Symbols, Symbolism, Images, and Imagery in Macbeth Essay -- Free Macbet

Imagery and Symbols in Macbeth Shakespeare uses many forms of imagery in his plays. Imagery, the art of making images, the products of imagination. In the play Macbeth Shakespeare applies the imagery of clothing, darkness and blood. Each detail in his imagery contains an important symbol of the play. These symbols need to be understood in order to interpret the entire play. Within the play `Macbeth' the imagery of clothing portrays that Macbeth is seeking to hide his "disgraceful self" from his eyes and others. . Shakespeare wants to keep alive the contrast between the pitiful creature that Macbeth really is and the disguises he assumes to conceal the fact. Macbeth is constantly represented symbolically as the wearer of robes not belonging to him. He is wearing an undeserved dignity, which is a point well made by the uses of clothing imagery. The description of the purpose of clothing in Macbeth is the fact that these garments are not his. Therefore, Macbeth is uncomfortable in them because he is continually conscious of the fact that they do not belong to him. In the following passage, the idea constantly reappears, Macbeth's new honors sit ill upon him, like loose and badly fitting garments, belonging to someone else: New honors come upon him Like strange garments,  ... ...nto thinking that there is no turning back and he must continue to murder and deceit. Imagery plays a crucial role in developing of the plot. This is seen through the images of clothing, darkness and blood. Clothing in Macbeth is often compared to positions or ranks. Macbeth's ambition caused him to strive to improve his social standing. Darkness establishes the evil parts of the play. Blood the most dominant image in the play brings a sense of guilt and violence to the tragedy. It leads Macbeth to continue his deceitful life. Shakespeare makes his use of imagery well known. Without imagery Macbeth may have lacked because imagery gives an effect on the play as a whole.

Chivalry :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Micro theme Topic: Courtly songs off differing views of Chivalry, especially of Chivalric love. Contrast as specifically as possible, the views on chivalry in one of these pairs: #’s 2 & 4, #’s 6 & 7.   Ã‚  Ã‚  Ã‚  Ã‚   Courtly songs, both 2 and 4, contain specific views on chivalric love though their views differ greatly. From reading both songs it is obvious that song # 2 centers chivalric love around the adored (female) and song # 4 centers chivalric love on the lover (male).   Ã‚  Ã‚  Ã‚  Ã‚  From song 2 it is clear that to the author, Bernart, love is paralleled to many things. Love equals: self-honor, fear-rejection, and secretiveness. In the song, the view of chivalric honor is based on how the lover is affected by the loved and how this shapes him.   Ã‚  Ã‚  Ã‚  Ã‚  Within the first stanza love is shown equaling joy and self-honor. â€Å"I have joy in it (love), and joy in the flower, and joy in myself, and in my lady most of all† (lines: 5 & 6). The ballad is showing the happiness that love brings and how that it has a strong effect on the smitten.   Ã‚  Ã‚  Ã‚  Ã‚  In the third stanza the quote, â€Å"†¦I can hardly keep myself from running to her; and I would do it, if I weren’t so afraid† (lines: 22 & 23), refers to love causing fear-rejection. The author feels so strongly about his love that it would wound him to know that his love is not accepted or returned.   Ã‚  Ã‚  Ã‚  Ã‚  In the last stanza the song shows how chivalric love can be very secretive. â€Å"Sweet lady, if only you would deign to love me, no one will ever catch me when I lie† (lines: 55 & 56). Sometimes chivalric love must be covered up and kept unknown to anyone. The reasons why can be assumed to be the same as for any young love today that must be concealed.   Ã‚  Ã‚  Ã‚  Ã‚  Song four gets into a completely different view of chivalric love than song 2. It seems as if the author, Peire Vidal, centers chivalric love on the lover. The whole song points out the aspects of the male and what makes him a chivalric lover. Basically, in song four, to be a chivalric lover you must be fearless and good in bed.   Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"For warrior’s nerve I am worth Roland and Oliver† (line13). This quote is one of many within the song that point out that chivalric love is deemed from honor.

