W.B Yeats Great War Poets Symbolism Essay Example

W.B Yeats Great War Poets Symbolism Essay Discuss the use of symbols and correspondences in the set writers on the module. William Butler Yeats was considered to be one of the most important symbolists of the 20th Century. Believed to have been influenced by the French symbolist movement of the 19th Century, his poems incorporated symbols as a means of representing mystical, dream-like and abstract ideals. This was especially prevalent towards the latter part of his life when, inspired by his wife Georgiana Hyde-Lees, he developed a symbolic system which theorized movements through major cycles of history in his book A Vision (1925, 1937)[1]. The Wild Swans at Coole† and â€Å"The Second Coming† are poems of Yeats’ which incorporate symbols, and will be discussed in this essay. In A Vision, Yeats speaks of â€Å"gyres† as his term for a spiralling motion in the shape of a cone. These gyres are important symbols in Yeats’ poetry, and especially in â€Å"The Second Coming†, being mentio ned in the very first line (â€Å"turning and turning in the widening gyre†[2]). The gyres function as a symbol alluding to something which could be subjective to the reader. It could be prophetically interpreted to mean that mankind and life itself is spiralling into self-destruction. This idea is reflected in the first few lines of the poem: â€Å"The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world†[3] The symbol of the gyre is being continued through the image of the falcon, as it spirals above the falconer, getting further and further from the centre until eventually the falcon cannot hear the calls of its master. The phrase â€Å"Things fall apart† could easily be interpreted as referring to the destruction of the physical world itself, and the use of the verb â€Å"loosed† is effective as it personifies the â€Å"anarchy†, conjuring up the image of a monster or a beast which is to be unleashed upon the unsuspecting world. The phrase â€Å"the centre cannot hold† is reflective of the chaos at the centre of the gyre and the harsh â€Å"c† sounds stresses the unstableness of everything. In the context of modernity, the gyres could be interpreted as symbolic of the end of an historical era and the transfer of ideals from one era to the next. We will write a custom essay sample on W.B Yeats Great War Poets Symbolism specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on W.B Yeats Great War Poets Symbolism specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on W.B Yeats Great War Poets Symbolism specifically for you FOR ONLY $16.38 $13.9/page Hire Writer In A Vision, Yeats spoke of the gyres as symbolising the movement through major cycles of history, and the next revelation being â€Å"‘represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction’, beginning the next cycle with a violent reversal. This idea is enforced in the lines: â€Å"Surely some revelation is at hand; Surely the Second Coming is at hand. †[4] The call for a revelation in the poem is in vain, as it immediately conjures up an image not of a saviour, but of the beast which Yeats makes sure is powerfully envisioned. Continuing with this line of thought, it could be argued that Yeats sees the transfer of ideals through the gyres as one that will change the beauty of the world for the worse. If the gyre which is at its moment of greatest expansion is symbolic of classicism and true forms of art and culture, the other represents the opposite ideals of the not too distant future which Yeats visualises society travelling towards. This future is one which Yeats has lost faith in, one in which the â€Å"best lack all conviction†[5], and â€Å"passionate intensity† causes widespread chaos. The beast which is conjured from â€Å"Spiritus Mundi†[6] with the â€Å"shape with lion body and the head of a man†[7] could be interpreted as being symbolic of the second coming of Christ, as it is prophesised Christ will return upon the coming of the Beast of the Apocalypse. This interpretation is supported through the biblical allusions throughout the poem, and is emphasised by the language Yeats uses. The â€Å"blood-dimmed tide†[8] which has drowned innocence could allude to the flood which forced Noah to build an ark, however does so in a way which puts the reader in the perspective of someone (or something) which did not get on to the ark. The phrase â€Å"Mere anarchy is loosed upon the world† is symbolic of Satan ruling on Earth before Christ’s return, and the verb â€Å"loosed† alludes to the unleashing of the sphinx later in the poem, and thus the Second Coming. The sphinx is spotted â€Å"somewhere in the sands of the desert†[9]. The desert is symbolic of the temptation of Christ during his forty days and forty nights fasting by the devil. Therefore the sphinx can be associated with the devil in heralding the second coming of Christ. The city of Bethlehem mentioned in the last line of the poem is symbolic of the entering into the world of powerful and Godly forces, Christ being one of purity. However, the â€Å"rough beast†[10] which moves its â€Å"slow thighs†[11] and â€Å"slouches† towards Bethlehem to bring a reign of terror as its â€Å"hour come round at last† symbolises anything but purity. Symbolism is also a strong element in Yeats’ poem â€Å"Wild Swans at Coole†. This is most obviously seen through the actual swans in the poem. In the poem, it has been nineteen years (â€Å"the nineteenth autumn has come upon me†[12]) since Yeats has visited the park and seen the swans. He admits that his â€Å"heart is sore†[13] upon seeing the â€Å"brilliant creatures†[14], alluding to the fact that time has passed by, and he has changed, whereas these â€Å"mysterious†[15] swans have not. Their â€Å"hearts have not grown old†[16], and they still â€Å"paddle† beside each other, â€Å"lover by lover†, doing what they please, transcending time itself to swim down the â€Å"companionable streams or climb the air†. [17] These swans symbolise something which humans cling to, the need to hold onto something which is unaltered by man’s biggest foe; time. They symbolise man’s want to have left something on this earth which will be eternal, leaving a piece of them behind to remain with the people, the places, the life they held so dear because they could not continue on their â€Å"conquest†[18]. The fear of losing this is evident in the last two lines of the poem (â€Å"I awake some day/ To find they have flown away? †[19]). Through this rhetorical question Yeats conveys the helplessness and sadness of those who have had the thing which they cling to disappear. The season which is the setting for the poem is symbolic in itself. The season of autumn is when the most change occurs throughout the year. The time of day is shorter, the wind is colder, and the leaves fall off the trees, all symbolising the inevitability of time passing, things changing, and the end of their life drawing closer. Through the