YOU SHOULD HAVE THE FOLLOWING CHAPTERS FINISHED BY THE DATES LISTED:
Tuesday, May 1: 33
Wednesday, May 2: 35
Thursday, May 3: 37
Friday, May 4: 39
Monday, May 7: 42
YOU SHOULD HAVE THE FOLLOWING TASKS COMPLETED BY THE DATES LISTED:
Wednesday, May 9: Study Questions for chapters 32-43
Monday, May 14: Huck Finn Project
Monday, April 30, 2007
HUCK FINN QUESTIONS FOR CH. 32-43!!!
Chapters 32-43 Questions
1. Twain paints a bleak, depressing picture of the Phelps Plantation. Compare and contrast Huck’s view of life on the plantation to life on the raft. In what way is his view affected by his recent loss of Jim? Cite examples from the novel to support your argument.
2. Huck is shocked when Tom Sawyer tells him he will help steal Jim out of slavery. What does Tom know about Jim and how does that affect his decision? How does Huck view Tom as a member of society? How does he view himself? Support your answer with examples from the novel.
3. Jim acts as an informant in the case of the king and duke’s Royal Nonesuch show. In what way is justice being done? Why do you think Jim is seen in a different light in this section of the novel? Do his actions seem believable? Defend your argument with examples from the novel.
4. The contrasting personalities of Huck and Tom provide the reader with the satiric humor in these chapters. In what way do their personalities contrast? How are Tom’s romantic notions brought out in the plan to free Jim? How does Huck disagree? Cite examples from the novel to support your argument.
5. Tom and Huck disagree on the idea of stealing and borrowing. What does Huck call borrowing? What does Tom consider stealing? When does Tom consider stealing all right? When is it wrong? Support your argument with quotes from the novel.
6. In this section of the novel Tom already knows that Jim has been freed by Miss Watson. In view of this fact, how do you interpret his actions in the plan of escape? Is Tom unusually cruel to Jim by making him wait unnecessarily? Why doesn’t he tell Huck and Jim? Explain your answer.
7. Two different types of morality are demonstrated in the novel. Contrast Huck’s morality with Tom’s. How are they different? Explain the origins of each of the boys’ sense of morality? Cite examples from the novel to support your argument.
8. Twain often satirizes the religious sensibilities of his day through the characters in the novel. In what way is he satirizing Uncle Silas’s prayers with Jim? Do you feel Uncle Silas is being kind to Jim? Why does Jim feel his kindness? Explain your answer.
9. Jim is taken out of his prison to help Huck and Tom with the grindstone. In what way is this humorous incident ironic? Why does Jim go back to his prison? Why doesn’t he leave while he has the chance? Why don’t the boys help him to escape? Explain your answer.
10. Tom often prescribes cruel treatment for Jim in order to carry out his elaborate plan of escape. How does one account for his lack of sensitivity to Jim’s feelings? Is Tom a cruel person? How does Tom treat other people in the novel? Cite examples from the novel to support your argument.
11. Tom works on a coat of arms for Jim. Does he have sufficient knowledge of this subject? Is his knowledge limited? Why doesn’t he give Huck the definitions of “fess” and “bar sinister”? Support your answer with examples from the novel.
12. Jim unselfishly gives up his freedom so they can get a doctor for Tom. Does this act seem consistent with Jim’s character? Why does he do it? Describe one other instance in the novel where Jim is unselfish. Cite examples from the novel to support your argument.
13. Tom is happy when they reach the raft in spite of the fact that he has a bullet in his leg. Why is he happy? Why doesn’t he want to see a doctor? What instructions does Tom give Huck about the doctor? How is this a part of Tom’s plan of escape? Explain your answer with examples from the novel.
14. Huck invents stories throughout the novel to get himself out of tight situations. Is Huck’s story to the doctor as believable as his stories have been in the past? Does the doctor doubt Huck? Are there any flaws in his story? Use examples from the novel to support your argument.
15. Jim is often referred to as a noble character in the novel. In what way is his nobility shown in the last few chapters. How does he show courage by helping the doctor? Why does he do it? What price does he pay? Support your answer with examples from the novel.
16. The men who are attending to Jim want to hang him as an example to other slaves who might attempt to escape. Why do they decide against it? How does this incident satirize the morality of the men? Cite examples from the novel to explain your answer.
17. At the end of the novel Huck wants to escape so Aunt Sally will not try to “sivilize” him. How has the meaning of the word “sivilize” changed for Huck? In what way has Huck grown as a character in the novel? Give examples from the novel to support your argument.
1. Twain paints a bleak, depressing picture of the Phelps Plantation. Compare and contrast Huck’s view of life on the plantation to life on the raft. In what way is his view affected by his recent loss of Jim? Cite examples from the novel to support your argument.
2. Huck is shocked when Tom Sawyer tells him he will help steal Jim out of slavery. What does Tom know about Jim and how does that affect his decision? How does Huck view Tom as a member of society? How does he view himself? Support your answer with examples from the novel.
3. Jim acts as an informant in the case of the king and duke’s Royal Nonesuch show. In what way is justice being done? Why do you think Jim is seen in a different light in this section of the novel? Do his actions seem believable? Defend your argument with examples from the novel.
4. The contrasting personalities of Huck and Tom provide the reader with the satiric humor in these chapters. In what way do their personalities contrast? How are Tom’s romantic notions brought out in the plan to free Jim? How does Huck disagree? Cite examples from the novel to support your argument.
5. Tom and Huck disagree on the idea of stealing and borrowing. What does Huck call borrowing? What does Tom consider stealing? When does Tom consider stealing all right? When is it wrong? Support your argument with quotes from the novel.
6. In this section of the novel Tom already knows that Jim has been freed by Miss Watson. In view of this fact, how do you interpret his actions in the plan of escape? Is Tom unusually cruel to Jim by making him wait unnecessarily? Why doesn’t he tell Huck and Jim? Explain your answer.
7. Two different types of morality are demonstrated in the novel. Contrast Huck’s morality with Tom’s. How are they different? Explain the origins of each of the boys’ sense of morality? Cite examples from the novel to support your argument.
8. Twain often satirizes the religious sensibilities of his day through the characters in the novel. In what way is he satirizing Uncle Silas’s prayers with Jim? Do you feel Uncle Silas is being kind to Jim? Why does Jim feel his kindness? Explain your answer.
9. Jim is taken out of his prison to help Huck and Tom with the grindstone. In what way is this humorous incident ironic? Why does Jim go back to his prison? Why doesn’t he leave while he has the chance? Why don’t the boys help him to escape? Explain your answer.
10. Tom often prescribes cruel treatment for Jim in order to carry out his elaborate plan of escape. How does one account for his lack of sensitivity to Jim’s feelings? Is Tom a cruel person? How does Tom treat other people in the novel? Cite examples from the novel to support your argument.
11. Tom works on a coat of arms for Jim. Does he have sufficient knowledge of this subject? Is his knowledge limited? Why doesn’t he give Huck the definitions of “fess” and “bar sinister”? Support your answer with examples from the novel.
12. Jim unselfishly gives up his freedom so they can get a doctor for Tom. Does this act seem consistent with Jim’s character? Why does he do it? Describe one other instance in the novel where Jim is unselfish. Cite examples from the novel to support your argument.
13. Tom is happy when they reach the raft in spite of the fact that he has a bullet in his leg. Why is he happy? Why doesn’t he want to see a doctor? What instructions does Tom give Huck about the doctor? How is this a part of Tom’s plan of escape? Explain your answer with examples from the novel.
14. Huck invents stories throughout the novel to get himself out of tight situations. Is Huck’s story to the doctor as believable as his stories have been in the past? Does the doctor doubt Huck? Are there any flaws in his story? Use examples from the novel to support your argument.
15. Jim is often referred to as a noble character in the novel. In what way is his nobility shown in the last few chapters. How does he show courage by helping the doctor? Why does he do it? What price does he pay? Support your answer with examples from the novel.
16. The men who are attending to Jim want to hang him as an example to other slaves who might attempt to escape. Why do they decide against it? How does this incident satirize the morality of the men? Cite examples from the novel to explain your answer.
17. At the end of the novel Huck wants to escape so Aunt Sally will not try to “sivilize” him. How has the meaning of the word “sivilize” changed for Huck? In what way has Huck grown as a character in the novel? Give examples from the novel to support your argument.
Monday, April 16, 2007
HUCK FINN QUESTIONS FOR CHAPTERS 17-31
1. Harney Shepherdson and Miss Sophia are victims of the feud between the Grangerfords and the Shepherdsons. Compare and contrast their conflict with that of Shakespeare’s Romeo and Juliet. In what way was their situation the same? How was it different? Was Huck sympathetic with the young couple? Give examples from the novel to support your argument.
2. Twain employs satire throughout the novel to speak out against the hypocrisy and corruption in his society. In what way is the church service, attended by the Grangerfords and the Shepherdsons, an attack on the religion of Twain’s day? How does the hog incident add to the satire? Explain your answer.
3. In these chapters life on the raft is contrasted sharply with the violence and bloodshed Huck has recently encountered on the shore. How does this contrast bring out the theme of freedom in the novel? How does Huck feel about life on the raft? How does Jim feel? Use examples from the novel to support your viewpoint.
4. In the novel Huck continually tells stories to get himself out of tight situations. Why doesn’t this bother Huck’s conscience? In what way is Huck forced to tell a lie? Is Huck morally wrong in doing so? Defend your argument with examples from the novel.
5. It is during a natural phenomenon such as a thunderstorm that Huck uses his most artistic language. Discuss Huck’s feeling about the thunderstorm. Why is he not afraid of the storm? How does this symbolize his life on the river as opposed to life on the shore? Explain your answer.
6. There are many examples of gullibility in the novel. In what way does Twain satirize the gullibility of the people at the camp meeting? How does the king trick them into taking up a collection? Why do they believe him? Support your argument.
7. Twain is satirizing the lynch mob in these chapters. In what way can the individuals in a mob be seen as cowards? Discuss the psychology of a lynch mob. Why is Sherburn successful in breaking up the mob? Cite examples from the novel to support your argument.
8. Through the characters of the duke and the king, Twain is satirizing royalty. What qualities in a king would make him a “rapscallion?” How does Huck’s reference to kings throughout history prove his point? Explain your answer.
9. The relationship between Huck and Jim is growing deeper as the novel progresses. How is Jim’s humanity expressed through the eyes of Huck? How does Jim feel about Huck? How can Huck tell? Explain your answer.
10. In these chapters Twain satirizes the gullibility of the townspeople who believe an imposter like the king, but, ironically,
do not believe Dr. Robinson. Compare the gullibility of the townspeople to people in today’s world. In what ways are people gullible? What makes them gullible? Explain your answer.
11. Huck has become more critical of the duke and the king than he was in preceding chapters. Why has this change taken place in his character? Explain Huck’s moral development as it relates to previous chapters in the novel. Cite examples from the novel to support your argument.
12. The ultimate sacrifice in the eyes of the townspeople is when the king and the duke give the Wilks girls the whole six thousand dollars. Why do they give it away? What is their motive? What do they hope to gain? Support your argument with examples from the novel.
13. The king and the duke have been involved in several fraudulent schemes along the river. Compare and contrast the Wilks episode to The Royal Nonesuch in the last town. Why does Huck take action against the frauds in the Wilks episode? Why was he merely an observer in The Royal Nonesuch? How do they compare? How are they different? Use examples from the novel to support your argument.
14. The two frauds have supposedly been duped through their sale of the slaves. In what way do the king and the duke judge the slaves by their own standards? In what way do they think the slaves have played a game in order to get away with the money? Defend your argument with examples from the novel.
15. The separation of families through the selling of slaves is a recurrent theme in the novel. What is Twain’s attitude about this controversial issue? Cite at least two examples from the novel that deal with the separation of families and point out the way in which Twain satirizes the issue.
16. The novel is filled with examples of stories Huck tells when he is in a tight situation. In Chapter 28 he decides that truth is better than lies, however. Why does he have a change of heart in this chapter? How does Huck feel about Mary Jane? Does he trust her with the truth? Does he ever lie to her? Why does he depend on lies to get through difficult situations? Cite examples from the novel to support your argument.
17. Throughout the course of the novel, Twain uses descriptions of thunderstorms. Compare and contrast the description of the thunderstorm in Chapter 29 with descriptions in other parts of the novel. How are they the same? How is this one different? Cite examples from the novel to support your argument.
18. Mary Jane is one of Huck’s favorite people in the novel. What qualities does she possess that makes Huck fond of her? How is she different from her sisters? Explain your answer.
19. Huck makes his ultimate moral decision in Chapter 31 of the novel. What is Twain satirizing in this episode? Explain Huck’s natural morality as opposed to society’s morality. Use examples from the novel to support your answer.
20. Twain sheds a slightly different light on the duke in these chapters. What is different about the actions of the duke? How does this make us feel about him? Is the duke less evil than the king? Explain your answer.
21. Huck faces a moral decision to help Jim escape in three different epiodes of the novel. Explain each dilemma and describe how it affects Huck’s development as a character. Cite examples from the novel to support your argument.
2. Twain employs satire throughout the novel to speak out against the hypocrisy and corruption in his society. In what way is the church service, attended by the Grangerfords and the Shepherdsons, an attack on the religion of Twain’s day? How does the hog incident add to the satire? Explain your answer.
3. In these chapters life on the raft is contrasted sharply with the violence and bloodshed Huck has recently encountered on the shore. How does this contrast bring out the theme of freedom in the novel? How does Huck feel about life on the raft? How does Jim feel? Use examples from the novel to support your viewpoint.
4. In the novel Huck continually tells stories to get himself out of tight situations. Why doesn’t this bother Huck’s conscience? In what way is Huck forced to tell a lie? Is Huck morally wrong in doing so? Defend your argument with examples from the novel.
5. It is during a natural phenomenon such as a thunderstorm that Huck uses his most artistic language. Discuss Huck’s feeling about the thunderstorm. Why is he not afraid of the storm? How does this symbolize his life on the river as opposed to life on the shore? Explain your answer.
6. There are many examples of gullibility in the novel. In what way does Twain satirize the gullibility of the people at the camp meeting? How does the king trick them into taking up a collection? Why do they believe him? Support your argument.
7. Twain is satirizing the lynch mob in these chapters. In what way can the individuals in a mob be seen as cowards? Discuss the psychology of a lynch mob. Why is Sherburn successful in breaking up the mob? Cite examples from the novel to support your argument.
8. Through the characters of the duke and the king, Twain is satirizing royalty. What qualities in a king would make him a “rapscallion?” How does Huck’s reference to kings throughout history prove his point? Explain your answer.
9. The relationship between Huck and Jim is growing deeper as the novel progresses. How is Jim’s humanity expressed through the eyes of Huck? How does Jim feel about Huck? How can Huck tell? Explain your answer.
10. In these chapters Twain satirizes the gullibility of the townspeople who believe an imposter like the king, but, ironically,
do not believe Dr. Robinson. Compare the gullibility of the townspeople to people in today’s world. In what ways are people gullible? What makes them gullible? Explain your answer.
11. Huck has become more critical of the duke and the king than he was in preceding chapters. Why has this change taken place in his character? Explain Huck’s moral development as it relates to previous chapters in the novel. Cite examples from the novel to support your argument.
12. The ultimate sacrifice in the eyes of the townspeople is when the king and the duke give the Wilks girls the whole six thousand dollars. Why do they give it away? What is their motive? What do they hope to gain? Support your argument with examples from the novel.
13. The king and the duke have been involved in several fraudulent schemes along the river. Compare and contrast the Wilks episode to The Royal Nonesuch in the last town. Why does Huck take action against the frauds in the Wilks episode? Why was he merely an observer in The Royal Nonesuch? How do they compare? How are they different? Use examples from the novel to support your argument.
14. The two frauds have supposedly been duped through their sale of the slaves. In what way do the king and the duke judge the slaves by their own standards? In what way do they think the slaves have played a game in order to get away with the money? Defend your argument with examples from the novel.
15. The separation of families through the selling of slaves is a recurrent theme in the novel. What is Twain’s attitude about this controversial issue? Cite at least two examples from the novel that deal with the separation of families and point out the way in which Twain satirizes the issue.
16. The novel is filled with examples of stories Huck tells when he is in a tight situation. In Chapter 28 he decides that truth is better than lies, however. Why does he have a change of heart in this chapter? How does Huck feel about Mary Jane? Does he trust her with the truth? Does he ever lie to her? Why does he depend on lies to get through difficult situations? Cite examples from the novel to support your argument.
17. Throughout the course of the novel, Twain uses descriptions of thunderstorms. Compare and contrast the description of the thunderstorm in Chapter 29 with descriptions in other parts of the novel. How are they the same? How is this one different? Cite examples from the novel to support your argument.
18. Mary Jane is one of Huck’s favorite people in the novel. What qualities does she possess that makes Huck fond of her? How is she different from her sisters? Explain your answer.
19. Huck makes his ultimate moral decision in Chapter 31 of the novel. What is Twain satirizing in this episode? Explain Huck’s natural morality as opposed to society’s morality. Use examples from the novel to support your answer.
20. Twain sheds a slightly different light on the duke in these chapters. What is different about the actions of the duke? How does this make us feel about him? Is the duke less evil than the king? Explain your answer.
21. Huck faces a moral decision to help Jim escape in three different epiodes of the novel. Explain each dilemma and describe how it affects Huck’s development as a character. Cite examples from the novel to support your argument.
Thursday, April 05, 2007
Our Big Project!!!
While we are reading Huck Finn we will use various strategies to better understand the book and what it has to tell us. While it is easy to mock and ridicule the wide range of seemingly “unacademic” strategies teachers use to get info into their students’ heads, sometimes these actually work better than the old standards that consist of a series of leading questions to be written or spoken about. Sound familiar? So, warm up your wagging fingers, do your special eye-rolling exercises, practice your deep sighs and disgruntled huffs of resentment… It’s project time! You may propose some projects be done as a team but these must be approved. Any project that is turned in as a team and yet has not been approved by me will not be accepted. Moreover, I expect that two-person projects be twice as good and twice as big! THESE WILL ALL BE DUE THE WEEK AFTER WE FINISH THE BOOK!!!
Option I: Jim’s Journal
This option asks you to get in character as Jim and keep a DAILY journal as the story unfolds. In other words, you will keep a journal as if you were Jim. The quality of work here will be reflected in the following components:
o extent to which you inhabit the character (e.g., sound and think like he would)
o overall quality of your writing (note: you may write in the same vernacular style that Twain used but you must be consistent and effective in your use of this style)
o thoroughness: extent to which your journal reflects on and includes the entire novel
o insight: extent to which your entries show insight into the characters and the story
(Option: you could, if you prefered, write your journal as Mark Twain. Many writers keep journals of what they think while they write their books. What would Twain be thinking and saying to himself about this book as he writes it?)