Lies and Deceit in The Great Gatsby :: Great Gatsby Essays

Lies and Deceit in The Great Gatsby In the world people try to hide things from each other but one way or another they find out what they are hiding. In the Great Gatsby by F. Scott Fitzgerald, the secrecy and deceit practiced by Jay, Daisy, and Myrtle leads to inevitable tragedy when the truths are revealed. Jay failed to realize that if you tell a lie most of the time they tend to come to a boil and burst. For example, "My family have been prominent, well-to-do people in this Middle Western city for three generations."....pg.2 why did he have to lie when he knew that if they really got to know him they would find out the truth. Jay gave everyone the impression that he was this kind of rich-snobbish guy. Who knows why. It is not always good to lie. In Jay's case when it came down to them finding out the truth they didn't know whether he was telling the truth or lying. So it was hard for them to believe what he was saying. Daisy was another who would lie because she thought it would keep happiness. The way she lied was different from Jay. She lied to keep the person she thought was the love of her life, Tom happy. Daisy's relationship with TOm was quite unusual. Tom was having an affair with Myrtle and Daisy really wanted to be with Tom, but not really because she only did it because she thought she had to. Daisy was really in love with Jay but because she felt like she had to be in love with Tom she would make up lies to keep them together. Tom pretty much felt the same way or he thought Daisy really liked him so he didn't want to break her heart. But for them it didn't really work out well. If they would of told each other their feelings and wouldn't of held them back from each other they could of discussed their personnal situations and they might of had a nice seperation. But since they chose to keep things back from each other and lie to each other everything went terrible. For instance when the story about Jay and

Foreign Players in English Football

On 30 December 2009, the Barclays Premier League football match between Arsenal and Portsmouth made English football history as the first match not to include any British players. Arsenal’s team of multi-million pound foreign stars won the game comfortably, 4-1; some would argue this is all that matters, but those who are passionate about football – the real connoisseurs of the English game – will recognize a deep underlying issue. Modern day football is unrecognizable compared to what has preceded it.In times past, teams were fashioned by nurturing young home-grown talent and bolstering the squad with a few lads from Scotland and Ireland. Now the common consensus is that to achieve any success it is necessary to catch the attention of an exceedingly wealthy oil tycoon who will buy the club and proceed to spend ? 200 million a year on overpriced talent from the four corners of the world. This ethos is destroying British football. For example in the Premier League there are 337 registered foreign players representing a total of 66 different countries.That equates to an average of 17 foreign players per squad; the averages in Italy, France and Spain are all around 10. On the first day of the inaugural Premier League season in 1992 just 22 non-British players started; on the first day of this season 124 started. It isn’t right that success should be based on finance, is it? In 2004 Russian billionaire Roman Abramovich bought Chelsea F. C. , a team which hadn’t won the league since 1954. He splashed an extravagant amount of money on the creme de la creme of foreign talent from around the globe.Three seasons later they experienced unprecedented success which, would never have happened without the cash injection. However, it was all achieved with just three regularly playing British players, who only made the squad because they were exceptional talents which money could not replace. This set a new benchmark for all the top teams in the land, making a clear statement that if they wanted to match Chelsea’s success they would have to match Chelsea’s spending and sacrifice their home-grown players or risk being left behind.In 1995 the British transfer record was ? 7,000,000; by 2006 the record had sharply risen to ? 30,800,000, and player wages were spiralling out of control. It is true that this has lead to stronger squads, and the Premier League being viewed as the strongest league in the World, with consistent success in Europe, but can it be right to sacrifice our own players for this success? I think not. Journalists, pundits and just about every football fan in England have formed their own theories concerning England’s miserable failure at the 2010 World Cup in South Africa.Many causes have been suggested, yet to me the reason is obvious. If one analyses the teams which were most successful in South Africa, a definite trend appears. Spain won the World Cup this year. Many argue that the y reached the final against Holland mainly because 77. 1% of footballers in their domestic league are qualified to play for the national team, a direct result of home-grown players being given the opportunity in their clubs' first teams. In the Premier League fewer than 40% of players are English. Jose Luis Astiazaran, president of the Spanish Football League, said. Our strategy is to work very hard with young home-grown players and to try to have a mix between them and experienced players†¦ we invest more  and more in young Spanish players than in young foreign players. England has  many times taken young players from outside†¦ these kinds of players are not English. This is one of the most important differences between Spain and England. We invest in  young Spanish players†¦ maybe this is why at the moment you are not creating young English players. † One view is that foreign players benefit the English players, who apparently perform better alongside th e World’s best. I think – don’t you? that if more money, time, and attention were put into cultivating the abundance of young English talent, the English players themselves would be the world’s best. The Premier League have recognised this, and this year the F. A. implemented new squad rules controlling the number of foreign players in each squad. This is a start towards reducing the amount of foreign players in the league, but the rules are too loose and easy to circumvent. Foreign players can be bought in from a young age and developed in the academies; this means the young Englishmen still don’t get the attention they crave in order to advance their careers.In my opinion the influx of foreign players in England is the single most detrimental factor in the game, leading to over-inflated transfer fees, increase in ticket prices, under development of home-grown players and ultimately the destruction of the national team. The Premier League must rev iew its policies, and clubs must invest in their academies or English national football will continue to deteriorate well into the future, and so many young aspiring footballers will be cast aside, and I for one cannot see that happen to the sport I and so many other Brits love.