swans and the setting, Yeats has perfectly symbolised the passage of time and the changes which come with it. Not only this but it shows that some things can transcend time, however ultimately the things which make us feel whole eventually will have to be let go of. The use of symbols is also very evident in the poetry of Thomas Stearns Eliot, who, like Yeats, was influenced by the French symbolists. This influence can especially be seen in his poem â€Å"The Love Song of J. Alfred Prufrock†, which borrows from the sensuous language and anti-aesthetic detail of the symbolists[20], however due to constraints on the word limit, only a few of the symbols in Eliot’s poem will be discussed. The epigraph at the start of the poem is symbolically very important as it sets up the overall tone and feeling of the character of Alfred Prufrock. Translated from the original Italian, the lines spoken by the character of Count Guido da Montefelltro in Dante’s â€Å"Inferno† mean: If I thought that my reply would be to one who would ever return to the world, this flame would stay without further movement; but since none has ever returned alive from this depth, if what I hear is true, I answer you without fear of infamy†[21] Dante meets the punished Count, who explains that the only reason he is speaking truly of the shame of his evil life is because he believes t hat Dante will never escape the circles of hell to report it to the world above. The reference to Dante’s â€Å"Inferno† could be taken literally to symbolise a hell-on-earth which the character of Prufrock must, like those condemned in hell, suffer endlessly. It could also be taken to symbolise an urban landscape which suffocates Prufrock with its â€Å"yellow fog†[22]. Much more likely, however, is that Eliot intended the epigraph to symbolise the feelings of the character of Prufrock. Like Guido, Prufrock does not intend for his love song to be revealed, however it is ironic that although Prufrock does not think his love song will be read by anyone else, he still cannot speak of the love he feels for the woman. The â€Å"yellow fog† mentioned above is also used as a symbol by Eliot. This is emphasised by the personification of the fog, as it: â€Å"[†¦]rubs its back upon the window-panes, †¦]rubs its muzzle on the window-panes Licked its tongue[†¦]†[23] Through Eliot’s use of language, the fog is personified, and therefore feels all the more present in the poem. The yellow fog may symbolise the fear of Prufrock himself, the fear of being unable to confront a woman that he desires. Through the d escription of the fog, Eliot provides the readers with a powerful image of Prufrock’s fears infiltrating the room, and in successfully doing so; it has also infiltrated and occupies his mind. Isaac Rosenberg was an English war poet who was most famously known for his â€Å"Poems from the Trenches†. In his poems, Rosenberg conveys the harsh realities of World War I brilliantly, making use of his strong poetic mind. In his poem â€Å"Break of Day in the Trenches†, Rosenberg makes use of symbols not only to convey the appalling conditions in the trenches, but also to comment on the feelings which were experienced by both sides during the war. The most significant symbol in the poem is the â€Å"sardonic rat†[24]. The fact that the rat is given a personality (being referred to as â€Å"droll†[25] as well as sardonic) makes it all the more humane, ironically switching the roles between the rat and the soldiers, who blindly kill because they are ordered to. Not only this, but the rat is symbolic of the sunken position of human life. This is seen in the lines: â€Å"It seems you inwardly grin as you pass Strong eyes, fine limbs, haughty athletes, Less chanced than you for life†[26] Because of the war, human life has been transformed into something which is so easily disposed of that a rat is better adapted to survive. Above all this, the most important connection which the rat symbolises is that of experience. The rat symbolises something which has broken down the barriers between allies and enemies (â€Å"Now you have touched this English hand/You will o the same to a German†[27]), and is therefore able to see the truth. This truth is that all soldiers, be they enemy or foe, experience the same feelings. They experience the fear of the trenches, the sorrow of loss, the longing to be home, and the temporary joy of knowing they survived another day. The image of the hand gives more emphasis to the symbol of the rat, as it pr ovides a physical link between the soldiers, and in doing so, allows the reader to come to the realisation that in the trenches across the â€Å"sleeping green†[28] there are other people with personalities and families of their own. Not faceless, meticulous killing machines, but people. In â€Å"Break of Day in the Trenches†, Rosenberg uses the poppy as a symbol of not only death, but of the innocence of life and the young. The soldier picks out the poppy from the parapet, as Rosenberg writes: â€Å"Poppies whose roots are in man’s veins Drop, and are ever dropping; But mine in my ear is safe- Just a little white with the dust. †[29] Just as the poppies are rooted into the earth, and are therefore its children, so too are the children who are at war rooted in their parent’s veins. Therefore, the poppy being plucked from the parapet is symbolic of the children being plucked from their parents and family. Because the poppy has been plucked from the earth, it will inevitably die, which is ironic as the soldier claims that in his ear the poppy is â€Å"safe†. Similarly, the young soldiers who have been watched as they have grown up by their parents and family are plucked from their â€Å"roots†, and in the same tragic sense of irony, the families of these soldiers believe that they are safe and will return one day. This is of course an ignorant belief, as many of the people back home did not understand how brutal the war actually was. The plucking of the unaware poppy could also symbolise the exploitation of the oblivious and naive youths. Society has taken the innocent youths, and fooled them into believing they are committing crimes against their fellow man in the name of their flag and country. It is of course the desire for power of the corrupt generation which leads the innocent youths blindly towards their death. Yeats, Eliot, and Rosenberg are three poets who are undoubtedly varied in the way in which they approach the writing of their poems. However, it is one of the most fundamental elements of poetry which links the three, and that is the prevalent use of symbols in their poetry. Yeats, making use of symbols to evoke a sense of change over time and something prophetically apocalyptic; Eliot conveying his inability to confront the object of his desire; and finally Rosenberg, who, through his use of symbols, made his audience aware of how unnecessary the bloodshed of World War I was.of Day in the Trenches†, l. 23-26

