Animal Rights Essay - 851 Words

Animals have been used in medical research for centuries. In a recent count, it was determined that 8,815 animals were being used for research at MSU, 8,503 of them rodents - rats, mice, hamsters and gerbils. There were 18 dogs, three cats and a variety of goats, ferrets, pigeons and rabbits. The struggle against this tyranny is a struggle as important as any of the moral and social issues that have been fought over in recent years.quot; Animal rights are an emotional issue-second only, perhaps, to the bitter abortion debate.quot; For decades the value of animal research has been grossly overrated. Although researchers have depended on animal test data to achieve medical advances, there should be other means of research because†¦show more content†¦Animal rights activists have gathered much information that has closed down laboratories that violate anti- cruelty statutes. quot;This includes a 1984 videotape stolen from the University of Pennsylvania Head Injury Clinic. The research subsequently suspended, reportedly involved inadequately anesthetized baboons receiving blows to the head to break their necks and cause brain damage.quot; Alex Pacheo gives a first-person account of the conditions he witnessed in a primate laboratory. He is horrified by the painful experiments these monkeys endure. quot;On May 11,1981 I began work[at the Institute for Behavioral Research] and was given a tour.... I saw filth caked on the wires of the cages, faces piled in the bottom of the cages, urine and rust encrusting every surface. There, amid this rotting stench, sat sixteen crab-eating macaques and one rhesus monkey, their liv limited to metal boxes just 17 3/4 inches wide.... [An old refrigerator] had been converted into a chamber containing a plexiglass immobilizing chair. A monkey would be placed in a chamber, and electrodes attached to his body. The monkey would be forced to try to squeeze a bottle of fluid with his surgically crippled arm in order to stop the painful electric shock that coursed through his body. The ceiling and walls of the chamber were covered with blood. I remember Dr. Taubs assistant, John Kunz,Show MoreRelatedAnimal Rights And Human Rights923 Words   |  4 Pages Animal Rights â€Å"Nearly as many, 68 percent, were concerned or very concerned about the well-being of animals used in ‘sports’ or contests as well as animals in laboratories (67 percent) (Kretzer, 1).† Many people question whether an animal is capable of thought and emotions. Others feel as though animals are the equivalent of humans and should be treated as such. Since the 1800’s, animal rights has been a topic that has several different sides including two extremes. If animals can react to theirRead MoreThe Debate On Animal Rights910 Words   |  4 PagesThere are two major schools of thought on animal protection. First, is the tenet that animals should have rights and the second, more radical view, is that animals should be liberated. Many of the rights that are promoted for animals are similar to the rights of human democratic societies. The basic rights, which are recommended by a number of advocates, are that animals should be free from suffering, be in posses sion of their own life, and their basic interests should be given the same considerationRead MoreAnimal Rights Essay886 Words   |  4 PagesAnimal rights - moral or legal entitlements attributed to nonhuman animals, usually because of the complexity of their cognitive, emotional, and social lives or their capacity to experience physical or emotional pain or pleasure. (Britannia encyclopedia online, n.d.). The definition of animal rights is so clear to us. Human rights need to be protected, so do animal rights. In 1976, in New York City, thousands of cat lovers were beaten when they heard a painful test to be taken for pets’ sexualRead MoreEssay on ANIMAL RIGHTS790 Words   |  4 PagesAnimals have their own rights as do to humans and we should respect that and give them the same respect we give each other. Animals deserve to be given those same basic rights as humans. All humans are considered equal and ethical principles and legal statutes should protect the rights of ani mals to live according to their own nature and remain free from exploitation. This paper is going to argue that animals deserve to have the same rights as humans and therefore, we don’t have the right to killRead MoreAnimal Rights Philosophy768 Words   |  4 Pagesissue of animal rights, Carl Cohen takes on the perspective of a reformist. This means that he accepts animal experimentation and meat eating, but believes that these institutions need to be improved upon. Cohen approaches the issue of animal rights using the ideas of obligations and rights, with not only the reformist perspective, but with the speciesist perspective. The conclusion he draws is that animals do not necessarily have rights just because humans have moral obligations to animals. CohenRead MoreThe Argument Of Animal Rights2068 Words   |  9 PagesSeems rhetorical, but the fact is animals live through this everyday, without even given the choice. As humans, we establish our authority among all living beings, but for what reasons? Are humans better than all other species? Or is it true that we should hold a precedence over nonhuman animals? The ultimate question then remains, should animals have as much or equal to the same rights as humans? Their are endless arguments for and against this question, and many sub arguments that go hand in handRead MoreAnimal Rights And The Rights Of Animals1843 Words   |  8 Pagesthe rights of animals and if they think and feel like humans do. Many people see animals as mindless creatures or as food, while others think they have emotions and can feel pain. In other countries animal protection laws are in place that are strictly enforced and seem to work well with the system. In the United States however; some of the anima l rights laws are considered to be useless and under-enforced (Animal Legal Historical Center). More people today are beginning to see that animals shouldRead MoreThe Issue Of Animal Rights Essay2300 Words   |  10 PagesAnimals have the right to equal consideration in regards to their being used for human needs as most people use animals for their own needs on a daily basis even if only indirectly whether to entertain us, or to attain the product we are using, or on our dinner plate. The controversy of the treatment of animals range from some activists and philosophers that are outspoken against animals being used by humans in any way for our own personal needs, while others are candid in their belief that animalsRead More Animal Rights Essay2330 Words   |  10 PagesAnimals and man have shared this planet since humans first appeared on earth. Animals have provided transportation, food, clothing, shelter, companionship and entertainment throughout the ages. Therefore, it is our duty to treat animals with respect, care and kindness and not cause them undue suffering, because they have, in many ways, made it possible for man to survive on earth. However, because normal adult humans have superior mental abilities in the hierarchical scale in nature, animals haveRead MoreArgumentary On Animals And Animal Rights1523 Words   |  7 Pagesclass was crazy! There was so much information regarding animal rights†¦ Sasha: I know. But I don’t know if any of that changed my views. I still think becoming a vegetarian is the way to go. Devon: You think? I still think that it is okay to eat meat. The animals just need to be raised in a humane manner. Sasha: Eh†¦I don’t know. Animals should just be left alone and be free to roam around in the wild. They should not be tortured like those animals that I saw while visiting that â€Å"kill floor†. Devon:

Comparison of Themes in The Yellow Wallpaper and the...

Comparison of Themes in The Yellow Wallpaper and the Metamorphosis Charlotte Perkins Gilmans The Yellow Wallpaper and Franz Kafkas Metamorphosis contain many similarities. They both have the common theme of the deterioration of the main characters life and mind, as well as the theme of the ostracism of outcasts in society. They also both deal with the main characters gaining a freedom through the demise of their previous lives. The woman in The Yellow Wallpaper is slowly deteriorating in mental state. When she first moves into the room in the old house, the wallpaper intrigues her. Its pattern entrances her and makes her wonder about its makeup. But slowly her obsession with the wallpaper grows, taking over all of†¦show more content†¦This was illustrated in Gregors last thought, He thought of his family with tenderness and love. The decision that he must disappear was one that he held to even more strongly than his sister, if that were possible(p. 825). The deterioration of Gregors life was in part due to the ostracism associated with his being turned into a bug. Once his family found out what happened, they banished him to his room, and his parents could not even bear to look at him. Prior to his metamorphosis, Gregor was an integral part of the family. He provided the money by which the family survived. Yet as soon as he changed, he was labeled an outcast, who was useless to the family, and therefore not paid any attention. He felt this ostracism, and it made him not want to continue on in life, he gave up because he felt unloved. Likewise, the woman in The Yellow Wallpaper was confined because of her mental illness. She, most likely, was suffering from post-partum depression, after the birth of her child. Instead of getting love and attention, and being able to see her child, she was sent to live in a room in a foreign house. She was not allowed out of the one room that her husband picked out. Although she yearned to see the gardens and the rest of the house, her husband would not let her. It was as though she was being punished for her illness. I believe that her confinement had an effect on the progression of herShow MoreRelated A.M.Holmes Music For Torching, Seth MacFarlanes Family Guy, and Tony Kushners Angels in America1948 Words   |  8 Pagesfeels like she is a failure because she does not perform this juggling act. Her friend Liz mentions Tillie Olsen’s Silences, and Charlotte Perkins Gilman’s The Yellow Wallpaper (214), two examples of feminist literature that analyze the dilemm a of the female identity breaking free from confinement. Elaine complains, â€Å"I am The Yellow Wallpaper,† (214) insinuating that she too has become a woman deranged by hysteria and depression. â€Å"I’m embarrassed†¦We’re already having post feminism, and I’m stuck in