An Event in Your Life

Chapter 1 The Bertolini: Summary: We open in Florence at the Pension Bertolini, a pension for British travelers. Young  Lucy Honeychurch  and her cousin,  Charlotte Bartlett, are bemoaning the poor rooms that they have been given. They were promised rooms with views. The two women sit at dinner in their pension, along with the other guests. Lucy is disappointed because the pension hostess has turned out to be British, and the decor of the pension seems lifted right out of a room in London. While Miss Bartlett and Lucy talk, an old man interrupts them to tell them that his room has a nice view. The man is  Mr.Emerson; he introduces his son,  George Emerson. Mr. Emerson offers Miss Bartlett and Lucy a room swap. The men will take the rooms over the courtyard, and Lucy and Charlotte will take the more pleasant rooms that have views. Miss Bartlett is horrified by the offer, and refuses to accept; she begins to ignore the Emersons and resolves to switch pensions the next day. Ju st then,  Mr. Beebe, a clergyman that Lucy and Charlotte know from England, enters. Lucy is delighted to meet someone she knows, and she shows it; now that Mr. Beebe is here, they must stay at the Pension Bertolini. Lucy has heard in letters from her mother that Mr.Beebe has just accepted a position at the parish of Summer Street, the parish of which Lucy is a member. Mr. Beebe and Lucy have a pleasant talk over dinner, in which he gives Lucy advice about the sites of Florence. This vacation is Lucy's first time in Florence. Soon, almost everyone at the table is giving Lucy and Miss. Bartlett advice. The torrent of advice signifies the acceptance of Lucy and Miss Bartlett into the good graces of the pension guests; Lucy notes that the Emersons are outside of this fold. After the meal, some of the guests move to the drawing room. Miss Bartlett discusses the Emersons with Mr.Beebe; Beebe does not have a very high opinion of Mr. Emerson, but he thinks him harmless, and he believes no harm would have come from Miss Bartlett accepting Mr. Emerson's offer. Mr. Emerson is a Socialist, a term that is used by Mr. Beebe and Miss Bartlett with clear disapproval. Miss Bartlett continues to ask Mr. Beebe about what she should have done about the offer, and if she should apologize, until Mr. Beebe becomes annoyed and leaves. An old lady approaches the two women and talks with Miss Bartlett about Mr. Emerson's offer. Lucy asks if perhaps there was something beautiful about the offer, even if it was not delicate.Miss Bartlett is puzzled by the question; to her, beauty and delicacy are the same thing. Mr. Beebe returns: he has arranged with Mr. Emerson to have the women take the room. Miss Bartlett is not quite sure what to do, but she accepts. She takes the larger room, which was occupied by George, because she does not want Lucy to be indebted to a young man. She bids Lucy goodnight and inspect her new quarters, and she finds a piece of paper pinned to the washstand that h as an enormous â€Å"note of interrogation† scrawled on it. Though she feels threatened by it, she saves it for George between two pieces of blotting paper.Chapter Two In Santa Croce with No Baedeker: Summary: Lucy looks out her window onto the beautiful scene of a Florence morning. Miss Bartlett interrupts her reverie and encourages Lucy to begin her day; in the dining room, they argue politely about whether or not Miss Bartlett should accompany Lucy on a bit of sightseeing. Lucy is eager to go but does not wish to tire her cousin, and Miss Bartlett, though tired, does not want Lucy to go alone. A â€Å"clever lady,† whose name is Miss Lavish, intercedes. After some discussion, it is agreed that Miss Lavish and Lucy will go out together to the church of Santa Croce.The two women go out, and have a lively (but not too involved) conversation about politics and people they know in England. Suddenly, they are lost. Lucy tries to consult her Baedeker travel guide, but Miss Lavish will have none of it. She takes the guide book away. In their wanderings, they cross the Square of the Annunziata; the buildings and sculptures are the most beautiful things Lucy has ever seen, but Miss Lavish drags her forward. The women eventually reach Santa Croce, and Miss Lavish spots Mr. Emerson and George. She does not want to run into them, and seems disgusted by the two men. Lucy defends them.As they reach the steps of the church, Miss Lavish sees someone she knows and rushes off. Lucy waits for a while, but then she sees Miss Lavish wander down the street with her friend and Lucy realizes she has been abandoned. Upset, she goes into Santa Croce alone. The church is cold, and without her Baedeker travel guide Lucy