Critical analysis of Shameless Research Paper Example

Critical analysis of Shameless Research Paper Example Critical analysis of Shameless Paper Critical analysis of Shameless Paper The effective review of the channel 4 drama series Shameless, ‘The low down dirty lack of shame’ written by Tom Jennings. (Variant, No 19, pp. 11-12) articulates interesting arguments surrounding the class and representation of the characters and their progressing storylines. This is shown with comparisons between reality, and exaggerated storylines. I feel that the author’s purpose for this text is to enlighten and persuade the reader, about how different classes live. He does this with logical reasoning and orderly presented material. In my opinion, the framework of the review is largely fixated upon the way; the drama is presented to the audience. The main question that is being answered is whether or not the drama shows a true portrayal of working class. The writer answers this for the reader by segmenting the information under clear and understandable headings. These do not only relate to true life situations but also to shameless. An example is ‘family affairs’. This enables the reader to make the connection with the words and meanings. Jennings then goes on to inform about the morals of programmes that represent working class, and the refusal to take into consideration the troubles that occur in reality, for example political issues. Jennings also informs the reader of the hype that is created and surrounds programmes that are being forced into narrow social classes by the media. As a reader I can see this text clearly through living in the British culture, that is becoming increasingly obsessed with separating individuals into classes that my not represent their personality in the correct way. From reading the review, I gained the opinion that shameless entertains audiences in separate ways. Working class viewers will evoke a connection through the limited similarities it shares with reality, and also feel romanticised with the sense of fun that is perceived from the comical drama. It also appeals to middle class audiences through fascination of how different classes live, with the element of symbolic repertoire. To conclude, the text has both strengths and weaknesses. The material separates the text into clear categories, for easier reader consumption. However, there are weaknesses. One of these being the lack of factual evidence to back up the arguments put forward. His style is largely focused upon his personal opinion. To improve upon this, he could support his points with more fact, or others opinions. This would heighten the trust between the writer and the reader. The author targets the audience of the text to be the older viewers of shameless; I can see this through the use of language and media terminology, which the younger reader would find challenging to understand. The text would be appropriate as a learning resource which could be used for the study of representation and class. Since the text is largely about social classes and how media represents these through the characters and not directly about the series shameless. It would not be useful for writing about the actual programme, but more about what it represents.

Political science Essay Example | Topics and Well Written Essays - 500 words - 2

Political science - Essay Example You can not wipe out cronyism and lobbyist influence with these laws, only increase the possibility of subterfuge on the part of those who would influence or be influenced. The reforming of political party financing is an excellent example. Annual contributions from individuals to a registered political party are going to be restricted to $1, 000. This cap will also be placed on those made by corporations, unions, and organizations. This is an excellent plan, in theory, but there are ways to get around it. Does the government have the ability and finances to ferret out the origins of every $1,000 contribution individuals make? If they are not currently capable of patrolling the party’s contributors now, what makes them think that they will be able to in the future. Someone, say a union official, can pay someone else, or several someones, to make contributions and as long as they stay within the proscribed limits, unless it can be proven otherwise through thorough investigation, no law has clearly been broken. These people are still exerting political influence within the confines of the Act. Influence and money are still being applied to the same ends as they were before, even though they are being done legally. In a capitalist country, money will out, and it doesn’t matter how many laws there are in effect, including the banning of secret donations to political candidates, people will be turned to others’ ways of thinking and voting. A considerable number of $499 gifts can be slid under the Federal Accountability Act’s radar under these new rules to finance candidates. And if the people who are trying to enter politics or are currently involved in politics and their parties are not considered to be strictly honest then how can anyone assume that the Conflict of Interest and Ethics Commissioner will be any more unimpeachable? Finally, lobbying has always been a

What was the main theme of chapter six in the Douglas narrative Why Assignment

What was the main theme of chapter six in the Douglas narrative Why was it important - Assignment Example The treatment of slaves in Baltimore town is humane as compared to the rural masters who mistreat their servants. The theme of knowledge and empowerment is important because it enables one to have the freedom the mind and feel respected. For instance, it is evident when Mrs. Auld insists to Douglas that education helps in freeing the mind. Initially, Mrs. Auld had not owned a slave and so she thinks that it is bad not to educate them on the basics. She indicates that education is the first step towards attaining physical and mental freedom (Douglass 30). The chapter ends with Douglas illustrating the fury over the mistreatment of Mary, who is a slave in the neighboring house. Although slavery is the prevalent theme, Douglas discovers that it is influenced by their lack of knowledge. It emerges that attaining education helps in understanding that slavery is unaccepted and people should avoid it. The whites take advantage of their slaves by owning them as property because they cannot fight for their