Option II: Graphic Novel
This option allows the artistic students to use their skills to recreate the story in a graphic novel (i.e., comic book) format. If you are really technologically oriented and want to show off, you could make yours animated and interactive. The quality of your work here will be determined by the following:
o quality of the art work: it should look sharp--both the pictures and the text.
o extent to which your graphic novel includes the entire story of Huck Finn
o inclusion of an introduction in which you explain what you tried to capture in your recreation of the novel (e.g., "I wanted to emphasize the extent to which they reject society and reveal themselves as rebels in the American spirit. I did this because...and showed it by...")
Option III: Formal Essay
This option asks you to choose an idea or character central to the book and examine that idea in depth in an essay. You may also consider taking some recurring aspect of American history or culture and writing an essay in which you discuss how Huck Finn relates to that theme (e.g., the American spirit of independence). Your essay must accomplish the following:
o It must be at least five-pages typed (double-spaced, 12-point font).
o It should clearly identify the thesis of the paper early on and maintain that focus throughout.
o It must examine its subject carefully, supporting each of its supporting elements with examples from appropriate sources (e.g., Huck Finn , your history book, etc.).
o It must be original in its focus so as to avoid questions of whether it was or could have been lifted off the Internet.
(Note: you must approve your topic with me first.)
Option IV: Be the Teacher
You will teach an entire class period in which you lead a discussion on a particular set of themes or some other focused topic as it relates to Huck Finn. During this 45-minute period you will prepare and be ready to do the following:
o facilitate a class discussion on selected, important themes
o introduce your lesson with some opening remarks
o use visual aids--video clips, handouts, posters, overheads--to help the class think about and understand the ideas you present
o write a one page follow-up analysis of what you set out to accomplish, how well they/you accomplished this goal and a reflection about what you would do differently.
Option V: Publish your Own Newspaper
This option asks you to create a six-page newspaper with all the appropriate elements common to a newspaper of that era. Your work will be assessed according to the quality of the following:
o the writing must be accurate and fit the style of a period newspaper
o the format and look of the paper must resemble a newspaper of the period
o the paper must show an understanding of and insight into the novel Huck Finn
Option I: Jim’s Journal
This option asks you to get in character as Jim and keep a DAILY journal as the story unfolds. In other words, you will keep a journal as if you were Jim. The quality of work here will be reflected in the following components:
o extent to which you inhabit the character (e.g., sound and think like he would)
o overall quality of your writing (note: you may write in the same vernacular style that Twain used but you must be consistent and effective in your use of this style)
o thoroughness: extent to which your journal reflects on and includes the entire novel
o insight: extent to which your entries show insight into the characters and the story
(Option: you could, if you prefered, write your journal as Mark Twain. Many writers keep journals of what they think while they write their books. What would Twain be thinking and saying to himself about this book as he writes it?)
Option II: Graphic Novel
This option allows the artistic students to use their skills to recreate the story in a graphic novel (i.e., comic book) format. If you are really technologically oriented and want to show off, you could make yours animated and interactive. The quality of your work here will be determined by the following:
o quality of the art work: it should look sharp--both the pictures and the text.
o extent to which your graphic novel includes the entire story of Huck Finn
o inclusion of an introduction in which you explain what you tried to capture in your recreation of the novel (e.g., "I wanted to emphasize the extent to which they reject society and reveal themselves as rebels in the American spirit. I did this because...and showed it by...")
Option III: Formal Essay
This option asks you to choose an idea or character central to the book and examine that idea in depth in an essay. You may also consider taking some recurring aspect of American history or culture and writing an essay in which you discuss how Huck Finn relates to that theme (e.g., the American spirit of independence). Your essay must accomplish the following:
o It must be at least five-pages typed (double-spaced, 12-point font).
o It should clearly identify the thesis of the paper early on and maintain that focus throughout.
o It must examine its subject carefully, supporting each of its supporting elements with examples from appropriate sources (e.g., Huck Finn , your history book, etc.).
o It must be original in its focus so as to avoid questions of whether it was or could have been lifted off the Internet.
(Note: you must approve your topic with me first.)
Option IV: Be the Teacher
You will teach an entire class period in which you lead a discussion on a particular set of themes or some other focused topic as it relates to Huck Finn. During this 45-minute period you will prepare and be ready to do the following:
o facilitate a class discussion on selected, important themes
o introduce your lesson with some opening remarks
o use visual aids--video clips, handouts, posters, overheads--to help the class think about and understand the ideas you present
o write a one page follow-up analysis of what you set out to accomplish, how well they/you accomplished this goal and a reflection about what you would do differently.
Option V: Publish your Own Newspaper
This option asks you to create a six-page newspaper with all the appropriate elements common to a newspaper of that era. Your work will be assessed according to the quality of the following:
o the writing must be accurate and fit the style of a period newspaper
o the format and look of the paper must resemble a newspaper of the period
o the paper must show an understanding of and insight into the novel Huck Finn
Huck Finn Questions for Chapters 1-16
Here are you questions for The Adventures of Huckleberry Finn Chapters 1-16. Beware! There are spoilers here! I suggest that you read the first question, read, figure out the answer, write it down and THEN read the next question. Repeat as necessary until you've knocked all of these out. I will be collecting and checking on your progress periodically, so you must keep up with our two chapter per day schedule. The schedule is as follows:
5th Ch 1-2
6th Ch 3-4
9th Ch 5-6
10th Ch 7-8
11th Ch 9-10
12th Ch 11-12
16th Ch 13-16
1. The Widow Douglas and her sister, Miss Watson, are both trying to “sivilize” Huck. Compare and contrast their attitudes toward Huck. What method does each one use in her efforts to turn him into a “respectable” citizen? How do those methods differ? How are they the same? Cite examples from the novel to support your argument.
2. Analyze the scene where Huck flips the spider into the candle. Why does he feel that this would bring him bad luck? How does this scene foreshadow superstition in the novel? Support your answer with examples from the novel.
3. Twain chooses a 13-year-old boy as narrator for his novel. In what way does this help to accomplish Twain’s purpose? Discuss the ways in which a young, innocent narrator can make a profound statement about the hypocrisy of his society. Explain your answer.
4. Although Huck Finn and Tom Sawyer are presented as contrasting characters in the novel, they are alike in many ways. Compare and contrast the characters of Huck and Tom, giving examples from the novel to support your argument.
5. Analyze Jim’s idea that he has been ridden around the world by witches. Why was he proud? Were the slaves the only ones who believed Jim’s story? Does Huck believe it? Explain your answer.
6. Analyze the role of respectability in Tom Sawyer’s supposedly lawless gang. Why is it mandatory for each member to have a respectable family? Examine the idea that Huck, who has had more experience with breaking the law than any of the others, comes close to being excluded from the gang.
7. Superstition is a recurring theme in the novel. Analyze Twain’s satiric treatment of the hairball scene. Examine the answers Huck receives about his life. How does Jim keep the hairball’s comments believable?
8. Analyze the relationship of Huck and his father. In what ways was he different from the ideal? How did this influence Huck’s feelings about society as a whole? Explain your reasoning.
9. Analyze Judge Thatcher’s reactions to Huck’s request to take his money. Why did the judge exchange one dollar for six-thousand dollars? Was he cheating Huck? Explain your answer.
10. Huck seems to adapt to almost any situation. He has become accustomed to civilized life with the Widow Douglas. Later he finds life in the woods carefree and easy. Analyze the character of Huck. Discuss possible reasons for his adaptability to different situations. Use examples from the novel to support your argument.
11. In the novel Pap does not appear to be a civilized man. Discuss ways in which he does, however, fit into the larger society. Does he compare to the Widow Douglas in any way? Explain your answer.
12. Huck wishes Tom Sawyer were with him to add some “fancy touches” to his plan of escape. Discuss the difference between Huck’s scheme of faking his death and the attack on the “A-rabs” and “Spaniards” in Chapter 3. Cite examples from the novel to support your ideas.
13. Huck’s most poetic language is prompted by a severe thunderstorm on the island. Discuss the reasons for this. In what way does the storm inspire him? Why is he not afraid of the storm? Use examples from the novel to support your argument.
14. If Huck keeps Jim’s secret of his escape, people will call him a “low-down Abolitionist.” In what way are those words more effective when spoken by a young narrator? Explain the irony in Huck’s statement. What is Twain’s message about the hypocritical values of his society? Explain your answer with examples from the novel.
15. Miss Watson could sell Jim for eight hundred dollars. He, therefore, feels rich because he owns himself. Explain Twain’s use of satire in Jim’s statement. What was Twain’s attitude toward slavery in this passage? Explain your answer.
16. Huck’s growing concern for Jim’s welfare is evident in many ways. Discuss the events where this concern is reflected in Huck’s behavior. In what ways does he protect Jim from danger? Cite examples from the novel to support your argument.
17. Huck’s ability to tell a story in order to get himself out of a “tight” situation is one of his greatest strengths. How does this apply to his encounter with Mrs. Judith Loftus? What does he do when she realizes he is a boy? Explain your answer.
18. When Huck curls up the snake at the foot of Jim’s blanket, he does not tell Jim that he has done it. What is his reason for keeping his little joke a secret? What lesson does Huck learn from it? How would Jim have felt if Huck would have told the truth? Discuss your answer.
19. Huck’s journey on the river is filled with adventures, but it is also a symbolic journey. What does his journey symbolize? How does his relationship with Jim tie in to the symbolism? Compare the symbolism of the shore to that of the river. Use examples from the novel to support your view.
20. The Adventures of Huckleberry Finn is often referred to as the embodiment of mythological characteristics. In what way does the journey down the river represent these characteristics? How is Huck’s escape from society and his love for the natural world of the river incorporated into this idea? Explain your answer.
21. Twain uses satire to expose people’s ability to rationalize their wrongdoings. In what way does Twain employ that device in the incident where Huck “lifts chickens” and “borrows watermelons”? What do the words “lifts” and “borrows” connote? Give examples from the novel to support your argument.
22. The relationship between Huck and Jim is brought into focus in these chapters. How does their frightening separation in the fog draw them closer together? How do they feel about each other at this point in the novel? Give examples from the novel to support your viewpoint.
23. Huck and Jim carry on a lengthy conversation about royalty. In what way does Twain satirize royalty in these chapters? What is Jim’s opinion of King Solomon? Why does he feel that way? Give examples from the novel to support your argument.
24. Huck makes a moral decision concerning Jim’s freedom in Chapter 16. How does this decision affect Huck as a character in the novel? Discuss the first time in the novel that he made a decision to help Jim escape to freedom. How did the decision affect him then? Cite examples from the novel to support your view.
25. There is irony in the statement Jim makes about stealing his children. In what way is it ironic that Jim’s children belong to someone else? Why did Huck feel it was morally wrong for Jim to claim his children as his own? Give examples from the novel to support your argument.
26. Critics believe Twain stopped writing the novel for a few years after he finished Chapter 16. Why would this have been a difficult place for Twain to continue? How does the setting of the novel change at this point? Explain your answer.
5th Ch 1-2
6th Ch 3-4
9th Ch 5-6
10th Ch 7-8
11th Ch 9-10
12th Ch 11-12
16th Ch 13-16
1. The Widow Douglas and her sister, Miss Watson, are both trying to “sivilize” Huck. Compare and contrast their attitudes toward Huck. What method does each one use in her efforts to turn him into a “respectable” citizen? How do those methods differ? How are they the same? Cite examples from the novel to support your argument.
2. Analyze the scene where Huck flips the spider into the candle. Why does he feel that this would bring him bad luck? How does this scene foreshadow superstition in the novel? Support your answer with examples from the novel.
3. Twain chooses a 13-year-old boy as narrator for his novel. In what way does this help to accomplish Twain’s purpose? Discuss the ways in which a young, innocent narrator can make a profound statement about the hypocrisy of his society. Explain your answer.
4. Although Huck Finn and Tom Sawyer are presented as contrasting characters in the novel, they are alike in many ways. Compare and contrast the characters of Huck and Tom, giving examples from the novel to support your argument.
5. Analyze Jim’s idea that he has been ridden around the world by witches. Why was he proud? Were the slaves the only ones who believed Jim’s story? Does Huck believe it? Explain your answer.
6. Analyze the role of respectability in Tom Sawyer’s supposedly lawless gang. Why is it mandatory for each member to have a respectable family? Examine the idea that Huck, who has had more experience with breaking the law than any of the others, comes close to being excluded from the gang.
7. Superstition is a recurring theme in the novel. Analyze Twain’s satiric treatment of the hairball scene. Examine the answers Huck receives about his life. How does Jim keep the hairball’s comments believable?
8. Analyze the relationship of Huck and his father. In what ways was he different from the ideal? How did this influence Huck’s feelings about society as a whole? Explain your reasoning.
9. Analyze Judge Thatcher’s reactions to Huck’s request to take his money. Why did the judge exchange one dollar for six-thousand dollars? Was he cheating Huck? Explain your answer.
10. Huck seems to adapt to almost any situation. He has become accustomed to civilized life with the Widow Douglas. Later he finds life in the woods carefree and easy. Analyze the character of Huck. Discuss possible reasons for his adaptability to different situations. Use examples from the novel to support your argument.
11. In the novel Pap does not appear to be a civilized man. Discuss ways in which he does, however, fit into the larger society. Does he compare to the Widow Douglas in any way? Explain your answer.
12. Huck wishes Tom Sawyer were with him to add some “fancy touches” to his plan of escape. Discuss the difference between Huck’s scheme of faking his death and the attack on the “A-rabs” and “Spaniards” in Chapter 3. Cite examples from the novel to support your ideas.
13. Huck’s most poetic language is prompted by a severe thunderstorm on the island. Discuss the reasons for this. In what way does the storm inspire him? Why is he not afraid of the storm? Use examples from the novel to support your argument.
14. If Huck keeps Jim’s secret of his escape, people will call him a “low-down Abolitionist.” In what way are those words more effective when spoken by a young narrator? Explain the irony in Huck’s statement. What is Twain’s message about the hypocritical values of his society? Explain your answer with examples from the novel.
15. Miss Watson could sell Jim for eight hundred dollars. He, therefore, feels rich because he owns himself. Explain Twain’s use of satire in Jim’s statement. What was Twain’s attitude toward slavery in this passage? Explain your answer.
16. Huck’s growing concern for Jim’s welfare is evident in many ways. Discuss the events where this concern is reflected in Huck’s behavior. In what ways does he protect Jim from danger? Cite examples from the novel to support your argument.
17. Huck’s ability to tell a story in order to get himself out of a “tight” situation is one of his greatest strengths. How does this apply to his encounter with Mrs. Judith Loftus? What does he do when she realizes he is a boy? Explain your answer.
18. When Huck curls up the snake at the foot of Jim’s blanket, he does not tell Jim that he has done it. What is his reason for keeping his little joke a secret? What lesson does Huck learn from it? How would Jim have felt if Huck would have told the truth? Discuss your answer.
19. Huck’s journey on the river is filled with adventures, but it is also a symbolic journey. What does his journey symbolize? How does his relationship with Jim tie in to the symbolism? Compare the symbolism of the shore to that of the river. Use examples from the novel to support your view.
20. The Adventures of Huckleberry Finn is often referred to as the embodiment of mythological characteristics. In what way does the journey down the river represent these characteristics? How is Huck’s escape from society and his love for the natural world of the river incorporated into this idea? Explain your answer.
21. Twain uses satire to expose people’s ability to rationalize their wrongdoings. In what way does Twain employ that device in the incident where Huck “lifts chickens” and “borrows watermelons”? What do the words “lifts” and “borrows” connote? Give examples from the novel to support your argument.
22. The relationship between Huck and Jim is brought into focus in these chapters. How does their frightening separation in the fog draw them closer together? How do they feel about each other at this point in the novel? Give examples from the novel to support your viewpoint.
23. Huck and Jim carry on a lengthy conversation about royalty. In what way does Twain satirize royalty in these chapters? What is Jim’s opinion of King Solomon? Why does he feel that way? Give examples from the novel to support your argument.
24. Huck makes a moral decision concerning Jim’s freedom in Chapter 16. How does this decision affect Huck as a character in the novel? Discuss the first time in the novel that he made a decision to help Jim escape to freedom. How did the decision affect him then? Cite examples from the novel to support your view.
25. There is irony in the statement Jim makes about stealing his children. In what way is it ironic that Jim’s children belong to someone else? Why did Huck feel it was morally wrong for Jim to claim his children as his own? Give examples from the novel to support your argument.
26. Critics believe Twain stopped writing the novel for a few years after he finished Chapter 16. Why would this have been a difficult place for Twain to continue? How does the setting of the novel change at this point? Explain your answer.
Wednesday, March 14, 2007
Emily Dickinson Presentation Assignment
Emily Dickinson Presentation Assignment
Follow these steps:
1. Go to www.americanpoems.com/poets/emilydickinson
2. Read the poems until you find one that you like that I haven’t already exposed you to.
3. Copy and paste it into a Word document.
4. List all of the reasons that you like it.
5. List all of the words that you don’t know.
6. Define ALL OF THE WORDS, even the ones you think you know.
7. Address each of our 13 poetry questions.
8. Decide which 5 of the 13 questions gave you the most interesting ideas about your poem.
9. Sign up for your presentation day and time.
10. Dig deeper into those 5 questions and use them as the basis of your presentation.
11. Give me a list of all of the equipment you will need.
12. Create your presentation, making sure that you do the following things:
a. Create an outline that highlights the information you will be covering in class.
b. Create any materials (audio, video, pictures, handouts, overheads) you will need to get your ideas into our heads.
c. Streamline your presentation so that it takes exactly 10 MINUTES!
d. Rehearse your presentation and your timing in front of others.
e. At least one day BEFORE your presentation slot, double check to make sure that EVERYTHING WORKS!!!
f. Teach us your poem.
Follow these steps:
1. Go to www.americanpoems.com/poets/emilydickinson
2. Read the poems until you find one that you like that I haven’t already exposed you to.
3. Copy and paste it into a Word document.
4. List all of the reasons that you like it.
5. List all of the words that you don’t know.
6. Define ALL OF THE WORDS, even the ones you think you know.
7. Address each of our 13 poetry questions.
8. Decide which 5 of the 13 questions gave you the most interesting ideas about your poem.
9. Sign up for your presentation day and time.
10. Dig deeper into those 5 questions and use them as the basis of your presentation.
11. Give me a list of all of the equipment you will need.
12. Create your presentation, making sure that you do the following things:
a. Create an outline that highlights the information you will be covering in class.
b. Create any materials (audio, video, pictures, handouts, overheads) you will need to get your ideas into our heads.
c. Streamline your presentation so that it takes exactly 10 MINUTES!
d. Rehearse your presentation and your timing in front of others.
e. At least one day BEFORE your presentation slot, double check to make sure that EVERYTHING WORKS!!!
f. Teach us your poem.