feels unable to correctly view the many famous works of art housed there. She sees a child hurt his foot on a tomb sculpture and rushes to help him. She then finds herself side-by-side with Mr. Emerson, who is also helping the child. The child's mother app ears and sets the boy on his way.Lucy feels determined to be good to the Emersons despite the disapproval of the other pension guests. But when Mr. Emerson and George invite her to join them in their little tour of the church, she knows that she should be offended by such an invitation. She tries to seem offended, but Mr. Emerson sees immediately that she is trying to behave as she has seen others behave, and tells her so. Strangely, Lucy is not angry about his forwardness but is instead somewhat impressed. She asks to be taken to look at the Giotto frescoes. The trio comes across a tour group, including some tourists from the pension, led by a clergyman named  Mr.Eager. Mr. Eager spews commentary on the frescoes, which Mr. Emerson heartily disagrees with; he is skeptical of the praise and romanticizing of the past. The clergyman icily leads the group away. Mr. Emerson, worried that he has offended them, rushes off to apologize. George confides in Lucy that his father always has t hat effect on people. His earnestness and bluntness are repellent to others. Mr. Emerson returns, having been snubbed. Mr. Emerson and Lucy go off to see other works. Mr. Emerson, sincere and earnest, shares his concerns for his son. George is unhappy. Lucy is not sure how to react to this direct and honest talk; Mr.Emerson asks her to befriend his son. She is close to his age and Mr. Emerson sense much that is good in the girl. He hopes that these two young people can learn from each other. George is deeply saddened by life itself and the transience of human existence; this cerebral sorrow all seems very strange to Lucy. George suddenly approaches them, to tell Lucy that Miss Bartlett is here. Lucy realizes that one of the old women in the tour group must have told Charlotte that Lucy was with the Emersons. When she seems distressed, Mr. Emerson expresses sympathy for her. Lucy becomes cold, and she informs him that she has no need for his pity.She goes to join her cousin. Chapter Three Music, Violets, and the Letter â€Å"S†: Summary: One day after lunch Lucy decides to play the piano. The narrator tells us that Lucy has a great love for playing; she is no genius, but she is talented and passionate, always playing â€Å"on the side of Victory. † Mr. Beebe recalls the first time he heard her play, back in England, at Tunbridge Wells. She chose an unusual and intense piece by Beethoven. At the time, Mr. Beebe remarked to someone that if Lucy ever learned to live as she plays, it would be a great event. Now, Mr. Beebe makes the same remark to Lucy directly.Miss Bartlett and Miss Lavish are out sightseeing, but it is raining hard outside. Lucy asks about Miss Lavish's novel, which is in progress. Lately, Miss Lavish and Miss Bartlett have become close, leaving Lucy feeling like a third wheel. Miss Catharine Alan enters, complimenting Lucy's playing. She discusses the impropriety of the Italians with Mr. Beebe, who half-agrees with her in a subtly a nd playfully mocking way. They discuss Miss Lavish, who once wrote a novel but lost the thing in heavy rains. She is working on a new book, set in modern Italy. Miss Alan talks about Miss Lavish' first meeting with the Emersons.Mr. Emerson made a comment about acidity of the stomach, trying to be helpful to another pension guest. Miss Lavish was drawn to his directness. She tried to stand up for the Emersons for a while, talking about commerce and how it is the heart of England's empire. But after dinner, she went into the smoking room with them. A few minutes later, she emerged, silent. No one knows what happened, but since then, Miss Lavish has made no attempt to be friendly to the men. Lucy asks Miss Alan and Mr. Beebe if the Emersons are nice; after some discussion, Mr. Beebe gives a qualified yes and Miss Alan a no. Mr.Beebe, though he does not say it, does not approve of the Emerson's attempts to befriend Lucy. Mr. Beebe feels badly for the Emersons nonetheless; they are thoro ughly isolated at the pension. He silently resolves to organize a group outing so that everyone will have a good time. Evening comes on and the rain stops. Lucy decides to go out for a walk and enjoy the last bit of daylight. Clearly, Miss Alan disapproves and Mr. Beebe does not approve entirely. But Lucy goes out anyway; Mr. Beebe chalks her behavior up to too much Beethoven. Analysis: Music and Lucy's relationship to her music is one of the novel's themes.Mr. Beebe's comment becomes the