How History of Freight Trains reflect OPERATIONS MANAGEMENT Research Paper

How History of Freight Trains reflect OPERATIONS MANAGEMENT - Research Paper Example The purpose of writing this paper is to analyze how the history of freight trains in America reflects on the subjects of operation management. In order to understand the subject, I will analyze the train freight process. First we have the order perspective and train perspective. The order perspective involves receiving orders, booking trains for the particular orders and receiving containers and invoice. The train perspective involves finding the desired train depending on the cargo that needs to be transported. In the paper, I will show how the strategic operations of the freight railway systems have made the industry competitive and profitable. I will also discuss how specialized freight scheduling system is used to streamline the operations, control the cost and to respond to changes in demand in the railway industry. It is important to note that most of the transformations in the freight train industry occurred during the industrial revolution. The trains from the different parts of the world arrive at the bailey train yard where they are sorted and reassigned to ensure they arrive at the desired destination. Everything that is produced in the United States is transported through the railway system. All the train activity in the railway yard is monitored from the computer screens of the command centre. In the command centre scheduling takes place where the movement of the trains is coordinated to ensure efficient operation of the train yard. By utilizing the latest computer control software, the command centre monitors all the traffic in the yard. Scheduling ensures the times the freight trains spend in the yard to be minimized by ensuring that traffic is controlled and sorted out in the shortest time possible (Aalam, 2014). The trains are then sorted in the classification yard where the incoming trains are reassigned to their intended