522, 1071, 1129 ESSAY: Confident Despair and the Circuitry of Truth
Confident Despair and the Circuitry of Truth
The Poetry of Emily Dickinson
For Emily Dickinson, poetry is an expression of her ceaseless pursuit of Truth and, in a sense, Immortality. To the extent that her idealized progress toward certain knowledge must be engaged with the ill-suited mortal faculties of sense and comprehension of what is sensed while tied to an imperfect world, this progress is perpetually frustrated. In stark contrast with the romantic and transcendental temperament of many of her American and Continental contemporaries, though, Dickinson acknowledges her imperfect, human perspective as an ineluctable element of her quest. Her poetry, then, can be seen both as the instrument by which she reworks her perception and as the product of that reworking.
Within this dynamic relationship, however, Dickinson consistently returns to a few primary symbols which seem to represent some unchanging elements and conditions of the quest as a whole. The most prevalent of these symbols are related to visual perception: the night, which is the symbol of her benighted, “fallen” perception, or spiritual blindness; noon and the sun, which represent absolute visionary glory, fulfillment of quest, the eradication of any division between perceiver and perceived; and physical eyesight itself, which must mediate between these two absolutes and align the real and temporal with an envisioned ideal. But the relationships among night, noon, and perception are dynamic and in constant flux; truth can only be glimpsed obliquely. “The Truth must dazzle gradually / Or every man be blind” (P 1129)–that is, true vision involves the ability to perceive relationships, to comprehend noon in terms of the night which is the human condition, the only condition Dickinson knows firsthand.
Poetic vision, therefore, is not a transcendental oneness with noon, a facile appropriation of the object of spiritual longing into the frame of a mere perceptual moment (though Dickinson did experience such moments, characterizing the them as “ecstatic instants”) but rather a multi-faceted endeavor toward gaining perspective upon that object, a perspective which absolutely necessitated distance. Dickinson characterizes the relationship between the perceiver and the perceived as paradoxically self-defeating, precisely: “Perception of an object costs / Precise the Object’s loss” (P 1071). What this means is that; 1) in order to see something, one must be separate from it and that 2) complete identification with an object necessarily precludes one’s perception of it. The most impressive and ominous logical off-shoot of this (one that resurfaces under innumerable guises throughout the Dickinson canon) is that in order to really know the capital concepts of God or Truth, to know anything at all, the singular identity of the perceiver must cease to exist.
But if the quest cannot be completed short of death, let alone organized into a single coherent thrust, individual moments of vision–attainments of true perspective–can be recorded, shaped into discrete poetic wholes. In order to place herself–a poet working “at night”–in an appropriate relationship to “noon,” the object of quest, it was necessary to experiment constantly with visionary perspectives in her poems; thus the poems often appear as fictions, the arguments of artificial personae bound to deliberately static (and therefore imperfect) perspectives. Some of these personae utter seemingly profound truths, but often the fictions also subtly qualify the speakers’ claims; sometimes the personae are still naive, in the state of innocence–and their naïveté is obvious, rather pathetic; and on occasion the speakers simply make fools of themselves.
To understand the complexity of Dickinson’s quest is to become sensitive to her various, often cunning uses of personae and their inadequately recognized affect: dramatic irony. To this affect, she creates a variety of fictions whose personae represent differing postures and attitudes toward the quest itself. Some speakers are self-deluding, others are merely complacent,
and still others make bold claims for the speaker’s own perception and intelligence, her need to scrutinize carefully perceptual relationships–measuring distances, establishing ratios between perceptual gains and losses–and thus her ability to hold her own in her courtship with death. The burden of establishing a link with omnipresence then, for Dickinson, falls not upon faith but upon human perception, which must constantly adjust its focus, never relax into certainty; otherwise, these narrow, artificial conceptions may be mistaken for the infinitely complex reality.
This perpetual shifting of perspectives from one poem to the next gives the body of Dickinson’s work an animated quality, an illusion of movement comprised of a series of flickering glimpses. As such, her poems have often been characterized as fragmentary bits of insight which make up a large, loosely related whole, but actually the opposite is true: the canon itself is fragment while individual poems are each self-contained units, singular perspectives. This is the paradox of a quest which requires numberless strategies, the sum of which–if the number were finite–would succeed in producing complete vision, and thus the poet’s union with it in the act of envisioning, the fulfillment of the quest. In the act of establishing the inextricable relationship between perception and its object’s loss, between artistic gain and personal depravation, she finds her identity and the role of her own “physiognomy” in the quest for immortality.
The noon of spiritual fulfillment is omnipresent, and to achieve it one must have “developed” sophisticated eyes. But since human perception, no matter how shrewdly developed, can sustain only instants of vision, oblique glimpses of immortality, the inevitable state of the human questor is despair. For Dickinson, however, this despair contains the key to its own transcendence, precisely because the energy of her quest is so unflagging, and her understanding of its conditions and limitations so thoroughly clear-sighted. As the poems examined above should indicate, the human night and the spiritual noon have their multi-faceted relationship through the mediation of perception and through the creation of poetic stances which enhance perceptual effectiveness. The following excerpt is a clear statement of the central emotional stance underlying this delicate mediation:
‘Tis failure–not of Hope–
But Confident Despair–
Advancing on Celestial Lists–
With faint–Terrestrial power–
‘Tis Honor–though I die–
For That no Man obtain
Till He be justified by Death–
This–is the Second Gain–
(P 522)
This poem is one of her most ambitious: it charts the poet’s quest from those presumptuous hopes of a naive questor to the “confident despair” which is the poet’s mature stance; and, like much of Dickinson’s canon, it points toward death as the crux of all meaning and relationship. The poem also contains an intense and beautiful pride, claiming the “honor” inherent in a quest that can achieve no sustained fulfillment; this honor itself sustaining and helps maintain the difficult stance of confident despair. The speaker who feels herself “Advancing on Celestial Lists– / With faint–Terrestrial power–“ knows that no certainty or true justification can exist on this side of death; but, if she despairs at the “faintness” of her own vision, she nonetheless remains confident in its relationship with the noon of her pictured fulfillment. Confidence in the reality of grace, despair at its incalculable distance–here the central paradox of Dickinson’s poetic insight, that perception of an object requires its loss, is stated poignantly in terms of her religious/artistic quest as a whole. Only through the effort of her poetic strategies could she alleviate that loss, cultivating a vision of her own questing self and of her position.
The Poetry of Emily Dickinson
For Emily Dickinson, poetry is an expression of her ceaseless pursuit of Truth and, in a sense, Immortality. To the extent that her idealized progress toward certain knowledge must be engaged with the ill-suited mortal faculties of sense and comprehension of what is sensed while tied to an imperfect world, this progress is perpetually frustrated. In stark contrast with the romantic and transcendental temperament of many of her American and Continental contemporaries, though, Dickinson acknowledges her imperfect, human perspective as an ineluctable element of her quest. Her poetry, then, can be seen both as the instrument by which she reworks her perception and as the product of that reworking.
Within this dynamic relationship, however, Dickinson consistently returns to a few primary symbols which seem to represent some unchanging elements and conditions of the quest as a whole. The most prevalent of these symbols are related to visual perception: the night, which is the symbol of her benighted, “fallen” perception, or spiritual blindness; noon and the sun, which represent absolute visionary glory, fulfillment of quest, the eradication of any division between perceiver and perceived; and physical eyesight itself, which must mediate between these two absolutes and align the real and temporal with an envisioned ideal. But the relationships among night, noon, and perception are dynamic and in constant flux; truth can only be glimpsed obliquely. “The Truth must dazzle gradually / Or every man be blind” (P 1129)–that is, true vision involves the ability to perceive relationships, to comprehend noon in terms of the night which is the human condition, the only condition Dickinson knows firsthand.
Poetic vision, therefore, is not a transcendental oneness with noon, a facile appropriation of the object of spiritual longing into the frame of a mere perceptual moment (though Dickinson did experience such moments, characterizing the them as “ecstatic instants”) but rather a multi-faceted endeavor toward gaining perspective upon that object, a perspective which absolutely necessitated distance. Dickinson characterizes the relationship between the perceiver and the perceived as paradoxically self-defeating, precisely: “Perception of an object costs / Precise the Object’s loss” (P 1071). What this means is that; 1) in order to see something, one must be separate from it and that 2) complete identification with an object necessarily precludes one’s perception of it. The most impressive and ominous logical off-shoot of this (one that resurfaces under innumerable guises throughout the Dickinson canon) is that in order to really know the capital concepts of God or Truth, to know anything at all, the singular identity of the perceiver must cease to exist.
But if the quest cannot be completed short of death, let alone organized into a single coherent thrust, individual moments of vision–attainments of true perspective–can be recorded, shaped into discrete poetic wholes. In order to place herself–a poet working “at night”–in an appropriate relationship to “noon,” the object of quest, it was necessary to experiment constantly with visionary perspectives in her poems; thus the poems often appear as fictions, the arguments of artificial personae bound to deliberately static (and therefore imperfect) perspectives. Some of these personae utter seemingly profound truths, but often the fictions also subtly qualify the speakers’ claims; sometimes the personae are still naive, in the state of innocence–and their naïveté is obvious, rather pathetic; and on occasion the speakers simply make fools of themselves.
To understand the complexity of Dickinson’s quest is to become sensitive to her various, often cunning uses of personae and their inadequately recognized affect: dramatic irony. To this affect, she creates a variety of fictions whose personae represent differing postures and attitudes toward the quest itself. Some speakers are self-deluding, others are merely complacent,
and still others make bold claims for the speaker’s own perception and intelligence, her need to scrutinize carefully perceptual relationships–measuring distances, establishing ratios between perceptual gains and losses–and thus her ability to hold her own in her courtship with death. The burden of establishing a link with omnipresence then, for Dickinson, falls not upon faith but upon human perception, which must constantly adjust its focus, never relax into certainty; otherwise, these narrow, artificial conceptions may be mistaken for the infinitely complex reality.
This perpetual shifting of perspectives from one poem to the next gives the body of Dickinson’s work an animated quality, an illusion of movement comprised of a series of flickering glimpses. As such, her poems have often been characterized as fragmentary bits of insight which make up a large, loosely related whole, but actually the opposite is true: the canon itself is fragment while individual poems are each self-contained units, singular perspectives. This is the paradox of a quest which requires numberless strategies, the sum of which–if the number were finite–would succeed in producing complete vision, and thus the poet’s union with it in the act of envisioning, the fulfillment of the quest. In the act of establishing the inextricable relationship between perception and its object’s loss, between artistic gain and personal depravation, she finds her identity and the role of her own “physiognomy” in the quest for immortality.
The noon of spiritual fulfillment is omnipresent, and to achieve it one must have “developed” sophisticated eyes. But since human perception, no matter how shrewdly developed, can sustain only instants of vision, oblique glimpses of immortality, the inevitable state of the human questor is despair. For Dickinson, however, this despair contains the key to its own transcendence, precisely because the energy of her quest is so unflagging, and her understanding of its conditions and limitations so thoroughly clear-sighted. As the poems examined above should indicate, the human night and the spiritual noon have their multi-faceted relationship through the mediation of perception and through the creation of poetic stances which enhance perceptual effectiveness. The following excerpt is a clear statement of the central emotional stance underlying this delicate mediation:
‘Tis failure–not of Hope–
But Confident Despair–
Advancing on Celestial Lists–
With faint–Terrestrial power–
‘Tis Honor–though I die–
For That no Man obtain
Till He be justified by Death–
This–is the Second Gain–
(P 522)
This poem is one of her most ambitious: it charts the poet’s quest from those presumptuous hopes of a naive questor to the “confident despair” which is the poet’s mature stance; and, like much of Dickinson’s canon, it points toward death as the crux of all meaning and relationship. The poem also contains an intense and beautiful pride, claiming the “honor” inherent in a quest that can achieve no sustained fulfillment; this honor itself sustaining and helps maintain the difficult stance of confident despair. The speaker who feels herself “Advancing on Celestial Lists– / With faint–Terrestrial power–“ knows that no certainty or true justification can exist on this side of death; but, if she despairs at the “faintness” of her own vision, she nonetheless remains confident in its relationship with the noon of her pictured fulfillment. Confidence in the reality of grace, despair at its incalculable distance–here the central paradox of Dickinson’s poetic insight, that perception of an object requires its loss, is stated poignantly in terms of her religious/artistic quest as a whole. Only through the effort of her poetic strategies could she alleviate that loss, cultivating a vision of her own questing self and of her position.
POEM 1129 WITH DEFINITIONS
1129
Tell all the Truth but tell it slant - -
Success in Circuit lies
Too bright for our infirm Delight
The Truth’s superb surprise
As Lightning to the Children eased
With explanation kind
The Truth must dazzle gradually
Or every man be blind - -
Tell all the Truth but tell it slant –
TELL
1. give an account or narrative of; narrate; relate (a story, tale, etc.): to tell the story of Lincoln's childhood.
2. to make known by speech or writing (a fact, news, information, etc.); communicate.
3. to announce or proclaim.
4. to utter (the truth, a lie, etc.).
5. to express in words (thoughts, feelings, etc.).
6. to reveal or divulge (something secret or private).
7. to say plainly or positively: I cannot tell just what was done.
8. to discern or recognize (a distant person or thing) so as to be able to identify or describe: Can you tell who that is over there?
9. to distinguish; discriminate; ascertain: You could hardly tell the difference between them.
10. to inform (a person) of something: He told me his name.
11. to assure emphatically: I won't, I tell you!
12. to bid, order, or command: Tell him to stop.
13. to mention one after another, as in enumerating; count or set one by one or in exact amount: to tell the cattle in a herd; All told there were 17 if we are correct.
14. to give an account or report: Tell me about your trip.
15. to give evidence or be an indication: The ruined temples told of an ancient culture, long since passed from existence.
16. to disclose something secret or private; inform; tattle: She knows who did it, but she won't tell.
17. to say positively; determine; predict: Who can tell?
18. to have force or effect; operate effectively: a contest in which every stroke tells.
19. to produce a marked or severe effect: The strain was telling on his health.
[Origin: bef. 900; ME tellen, OE tellan to relate, count; c. D tellen to reckon, count, ON telja to count, say, OHG zellén; akin to tale]
—Synonyms 1. recount, describe, report. 2. impart. 4. speak. 6. disclose, betray; acknowledge, own, confess; declare.
TRUTH
1. conformity with fact or reality; verity: the truth of a statement.
2. (often initial capital letter) ideal or fundamental reality apart from and transcending perceived experience: the basic truths of life.
3. Archaic. fidelity or constancy.
4. often Truth That which is considered to be the supreme reality and to have the ultimate meaning and value of existence.
5. O.E. triew (W.Saxon), treow (Mercian) "faithfulness, quality of being true," from triewe, treowe "faithful" (see true). Meaning "accuracy, correctness" is from 1570. Unlike lie (v.), there is no primary verb in Eng. for "speak the truth." Noun sense of "something that is true" is first recorded c.1362.
6. Used in various senses in Scripture. In Prov. 12:17, 19, it denotes that which is opposed to falsehood. In Isa. 59:14, 15, Jer. 7:28, it means fidelity or truthfulness. The doctrine of Christ is called "the truth of the gospel" (Gal. 2:5), "the truth" (2 Tim. 3:7; 4:4). Our Lord says of himself, "I am the way, and the truth" (John 14:6).
SLANT
1. to veer or angle away from a given level or line, esp. from a horizontal; slope.
2. to have or be influenced by a subjective point of view, bias, personal feeling or inclination, etc. (usually fol. by toward).
3. to distort (information) by rendering it unfaithfully or incompletely, esp. in order to reflect a particular viewpoint: He slanted the news story to discredit the Administration.
4. to write, edit, or publish for the interest or amusement of a specific group of readers: a story slanted toward young adults.
5. viewpoint; opinion; attitude: Let him give you his slant.
Success in Circuit lies
SUCCESS
1. the favorable or prosperous termination of attempts or endeavors.
CIRCUIT
1. a circular journey or one beginning and ending at the same place; a round.
2. a periodical journey from place to place, to perform certain duties, as by judges to hold court, ministers to preach, or salespeople covering a route.
3. the line going around or bounding any area or object; the distance about an area or object.
4. 1382, from O.Fr. circuit, from L. circuitus "a going around," from stem of circuire, circumire "go around," from circum "around" + -ire "to go." Electrical sense is from 1800; circuitry is from 1946. Circuitous is from 1664.
LIES
1. To occupy a position or place: The lake lies beyond this hill.
2. To be buried in a specified place.
3. To be decided by, dependent on, or up to: The choice lies with you.
4. Archaic To have sexual intercourse with.
5. A false statement deliberately presented as being true; a falsehood.
6. Something meant to deceive or give a wrong impression.
Too bright for our infirm Delight
BRIGHT
1. radiating or reflecting light; luminous; shining: The bright coins shone in the gloom.
2. quick-witted or intelligent: They gave promotions to bright employees.
3. animated; lively; cheerful: a bright and happy child; a bird's bright song.
4. characterized by happiness or gladness: All the world seems brighT.
5. clear or translucent, as liquid: The bright water trickled through his fingers.
6. intensely clear and vibrant in tone or quality; clear and sharp in sound: a bright singing voice.
7. O.E. bryht, by metathesis from beorht "bright, splendid," from P.Gmc. *berkhiaz, from PIE base *bhereg- "to gleam, white" (cf. Goth. bairhts "bright," Skt. bhrajate "shines, glitters," Lith. breksta "to dawn," Welsh berth "bright, beautiful," L. flagrare "to blaze"). Meaning "quick-witted" is from 1741.
INFIRM
1. feeble or weak in body or health, esp. because of age; ailing.
2. unsteadfast, faltering, or irresolute, as persons or the mind; vacillating: infirm of purpose.
3. not firm, solid, or strong: an infirm support.
4. unsound or invalid, as an argument or a property title.
5. c.1374, "weak, unsound" (of things), from L. infirmus "weak, frail," from in- "not" + firmus (see firm (adj.)). Of persons, "not strong, unhealthy," first recorded 1605.
DELIGHT
1. a high degree of pleasure or enjoyment; joy; rapture: She takes great delight in her job.
2. c.1225, delit, from O.Fr. delit, from delitier "please greatly, charm," from L. delectare "to allure, delight," freq. of delicere "entice" (see delicious). Spelled delite until 16c. when it changed under infl. of light, flight, etc.
The Truth's superb surprise
SUPERB
1. admirably fine or excellent; extremely good: a superb performance.
2. sumptuous; rich; grand: superb jewels.
3. of a proudly imposing appearance or kind; majestic: superb mountain vistas.
