eyes. Improper injection of alcohol into CSF space can lead to arachnoiditis/ meningitis. CASE 1, 2, 4 and 6 These patients were suffering from trigeminal neuralgia with pain score ranging from six to eight before the procedure. All these patients have been taking carbamazepine for more than three months with no relief from pain. MRI showed no neurovascular conflict. These patients had a significant relief of pain with pain score at three months and twelve months being zero. None of these patients had to take oral medicines after the procedures. Fig 1: Site marked for needle Fig 2: Tip of the needle in foramen insertion ovale Fig 3: Dispersion of injectant in Fig 4: 3D reconstruction showing the foramen ovale needle tip in foramen ovale. Case 3 This eighty year old male came with complains of left sided trigeminal neuralgia. He had been taking carbamazepine for four months with no change in pain intensity. The procedure had to be abandoned as after injecting the diagnostic block, the injectant was seen tracking into the CSF cistern in the cerebello pontine angle and fourth ventricle (Figure 5). Fig 5: CT scan showing needle tip in the left foramen ovale Case 5 This forty seven year old female came with complains of right sided trigeminal neuralgia. She had been taking carbamazepine for three months without any relief in pain. MRI scans showed no neurovascular conflict. The procedure was successful with pain score of one immediately after and at twenty four hours after the procedure (Figure 6). However, this patient came back within three months of the procedure complaining of pain, which was more in the pterygopalatine segment. A pterygopalatine block was done with resultant pain score of one at twenty four hours after the procedure and two at nine months of the procedure. Hence, this patient showed partial response to trigeminal neurolysis carried out initially. Fig 6: CT scan showing the tip of the needle in right foramen ovale. Conclusion Percutaneous injection of alcohol, iohexol and saline mixture at the verge of foramen ovale under CT guidance is an effective and promising method to relieve pain in patients of TN refractory to medical line of management. This technique is inexpensive, cost effective and a relatively painless procedure. Being a minimally invasive technique, the chances of any infection and other post operative complications are less. Since our study involved only six patients, this technique needs to be further evaluated on a large sample size to substantiate the result of this procedure. Having said the above, we would like to emphasize that our initial experience of this procedure was quite impressing. Abbreviations TN Trigeminal Neuralgia CT Computed Tomography CSF Cerebro Spinal Fluid MRI – Magnetic Resonance Imaging References Andre ´ N. Traite ´ sur les maladies de l’ure`thre. Paris: Delaguette, 1756 Merskey H, Bogduk N. Classification of chronic pain: descriptions of chronic pain syndromes and definitions of pain terms. Seattle: IASP Press; 1994. P. 59-71 Jannetta PJ. Microvascular decompression of the trigeminal nerve for tic doloreux. In: Youmans ed. Neurological surgery 4th edn. WB Saunders Co. Philadelphia. 1996: 3404-15 Cruccu G, Gronseth G, Alksne J, et al. AAN-EFNS guidelines on trigeminal neuralgia management. Eur J Neurol. 2008; 15 (10): 1013-28 Gronseth G, Cruccu G, Alksne J, et al. Practice parameter: the diagnostic evaluation and treatment of trigeminal neuralgia (an evidence based review): Report of the Quality Standards Subcommittee of the American Academy of Neurology and the European Federation of Neurological Societies. Neurology. 2008; 71 (15): 1183-90 Michael D. Chan, Edward G. Shaw, Stephen B. Tatter. Radiosurgical Management of Trigeminal Neuralgia. In: editor Pollock Bruce, Intracranial Stereotactic Radiosurgery, an Issue of Neurosurgery Clinics. Elseiver Health Sciences. 2013. pp. 613-621 Cruccu G, Truini A. Refractory Trigeminal Neuralgia. Non-surgical treatment options. CNS Drugs. 2013 Feb;27(2):91-6. doi: 10.1007/s40263-012-0023-0. Hartrick CT, Kovan JP, Shapiro S (December 2003). The numeric rating scale for clinical pain measurement: a ratio measure? Pain Pract 3 (4): 310–6. doi:10.1111/j.1530-7085.2003.03034.x. PMID 17166126. Wong-Baker FACES Pain Rating Scale Foundation: Retrieved 6 December 2009. Michael J. Cousins In: trigeminal nerve block. Cousins and Bridenbaughs Neural Blockade in Clinical Anesthesia and Pain Medicine. Lippincott Williams Wilkins, 29-Mar-2012, 410 Allan B. Wolfson, Gregory W. Hendey, Louis J. Ling, Carlo L. Rosen, Jeffrey J. Schaider, Ghazala Q. Sharieff. In: Bell’s palsy and trigeminal neuralgia. Harwood-Nuss Clinical Practice of Emergency Medicine. Lippincott Williams Wilkins. June 23, 2009, 786 Và ­ctor Whizar-Lugo MD, Francisco Anzorena-Vallarino MD, Roberto Cisneros-Corral MD, Ricardo Valdez-Jeres MD, Rogelio Hernà ¡ndez-Velazco DDS. Use of Computed Tomography Guide for Trigeminal Alcohol Neurolysis. Anestesia en Mexico: Volume 20 No. 1 (January-April 2008) Han KR, Kim C, Chae YJ, Kim DW. Efficacy and safety of high concentration lidocaine for trigeminal nerve block in patients with trigeminal neuralgia. Int J Clin Pract. 2008 Feb;62 (2):248-54. Epub 2007 Nov 23.

Physics of Snowboarding :: physics snowboard sport sports

In snowboard as in any other sport the athlete has to be thinking at all times, analyzing the situation that surrounds you, make split decisions, and even perform quick calculations in your head. Where this happens most in snowboarding is when the snowboarder is going to performs some type of aerial trick off of a jump. There are a lot of things that a snowboarder has to be aware of and be thinking about before he hits the jump. How far do I need to go to make the landing? How fast do I need to be going when I hit the jump? If I am going to spin, how fast should I so that I can make it around in time? The list goes on and on. Some other factors that can come into play are: snow conditions, the type of snowboard, and experience of the rider. Which are much more advanced topics, and way beyond the scope of what we're worrying about here. What I am mainly going to be looking at are the basic characteristics of your average snowboard jump. So how much speed should I have to hit the jump with? Well to answer this question you first have to know how far you have to go to clear the landing of the jump so that you donà ­t land in the flats and break you knees or go to far and break your back. If the jump that you need to clear is 20 feet long you will have to be going at a certain speed. So, what is that speed? Well you can figure this out by knowing what angle you built the jump at, the height of the jump and the distance to the landing. It is fairly easy to find the velocity by using the equation for a trajectory. Now that you know how to find all of the correct parts of your jump to clear it successfully you can now add some difficulty and variety to the trick by spinning while in the air. Since you know the distance and your velocity from before you can find out what your air time was. Once you have all of that info you can use it to solve for what your angular velocity should be depending of how much you want to spin. That way you can make sure that you'll complete the spins in time to spot your landing and get ready for impact.