Reasons for Re Launching Electric Car †Reva Free Essays

Reasons for Re Launching Electric Car – Reva Introduction : The Reva Electric Car Company (RECC) was founded in 1994 by Chetan Maini, as a joint venture between the Maini Group of Bangalore and Amerigon Electric Vehicle Technologies (AEVT Inc. ) of the USA. The company’s sole aim was to develop and produce an affordable compact electric car. We will write a custom essay sample on Reasons for Re Launching Electric Car – Reva or any similar topic only for you Order Now Several other automakers were also aiming to do so, but in 2001 RECC launched the  REVA Reva, started off with a bang : The first electric car in India  and the people behind the car were confident of the success of the car. Plans were set and the forecasting team estimated that 1500 cars would be sold by the end of the first year. Three years after its launch,  Reva barely managed to sell a total of 300 cars. Reva was subsequently pulled off Indian markets. On May 26th 2010, Mahindra Group bought a 55. 2% majority stake in Reva and now has plans of relaunching the car in Indian markets. This article explores reasons for the failure of Reva and what should be Mahindra Reva’s Strategy for achieving success in the Indian market. * Reva was  positioned  as a â€Å"Green,  low operating cost car†. The marketing strategy when Reva was first launched mainly concentrated on the car being green and the first of its type in the electric car segment. But this was not enough to create ripples amongst the consumers. * With a small  size, easy to drive (no clutch or gear)  and slow  speed, Reva  was targeted at  small families, old couples and female drivers. While Reva had a beneficial cost proposition of only Rs. 0. 40 paise per km travelled, it was not a cheap car. Priced at around Rs. 3. 75 lakhs, people would have preferred to purchase a Maruti Zen or an Alto which are within the same price range. The major problem with Reva was that it was perceived to be a low cost car, but it was actually not. Also it was not a car that the rich wanted to buy, as it looked below their league. In one word, Reva, was a  total misfit. * Aesthetically, Reva did not appeal to the youth. It was  not fast, did not have a  high range, had high  maintenance problems  (100 % charging needed 8 hours) and was not meant for long drives. The small car space and the design made it look like a rather  uncomfortable car. People do advocate being green but they are not willing to sacrifice their comfort for it. * The arketing campaign for Reva also was not an aggressive one. The car made news for itself for being the first electric car in the Indian market but no marketing effort was made to create ripples in the customers. The buzz through promotions and advertisements was very low. There was  no excitement  and  curiosity  created in the minds of the consumers before the product launch. A research done by me amongst 50 female drivers, 35 elderly people (50+ age) and 20 couples has helped me come up with the following  customer value hierarchy  for a Car: 1. Core benefit:  Takes you from one place to another without an  inconvenience. . Basic product:  Easy to drive,  comfortable seats and leg room,  high mileage. 3. Expected Product:  Safety, does not break down,  easy to repair. 4. Augmented Product:  Speed,  smooth on road,  Stylish. 5. Potential Product:  Environment friendly. As seen the points  bolded in red font  are the ones that Reva clearly misses. Not being able to satisfy the core, basic and expected product benefits has been a major miss in the marketing strategy of Reva. If Reva has to be successful it has to first cater to these customer benefits, satisfy them and then only will being environment friendly be a product differentiator. Reva had expected to sell around 1500 cars in its first year itself. After 3 years, Reva managed to sell only about350 odd cars. This is a definite failure in the first innings of Reva. However the fact that it is the only one in the electric car market, a proper marketing strategy can help it become a success. Reva’s Second Innings: A