4. [Origin: 1540–50; < L superbus proud, superior, excellent, equiv. to super- super- + -bus adj. suffix (akin to be)]
SURPRISE
1. an assault, as on an army or a fort, made without warning.
2. a coming upon unexpectedly; detecting in the act; taking unawares.
3. [Origin: 1425–75; (n.) late ME < AF surpris(e), MF, ptp. of surprendre, equiv. to sur- sur-1 + pris (masc.), prise (fem.) < L prénsus, -sa, equiv. to prénd(ere), contracted var. of prehendere to take (see prehension) + -tus, -ta ptp. suffix; (v.) late ME surprisen < AF surpris(e) (ptp.), MF, as above]
4. Something, such as an unexpected encounter, event, or gift, that surprises.
5. c.1457, "unexpected attack or capture," from M.Fr. surprise "a taking unawares," from noun use of pp. of O.Fr. surprendre "to overtake," from sur- "over" + prendre "to take," from L. prendere, contracted from prehendere "to grasp, seize" (see prehensile). Meaning "something unexpected" first recorded 1592, that of "feeling caused by something unexpected" is 1608. Meaning "fancy dish" is attested from 1708.
6. a condition or situation in which a party to a proceeding is unexpectedly placed without any fault or neglect of his or her own and that entitles the party to relief (as a new trial)
7. an aspect of procedural unconscionability that consists of hiding a term of a contract in a mass of text
As Lightning to the Children eased
LIGHTNING
1. a brilliant electric spark discharge in the atmosphere, occurring within a thundercloud, between clouds, or between a cloud and the ground.
2. Informal A sudden, usually improbable stroke of fortune.
3. c.1280, prp. of lightnen "make bright," extended form of O.E. lihting, from leht (see light (n.)). Meaning "cheap, raw whiskey" is attested from 1781. Lightning bug is attested from 1778.
4. frequently referred to by the sacred writers (Nah. 1:3-6). Thunder and lightning are spoken of as tokens of God's wrath (2 Sam. 22:15; Job 28:26; 37:4; Ps. 135:7; 144:6; Zech. 9:14). They represent God's glorious and awful majesty (Rev. 4:5), or some judgment of God on the world (20:9).
CHILD
1. a baby or infant.
2. Any thing regarded as the product or result of particular agencies, influences: Abstract art is a child of the 20th century.
3. with child, pregnant: She's with child.
4. [Origin: bef. 950; ME; OE cild; akin to Goth kilthai womb]
EASED
1. to free from anxiety or care: to ease one's mind.
2. to mitigate, lighten, or lessen: to ease pain.
3. to release from pressure, tension, or the like.
4. to move or shift with great care:
5. to remove from a position of authority, a job, or the like, esp. by methods intended to be tactful: He was eased out as division head to make way for the boss's nephew.
6. Military. a position of rest in which soldiers may relax but may not leave their places or talk.
7. [Origin: 1175–1225; (n.) ME ese, eise < AF ese, OF aise, eise comfort, convenience < VL *adjace(m), acc. of *adjacés vicinity (cf. ML in aiace in (the) vicinity), the regular outcome of L adjacéns adjacent, taken in VL as a n. of the type nūbés, acc. nūbem cloud; (v.) ME esen < AF e(i)ser, OF aisier, deriv. of the n.]
With explanation kind
EXPLANATION
1. a meaning or interpretation: to find an explanation for a mystery.
2. a mutual declaration of the meaning of words spoken, actions, motives, etc., with a view to adjusting a misunderstanding or reconciling differences: After a long and emotional explanation they were friends again.
3. [Origin: 1350–1400; ME explanacioun < L explānātiōn- (s. of explānātiō), equiv. to explānāt(us) (see explanate) + -iōn- -ion]
4. 1382, from L. explanationem noun of action from explanare "to make plain or clear, explain," lit. "make level, flatten," from ex- "out" + planus "flat." Originally explane, spelling altered by infl. of plain. The verb explain is first attested 1513.
KIND
1. of a good or benevolent nature or disposition, as a person: a kind and loving person
2. .[Origin: bef. 900; ME kind(e) natural, well-disposed, OE gecynde natural, genial1. See kind2]
3. a class or group of individual objects, people, animals, etc., of the same nature or character, or classified together because they have traits in common; category: Our dog is the same kind as theirs.
4. nature or character as determining likeness or difference between things: These differ in degree rather than in kind.
5. Obsolete. gender; sex.
6. a more or less adequate or inadequate example of something; sort: The vines formed a kind of roof.
7. [Origin: bef. 900; ME kinde, OE gecynd nature, race, origin; c. ON kyndi, OHG kikunt, L géns (gen. gentis); see kin]
8. "class, sort, variety," from O.E. gecynd "kind, nature, race," related to cynn "family" (see kin), from P.Gmc. *gakundiz (see kind (adj.)). ∆lfric's rendition of "the Book of Genesis" into O.E. came out gecyndboc. The prefix disappeared 1150-1250. No exact cognates beyond Eng., but it corresponds to adj. endings such as Goth -kunds, O.H.G. -kund. Also as a suffix (mankind, etc.). Other earlier, now obs., senses in Eng. included "character, quality derived from birth" and "manner or way natural or proper to anyone." Use in phrase a kind of (1591)
9. "friendly," from O.E. gecynde "natural, native, innate," originally "with the feeling of relatives for each other," from P.Gmc. *gakundiz, from *kunjan (see kin), with collective prefix *ga- and abstract suffix *-iz. Sense development from "with natural feelings," to "well-disposed" (c.1300), "benign, compassionate" (1297).
The Truth must dazzle gradually
DAZZLE
1. to overpower or dim the vision of by intense light: He was dazzled by the sudden sunlight.
2. to impress deeply; astonish with delight: The glorious palace dazzled him.
3. to shine or reflect brilliantly: gems dazzling in the sunlight.
4. to excite admiration by brilliance: Once one is accustomed to such splendor, it no longer dazzles.
5. 1481, frequentative of M.E. dasen (see daze). Originally intrans.; the trans. sense is from 1536.
GRADUALLY
1. taking place, changing, moving, etc., by small degrees or little by little: gradual improvement in health.
2. rising or descending at an even, moderate inclination: a gradual slope.
3. an antiphon sung between the Epistle and the Gospel in the Eucharistic service.
4. a book containing the words and music of the parts of the liturgy that are sung by the choir.
5. [Origin: 1375–1425; late ME < ML graduālis pertaining to steps, graduāle the part of the service sung as the choir stood on the altar steps, equiv. to L gradu(s) step, grade + -ālis -al1
Or every man be blind –
EVERY
1. Everyman was the name of the leading character in a 15c. morality play.
MAN
1. an adult male person, as distinguished from a boy or a woman.
2. the human individual as representing the species, without reference to sex; the human race; humankind: Man hopes for peace, but prepares for war.
3. a husband.
4. a male lover or sweetheart.
5. a male follower or subordinate: the king's men.
6. an enthusiast or devotee: I'm essentially a classics man.
7. Obsolete. manly character or courage.
8. O.E. man, mann "human being, person," from P.Gmc. *manwaz (cf. O.S., O.H.G. man, Ger. Mann, O.N. mar, Goth. manna "man"), from PIE base *man- (cf. Skt. manuh, Avestan manu-, O.C.S. mozi, Rus. muzh "man, male"). Sometimes connected to root *men- "to think" (see mind), which would make the ground sense of man "one who has intelligence," but not all linguists accept this. Plural men (Ger. M‰nner) shows effects of i-mutation. Sense of "adult male" is late (c.1000); O.E. used wer and wif to distinguish the sexes, but wer began to disappear late 13c. and was replaced by man. Universal sense of the word remains in mankind (from O.E. mancynn, from cynn "kin") and in manslaughter (q.v.). Similarly, L. had homo "human being" and vir "adult male human being," but they merged in V.L., with homo extended to both senses. A like evolution took place in Slavic languages, and in some of them the word has narrowed to mean "husband." PIE had two stems: *uiHro "freeman" (cf. Skt. vira-, Lith. vyras, L. vir, O.Ir. fer, Goth. wair) and *hner "man," a title more of honor than *uiHro (cf. Skt. nar-, Armenian ayr, Welsh ner, Gk. aner). The chess pieces so called from c.1400. As an interjection of surprise or emphasis, first recorded c.1400, but especially popular from early 20c. Man-about-town is from 1734; the Man "the boss" is from 1918. Men's Liberation first attested
BLIND
1. unable to see; lacking the sense of sight; sightless: a blind man.
2. unwilling or unable to perceive or understand: They were blind to their children's faults. He was blind to all arguments.
3. not characterized or determined by reason or control: blind tenacity; blind chance.
4. not having or based on reason or intelligence; absolute and unquestioning: She had blind faith in his fidelity.
5. lacking all consciousness or awareness: a blind stupor.
6. hard to see or understand: blind reasoning.
7. hidden from immediate view, esp. from oncoming motorists: a blind corner.
8. having no outlets; closed at one end: a blind passage; a blind mountain pass.
9. made without some prior knowledge: a blind purchase; a blind lead in a card game.
10. [Origin: bef. 1000; (adj.) ME blind, OE; c. Goth blinds, ON blindr, G, D blind (< Gmc *blindaz, perh. akin to blend; original sense uncert.); (v.) ME blinden, deriv. of the adj.]
11. O.E. blind "blind," probably sharing with blend a P.Gmc. base *blindaz, from PIE base *bhlendh- "to glimmer indistinctly, to mix, confuse" (cf. Lith. blendzas "blind," blesti "to become dark"). The original sense, not of "sightless," but of "confused," perhaps underlies such phrases as blind alley. The verb is O.E. blendan, influenced in M.E. by the adj. The noun meaning "anything that obstructs sight" is from 1535. Blindman's bluff is from 1590. Blind date is from 1920s. Blind side "unguarded aspect" is from 1606; the verb meaning "to hit from the blind side" (written as one word) first attested 1968, Amer.Eng., in ref. to U.S. football.
Tell all the Truth but tell it slant - -
Success in Circuit lies
Too bright for our infirm Delight
The Truth’s superb surprise
As Lightning to the Children eased
With explanation kind
The Truth must dazzle gradually
Or every man be blind - -
Tell all the Truth but tell it slant –
TELL
1. give an account or narrative of; narrate; relate (a story, tale, etc.): to tell the story of Lincoln's childhood.
2. to make known by speech or writing (a fact, news, information, etc.); communicate.
3. to announce or proclaim.
4. to utter (the truth, a lie, etc.).
5. to express in words (thoughts, feelings, etc.).
6. to reveal or divulge (something secret or private).
7. to say plainly or positively: I cannot tell just what was done.
8. to discern or recognize (a distant person or thing) so as to be able to identify or describe: Can you tell who that is over there?
9. to distinguish; discriminate; ascertain: You could hardly tell the difference between them.
10. to inform (a person) of something: He told me his name.
11. to assure emphatically: I won't, I tell you!
12. to bid, order, or command: Tell him to stop.
13. to mention one after another, as in enumerating; count or set one by one or in exact amount: to tell the cattle in a herd; All told there were 17 if we are correct.
14. to give an account or report: Tell me about your trip.
15. to give evidence or be an indication: The ruined temples told of an ancient culture, long since passed from existence.
16. to disclose something secret or private; inform; tattle: She knows who did it, but she won't tell.
17. to say positively; determine; predict: Who can tell?
18. to have force or effect; operate effectively: a contest in which every stroke tells.
19. to produce a marked or severe effect: The strain was telling on his health.
[Origin: bef. 900; ME tellen, OE tellan to relate, count; c. D tellen to reckon, count, ON telja to count, say, OHG zellén; akin to tale]
—Synonyms 1. recount, describe, report. 2. impart. 4. speak. 6. disclose, betray; acknowledge, own, confess; declare.
TRUTH
1. conformity with fact or reality; verity: the truth of a statement.
2. (often initial capital letter) ideal or fundamental reality apart from and transcending perceived experience: the basic truths of life.
3. Archaic. fidelity or constancy.
4. often Truth That which is considered to be the supreme reality and to have the ultimate meaning and value of existence.
5. O.E. triew (W.Saxon), treow (Mercian) "faithfulness, quality of being true," from triewe, treowe "faithful" (see true). Meaning "accuracy, correctness" is from 1570. Unlike lie (v.), there is no primary verb in Eng. for "speak the truth." Noun sense of "something that is true" is first recorded c.1362.
6. Used in various senses in Scripture. In Prov. 12:17, 19, it denotes that which is opposed to falsehood. In Isa. 59:14, 15, Jer. 7:28, it means fidelity or truthfulness. The doctrine of Christ is called "the truth of the gospel" (Gal. 2:5), "the truth" (2 Tim. 3:7; 4:4). Our Lord says of himself, "I am the way, and the truth" (John 14:6).
SLANT
1. to veer or angle away from a given level or line, esp. from a horizontal; slope.
2. to have or be influenced by a subjective point of view, bias, personal feeling or inclination, etc. (usually fol. by toward).
3. to distort (information) by rendering it unfaithfully or incompletely, esp. in order to reflect a particular viewpoint: He slanted the news story to discredit the Administration.
4. to write, edit, or publish for the interest or amusement of a specific group of readers: a story slanted toward young adults.
5. viewpoint; opinion; attitude: Let him give you his slant.
Success in Circuit lies
SUCCESS
1. the favorable or prosperous termination of attempts or endeavors.
CIRCUIT
1. a circular journey or one beginning and ending at the same place; a round.
2. a periodical journey from place to place, to perform certain duties, as by judges to hold court, ministers to preach, or salespeople covering a route.
3. the line going around or bounding any area or object; the distance about an area or object.
4. 1382, from O.Fr. circuit, from L. circuitus "a going around," from stem of circuire, circumire "go around," from circum "around" + -ire "to go." Electrical sense is from 1800; circuitry is from 1946. Circuitous is from 1664.
LIES
1. To occupy a position or place: The lake lies beyond this hill.
2. To be buried in a specified place.
3. To be decided by, dependent on, or up to: The choice lies with you.
4. Archaic To have sexual intercourse with.
5. A false statement deliberately presented as being true; a falsehood.
6. Something meant to deceive or give a wrong impression.
Too bright for our infirm Delight
BRIGHT
1. radiating or reflecting light; luminous; shining: The bright coins shone in the gloom.
2. quick-witted or intelligent: They gave promotions to bright employees.
3. animated; lively; cheerful: a bright and happy child; a bird's bright song.
4. characterized by happiness or gladness: All the world seems brighT.
5. clear or translucent, as liquid: The bright water trickled through his fingers.
6. intensely clear and vibrant in tone or quality; clear and sharp in sound: a bright singing voice.
7. O.E. bryht, by metathesis from beorht "bright, splendid," from P.Gmc. *berkhiaz, from PIE base *bhereg- "to gleam, white" (cf. Goth. bairhts "bright," Skt. bhrajate "shines, glitters," Lith. breksta "to dawn," Welsh berth "bright, beautiful," L. flagrare "to blaze"). Meaning "quick-witted" is from 1741.
INFIRM
1. feeble or weak in body or health, esp. because of age; ailing.
2. unsteadfast, faltering, or irresolute, as persons or the mind; vacillating: infirm of purpose.
3. not firm, solid, or strong: an infirm support.
4. unsound or invalid, as an argument or a property title.
5. c.1374, "weak, unsound" (of things), from L. infirmus "weak, frail," from in- "not" + firmus (see firm (adj.)). Of persons, "not strong, unhealthy," first recorded 1605.
DELIGHT
1. a high degree of pleasure or enjoyment; joy; rapture: She takes great delight in her job.
2. c.1225, delit, from O.Fr. delit, from delitier "please greatly, charm," from L. delectare "to allure, delight," freq. of delicere "entice" (see delicious). Spelled delite until 16c. when it changed under infl. of light, flight, etc.
The Truth's superb surprise
SUPERB
1. admirably fine or excellent; extremely good: a superb performance.
2. sumptuous; rich; grand: superb jewels.
3. of a proudly imposing appearance or kind; majestic: superb mountain vistas.
4. [Origin: 1540–50; < L superbus proud, superior, excellent, equiv. to super- super- + -bus adj. suffix (akin to be)]
SURPRISE
1. an assault, as on an army or a fort, made without warning.
2. a coming upon unexpectedly; detecting in the act; taking unawares.
3. [Origin: 1425–75; (n.) late ME < AF surpris(e), MF, ptp. of surprendre, equiv. to sur- sur-1 + pris (masc.), prise (fem.) < L prénsus, -sa, equiv. to prénd(ere), contracted var. of prehendere to take (see prehension) + -tus, -ta ptp. suffix; (v.) late ME surprisen < AF surpris(e) (ptp.), MF, as above]
4. Something, such as an unexpected encounter, event, or gift, that surprises.
5. c.1457, "unexpected attack or capture," from M.Fr. surprise "a taking unawares," from noun use of pp. of O.Fr. surprendre "to overtake," from sur- "over" + prendre "to take," from L. prendere, contracted from prehendere "to grasp, seize" (see prehensile). Meaning "something unexpected" first recorded 1592, that of "feeling caused by something unexpected" is 1608. Meaning "fancy dish" is attested from 1708.
6. a condition or situation in which a party to a proceeding is unexpectedly placed without any fault or neglect of his or her own and that entitles the party to relief (as a new trial)
7. an aspect of procedural unconscionability that consists of hiding a term of a contract in a mass of text
As Lightning to the Children eased
LIGHTNING
1. a brilliant electric spark discharge in the atmosphere, occurring within a thundercloud, between clouds, or between a cloud and the ground.
2. Informal A sudden, usually improbable stroke of fortune.
3. c.1280, prp. of lightnen "make bright," extended form of O.E. lihting, from leht (see light (n.)). Meaning "cheap, raw whiskey" is attested from 1781. Lightning bug is attested from 1778.
4. frequently referred to by the sacred writers (Nah. 1:3-6). Thunder and lightning are spoken of as tokens of God's wrath (2 Sam. 22:15; Job 28:26; 37:4; Ps. 135:7; 144:6; Zech. 9:14). They represent God's glorious and awful majesty (Rev. 4:5), or some judgment of God on the world (20:9).
CHILD
1. a baby or infant.
2. Any thing regarded as the product or result of particular agencies, influences: Abstract art is a child of the 20th century.
3. with child, pregnant: She's with child.
4. [Origin: bef. 950; ME; OE cild; akin to Goth kilthai womb]
EASED
1. to free from anxiety or care: to ease one's mind.
2. to mitigate, lighten, or lessen: to ease pain.
3. to release from pressure, tension, or the like.
4. to move or shift with great care:
5. to remove from a position of authority, a job, or the like, esp. by methods intended to be tactful: He was eased out as division head to make way for the boss's nephew.