The Origins Of The Classical Symphony And The Classical Orchestra

The Origins Of The Classical Symphony And The Classical Orchestra Claire Michelle Walsh – Level 1 – History Project 2 Listen and follow Mozarts Symphony No.40 in G minor K550. Describe the character and form of each movement. Go on to write down the instruments used and explain why this is considered a â€Å"classical orchestra. You will need to research the origins of the classical symphony and the classical orchestra. The question is really asking for an analysis of the symphony but to concentrate on the large – scale forms. However you will have to show how movements fit the forms and this will also include a certain amount of harmonic and motivic analysis The orchestra that had taken shape during the baroque period began to expand and become more balanced. During the early eighteenth century the four part string ensemble became established which has remained mainly unchanged. The harpsichord was set aside by the end of the eighteenth century due to larger scale of the orchestra and the invention of the piano. By the end of the eighteenth century the standard large orchestra consisted of: two flutes, two oboes, two clarinets, two bassoons, two or four horns, two trumpets, timpani and a full string section. The Symphony originally in three movements became four movements, incorporating a minuet and trio. The movement structure was the same as instrumental sonata form. Movement one is usually at a fairly fast speed usually in sonata form in contrast to the second movement which was played at a slower tempo, with a singing melody line. This was often in ternary, variation or sonata form. A minuet and trio in ABA form was the basis of the third movement, concluding in the final movement which was either in rondo, sonata or variation form. Mozart wrote forty one symphonys during his life. Symphony No. 40 in G minor is exceptionally well known and has been used widely in television and film. An early critic of Mozarts music, Otto Jahn called it â€Å"a symphony of pain and lamentation†(scribd.com/doc/7742485). Whereas another critic, Kramer stated that it was â€Å"nothing but joy and animation† (scribd.com/doc/7742485). These two quotes are of the extreme in describing its mood and character. It is the second of his last three symphonies, which were composed between June and August in 1788. The work is said to have been written without a commission and was written at the height of his expressionist phase. The instrumentation is written as we would find in the standard eighteenth century classical orchestra: one flute, two oboes, 2 clarinets, two bassoons, two horns. The string section consisted of: two first and two second violin players, two violas, one cello and one string bass. The instrumentation does not include any percussion or weighty brass. What we are expecting to hear includes an extra flute, two trumpets and timpani as found in a typical Johann Stamitz composition. It was he who The horns are used for effect to emphasize the crescendos and sforzando. The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony: Molto allegro Andante Menuetto: Trio Allegro assai Every movement but the third is in sonata form, the minuet and trio are in the usual ternary form. Molto Allegro The first movement of the ‘Symphony No. 40 in G Minor by W.A. Mozart is written in Sonata form. The piece begins with perhaps the most recognisable openings of any of his symphonies. The movement in cut common time, in the key of G Minor, commences with the first theme in bar one, played by the first and second violins, played piano in the tonic key. Bar 14 sees the woodwind section enter for the first time, still piano. The first dynamic change happens in bar 16 with a forte woodwind entry; the violins then repeat the first subject, piano in bar twenty. The key then modulates in bar 28, to the relative Major of B-Flat for a bridge passage, it is her that we hear a forte dynamic for the first time which leads to the 2nd theme. In bar 43 Mozart uses a silent bar across the whole orchestra, having created the tension this is then dissipated. The 2nd theme begins in bar 44 until bar 72, the clarinet and bassoon playing a piano melody initially which is then passed to the strings. This melody is a more lyrical feminine passage that is very chromatic throughout. This codetta commences at bar 77 in the dominant key and is based around the first 3 notes of the first theme and is played by the clarinet and then imitated by the bassoon. This four bar phrase concludes with the strings playing a variation of the phrase concluding with a strong IV – I cadence. This is then repeated with the oboe and bassoon taking the lead and again concluded with the strings. Commencing at bar 88 there is descending quaver runs throughout the orchestra leading to rising crotchets. In bar 100 there is a repeat back to the beginning. Bars 72- 75 The Development begins in bar 101 with the key now in F-Sharp Minor, modulating in bar 115 to the key of E Minor. It is at this point we can hear the melody in the Bassoon and the Bass line with contrapuntal writing in the upper woodwind. The harmony now expands and changes key very two bars, through A, D and G minor, C