reader's hope for Lucy: perhaps one day she will play as well as she lives. Forster speaks in this chapter's opening pages of music's transcendent abilities. It can be the gift of anyone regardless of social class or education. Through Beebe's statement, Forster is suggesting that these qualities also apply to passionate living. To live life well is within the grasp of anyone, despite the prejudices and proprieties of Lucy's world. Her choice of unusual Beethoven pieces is indicative of her passion . She needs more of an outlet than music, but for now her music will have to do.Music puts her in touch with her desires and feelings; the passion of Beethoven makes her resolve to go out alone, despite the disapproval of others. Chapter Four: Summary: Lucy goes out longing for adventure, hoping for something great. She buys some photographs of great artworks at a junk shop, but remains unsatisfied. She wanders into the Piazza Signoria; it is nearing twilight, and the world takes on an aura of unreality. Nearby, she sees two Italians arguing. One of them is struck lightly on the chest; he wanders toward Lucy, trying to say something, and blood trickles from his lips.The light strike was actually a stabbing. A crowd surrounds them and carries the man away. She sees George Emerson, and then the world seems to fall on top of Lucy; suddenly, she is with George Emerson, sitting on some steps some distance away. She fainted, and George has carried her here. She thanks George and asks him to fetch her photographs, which she dropped in the square; when he leaves to get them, she tries to sneak away. George calls to her and persuades her to sit down. The man who approached her is dead or dying. A crowd surrounds the man, down by the fountain, and George goes to investigate.George returns, and they talk of the murder. They walk back to the pension along the river, and George suddenly tosses something into the water. Lucy angrily demands to know what he threw away, suspecting that they might be her photographs. After some hesitation, George admits that they were. He threw them away because they were covered with blood. At George's request, they stop for a moment. He feels something incredible has happened, and he wants to figure it out. Leaning over a parapet, Lucy apologizes for her fainting and asks that he not tell anyone at the pension what happened.She realizes that he is not a chivalrous man, meaning he is a stranger to old-fashioned ideas of courtesy and propriety , but she also realizes that George is intelligent, trustworthy, and kind. She says that events like the murder happen, and that the witnesses go on living life as usual. George replies that he does not go on living life as usual. Now, he will want to live. Analysis: Forster spends the first part of the chapter explaining Lucy's character. She is naive, but she has some strength and passion. She is frustrated by the constraints on her gender, but she is also no firebrand by nature.She feels that she should be ladylike, in the old-fashioned sense of the word, but in practice she wants to be more free and adventurous than that label allows. She feels her emotions most passionately and deeply after she has played piano. Forster often uses the landscape to mirror Lucy's mood. After she finished playing the piano, the rain cleared, mirroring Lucy's tendency to know her own desires most clearly after playing music. As she wanders into the square, the world seems touched by unreality. She longs for an adventure, and she is conscious of being in a different place and wanting to see something rule.It is twilight, a transitional time between day and night, and Lucy is about to have a very confusing and important experience. She is rescued by George, and she cannot seem to decide what to think about it. For his part, George is as taciturn and strange as ever. Forster lets us into his characters' heads, but with George and Mr. Emerson we have only their outward actions and dialogue. Lucy's experience is confusing not only because she watches a man die, but also because she is not sure how to deal with George and how he makes her feel.She recognizes that he is not chivalrous or proper, but she sees goodness in him. She stops by the river and feels somehow comfortable with him, but she nervously asks him not to tell anyone that she fainted and he carried her. For George too, the experience is important. For whatever reason, and in ways that Forster will not allow us to see directly, he is changed. He tells Lucy that he will not return to life as he lived it before; now, he wants to live. The experience has made him appreciate life, perhaps in part because he shared something extraordinary with Lucy.