6. Military. a position of rest in which soldiers may relax but may not leave their places or talk.
7. [Origin: 1175–1225; (n.) ME ese, eise < AF ese, OF aise, eise comfort, convenience < VL *adjace(m), acc. of *adjacés vicinity (cf. ML in aiace in (the) vicinity), the regular outcome of L adjacéns adjacent, taken in VL as a n. of the type nūbés, acc. nūbem cloud; (v.) ME esen < AF e(i)ser, OF aisier, deriv. of the n.]
With explanation kind
EXPLANATION
1. a meaning or interpretation: to find an explanation for a mystery.
2. a mutual declaration of the meaning of words spoken, actions, motives, etc., with a view to adjusting a misunderstanding or reconciling differences: After a long and emotional explanation they were friends again.
3. [Origin: 1350–1400; ME explanacioun < L explānātiōn- (s. of explānātiō), equiv. to explānāt(us) (see explanate) + -iōn- -ion]
4. 1382, from L. explanationem noun of action from explanare "to make plain or clear, explain," lit. "make level, flatten," from ex- "out" + planus "flat." Originally explane, spelling altered by infl. of plain. The verb explain is first attested 1513.
KIND
1. of a good or benevolent nature or disposition, as a person: a kind and loving person
2. .[Origin: bef. 900; ME kind(e) natural, well-disposed, OE gecynde natural, genial1. See kind2]
3. a class or group of individual objects, people, animals, etc., of the same nature or character, or classified together because they have traits in common; category: Our dog is the same kind as theirs.
4. nature or character as determining likeness or difference between things: These differ in degree rather than in kind.
5. Obsolete. gender; sex.
6. a more or less adequate or inadequate example of something; sort: The vines formed a kind of roof.
7. [Origin: bef. 900; ME kinde, OE gecynd nature, race, origin; c. ON kyndi, OHG kikunt, L géns (gen. gentis); see kin]
8. "class, sort, variety," from O.E. gecynd "kind, nature, race," related to cynn "family" (see kin), from P.Gmc. *gakundiz (see kind (adj.)). ∆lfric's rendition of "the Book of Genesis" into O.E. came out gecyndboc. The prefix disappeared 1150-1250. No exact cognates beyond Eng., but it corresponds to adj. endings such as Goth -kunds, O.H.G. -kund. Also as a suffix (mankind, etc.). Other earlier, now obs., senses in Eng. included "character, quality derived from birth" and "manner or way natural or proper to anyone." Use in phrase a kind of (1591)
9. "friendly," from O.E. gecynde "natural, native, innate," originally "with the feeling of relatives for each other," from P.Gmc. *gakundiz, from *kunjan (see kin), with collective prefix *ga- and abstract suffix *-iz. Sense development from "with natural feelings," to "well-disposed" (c.1300), "benign, compassionate" (1297).
The Truth must dazzle gradually
DAZZLE
1. to overpower or dim the vision of by intense light: He was dazzled by the sudden sunlight.
2. to impress deeply; astonish with delight: The glorious palace dazzled him.
3. to shine or reflect brilliantly: gems dazzling in the sunlight.
4. to excite admiration by brilliance: Once one is accustomed to such splendor, it no longer dazzles.
5. 1481, frequentative of M.E. dasen (see daze). Originally intrans.; the trans. sense is from 1536.
GRADUALLY
1. taking place, changing, moving, etc., by small degrees or little by little: gradual improvement in health.
2. rising or descending at an even, moderate inclination: a gradual slope.
3. an antiphon sung between the Epistle and the Gospel in the Eucharistic service.
4. a book containing the words and music of the parts of the liturgy that are sung by the choir.
5. [Origin: 1375–1425; late ME < ML graduālis pertaining to steps, graduāle the part of the service sung as the choir stood on the altar steps, equiv. to L gradu(s) step, grade + -ālis -al1
Or every man be blind –
EVERY
1. Everyman was the name of the leading character in a 15c. morality play.
MAN
1. an adult male person, as distinguished from a boy or a woman.
2. the human individual as representing the species, without reference to sex; the human race; humankind: Man hopes for peace, but prepares for war.
3. a husband.
4. a male lover or sweetheart.
5. a male follower or subordinate: the king's men.
6. an enthusiast or devotee: I'm essentially a classics man.
7. Obsolete. manly character or courage.
8. O.E. man, mann "human being, person," from P.Gmc. *manwaz (cf. O.S., O.H.G. man, Ger. Mann, O.N. mar, Goth. manna "man"), from PIE base *man- (cf. Skt. manuh, Avestan manu-, O.C.S. mozi, Rus. muzh "man, male"). Sometimes connected to root *men- "to think" (see mind), which would make the ground sense of man "one who has intelligence," but not all linguists accept this. Plural men (Ger. M‰nner) shows effects of i-mutation. Sense of "adult male" is late (c.1000); O.E. used wer and wif to distinguish the sexes, but wer began to disappear late 13c. and was replaced by man. Universal sense of the word remains in mankind (from O.E. mancynn, from cynn "kin") and in manslaughter (q.v.). Similarly, L. had homo "human being" and vir "adult male human being," but they merged in V.L., with homo extended to both senses. A like evolution took place in Slavic languages, and in some of them the word has narrowed to mean "husband." PIE had two stems: *uiHro "freeman" (cf. Skt. vira-, Lith. vyras, L. vir, O.Ir. fer, Goth. wair) and *hner "man," a title more of honor than *uiHro (cf. Skt. nar-, Armenian ayr, Welsh ner, Gk. aner). The chess pieces so called from c.1400. As an interjection of surprise or emphasis, first recorded c.1400, but especially popular from early 20c. Man-about-town is from 1734; the Man "the boss" is from 1918. Men's Liberation first attested
BLIND
1. unable to see; lacking the sense of sight; sightless: a blind man.
2. unwilling or unable to perceive or understand: They were blind to their children's faults. He was blind to all arguments.
3. not characterized or determined by reason or control: blind tenacity; blind chance.
4. not having or based on reason or intelligence; absolute and unquestioning: She had blind faith in his fidelity.
5. lacking all consciousness or awareness: a blind stupor.
6. hard to see or understand: blind reasoning.
7. hidden from immediate view, esp. from oncoming motorists: a blind corner.
8. having no outlets; closed at one end: a blind passage; a blind mountain pass.
9. made without some prior knowledge: a blind purchase; a blind lead in a card game.
10. [Origin: bef. 1000; (adj.) ME blind, OE; c. Goth blinds, ON blindr, G, D blind (< Gmc *blindaz, perh. akin to blend; original sense uncert.); (v.) ME blinden, deriv. of the adj.]
11. O.E. blind "blind," probably sharing with blend a P.Gmc. base *blindaz, from PIE base *bhlendh- "to glimmer indistinctly, to mix, confuse" (cf. Lith. blendzas "blind," blesti "to become dark"). The original sense, not of "sightless," but of "confused," perhaps underlies such phrases as blind alley. The verb is O.E. blendan, influenced in M.E. by the adj. The noun meaning "anything that obstructs sight" is from 1535. Blindman's bluff is from 1590. Blind date is from 1920s. Blind side "unguarded aspect" is from 1606; the verb meaning "to hit from the blind side" (written as one word) first attested 1968, Amer.Eng., in ref. to U.S. football.
Monday, February 26, 2007
Poetry/Music Assignment
So, um, yeah… Poetry! I know that trying to read poetry and stuff is hard and that it’s even harder when that poetry is from a long time ago. So, close your eyes. Take a deep breath. Think of something nice, a favorite song perhaps. Remember the words, the lyrics that you can’t help but sing along with in the car. Feel better? A little dizzy? Oh, yes, exhale! There you go. You are about to embark on an exploration of things you think you already understand. Maybe you’ll get to expose us to something that we’ve not encountered before. Maybe you’ll accidentally learn something too. You have several jobs to do…
1. Learn and really understand what our 17 poetry terms mean and how they are used.
2. Demonstrate this understanding by finding an example of each one in action in some form of published work, be it a poem, novel, essay, article, speech, script, or song of your choice. You can pull all of your examples from a single work, 17 separate works, or mix and match, but ALL of your examples must be clearly cited and explained so that I can look them up and discern that you actually know what you’re talking about.
For Example (Yes, your responses need to be this specific and complete):
Meter: The following is an example of William Shakespeare’s use of meter from his play Romeo and Juliet. Much of this work, including these lines, is written in blank verse, which means unrhymed iambic pentameter. We know that this is its metrical form because there are five metrical feet, each consisting of one unstressed syllable followed by one stressed syllable:
1 2 3 4 5
But soft, what light through yonder window breaks?
1 2 3 4 5
It is the East and Juliet is the sun.
3. Read and really understand what our 13 poetry questions are asking of you.
4. Demonstrate this understanding by answering each of these questions about a published work, be it a poem, novel, essay, article, speech, script, or song of your choice. These can be, but needn’t be the same works you used for job 2. Note: If you’re smart, you’ll think about the next question before answering this one so that you might strategize your efforts.
5. Find ONE published work, be it a poem, novel, essay, article, speech, script, or song of your choice that yields interesting responses to FIVE of our 13 questions and respond to them in depth.
6. USE THESE FIVE RESPONSES TO FRAME A PRESENTATION DESIGNED TO TEACH US YOUR WORK NEXT WEEK!!!
1. Learn and really understand what our 17 poetry terms mean and how they are used.
2. Demonstrate this understanding by finding an example of each one in action in some form of published work, be it a poem, novel, essay, article, speech, script, or song of your choice. You can pull all of your examples from a single work, 17 separate works, or mix and match, but ALL of your examples must be clearly cited and explained so that I can look them up and discern that you actually know what you’re talking about.
For Example (Yes, your responses need to be this specific and complete):
Meter: The following is an example of William Shakespeare’s use of meter from his play Romeo and Juliet. Much of this work, including these lines, is written in blank verse, which means unrhymed iambic pentameter. We know that this is its metrical form because there are five metrical feet, each consisting of one unstressed syllable followed by one stressed syllable:
1 2 3 4 5
But soft, what light through yonder window breaks?
1 2 3 4 5
It is the East and Juliet is the sun.
3. Read and really understand what our 13 poetry questions are asking of you.
4. Demonstrate this understanding by answering each of these questions about a published work, be it a poem, novel, essay, article, speech, script, or song of your choice. These can be, but needn’t be the same works you used for job 2. Note: If you’re smart, you’ll think about the next question before answering this one so that you might strategize your efforts.
5. Find ONE published work, be it a poem, novel, essay, article, speech, script, or song of your choice that yields interesting responses to FIVE of our 13 questions and respond to them in depth.
6. USE THESE FIVE RESPONSES TO FRAME A PRESENTATION DESIGNED TO TEACH US YOUR WORK NEXT WEEK!!!
Monday, January 22, 2007
BIG BEN'S BIG ASSIGNMENT... OOOH... OUCH!
Now that we’ve set the stage, so to speak, with a liberal slathering on of Puritan ideology and its cultural, theological, and governmental implications, we should be ready to dig our cerebral mitts into the origins of revolutionary rhetoric. We’ll start slowly with a friendly, familiar character, Benjamin Franklin. You know, the chubby bald fellow with the kite, almanac and French ladies of ill repute.
YOUR JOBS:
1. CHOOSE A PARTNER/ADVERSARY AND…
2. READ THE FOLLOWING LETTER WRITTEN BY YOUR NEW PAL, BENJAMIN FRANKLIN.
3. USING WHAT YOU KNOW OF HIM, DECIDE THE EXTENT TO WHICH FRANKLIN MEANT THIS ARGUMENT EARNESTLY OR SATIRICALLY IN 150-200 WORDS. THEN EITHER…
4. CONFIRM FRANKLIN’S ARGUMENT BY PRESENTING AN IDEAL POSITIVE EXAMPLE CARRIED TO ITS LOGICAL CONCLUSION IN 150-200 WORDS OR…
5. CONFOUND FRANKLIN’S ARGUMENT BY PRESENTING AN IDEAL NEGATIVE EXAMPLE CARRIED TO ITS LOGICAL CONCLUSION IN 150-200 WORDS. THEN…
6. DISCUSS HOW THIS MAY HAVE RELATED TO THE PURITAN MORES STILL PREVALENT, THOUGH WANING, AT THIS TIME IN 150-200 WORDS. THEN…
7. DISCUSS HOW THIS MIGHT ALSO APPLY TO THE OPENING LINES OF THOMAS JEFFERSON’S DECLARATION OF INDEPENDENCE IN 150-200 WORDS.
8. COMBINE THESE ELEMENTS INTO ONE COHESIVE, PERSUASIVE ESSAY OF 750-1000 WORDS.
GOOD LUCK AND ENJOY!
A Dissertation on Liberty and Necessity, Pleasure and Pain
Whatever is, is in its Causes just Since all Things are by Fate; but purblind Man Sees but a part o' th' Chain, the nearest Link, His Eyes not carrying to the equal Beam That poises all above.
~John Dryden
I have here, according to your Request, given you my present Thoughts of the general State of Things in the Universe. Such as they are, you have them, and are welcome to 'em; and if they yield you any Pleasure or Satisfaction, I shall think my Trouble sufficiently compensated. I know my Scheme will be liable to many Objections from a less discerning Reader than your self; but it is not design'd for those who can't understand it. I need not give you any Caution to distinguish the hypothetical Parts of the Argument from the conclusive: You will easily perceive what I design for Demonstration, and what for Probability only. The whole I leave entirely to you, and shall value my self more or less on this account, in proportion to your Esteem and Approbation.
SECT. I. Of Liberty and Necessity.
I. There is said to be a First Mover, who is called GOD, Maker of the Universe.
II. He is said to be all-wise, all-good, all powerful.
These two Propositions being allow'd and asserted by People of almost every Sect and Opinion; I have here suppos'd them granted, and laid them down as the Foundation of my Argument; What follows then, being a Chain of Consequences truly drawn from them, will stand or fall as they are true or false.
III. If He is all-good, whatsoever He doth must be good.
IV. If He is all-wise, whatsoever He doth must be wise.
The Truth of these Propositions, with relation to the two first, I think may be justly call'd evident; since, either that infinite Goodness will act what is ill, or infinite Wisdom what is not wise, is too glaring a Contradiction not to be perceiv'd by any Man of common Sense, and deny'd as soon as understood.
V. If He is all-powerful, there can be nothing either existing or acting in the Universe against or without his Consent; and what He consents to must be good, because He is good; therefore Evil doth not exist.
Unde Malum? has been long a Question, and many of the Learned have perplex'd themselves and Readers to little Purpose in Answer to it. That there are both Things and Actions to which we give the Name of Evil, is not here deny'd, as Pain, Sickness, Want, Theft, Murder, &c. but that these and the like are not in reality Evils, Ills, or Defects in the Order of the Universe, is demonstrated in the next Section, as well as by this and the following Proposition. Indeed, to suppose any Thing to exist or be done, contrary to the Will of the Almighty, is to suppose him not almighty; or that Something (the Cause of Evil) is more mighty than the Almighty; an Inconsistence that I think no One will defend: And to deny any Thing or Action, which he consents to the existence of, to be good, is entirely to destroy his two Attributes of Wisdom and Goodness.
There is nothing done in the Universe, say the Philosophers, but what God either does, or permits to be done. This, as He is Almighty, is certainly true: But what need of this Distinction between doing and permitting? Why, first they take it for granted that many Things in the Universe exist in such a Manner as is not for the best, and that many Actions are done which ought not to be done, or would be better undone; these Things or Actions they cannot ascribe to God as His, because they have already attributed to Him infinite Wisdom and Goodness; Here then is the Use of the Word Permit; He permits them to be done, say they. But we will reason thus: If God permits an Action to be done, it is because he wants either Power or Inclination to hinder it; in saying he wants Power, we deny Him to be almighty; and if we say Hewants Inclination or Will, it must be, either because He is not Good, or the Action is not evil, (for all Evil is contrary to the Essence of infinite Goodness.) The former is inconsistent with his before-given Attribute of Goodness, therefore the latter must be true.
It will be said, perhaps, that God permits evil Actions to be done, for wise Ends and Purposes. But this Objection destroys itself; for whatever an infinitely good God hath wise Ends in suffering to be, must be good, is thereby made good, and cannot be otherwise.
VI. If a Creature is made by God, it must depend upon God, and receive all its Power from Him; with which Power the Creature can do nothing contrary to the Will of God, because God is Almighty; what is not contrary to His Will, must be agreeable to it; what is agreeable to it, must be good, because He is Good; therefore a Creature can do nothing but what is good.
This Proposition is much to the same Purpose with the former, but more particular; and its Conclusion is as just and evident. Tho' a Creature may do many Actions which by his Fellow Creatures will be nam'd Evil, and which will naturally and necessarily cause or bring upon the Doer, certain Pains (which will likewise be call'd Punishments;) yet this Proposition proves, that he cannot act what will be in itself really Ill, or displeasing to God. And that the painful Consequences of his evil Actions (so call'd) are not, as indeed they ought not to be, Punishments or Unhappinesses, will be shewn hereafter.
Nevertheless, the late learned Author of The Religion of Nature, (which I send you herewith) has given us a Rule or Scheme, whereby to discover which of our Actions ought to be esteem'd and denominated good, and which evil: It is in short this, "Every Action which is done according to Truth, is good; and every Action contrary to Truth, is evil: To act according to Truth is to use and esteem every Thing as what it is, &c. Thus if A steals a Horse from B, and rides away upon him, he uses him not as what he is in Truth, viz. the Property of another, but as his own, which is contrary to Truth, and therefore evil". But, as this Gentleman himself says, (Sect. I. Prop. VI.) "In order to judge rightly what any Thing is, it must be consider'd, not only what it is in one Respect, but also what it may be in any other Respect; and the whole Description of the Thing ought to be taken in:" So in this Case it ought to be consider'd, that A is naturally a covetous Being, feeling an Uneasiness in the want of B's Horse, which produces an Inclination for stealing him, stronger than his Fear of Punishment for so doing. This is Truth likewise, and A acts according to it when he steals the Horse. Besides, if it is prov'd to be a Truth, that A has not Power over his own Actions, it will be indisputable that he acts according to Truth, and impossible he should do otherwise.
I would not be understood by this to encourage or defend Theft; 'tis only for the sake of the Argument, and will certainly have no ill Effect. The Order and Course of Things will not be affected by Reasoning of this Kind; and 'tis as just and necessary, and as much according to Truth, for B to dislike and punish the Theft of his Horse, as it is for A to steal him.
VII. If the Creature is thus limited in his Actions, being able to do only such Things as God would have him to do, and not being able to refuse doing what God would have done; then he can have no such Thing as Liberty, Free-will or Power to do or refrain an Action.
By Liberty is sometimes understood the Absence of Opposition; and in this Sense, indeed, all our Actions may be said to be the Effects of our Liberty: But it is a Liberty of the same Nature with the Fall of a heavy Body to the Ground; it has Liberty to fall, that is, it meets with nothing to hinder its Fall, but at the same Time it is necessitated to fall, and has no Power or Liberty to remain suspended.