major for one bar followed by one bar of F Major, until reaching Bb Major. The violins then play the 1st theme in a falling sequence, whilst the lower strings introduce a counter melody. The movement builds with use of a pedal A in the Bass line, expecting the Recapitulation the Bass line creates a stretto which is then climaxed with a forte in bar 152. Here all parts are all competing to get their idea heard. The sudden dynamic change in bar 160 releases the tension with the commencement of the Recapitulation in bar 164. The Recapitulation back in the tonic key begins with the upper strings which are joined by the lower strings in comparison to the beginning of the movement, this is then joined in bar 168 by the bassoon playing a new countermelody . The 2nd theme is then reintroduced. Mozart uses suspensions commencing at bar 199 to create tension, to further this he uses imitation at the half between the upper and lower strings. Further tension is heard in the bass line at bar 218 with minims alternating between Bb and A. In bar 226 there is another silent bar throughout the orchestra. Bar 228 sees the reintroduction of second subject still in the tonic key. It is during this we hear in bar 247 new ideas played in the First Violin culminating in Diminished and dominant seventh chords. Bar 260 sees the return of the first theme passed between all the woodwind parts and after a chromatically rising syncopated passage throughout the orchestra, the dynamic drops to a sudden piano the first theme is once again heard in the first and second violins. In bar 293 the whole orchestra plays a rousing forte for the last seven bars. Andante The second movement is a lyrical work in 6/8, in E flat major. The orchestration is the same except that the horns are now in E flat. It commences with the violas playing a quaver motif, a bar later this is taken up by the second violin. A bar later the first violin plays this in imitation. This passage is one of the main themes in this movement. Bars 1-8. Theme A A demisemi-quaver motif then begins in bar 16, which acts as a bridging passage to theme B. This rhythm plays an important role for the movement of this whole movement. Theme B at bar 20 is played by the first violin and answered by the flute, the texture is very thin and simple. At bar 27 there is a three way conversation between the woodwind ending in the first violin ending the conversation at bar 35. A smooth theme is introduced in bar 37, which is briefly interrupted at bar 43 by a bar of semi-quavers, but soon returns to its previous texture before the section is repeated. The development section of the 2nd movement begins, with the earlier demisemi-quaver motif, which is enforforced by the bass, playing a rising chromatic figure for bar 56- 62. The recapitulation commences in bar 74. We hear small segment from both themes played until a final theme is heard in bar 108. Menuetto This third movement is in Minuet and Trio form and commences in the key of G Minor. Unlike a traditional dance Mozart uses the whole orchestra which remains full throughout. He uses a hemiola, a 2/4 feel in a 3/4 time signature, with a rising melody line. The movement opens with a strong melody played by the strings and the woodwind, consisting of two, three bar phrases followed by two, and four bar phrases, which is then repeated back to the beginning. The second section in B flat Major it is a variation of the first, played contrapuntally. The trio modulates to G major where he has thinned the texture for the first section. The second section sees the return of the Horns bringing a contrasting texture to the end of the trio. Finale – Allegro assai The final movement, Allegro Assai, begins almost like a Baroque Concerto Grosso, with contrasting piano string and forte tutti passages alternating every two bars. An important quaver motif, heard in bar 3 can be heard repeatedly throughout the movement, for example the bridge passage at bar 32. Bars 1-15 Theme B is introduced in bar 71 in the key of B flat Major. It is more thinly scored with a lighter feel. The melody is played by the first violin, being handed to the clarinet at bar 85, who plays a duet with the bassoon. Bar 101 sees the coda played forte and continues until bar 124 with growing intensity where it is repeated back to the beginning. Bars 125 – 134 includes a bridging passage that is very different to anything we have heard earlier, this leads into the development phase of the movement. Bars 125-141 A piano theme is then heard, which is passed around the woodwind and first violin parts with lower string accompaniment. This acts as a bridging passage before we hear a fugal section commencing at bar 152 in the strings which modulates through many different keys. Bars 205 -206 are primarily silent before the beginning of the recapitulation in the key of G Minor. Theme B can be heard again in bar 247 before a closing section which can found at bar 277. This consists of a forte passage with running quavers in the violins, which is dramatically dropped to a piano four bar passage at bar 286. The symphony concludes with a burst of energy at bar 290 whilst the running quavers are a constant until the last three separate chords from the whole orchestra.