Discuss Hamlet’s attitude to death and the afterlife Essay

Hamlet a product of Shakespearean times has a different view on death, the afterlife and the divinity of the monarchy to any person today. Everyone in the Elizabethan and Jacobean era believed that there was an afterlife. Everyone believed in God, in witches, fairies and in ghosts. No one saw the dichotomy between their varied beliefs as we do today. Hamlet, as a result of the time in which he was raised, had a very complex attitude towards life and death. This was due to his religious beliefs and his basic morality. Although Hamlet has reasonably strong religious beliefs, he also lived life in the post- renaissance way. The Renaissance era said that there was, more to life than religion and although religion should not be discarded, other things should be considered. ‘Hamlet’ is a typical post-renaissance drama, with several plots interlacing frequently, to produce a complex composition giving meaning through contrast rather than unfolding each event in a single sequence. All the plots involve characters having to kill other characters for one reason or another. For example Claudius plots to kill Hamlet, and Hamlet plots to kill Claudius. It is through Hamlet’s turmoil about whether or not to kill Claudius that his views on religion and the supernatural appear. Although Hamlet wants to kill Claudius, he is prevented from doing so by his religious belief that God gives you life, therefore you have no right to take either your own life of that of another. This is also the reason why Hamlet cannot kill himself. When Hamlet sees Claudius trying to pray, he has a perfect opportunity to kill him but he does not, due once again to the contemporary beliefs about death and the afterlife. He believes that if he kills Claudius whilst he is praying his soul will go straight to Heaven even though he killed old Hamlet. Claudius’ prayers mean that he is in a state of perfect grace, with all his sins forgiven, so therefore, he will go to Heaven. Hamlet obviously does not want this. His father is forced to remain in purgatory and to suffer the misery of wandering the earth night after night because Claudius killed him while he was sleeping and unable to seek redemption. It is not surprising therefore, that Hamlet does not want his stepfather to have the happy ending his father never got. As John Russel Brown says: 1’Within ‘Hamlet’, Shakespeare has created a hero who is compelled instinctively to seek and exact revenge and yet lives in a world created by an all-seeing all powerful, and merciful God. ‘ When Hamlet kills Polonius, he sees himself as ‘Heavens scourge and minister’, as if his violent and instinctive reaction had been in accordance with Gods will. Such references together with various calls upon ‘God’ or ‘Heavenly powers’, remind an audience of secure moral judgements that call for repentance and mercy or for punishment. They mark the play as contemporary, not belonging to a pre-Christian Denmark, and ensure that Hamlet’s progress in revenge does not move him entirely from customary judgements even though he believes he could ‘drink hot blood’ and envisions evil spreading throughout the world. Therefore here Hamlet is showing that although he is a good Christian follower, he seeks revenge for the murder of his father. Laertes, another character to lose his father and his sister, who are both related to Hamlet in one way or another, deals with his feelings for seeking revenge in a very different way to Hamlet. Although at first Laertes believes that Claudius killed his father, his reaction to his father’s death differs greatly. Laertes does not care about morals very much: To hell, allegiance! Vows, to the blackest devil! Conscience and grace, to the profoundest pit! ‘ He is prepared to go to Hell to get revenge for his father’s death. He then continues to