But let us take the Argument in another View, and suppose ourselves to be, in the common sense of the Word, Free Agents. As Man is a Part of this great Machine, the Universe, his regular Acting is requisite to the regular moving of the whole. Among the many Things which lie before him to be done, he may, as he is at Liberty and his Choice influenc'd by nothing, (for so it must be, or he is not at Liberty) chuse any one, and refuse the rest. Now there is every Moment something best to be done, which is alone then good, and with respect to which, every Thing else is at that Time evil. In order to know which is best to be done, and which not, it is requisite that we should have at one View all the intricate Consequences of every Action with respect to the general Order and Scheme of the Universe, both present and future; but they are innumerable and incomprehensible by any Thing but Omniscience. As we cannot know these, we have but as one Chance to ten thousand, to hit on the right Action; we should then be perpetually blundering about in the Dark, and putting the Scheme in Disorder; for every wrong Action of a Part, is a Defect or Blemish in the Order of the Whole. Is it not necessary then, that our Actions should be over-rul'd and govern'd by an all-wise Providence? -- How exact and regular is every Thing in the natural World! How wisely in every Part contriv'd! We cannot here find the least Defect! Those who have study'd the mere animal and vegetable Creation, demonstrate that nothing can be more harmonious and beautiful! All the heavenly Bodies, the Stars and Planets, are regulated with the utmost Wisdom! And can we suppose less Care to be taken in the Order of the moral than in the natural System? It is as if an ingenious Artificer, having fram'd a curious Machine or Clock, and put its many intricate Wheels and Powers in such a Dependance on one another, that the whole might move in the most exact Order and Regularity, had nevertheless plac'd in it several other Wheels endu'd with an independent Self-Motion, but ignorant of the general Interest of the Clock; and these would every now and then be moving wrong, disordering the true Movement, and making continual Work for the Mender; which might better be prevented, by depriving them of that Power of Self-Motion, and placing them in a Dependance on the regular Part of the Clock.
VIII. If there is no such Thing as Free-Will in Creatures, there can be neither Merit nor Demerit in Creatures.
IX. And therefore every Creature must be equally esteem'd by the Creator.
These Propositions appear to be the necessary Consequences of the former. And certainly no Reason can be given, why the Creator should prefer in his Esteem one Part of His Works to another, if with equal Wisdom and Goodness he design'd and created them all, since all Ill or Defect, as contrary to his Nature, is excluded by his Power. We will sum up the Argument thus, When the Creator first design'd the Universe, either it was His Will and Intention that all Things should exist and be in the Manner they are at this Time; or it was his Will they should be otherwise i. e. in a different Manner: To say it was His Will Things should be otherwise than they are, is to say Somewhat hath contradicted His Will, and broken His Measures, which is impossible because inconsistent with his Power; therefore we must allow that all Things exist now in a Manner agreeable to His Will, and in consequence of that are all equally Good, and therefore equally esteem'd by Him.
I proceed now to shew, that as all the Works of the Creator are equally esteem'd by Him, so they are, as in Justice they ought to be, equally us'd.
SECT. II. Of Pleasure and Pain.
I. When a Creature is form'd and endu'd with Life, 'tis suppos'd to receive a Capacity of the Sensation of Uneasiness or Pain.
It is this distinguishes Life and Consciousness from unactive unconscious Matter. To know or be sensible of Suffering or being acted upon is to live; and whatsoever is not so, among created Things, is properly and truly dead.
All Pain and Uneasiness proceeds at first from and is caus'd by Somewhat without and distinct from the Mind itself. The Soul must first be acted upon before it can re-act. In the Beginning of Infancy it is as if it were not; it is not conscious of its own Existence, till it has receiv'd the first Sensation of Pain; then, and not before, it begins to feel itself, is rous'd, and put into Action; then it discovers its Powers and Faculties, and exerts them to expel the Uneasiness. Thus is the Machine set on work; this is Life. We are first mov'd by Pain, and the whole succeeding Course of our Lives is but one continu'd Series of Action with a View to be freed from it. As fast as we have excluded one Uneasiness another appears, otherwise the Motion would cease. If a continual Weight is not apply'd, the Clock will stop. And as soon as the Avenues of Uneasiness to the Soul are choak'd up or cut off, we are dead, we think and act no more.
II. This Uneasiness, whenever felt, produces Desire to be freed from it, great in exact proportion to the Uneasiness.
Thus is Uneasiness the first Spring and Cause of all Action; for till we are uneasy in Rest, we can have no Desire to move, and without Desire of moving there can be no voluntary Motion. The Experience of every Man who has observ'd his own Actions will evince the Truth of this; and I think nothing need be said to prove that the Desire will be equal to the Uneasiness, for the very Thing implies as much: It is not Uneasiness unless we desire to be freed from it, nor a great Uneasiness unless the consequent Desire is great.
I might here observe, how necessary a Thing in the Order and Design of the Universe this Pain or Uneasiness is, and how beautiful in its Place! Let us but suppose it just now banish'd the World entirely, and consider the Consequence of it: All the Animal Creation would immediately stand stock still, exactly in the Posture they were in the Moment Uneasiness departed; not a Limb, not a Finger would henceforth move; we should all be reduc'd to the Condition of Statues, dull and unactive: Here I should continue to sit motionless with the Pen in my Hand thus ------ and neither leave my Seat nor write one Letter more. This may appear odd at first View, but a little Consideration will make it evident; for 'tis impossible to assign any other Cause for the voluntary Motion of an Animal than its uneasiness in Rest. What a different Appearance then would the Face of Nature make, without it! How necessary is it! And how unlikely that the Inhabitants of the World ever were, or that the Creator ever design'd they should be, exempt from it!
I would likewise observe here, that the VIIIth Proposition in the preceding Section, viz. That there is neither Merit nor Demerit, &c. is here again demonstrated, as infallibly, tho' in another manner: For since Freedom from Uneasiness is the End of all our Actions, how is it possible for us to do any Thing disinterested? -- How can any Action be meritorious of Praise or Dispraise, Reward or Punishment, when the natural Principle of Self-Love is the only and the irresistible Motive to it?
III. This Desire is always fulfill'd or satisfy'd,
In the Design or End of it, tho' not in the Manner: The first is requisite, the latter not. To exemplify this, let us make a Supposition; A Person is confin'd in a House which appears to be in imminent Danger of Falling, this, as soon as perceiv'd, creates a violent Uneasiness, and that instantly produces an equal strong Desire, the End of which is freedom from the Uneasiness, and the Manner or Way propos'd to gain this End, is to get out of the House. Now if he is convinc'd by any Means, that he is mistaken, and the House is not likely to fall, he is immediately freed from his Uneasiness, and the End of his Desire is attain'd as well as if it had been in the Manner desir'd, viz. leaving the House.
All our different Desires and Passions proceed from and are reducible to this one Point, Uneasiness, tho' the Means we propose to ourselves for expelling of it are infinite. One proposes Fame, another Wealth, a third Power, &c. as the Means to gain this End; but tho' these are never attain'd, if the Uneasiness be remov'd by some other Means, the Desire is satisfy'd. Now during the Course of Life we are ourselves continually removing successive Uneasinesses as they arise, and the last we suffer is remov'd by the sweet Sleep of Death.
IV. The fulfilling or Satisfaction of this Desire, produces the Sensation of Pleasure, great or small in exact proportion to the Desire.
Pleasure is that Satisfaction which arises in the Mind upon, and is caus'd by, the accomplishment of our Desires, and by no other Means at all; and those Desires being above shewn to be caus'd by our Pains or Uneasinesses, it follows that Pleasure is wholly caus'd by Pain, and by no other Thing at all.
V. Therefore the Sensation of Pleasure is equal, or in exact proportion to the Sensation of Pain.
As the Desire of being freed from Uneasiness is equal to the Uneasiness, and the Pleasure of satisfying that Desire equal to the Desire, the Pleasure thereby produc'd must necessarily be equal to the Uneasiness or Pain which produces it: Of three Lines, A, B, and C, if A is equal to B, and B to C, C must be equal to A. And as our Uneasinesses are always remov'd by some Means or other, it follows that Pleasure and Pain are in their Nature inseparable: So many Degrees as one Scale of the Ballance descends, so many exactly the other ascends; and one cannot rise or fall without the Fall or Rise of the other: 'Tis impossible to taste of Pleasure, without feeling its preceding proportionate Pain; or to be sensible of Pain, without having its necessary Consequent Pleasure: The highest Pleasure is only Consciousness of Freedom from the deepest Pain, and Pain is not Pain to us unless we ourselves are sensible of it. They go Hand in Hand; they cannot be divided.
You have a View of the whole Argument in a few familiar Examples: The Pain of Abstinence from Food, as it is greater or less, produces a greater or less Desire of Eating, the Accomplishment of this Desire produces a greater or less Pleasure proportionate to it. The Pain of Confinement causes the Desire of Liberty, which accomplish'd, yields a Pleasure equal to that Pain of Confinement. The Pain of Labour and Fatigue causes the Pleasure of Rest, equal to that Pain. The Pain of Absence from Friends, produces the Pleasure of Meeting in exact proportion. &c.
This is the fixt Nature of Pleasure and Pain, and will always be found to be so by those who examine it.
One of the most common Arguments for the future Existence of the Soul, is taken from the generally suppos'd Inequality of Pain and Pleasure in the present; and this, notwithstanding the Difficulty by outward Appearances to make a Judgment of another's Happiness, has been look'd upon as almost unanswerable: but since Pain naturally and infallibly produces a Pleasure in proportion to it, every individual Creature must, in any State of Life, have an equal Quantity of each, so that there is not, on that Account, any Occasion for a future Adjustment.
Thus are all the Works of the Creator equally us'd by him; And no Condition of Life or Being is in itself better or preferable to another: The Monarch is not more happy than the Slave, nor the Beggar more miserable than Croesus. Suppose A, B, and C, three distinct Beings; A and B, animate, capable of Pleasure and Pain, C an inanimate Piece of Matter, insensible of either. A receives ten Degrees of Pain, which are necessarily succeeded by ten Degrees of Pleasure: B receives fifteen of Pain, and the consequent equal Number of Pleasure: C all the while lies unconcern'd, and as he has not suffer'd the former, has no right to the latter. What can be more equal and just than this? When the Accounts come to be adjusted, A has no Reason to complain that his Portion of Pleasure was five Degrees less than that of B, for his Portion of Pain was five Degrees less likewise: Nor has B any Reason to boast that his Pleasure was five Degrees greater than that of A, for his Pain was proportionate: They are then both on the same Foot with C, that is, they are neither Gainers nor Losers.
It will possibly be objected here, that even common Experience shews us, there is not in Fact this Equality: "Some we see hearty, brisk and chearful perpetually, while others are constantly burden'd with a heavy Load of Maladies and Misfortunes, remaining for Years perhaps in Poverty, Disgrace, or Pain, and die at last without any Appearance of Recompence." Now tho' 'tis not necessary, when a Proposition is demonstrated to be a general Truth, to shew in what manner it agrees with the particular Circumstances of Persons, and indeed ought not to be requir'd; yet, as this is a common Objection, some Notice may be taken of it: And here let it be observ'd, that we cannot be proper Judges of the good or bad Fortune of Others; we are apt to imagine, that what would give us a great Uneasiness or a great Satisfaction, has the same Effect upon others: we think, for Instance, those unhappy, who must depend upon Charity for a mean Subsistence, who go in Rags, fare hardly, and are despis'd and scorn'd by all; not considering that Custom renders all these Things easy, familiar, and even pleasant. When we see Riches, Grandeur and a chearful Countenance, we easily imagine Happiness accompanies them, when oftentimes 'tis quite otherwise: Nor is a constantly sorrowful Look, attended with continual Complaints, an infallible Indication of Unhappiness. In short, we can judge by nothing but Appearances, and they are very apt to deceive us. Some put on a gay chearful Outside, and appear to the World perfectly at Ease, tho' even then, some inward Sting, some secret Pain imbitters all their Joys, and makes the Ballance even: Others appear continually dejected and full of Sorrow; but even Grief itself is sometimes pleasant, and Tears are not always without their Sweetness: Besides, Some take a Satisfaction in being thought unhappy, (as others take a Pride in being thought humble,) these will paint their Misfortunes to others in the strongest Colours, and leave no Means unus'd to make you think them thoroughly miserable; so great a Pleasure it is to them to be pitied; Others retain the Form and outside Shew of Sorrow, long after the Thing itself, with its Cause, is remov'd from the Mind; it is a Habit they have acquir'd and cannot leave. These, with many others that might be given, are Reasons why we cannot make a true Estimate of the Equality of the Happiness and Unhappiness of others; and unless we could, Matter of Fact cannot be opposed to this Hypothesis. Indeed, we are sometimes apt to think, that the Uneasinesses we ourselves have had, outweigh our Pleasures; but the Reason is this, the Mind takes no Account of the latter, they slip away un-remark'd, when the former leave more lasting Impressions on the Memory. But suppose we pass the greatest part of Life in Pain and Sorrow, suppose we die by Torments and think no more, 'tis no Diminution to the Truth of what is here advanc'd; for the Pain, tho' exquisite, is not so to the last Moments of Life, the Senses are soon benumm'd, and render'd incapable of transmitting it so sharply to the Soul as at first; She perceives it cannot hold long, and 'tis an exquisite Pleasure to behold the immediate Approaches of Rest. This makes an Equivalent tho' Annihilation should follow: For the Quantity of Pleasure and Pain is not to be measur'd by its Duration, any more than the Quantity of Matter by its Extension; and as one cubic Inch may be made to contain, by Condensation, as much Matter as would fill ten thousand cubic Feet, being more expanded, so one single Moment of Pleasure may outweigh and compensate an Age of Pain.
It was owing to their Ignorance of the Nature of Pleasure and Pain that the Antient Heathens believ'd the idle Fable of their Elizium, that State of uninterrupted Ease and Happiness! The Thing is intirely impossible in Nature! Are not the Pleasures of the Spring made such by the Disagreeableness of the Winter? Is not the Pleasure of fair Weather owing to the Unpleasantness of foul? Certainly. Were it then always Spring, were the Fields always green and flourishing, and the Weather constantly serene and fair, the Pleasure would pall and die upon our Hands; it would cease to be Pleasure to us, when it is not usher'd in by Uneasiness. Could the Philosopher visit, in reality, every Star and Planet with as much Ease and Swiftness as he can now visit their Ideas, and pass from one to another of them in the Imagination; it would be a Pleasure I grant; but it would be only in proportion to the Desire of accomplishing it, and that would be no greater than the Uneasiness suffer'd in the Want of it. The Accomplishment of a long and difficult Journey yields a great Pleasure; but if we could take a Trip to the Moon and back again, as frequently and with as much Ease as we can go and come from Market, the Satisfaction would be just the same.
The Immateriality of the Soul has been frequently made use of as an Argument for its Immortality; but let us consider, that tho' it should be allow'd to be immaterial, and consequently its Parts incapable of Separation or Destruction by any Thing material, yet by Experience we find, that it is not incapable of Cessation of Thought, which is its Action. When the Body is but a little indispos'd it has an evident Effect upon the Mind; and a right Disposition of the Organs is requisite to a right Manner of Thinking. In a sound Sleep sometimes, or in a Swoon, we cease to think at all; tho' the Soul is not therefore then annihilated, but exists all the while tho' it does not act; and may not this probably be the Case after Death? All our Ideas are first admitted by the Senses and imprinted on the Brain, increasing in Number by Observation and Experience; there they become the Subjects of the Soul's Action. The Soul is a mere Power or Faculty of contemplating on, and comparing those Ideas when it has them; hence springs Reason: But as it can think on nothing but Ideas, it must have them before it can think at all. Therefore as it may exist before it has receiv'd any Ideas, it may exist before it thinks. To remember a Thing, is to have the Idea of it still plainly imprinted on the Brain, which the Soul can turn to and contemplate on Occasion. To forget a Thing, is to have the Idea of it defac'd and destroy'd by some Accident, or the crouding in and imprinting of great variety of other Ideas upon it, so that the Soul cannot find out its Traces and distinguish it. When we have thus lost the Idea of any one Thing, we can think no more, or cease to think, on that Thing; and as we can lose the Idea of one Thing, so we may of ten, twenty, a hundred, &c. and even of all Things, because they are not in their Nature permanent; and often during Life we see that some Men, (by an Accident or Distemper affecting the Brain,) lose the greatest Part of their Ideas, and remember very little of their past Actions and Circumstances. Now upon Death, and the Destruction of the Body, the Ideas contain'd in the Brain, (which are alone the Subjects of the Soul's Action) being then likewise necessarily destroy'd, the Soul, tho' incapable of Destruction itself, must then necessarily cease to think or act, having nothing left to think or act upon. It is reduc'd to its first inconscious State before it receiv'd any Ideas. And to cease to think is but little different from ceasing to be.
Nevertheless, 'tis not impossible that this same Faculty of contemplating Ideas may be hereafter united to a new Body, and receive a new Set of Ideas; but that will no way concern us who are now living; for the Identity will be lost, it is no longer that same Self but a new Being.
I shall here subjoin a short Recapitulation of the Whole, that it may with all its Parts be comprehended at one View.
1. It is suppos'd that God the Maker and Governour of the Universe, is infinitely wise, good, and powerful.
2. In consequence of His infinite Wisdom and Goodness, it is asserted, that whatever He doth must be infinitely wise and good;
3. Unless He be interrupted, and His Measures broken by some other Being, which is impossible because He is Almighty.
4. In consequence of His infinite Power, it is asserted, that nothing can exist or be done in the Universe which is not agreeable to His Will, and therefore good.
5. Evil is hereby excluded, with all Merit and Demerit; and likewise all preference in the Esteem of God, of one Part of the Creation to another. This is the Summary of the first Part.
Now our common Notions of Justice will tell us, that if all created Things are equally esteem'd by the Creator, they ought to be equally us'd by Him; and that they are therefore equally us'd, we might embrace for Truth upon the Credit, and as the true Consequence of the foregoing Argument. Nevertheless we proceed to confirm it, by shewing how they are equally us'd, and that in the following Manner.
1. A Creature when endu'd with Life or Consciousness, is made capable of Uneasiness or Pain.
2. This Pain produces Desire to be freed from it, in exact proportion to itself.
3. The Accomplishment of this Desire produces an equal Pleasure.
4. Pleasure is consequently equal to Pain.
From these Propositions it is observ'd,
1. That every Creature hath as much Pleasure as Pain.
2. That Life is not preferable to Insensibility; for Pleasure and Pain destroy one another: That Being which has ten Degrees of Pain subtracted from ten of Pleasure, has nothing remaining, and is upon an equality with that Being which is insensible of both.