Essay About Family: Made in U.S.A. :: Personal Narrative essay about my family

Made in U.S.A. My military childhood has somewhat distorted my view of home; my father was in the United States Marine Corps for 30 years. Traditionally, this length of time requires some moving about the country–as was the case with my family. Perhaps some may consider the place that they have lived all or most of their life, as home, or where their parents or grandparents reside. I have yet to define my home. I realize that home is where your heart is, so for me home is wherever a portion of my family dwells simultaneously. To an extent, I accept Starke, Florida because that is where my parents and sister live. However, it just doesn’t seem correct to include Starke without including Daytona or Atlanta without Milwaukee or Albany without San Diego. Now don’t get me wrong; I would not trade the Marine brat lifestyle for anything in the world because I can’t be in any location for too long and I love meeting new people. Since I have been at The Florida State University, I have come across a lot of the people that I went to school with in the past. Most of these students have come from Atlanta and Daytona. If you were to talk to either of these individuals, they will tell you that I am from whatever city we met in. For example, my friend Letitia went to middle school with me in Daytona. I saw her boyfriend at a party one night and he was like â€Å"Hey! You are Tia’s friend Tasha from Daytona right?† Of course, I had to agree with him, although, he was not entirely incorrect. So, what would be your answer to this question if you were in my situation: Where are you from? Well, I have had several suggestions in this regard, too. At the beginning of each semester, organizations tend to weasel their way back to those lame icebreakers, some of which require you to state your hometown along with your year, major, etc.