say. ‘I dare damnation. To this point I stand. That both the worlds give to negligence, let come what comes; only I’ll be reveng’d, Most throughly for my father. Laertes is saying that he does not care what the consequences are, he will seek revenge even if he has to damn his soul to get it. Laertes decides that he will murder Hamlet, by poisoning the dagger he will be fighting him with. This, he knows, will definitely lead to Hamlets death. Laertes makes a decision and sticks with it, unlike Hamlet who is considered insane around the time he is thinking about killing Claudius. Hamlet is even considering taking his own life; therefore Laertes would appear to be the more stable of the two. However, much of Hamlet’s procrastination lies in the fact that he intellectualizes the moral issues involved in life and death, good and evil. Both characters end up with the same fate; death. Laertes behaves like a typical hero of a revenge tragedy, rushing headlong into revenge and his own death without pausing to weigh the consequences of his actions. When old Hamlet appears, Hamlet questions whether or not to believe it is his father. Hamlet is in a very emotional state, he is thinking of suicide due to his father’s death, and now he has appeared before him, it is little wonder that he is shaken up. Hamlet’s indecisiveness as to whether the ghost is really his father, is seen when he says ‘I’ll call thee Hamlet, King Father, royal Dane’, until he hears otherwise. He is wary because it was believed at the time that ghosts brought evil and were not good however, because the ghost so resembles his father and because Hamlet mourns him, he is prepared to believe that it is an honest ghost. The ghost confirms his identity, to Hamlet by saying ‘I am thy Father’s spirit, Doom’d for a certain term to walk the night, And for the day confin’d to fast in fires, Till the foul crimes done in my days of nature Are burn’t and purg’d away’. Once again, the audience learns something about Jacobean religious views and beliefs. Old Hamlet is telling us that due his being murdered so quickly, he did not have time to repent his sins, and therefore he is stuck in purgatory the place between Heaven and Hell until God forgives them. However Hamlet and Horatio are both men with high academic achievements, and both scholars, therefore it would be unlikely they would imagine such a thing. Both of them see the ghost on the battlement as do Barnado, Francisco and also Marcellus who sees its appearance as a sign that something is rotten in the state of Denmark. Although Gertrude never sees the Ghost, its validity and existence is proven by the fact that both Hamlet and Horatio have seen it. 2 The fact that Gertrude has an inability to see the Ghost might suggest the fact that she had nothing to do with the murder of old Hamlet or that she is too insensitive to see it – an idea born out by her insensitively speedy marriage to Claudius. This also appears to be the case in MACBETH another of Shakespeare’s plays, in the banquet scene, when the guilty Macbeth sees the ghost of Banquo but no one else does. As a result of the information Hamlet receives from his father about his death, and his mother’s behavior, Hamlet feels that life in Denmark is worthless. He feels now with the death of his father, and the incestuous he feels relationship between his mother and Claudius, that his life is also meaningless and worthless thus he discusses committing suicide. ‘O, that this too too solid flesh would melt, thaw, and resolve itself into a dew’. He then describes how distraught he is that his father was only dead a month when his mother got married to Claudius, and how he must ‘hold his tongue’. In spite of this he cannot kill himself because God gave him his life, therefore he has no right to take it. ‘The Everlasting ‘has’ ‘fixed / His canon gainst self-slaughter’.