3. As the first Part proves that all Things must be equally us'd by the Creator because equally esteem'd; so this second Part demonstrates that they are equally esteem'd because equally us'd.
4. Since every Action is the Effect of Self-Uneasiness, the Distinction of Virtue and Vice is excluded; and Prop. VIII. in Sect. I. again demonstrated.
5. No State of Life can be happier than the present, because Pleasure and Pain are inseparable.
Thus both Parts of this Argument agree with and confirm one another, and the Demonstration is reciprocal.
I am sensible that the Doctrine here advanc'd, if it were to be publish'd, would meet with but an indifferent Reception. Mankind naturally and generally love to be flatter'd: Whatever sooths our Pride, and tends to exalt our Species above the rest of the Creation, we are pleas'd with and easily believe, when ungrateful Truths shall be with the utmost Indignation rejected. "What! bring ourselves down to an Equality with the Beasts of the Field! with the meanest part of the Creation! 'Tis insufferable!" But, (to use a Piece of common Sense) our Geese are but Geese tho' we may think 'em Swans; and Truth will be Truth tho' it sometimes prove mortifying and distasteful.
~Benjamin Franklin, London, 1725
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A Dissertation on Liberty and Necessity, Pleasure and Pain
Whatever is, is in its Causes just Since all Things are by Fate; but purblind Man Sees but a part o' th' Chain, the nearest Link, His Eyes not carrying to the equal Beam That poises all above.
~John Dryden
I have here, according to your Request, given you my present Thoughts of the general State of Things in the Universe. Such as they are, you have them, and are welcome to 'em; and if they yield you any Pleasure or Satisfaction, I shall think my Trouble sufficiently compensated. I know my Scheme will be liable to many Objections from a less discerning Reader than your self; but it is not design'd for those who can't understand it. I need not give you any Caution to distinguish the hypothetical Parts of the Argument from the conclusive: You will easily perceive what I design for Demonstration, and what for Probability only. The whole I leave entirely to you, and shall value my self more or less on this account, in proportion to your Esteem and Approbation.
SECT. I. Of Liberty and Necessity.
I. There is said to be a First Mover, who is called GOD, Maker of the Universe.
II. He is said to be all-wise, all-good, all powerful.
These two Propositions being allow'd and asserted by People of almost every Sect and Opinion; I have here suppos'd them granted, and laid them down as the Foundation of my Argument; What follows then, being a Chain of Consequences truly drawn from them, will stand or fall as they are true or false.
III. If He is all-good, whatsoever He doth must be good.
IV. If He is all-wise, whatsoever He doth must be wise.
The Truth of these Propositions, with relation to the two first, I think may be justly call'd evident; since, either that infinite Goodness will act what is ill, or infinite Wisdom what is not wise, is too glaring a Contradiction not to be perceiv'd by any Man of common Sense, and deny'd as soon as understood.
V. If He is all-powerful, there can be nothing either existing or acting in the Universe against or without his Consent; and what He consents to must be good, because He is good; therefore Evil doth not exist.
Unde Malum? has been long a Question, and many of the Learned have perplex'd themselves and Readers to little Purpose in Answer to it. That there are both Things and Actions to which we give the Name of Evil, is not here deny'd, as Pain, Sickness, Want, Theft, Murder, &c. but that these and the like are not in reality Evils, Ills, or Defects in the Order of the Universe, is demonstrated in the next Section, as well as by this and the following Proposition. Indeed, to suppose any Thing to exist or be done, contrary to the Will of the Almighty, is to suppose him not almighty; or that Something (the Cause of Evil) is more mighty than the Almighty; an Inconsistence that I think no One will defend: And to deny any Thing or Action, which he consents to the existence of, to be good, is entirely to destroy his two Attributes of Wisdom and Goodness.
There is nothing done in the Universe, say the Philosophers, but what God either does, or permits to be done. This, as He is Almighty, is certainly true: But what need of this Distinction between doing and permitting? Why, first they take it for granted that many Things in the Universe exist in such a Manner as is not for the best, and that many Actions are done which ought not to be done, or would be better undone; these Things or Actions they cannot ascribe to God as His, because they have already attributed to Him infinite Wisdom and Goodness; Here then is the Use of the Word Permit; He permits them to be done, say they. But we will reason thus: If God permits an Action to be done, it is because he wants either Power or Inclination to hinder it; in saying he wants Power, we deny Him to be almighty; and if we say Hewants Inclination or Will, it must be, either because He is not Good, or the Action is not evil, (for all Evil is contrary to the Essence of infinite Goodness.) The former is inconsistent with his before-given Attribute of Goodness, therefore the latter must be true.
It will be said, perhaps, that God permits evil Actions to be done, for wise Ends and Purposes. But this Objection destroys itself; for whatever an infinitely good God hath wise Ends in suffering to be, must be good, is thereby made good, and cannot be otherwise.
VI. If a Creature is made by God, it must depend upon God, and receive all its Power from Him; with which Power the Creature can do nothing contrary to the Will of God, because God is Almighty; what is not contrary to His Will, must be agreeable to it; what is agreeable to it, must be good, because He is Good; therefore a Creature can do nothing but what is good.
This Proposition is much to the same Purpose with the former, but more particular; and its Conclusion is as just and evident. Tho' a Creature may do many Actions which by his Fellow Creatures will be nam'd Evil, and which will naturally and necessarily cause or bring upon the Doer, certain Pains (which will likewise be call'd Punishments;) yet this Proposition proves, that he cannot act what will be in itself really Ill, or displeasing to God. And that the painful Consequences of his evil Actions (so call'd) are not, as indeed they ought not to be, Punishments or Unhappinesses, will be shewn hereafter.
Nevertheless, the late learned Author of The Religion of Nature, (which I send you herewith) has given us a Rule or Scheme, whereby to discover which of our Actions ought to be esteem'd and denominated good, and which evil: It is in short this, "Every Action which is done according to Truth, is good; and every Action contrary to Truth, is evil: To act according to Truth is to use and esteem every Thing as what it is, &c. Thus if A steals a Horse from B, and rides away upon him, he uses him not as what he is in Truth, viz. the Property of another, but as his own, which is contrary to Truth, and therefore evil". But, as this Gentleman himself says, (Sect. I. Prop. VI.) "In order to judge rightly what any Thing is, it must be consider'd, not only what it is in one Respect, but also what it may be in any other Respect; and the whole Description of the Thing ought to be taken in:" So in this Case it ought to be consider'd, that A is naturally a covetous Being, feeling an Uneasiness in the want of B's Horse, which produces an Inclination for stealing him, stronger than his Fear of Punishment for so doing. This is Truth likewise, and A acts according to it when he steals the Horse. Besides, if it is prov'd to be a Truth, that A has not Power over his own Actions, it will be indisputable that he acts according to Truth, and impossible he should do otherwise.
I would not be understood by this to encourage or defend Theft; 'tis only for the sake of the Argument, and will certainly have no ill Effect. The Order and Course of Things will not be affected by Reasoning of this Kind; and 'tis as just and necessary, and as much according to Truth, for B to dislike and punish the Theft of his Horse, as it is for A to steal him.
VII. If the Creature is thus limited in his Actions, being able to do only such Things as God would have him to do, and not being able to refuse doing what God would have done; then he can have no such Thing as Liberty, Free-will or Power to do or refrain an Action.
By Liberty is sometimes understood the Absence of Opposition; and in this Sense, indeed, all our Actions may be said to be the Effects of our Liberty: But it is a Liberty of the same Nature with the Fall of a heavy Body to the Ground; it has Liberty to fall, that is, it meets with nothing to hinder its Fall, but at the same Time it is necessitated to fall, and has no Power or Liberty to remain suspended.
But let us take the Argument in another View, and suppose ourselves to be, in the common sense of the Word, Free Agents. As Man is a Part of this great Machine, the Universe, his regular Acting is requisite to the regular moving of the whole. Among the many Things which lie before him to be done, he may, as he is at Liberty and his Choice influenc'd by nothing, (for so it must be, or he is not at Liberty) chuse any one, and refuse the rest. Now there is every Moment something best to be done, which is alone then good, and with respect to which, every Thing else is at that Time evil. In order to know which is best to be done, and which not, it is requisite that we should have at one View all the intricate Consequences of every Action with respect to the general Order and Scheme of the Universe, both present and future; but they are innumerable and incomprehensible by any Thing but Omniscience. As we cannot know these, we have but as one Chance to ten thousand, to hit on the right Action; we should then be perpetually blundering about in the Dark, and putting the Scheme in Disorder; for every wrong Action of a Part, is a Defect or Blemish in the Order of the Whole. Is it not necessary then, that our Actions should be over-rul'd and govern'd by an all-wise Providence? -- How exact and regular is every Thing in the natural World! How wisely in every Part contriv'd! We cannot here find the least Defect! Those who have study'd the mere animal and vegetable Creation, demonstrate that nothing can be more harmonious and beautiful! All the heavenly Bodies, the Stars and Planets, are regulated with the utmost Wisdom! And can we suppose less Care to be taken in the Order of the moral than in the natural System? It is as if an ingenious Artificer, having fram'd a curious Machine or Clock, and put its many intricate Wheels and Powers in such a Dependance on one another, that the whole might move in the most exact Order and Regularity, had nevertheless plac'd in it several other Wheels endu'd with an independent Self-Motion, but ignorant of the general Interest of the Clock; and these would every now and then be moving wrong, disordering the true Movement, and making continual Work for the Mender; which might better be prevented, by depriving them of that Power of Self-Motion, and placing them in a Dependance on the regular Part of the Clock.
VIII. If there is no such Thing as Free-Will in Creatures, there can be neither Merit nor Demerit in Creatures.
IX. And therefore every Creature must be equally esteem'd by the Creator.
These Propositions appear to be the necessary Consequences of the former. And certainly no Reason can be given, why the Creator should prefer in his Esteem one Part of His Works to another, if with equal Wisdom and Goodness he design'd and created them all, since all Ill or Defect, as contrary to his Nature, is excluded by his Power. We will sum up the Argument thus, When the Creator first design'd the Universe, either it was His Will and Intention that all Things should exist and be in the Manner they are at this Time; or it was his Will they should be otherwise i. e. in a different Manner: To say it was His Will Things should be otherwise than they are, is to say Somewhat hath contradicted His Will, and broken His Measures, which is impossible because inconsistent with his Power; therefore we must allow that all Things exist now in a Manner agreeable to His Will, and in consequence of that are all equally Good, and therefore equally esteem'd by Him.
I proceed now to shew, that as all the Works of the Creator are equally esteem'd by Him, so they are, as in Justice they ought to be, equally us'd.
SECT. II. Of Pleasure and Pain.
I. When a Creature is form'd and endu'd with Life, 'tis suppos'd to receive a Capacity of the Sensation of Uneasiness or Pain.
It is this distinguishes Life and Consciousness from unactive unconscious Matter. To know or be sensible of Suffering or being acted upon is to live; and whatsoever is not so, among created Things, is properly and truly dead.
All Pain and Uneasiness proceeds at first from and is caus'd by Somewhat without and distinct from the Mind itself. The Soul must first be acted upon before it can re-act. In the Beginning of Infancy it is as if it were not; it is not conscious of its own Existence, till it has receiv'd the first Sensation of Pain; then, and not before, it begins to feel itself, is rous'd, and put into Action; then it discovers its Powers and Faculties, and exerts them to expel the Uneasiness. Thus is the Machine set on work; this is Life. We are first mov'd by Pain, and the whole succeeding Course of our Lives is but one continu'd Series of Action with a View to be freed from it. As fast as we have excluded one Uneasiness another appears, otherwise the Motion would cease. If a continual Weight is not apply'd, the Clock will stop. And as soon as the Avenues of Uneasiness to the Soul are choak'd up or cut off, we are dead, we think and act no more.
II. This Uneasiness, whenever felt, produces Desire to be freed from it, great in exact proportion to the Uneasiness.
Thus is Uneasiness the first Spring and Cause of all Action; for till we are uneasy in Rest, we can have no Desire to move, and without Desire of moving there can be no voluntary Motion. The Experience of every Man who has observ'd his own Actions will evince the Truth of this; and I think nothing need be said to prove that the Desire will be equal to the Uneasiness, for the very Thing implies as much: It is not Uneasiness unless we desire to be freed from it, nor a great Uneasiness unless the consequent Desire is great.
I might here observe, how necessary a Thing in the Order and Design of the Universe this Pain or Uneasiness is, and how beautiful in its Place! Let us but suppose it just now banish'd the World entirely, and consider the Consequence of it: All the Animal Creation would immediately stand stock still, exactly in the Posture they were in the Moment Uneasiness departed; not a Limb, not a Finger would henceforth move; we should all be reduc'd to the Condition of Statues, dull and unactive: Here I should continue to sit motionless with the Pen in my Hand thus ------ and neither leave my Seat nor write one Letter more. This may appear odd at first View, but a little Consideration will make it evident; for 'tis impossible to assign any other Cause for the voluntary Motion of an Animal than its uneasiness in Rest. What a different Appearance then would the Face of Nature make, without it! How necessary is it! And how unlikely that the Inhabitants of the World ever were, or that the Creator ever design'd they should be, exempt from it!
I would likewise observe here, that the VIIIth Proposition in the preceding Section, viz. That there is neither Merit nor Demerit, &c. is here again demonstrated, as infallibly, tho' in another manner: For since Freedom from Uneasiness is the End of all our Actions, how is it possible for us to do any Thing disinterested? -- How can any Action be meritorious of Praise or Dispraise, Reward or Punishment, when the natural Principle of Self-Love is the only and the irresistible Motive to it?
III. This Desire is always fulfill'd or satisfy'd,
In the Design or End of it, tho' not in the Manner: The first is requisite, the latter not. To exemplify this, let us make a Supposition; A Person is confin'd in a House which appears to be in imminent Danger of Falling, this, as soon as perceiv'd, creates a violent Uneasiness, and that instantly produces an equal strong Desire, the End of which is freedom from the Uneasiness, and the Manner or Way propos'd to gain this End, is to get out of the House. Now if he is convinc'd by any Means, that he is mistaken, and the House is not likely to fall, he is immediately freed from his Uneasiness, and the End of his Desire is attain'd as well as if it had been in the Manner desir'd, viz. leaving the House.
All our different Desires and Passions proceed from and are reducible to this one Point, Uneasiness, tho' the Means we propose to ourselves for expelling of it are infinite. One proposes Fame, another Wealth, a third Power, &c. as the Means to gain this End; but tho' these are never attain'd, if the Uneasiness be remov'd by some other Means, the Desire is satisfy'd. Now during the Course of Life we are ourselves continually removing successive Uneasinesses as they arise, and the last we suffer is remov'd by the sweet Sleep of Death.
IV. The fulfilling or Satisfaction of this Desire, produces the Sensation of Pleasure, great or small in exact proportion to the Desire.
Pleasure is that Satisfaction which arises in the Mind upon, and is caus'd by, the accomplishment of our Desires, and by no other Means at all; and those Desires being above shewn to be caus'd by our Pains or Uneasinesses, it follows that Pleasure is wholly caus'd by Pain, and by no other Thing at all.
V. Therefore the Sensation of Pleasure is equal, or in exact proportion to the Sensation of Pain.
As the Desire of being freed from Uneasiness is equal to the Uneasiness, and the Pleasure of satisfying that Desire equal to the Desire, the Pleasure thereby produc'd must necessarily be equal to the Uneasiness or Pain which produces it: Of three Lines, A, B, and C, if A is equal to B, and B to C, C must be equal to A. And as our Uneasinesses are always remov'd by some Means or other, it follows that Pleasure and Pain are in their Nature inseparable: So many Degrees as one Scale of the Ballance descends, so many exactly the other ascends; and one cannot rise or fall without the Fall or Rise of the other: 'Tis impossible to taste of Pleasure, without feeling its preceding proportionate Pain; or to be sensible of Pain, without having its necessary Consequent Pleasure: The highest Pleasure is only Consciousness of Freedom from the deepest Pain, and Pain is not Pain to us unless we ourselves are sensible of it. They go Hand in Hand; they cannot be divided.
You have a View of the whole Argument in a few familiar Examples: The Pain of Abstinence from Food, as it is greater or less, produces a greater or less Desire of Eating, the Accomplishment of this Desire produces a greater or less Pleasure proportionate to it. The Pain of Confinement causes the Desire of Liberty, which accomplish'd, yields a Pleasure equal to that Pain of Confinement. The Pain of Labour and Fatigue causes the Pleasure of Rest, equal to that Pain. The Pain of Absence from Friends, produces the Pleasure of Meeting in exact proportion. &c.
This is the fixt Nature of Pleasure and Pain, and will always be found to be so by those who examine it.
One of the most common Arguments for the future Existence of the Soul, is taken from the generally suppos'd Inequality of Pain and Pleasure in the present; and this, notwithstanding the Difficulty by outward Appearances to make a Judgment of another's Happiness, has been look'd upon as almost unanswerable: but since Pain naturally and infallibly produces a Pleasure in proportion to it, every individual Creature must, in any State of Life, have an equal Quantity of each, so that there is not, on that Account, any Occasion for a future Adjustment.
Thus are all the Works of the Creator equally us'd by him; And no Condition of Life or Being is in itself better or preferable to another: The Monarch is not more happy than the Slave, nor the Beggar more miserable than Croesus. Suppose A, B, and C, three distinct Beings; A and B, animate, capable of Pleasure and Pain, C an inanimate Piece of Matter, insensible of either. A receives ten Degrees of Pain, which are necessarily succeeded by ten Degrees of Pleasure: B receives fifteen of Pain, and the consequent equal Number of Pleasure: C all the while lies unconcern'd, and as he has not suffer'd the former, has no right to the latter. What can be more equal and just than this? When the Accounts come to be adjusted, A has no Reason to complain that his Portion of Pleasure was five Degrees less than that of B, for his Portion of Pain was five Degrees less likewise: Nor has B any Reason to boast that his Pleasure was five Degrees greater than that of A, for his Pain was proportionate: They are then both on the same Foot with C, that is, they are neither Gainers nor Losers.