Overfishing the World Big Fish Population

Over Fishing the World Big Fish Population Insert your Name Here SCI275 Axia College of University of Phoenix The overfishing of our world’s oceans is causing a depletion of some prize fish, such as tuna and swordfish, to the point that some scientists believe that 90% of these big fish populations have been fished out. Jeremy Jackson of the Scripps Institute of Oceanography published a study in 2001 in which he asserts that overfishing is more destructive than toxic pollution or degrading water quality (University of Phoenix,  2007). Dr. Daniel Pauly, Professor and Director of the University of British Columbia's Fisheries Centre, describes it as follow on The Overfishing. org   (2007) website: â€Å"The big fish, the bill fish, the groupers, the big things will be gone. It is happening now. If things go unchecked, we’ll have a sea full of little horrible things that nobody wants to eat. We might end up with a marine junkyard dominated by plankton† (Fishing down the food web,  para. 1). Among the scientific community there is little argument on how to resolve this issue. Research has found that the situation is reversible if addressed now, but states that it will require a change in attitude in how we are using the oceans (University of Phoenix,  2007). To address this issue now, so that we may sustain the world’s big fish population for future generations, we must create a plan of action that includes the following steps (Young Peoples Trust for the Environment,  n.. d. ). Begin with quotas on fish. We can base this quota on scientific estimates of which fish are the most severely depleted, and adjustments can be made to the quotas according to reassessments done every few years as we monitor the repletion of the fish populations. †¢ Larger nets must also be used. As the big fish population has declined, mesh size has gotten smaller. We must increase this back to the original mesh size used perhaps 40 years ago, to allow the smaller fish to escape a nd continue to grow and breed. International agreements to protect important habitats, such as spawning and nursing grounds of these endangered big fish. †¢ Create a system that monitors the catch being brought in by fisheries, and independent fishermen, worldwide. Perhaps assessing severe fines for those caught exceeding the quotas placed on the endangered fish, or fishing in controlled waters, so that the penalty would exceed the expected gain. Educate fishermen on the fact that by following this plan, they are not losing their income but, in fact, helping to preserve their livelihood Most commercial fishermen, such as Pete DuPruis, who owns and operates his own fishing vessel on the Pacific Ocean, will see this as a challenge to their ability to earn a living. DuPruis and his fellow fishermen must be educated to realize that by following the guidelines, we will ensure their livelihood for many years, and the industry for future generations of commercial fishermen. A presentation should be made mandatory, as part of renewing the commercial fishing license, showing the declining numbers in the big fish groups, and how by following these guidelines, we can sustain their industry and the fish population both. Once made to understand that only through these efforts can the world continue to rely on the ocean’s population as a source of food, and that all fishermen worldwide will be held to the same standards, the fishermen should go along with the management plan, even if not happy about it. On the other side of the issue, environmentalists should be happy to help implement and provide data for this initiative to restock the world’s big fish population. By putting this plan into practice, we will also resolve the other problems created by over fishing, as it effects not only the depleted fish population, but also the animals for which those fish are food of choice. Whales are turning to sea otters for food, rather than the sea lions and eals on which they normally feed, as those populations also decline. Over fishing has also caused the use, as stated earlier, of smaller mesh nets, increasing the amount of by catch that is caught in the nets. By catch is the seabirds, dolphins, sea turtles, and even whales that are also caught in the net as they drag it in, and are usually dumped back into the ocean, dead or dying. A drastic reduction in the amount of by catch will subsequently occur with the reinstating of the larger mesh nets. The management plan may cause fishermen to have to look into a second source of income for the first five to ten years, as the most severe restrictions are put into place, giving the fish populations can breed and repopulate, and a reassessment to be done by the scientific community charged with monitoring the big fish groups. Governments might be forced to subsidize the industry for this initial period, to help prevent illegal poaching by some fishermen who saw poaching as their only economic alternative. Consumers would have to reduce their use of fish, and would have to pay more for the fish they did purchase at the market during this period of regeneration, but the result should be the reduction of prices after the fish populations have been restored. The encouraging news is that, by employing this simple plan for the restoration and future sustainment of our ocean’s big fish populations, we will be able to enjoy them as a food source for the foreseeable future. Referecences Overfishing. org. (2007). Overfishing – a global disaster. Retrieved November 07,2009 from http://overfishing. org/pages/why_is_overfishing_a_problem. php University of Phoenix. (2007). Declining fish stock vlr. Retrieved November 07,2009 from University of Phoenix, SCI275 – Environmental Science website at https://ecampus. phoenix. edu/secure/aapd/axia/sci275/multimedia/video/declinining_fish_stock. htm Young Peoples Trust for the Environment. (n.. d. ). Over fishing. Retrieved November 08,2009 from http://www. ypte. org. uk/environmental/over-fishing/29