It will possibly be objected here, that even common Experience shews us, there is not in Fact this Equality: "Some we see hearty, brisk and chearful perpetually, while others are constantly burden'd with a heavy Load of Maladies and Misfortunes, remaining for Years perhaps in Poverty, Disgrace, or Pain, and die at last without any Appearance of Recompence." Now tho' 'tis not necessary, when a Proposition is demonstrated to be a general Truth, to shew in what manner it agrees with the particular Circumstances of Persons, and indeed ought not to be requir'd; yet, as this is a common Objection, some Notice may be taken of it: And here let it be observ'd, that we cannot be proper Judges of the good or bad Fortune of Others; we are apt to imagine, that what would give us a great Uneasiness or a great Satisfaction, has the same Effect upon others: we think, for Instance, those unhappy, who must depend upon Charity for a mean Subsistence, who go in Rags, fare hardly, and are despis'd and scorn'd by all; not considering that Custom renders all these Things easy, familiar, and even pleasant. When we see Riches, Grandeur and a chearful Countenance, we easily imagine Happiness accompanies them, when oftentimes 'tis quite otherwise: Nor is a constantly sorrowful Look, attended with continual Complaints, an infallible Indication of Unhappiness. In short, we can judge by nothing but Appearances, and they are very apt to deceive us. Some put on a gay chearful Outside, and appear to the World perfectly at Ease, tho' even then, some inward Sting, some secret Pain imbitters all their Joys, and makes the Ballance even: Others appear continually dejected and full of Sorrow; but even Grief itself is sometimes pleasant, and Tears are not always without their Sweetness: Besides, Some take a Satisfaction in being thought unhappy, (as others take a Pride in being thought humble,) these will paint their Misfortunes to others in the strongest Colours, and leave no Means unus'd to make you think them thoroughly miserable; so great a Pleasure it is to them to be pitied; Others retain the Form and outside Shew of Sorrow, long after the Thing itself, with its Cause, is remov'd from the Mind; it is a Habit they have acquir'd and cannot leave. These, with many others that might be given, are Reasons why we cannot make a true Estimate of the Equality of the Happiness and Unhappiness of others; and unless we could, Matter of Fact cannot be opposed to this Hypothesis. Indeed, we are sometimes apt to think, that the Uneasinesses we ourselves have had, outweigh our Pleasures; but the Reason is this, the Mind takes no Account of the latter, they slip away un-remark'd, when the former leave more lasting Impressions on the Memory. But suppose we pass the greatest part of Life in Pain and Sorrow, suppose we die by Torments and think no more, 'tis no Diminution to the Truth of what is here advanc'd; for the Pain, tho' exquisite, is not so to the last Moments of Life, the Senses are soon benumm'd, and render'd incapable of transmitting it so sharply to the Soul as at first; She perceives it cannot hold long, and 'tis an exquisite Pleasure to behold the immediate Approaches of Rest. This makes an Equivalent tho' Annihilation should follow: For the Quantity of Pleasure and Pain is not to be measur'd by its Duration, any more than the Quantity of Matter by its Extension; and as one cubic Inch may be made to contain, by Condensation, as much Matter as would fill ten thousand cubic Feet, being more expanded, so one single Moment of Pleasure may outweigh and compensate an Age of Pain.
It was owing to their Ignorance of the Nature of Pleasure and Pain that the Antient Heathens believ'd the idle Fable of their Elizium, that State of uninterrupted Ease and Happiness! The Thing is intirely impossible in Nature! Are not the Pleasures of the Spring made such by the Disagreeableness of the Winter? Is not the Pleasure of fair Weather owing to the Unpleasantness of foul? Certainly. Were it then always Spring, were the Fields always green and flourishing, and the Weather constantly serene and fair, the Pleasure would pall and die upon our Hands; it would cease to be Pleasure to us, when it is not usher'd in by Uneasiness. Could the Philosopher visit, in reality, every Star and Planet with as much Ease and Swiftness as he can now visit their Ideas, and pass from one to another of them in the Imagination; it would be a Pleasure I grant; but it would be only in proportion to the Desire of accomplishing it, and that would be no greater than the Uneasiness suffer'd in the Want of it. The Accomplishment of a long and difficult Journey yields a great Pleasure; but if we could take a Trip to the Moon and back again, as frequently and with as much Ease as we can go and come from Market, the Satisfaction would be just the same.
The Immateriality of the Soul has been frequently made use of as an Argument for its Immortality; but let us consider, that tho' it should be allow'd to be immaterial, and consequently its Parts incapable of Separation or Destruction by any Thing material, yet by Experience we find, that it is not incapable of Cessation of Thought, which is its Action. When the Body is but a little indispos'd it has an evident Effect upon the Mind; and a right Disposition of the Organs is requisite to a right Manner of Thinking. In a sound Sleep sometimes, or in a Swoon, we cease to think at all; tho' the Soul is not therefore then annihilated, but exists all the while tho' it does not act; and may not this probably be the Case after Death? All our Ideas are first admitted by the Senses and imprinted on the Brain, increasing in Number by Observation and Experience; there they become the Subjects of the Soul's Action. The Soul is a mere Power or Faculty of contemplating on, and comparing those Ideas when it has them; hence springs Reason: But as it can think on nothing but Ideas, it must have them before it can think at all. Therefore as it may exist before it has receiv'd any Ideas, it may exist before it thinks. To remember a Thing, is to have the Idea of it still plainly imprinted on the Brain, which the Soul can turn to and contemplate on Occasion. To forget a Thing, is to have the Idea of it defac'd and destroy'd by some Accident, or the crouding in and imprinting of great variety of other Ideas upon it, so that the Soul cannot find out its Traces and distinguish it. When we have thus lost the Idea of any one Thing, we can think no more, or cease to think, on that Thing; and as we can lose the Idea of one Thing, so we may of ten, twenty, a hundred, &c. and even of all Things, because they are not in their Nature permanent; and often during Life we see that some Men, (by an Accident or Distemper affecting the Brain,) lose the greatest Part of their Ideas, and remember very little of their past Actions and Circumstances. Now upon Death, and the Destruction of the Body, the Ideas contain'd in the Brain, (which are alone the Subjects of the Soul's Action) being then likewise necessarily destroy'd, the Soul, tho' incapable of Destruction itself, must then necessarily cease to think or act, having nothing left to think or act upon. It is reduc'd to its first inconscious State before it receiv'd any Ideas. And to cease to think is but little different from ceasing to be.
Nevertheless, 'tis not impossible that this same Faculty of contemplating Ideas may be hereafter united to a new Body, and receive a new Set of Ideas; but that will no way concern us who are now living; for the Identity will be lost, it is no longer that same Self but a new Being.
I shall here subjoin a short Recapitulation of the Whole, that it may with all its Parts be comprehended at one View.
1. It is suppos'd that God the Maker and Governour of the Universe, is infinitely wise, good, and powerful.
2. In consequence of His infinite Wisdom and Goodness, it is asserted, that whatever He doth must be infinitely wise and good;
3. Unless He be interrupted, and His Measures broken by some other Being, which is impossible because He is Almighty.
4. In consequence of His infinite Power, it is asserted, that nothing can exist or be done in the Universe which is not agreeable to His Will, and therefore good.
5. Evil is hereby excluded, with all Merit and Demerit; and likewise all preference in the Esteem of God, of one Part of the Creation to another. This is the Summary of the first Part.
Now our common Notions of Justice will tell us, that if all created Things are equally esteem'd by the Creator, they ought to be equally us'd by Him; and that they are therefore equally us'd, we might embrace for Truth upon the Credit, and as the true Consequence of the foregoing Argument. Nevertheless we proceed to confirm it, by shewing how they are equally us'd, and that in the following Manner.
1. A Creature when endu'd with Life or Consciousness, is made capable of Uneasiness or Pain.
2. This Pain produces Desire to be freed from it, in exact proportion to itself.
3. The Accomplishment of this Desire produces an equal Pleasure.
4. Pleasure is consequently equal to Pain.
From these Propositions it is observ'd,
1. That every Creature hath as much Pleasure as Pain.
2. That Life is not preferable to Insensibility; for Pleasure and Pain destroy one another: That Being which has ten Degrees of Pain subtracted from ten of Pleasure, has nothing remaining, and is upon an equality with that Being which is insensible of both.
3. As the first Part proves that all Things must be equally us'd by the Creator because equally esteem'd; so this second Part demonstrates that they are equally esteem'd because equally us'd.
4. Since every Action is the Effect of Self-Uneasiness, the Distinction of Virtue and Vice is excluded; and Prop. VIII. in Sect. I. again demonstrated.
5. No State of Life can be happier than the present, because Pleasure and Pain are inseparable.
Thus both Parts of this Argument agree with and confirm one another, and the Demonstration is reciprocal.
I am sensible that the Doctrine here advanc'd, if it were to be publish'd, would meet with but an indifferent Reception. Mankind naturally and generally love to be flatter'd: Whatever sooths our Pride, and tends to exalt our Species above the rest of the Creation, we are pleas'd with and easily believe, when ungrateful Truths shall be with the utmost Indignation rejected. "What! bring ourselves down to an Equality with the Beasts of the Field! with the meanest part of the Creation! 'Tis insufferable!" But, (to use a Piece of common Sense) our Geese are but Geese tho' we may think 'em Swans; and Truth will be Truth tho' it sometimes prove mortifying and distasteful.
~Benjamin Franklin, London, 1725
Tuesday, September 05, 2006
Course Syllabus & Expectations
Course Syllabus
English III, American Literature
Mr. Lawless
Welcome to English III! Throughout the year we will be exploring and exercising the power of language. This power should not be underestimated or taken for granted. Language is the primary means by which we create and convey ideas, learn from and persuade others, reflect and shape culture, and entertain each other. Nowhere is this more evident than in the frenetic cultural evolution of North America.
We will engage in far too many activities, discussions, and exercises this year to list on the first day. Our heads would explode. Just so you have some idea of what you’re getting yourself into, though, here are some things we will be tackling.
We will:
• demonstrate comprehension of cultural and historical perspectives in American literature.
• integrate new vocabulary in verbal expression.
• apply the writing traits to form coherent essays.
• comprehend and apply delivery techniques in oral presentations.
• develop sophisticated logical arguments using evidence and reason.
• demonstrate literal, inferential, evaluative, and comparative comprehension skills.
• extend and deepen comprehension by relating texts, experiences, issues, and events.
• explore how literature records, reflects, communicates, and influences human events.
• read and respond to literary works from a variety of literary forms including novels, short stories, poetry, drama, essays, and nonfiction.
• evaluate how the form of a literary work and the use of literary elements and devices contribute to the work’s message and impact.
• explore how literature is influenced by historical, cultural, social, and biographical factors.
• use writing as a tool to learn, reflect, and communicate for a variety of audiences and purposes.
• write and speak in a variety of modes and forms appropriate to audience and purpose.
• develop CIM work samples for persuasive formal speaking and essay writing.
Whew! It seems like a lot, I know. Imagine if I had listed the dozens of different opportunities you will have to accomplish each of these goals. In general, though, these opportunities to demonstrate your skill, expertise, and improvement will fall into four major categories.
• Portfolio of formal written work such as essays, stories, poems, etc.
• Tests and Quizzes, both written and oral, on specific skills, concepts, and information.
• Projects that demonstrate applied textual and conceptual understanding
• Homework and Participation: in class assignments and essentially just keeping up
Your performance and improvement in each of these categories will be judged separately and then added together with equal weight (25% each) to comprise your final grade for this course.
Course Expectations
As stated above, your grade will consist of four equal parts, the first three being primarily connected to your academic performance. It is the “HPA” portion of your grade, however, that tends to cause the greatest stress and confusion among students. Simply put, homework, participation, and attendance aren’t graded but they DO IMPACT YOUR GRADE!
For instance, I will not pore over your homework assignments and rigorously proofread every sentence, but I will check to see that you’ve done it. Likewise, I will not give you a reading quiz to hold you accountable for every night of assigned reading but I will expect that you keep up and may check on you in creative and unexpected ways.
1. Written homework assignments will typically be given as a preparatory exercise for what’s coming up, so it will often help you understand what will happen the following day.
2. Homework will only be turned in when I ask for it.
3. I will not always tell you in advance whether or not an assignment will be collected.
4. Most of your homework, however, will not be written. You will be given sizable reading and research assignments throughout the year so that we don’t need to spend class time on things we could perhaps do more effectively elsewhere.
5. FOR EACH INCOMPLETE HOMEWORK ASSIGNMENT YOU WILL LOSE ONE OF YOUR 25 HPA POINTS FOR THE QUARTER.
Moreover, I will not assign you a B+ of some other grade for each decent comment during class discussion, but I will keep track of how often and how appropriately you engage in classroom activities day to day and week to week.
6. FOR EACH DAY OF OFF TASK OR NON-PARTICIPATORY BEHAVIOR YOU WILL LOSE ONE OF YOUR 25 HPA POINTS FOR THE QUARTER.
Additionally, I will not pester you for excuses for each of your absences or for every time you are tardy to class, but I will be keeping track of your attendance habits and applying them to your grade. If you are not in class it is impossible for you to participate in class, regardless of the reason for your absence. While this is a pretty rigid guideline, there are occasionally situations (such as required academic or athletic activities) for which I will make exceptions. However, just because a parent or the office “excused” or “prearranged” an absence does not mean that I will. Vacations that keep you out of school, for example, might be “excused” by a parent but will not alleviate your responsibility to this class and will be treated accordingly. Therefore, plan them accordingly and choose wisely.
7. FOR EACH ABSENCE YOU WILL LOSE ONE OF YOUR 25 HPA POINTS.
8. FOR EACH TARDY YOU WILL LOSE ONE THIRD OF ONE HPA POINT.
Finally, there are some specific items I must mention here so that there will be no confusion later.
9. COME PREPARED TO CLASS. If you don’t, you will be sent out to prepare yourself and marked tardy upon your return.
10. DO NOT BRING ANY FOOD OR DRINK TO CLASS OTHER THAN H2O.
11. DO NOT BRING NUISANCE ITEMS. EACH STRIKE WILL COST ONE HPA POINT.
o 1st strike: It’s mine until 3:00 PM the next school day.
o 2nd strike: It’s mine until 3:00 PM the following Monday.
o 3rd strike: It’s mine for seven days, then a parent can retrieve it in person, by appointment.
If you have any questions or concerns about any of these expectations, please feel free to discuss them with me during class today, individually by appointment, or via email: heisquitemad@hotmail.com
English III, American Literature
Mr. Lawless
Welcome to English III! Throughout the year we will be exploring and exercising the power of language. This power should not be underestimated or taken for granted. Language is the primary means by which we create and convey ideas, learn from and persuade others, reflect and shape culture, and entertain each other. Nowhere is this more evident than in the frenetic cultural evolution of North America.
We will engage in far too many activities, discussions, and exercises this year to list on the first day. Our heads would explode. Just so you have some idea of what you’re getting yourself into, though, here are some things we will be tackling.
We will:
• demonstrate comprehension of cultural and historical perspectives in American literature.
• integrate new vocabulary in verbal expression.
• apply the writing traits to form coherent essays.
• comprehend and apply delivery techniques in oral presentations.
• develop sophisticated logical arguments using evidence and reason.
• demonstrate literal, inferential, evaluative, and comparative comprehension skills.
• extend and deepen comprehension by relating texts, experiences, issues, and events.
• explore how literature records, reflects, communicates, and influences human events.
• read and respond to literary works from a variety of literary forms including novels, short stories, poetry, drama, essays, and nonfiction.
• evaluate how the form of a literary work and the use of literary elements and devices contribute to the work’s message and impact.
• explore how literature is influenced by historical, cultural, social, and biographical factors.
• use writing as a tool to learn, reflect, and communicate for a variety of audiences and purposes.
• write and speak in a variety of modes and forms appropriate to audience and purpose.
• develop CIM work samples for persuasive formal speaking and essay writing.
Whew! It seems like a lot, I know. Imagine if I had listed the dozens of different opportunities you will have to accomplish each of these goals. In general, though, these opportunities to demonstrate your skill, expertise, and improvement will fall into four major categories.
• Portfolio of formal written work such as essays, stories, poems, etc.
• Tests and Quizzes, both written and oral, on specific skills, concepts, and information.
• Projects that demonstrate applied textual and conceptual understanding
• Homework and Participation: in class assignments and essentially just keeping up
Your performance and improvement in each of these categories will be judged separately and then added together with equal weight (25% each) to comprise your final grade for this course.
Course Expectations
As stated above, your grade will consist of four equal parts, the first three being primarily connected to your academic performance. It is the “HPA” portion of your grade, however, that tends to cause the greatest stress and confusion among students. Simply put, homework, participation, and attendance aren’t graded but they DO IMPACT YOUR GRADE!
For instance, I will not pore over your homework assignments and rigorously proofread every sentence, but I will check to see that you’ve done it. Likewise, I will not give you a reading quiz to hold you accountable for every night of assigned reading but I will expect that you keep up and may check on you in creative and unexpected ways.
1. Written homework assignments will typically be given as a preparatory exercise for what’s coming up, so it will often help you understand what will happen the following day.
2. Homework will only be turned in when I ask for it.
3. I will not always tell you in advance whether or not an assignment will be collected.
4. Most of your homework, however, will not be written. You will be given sizable reading and research assignments throughout the year so that we don’t need to spend class time on things we could perhaps do more effectively elsewhere.
5. FOR EACH INCOMPLETE HOMEWORK ASSIGNMENT YOU WILL LOSE ONE OF YOUR 25 HPA POINTS FOR THE QUARTER.
Moreover, I will not assign you a B+ of some other grade for each decent comment during class discussion, but I will keep track of how often and how appropriately you engage in classroom activities day to day and week to week.
6. FOR EACH DAY OF OFF TASK OR NON-PARTICIPATORY BEHAVIOR YOU WILL LOSE ONE OF YOUR 25 HPA POINTS FOR THE QUARTER.
Additionally, I will not pester you for excuses for each of your absences or for every time you are tardy to class, but I will be keeping track of your attendance habits and applying them to your grade. If you are not in class it is impossible for you to participate in class, regardless of the reason for your absence. While this is a pretty rigid guideline, there are occasionally situations (such as required academic or athletic activities) for which I will make exceptions. However, just because a parent or the office “excused” or “prearranged” an absence does not mean that I will. Vacations that keep you out of school, for example, might be “excused” by a parent but will not alleviate your responsibility to this class and will be treated accordingly. Therefore, plan them accordingly and choose wisely.
7. FOR EACH ABSENCE YOU WILL LOSE ONE OF YOUR 25 HPA POINTS.
8. FOR EACH TARDY YOU WILL LOSE ONE THIRD OF ONE HPA POINT.
Finally, there are some specific items I must mention here so that there will be no confusion later.
9. COME PREPARED TO CLASS. If you don’t, you will be sent out to prepare yourself and marked tardy upon your return.
10. DO NOT BRING ANY FOOD OR DRINK TO CLASS OTHER THAN H2O.
11. DO NOT BRING NUISANCE ITEMS. EACH STRIKE WILL COST ONE HPA POINT.
o 1st strike: It’s mine until 3:00 PM the next school day.
o 2nd strike: It’s mine until 3:00 PM the following Monday.
o 3rd strike: It’s mine for seven days, then a parent can retrieve it in person, by appointment.
If you have any questions or concerns about any of these expectations, please feel free to discuss them with me during class today, individually by appointment, or via email: heisquitemad@hotmail.com
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