Re-launch Strategy It is not like Green cars are boring and cannot be successful. Take the example of  Roadster Tesla  an electric car which is the coolest and one of the most aspired cars in the automobile market. So surely there is no reason for Reva to fail if it is marketed in the right way. If the car is able to satisfy the core, basic and expected benefits of its target audience then we have a winner on our hands. In today’s, Global warming era. Being green is in fact the in thing. But just Green Cannot Sell. Reva should market itself on its other facets as well. Consider the slogan below for marketing Reva: Reva: â€Å"Easy to drive, Stylish, Comfortable Car †¦ By the way, we are also Green† The easy to drive attribute is already present in Reva. Reva needs to do slight alterations in its design to make it look more stylish, ergonomically designed for seating and safety needs. As given in the figure above, Reva should look at targeting the growing female car owners. Also it should target the young and old couples, who find the  cuteness factor  in the car, exciting enough to purchase it. Reva should be promoted as a  Ã¢â‚¬Å"Fun† car to hang out with. Promotions The Reva advertisements  should not hire any stars to advertise it. Instead it should look at taking the common office going man, the girl next door, the college couple to brand it. This will ensure that its target audience connect to the advertisement and Reva to a greater extent. The greenness in Reva can be subtly highlighted in the advertisements. The promotion ideas for both print and television advertisements are: 1. The office goer:  How because of heavy traffic he used to reach late to office and get reprimanded by his boss. How now Reva has made him reach office in time and get promotions. Catch line: â€Å"Traffic problems. No Problem. Reva is here† 2. The girl next door: How Reva has made her independent. Highlight the ease and comfort of driving the car in the advertisement. Catch line: â€Å"Get Independent. Do The Reva† 3. The lovebirds: A part by part ad series in which an old couple get nostalgic on how they started their love story in a Reva and their memories associated with the Reva car. Highlight the comfort of the Reva car. Catch line: â€Å"Reva getting you closer† Social media promotions – Low cost and high effect. 1. Social gaming applications  in which users play a car racing game and get green credits for using the Reva Car. This will help spread the Reva brand virally. 2. Get expert reviews on the Reva car and publish them on the  Reva Blog. 3. Have a contest in which users can upload their Reva moment on  YouTube. Also upload YouTube videos to show how Reva makes a greener world. 4. Have, â€Å"The Spacious Reva Contest†: Customers try to fit in as many of their friends in a Reva car and upload a picture of it on  Facebook. The one with maximum likes would win the contest. 5. Listen to what your customers are saying  about Reva, how are they feeling about Reva? Have you managed to create the right buzz? Social media would tell you instantly and help you to do any kind of damage control if necessary. The  social media is a good measure  on how well your marketing strategy has worked. In conclusion , Reva has already in its â€Å"First Innings†, highlighted its attribute of being a  Green Car. The â€Å"Second Innings† strategy that has been mentioned will market Reva as an easy to drive, safe, stylish and comfortable car. Thus satisfying the core, basic and expected needs of its customers which will help the Reva car become a success story. While the Mahindra brand name and its distribution network and capabilities in the Indian market should definitely benefit Reva, in having a successful second innings. The strategy outlined above should help Reva preventing burns and scars the second time round. How to cite Reasons for Re Launching Electric Car – Reva, Papers

English Only Amendment free essay sample

An argument against an English Only Amendment in the U.S. The writer explores the possibility of the United States adopting an English Only policy and uses several court cases to illustrate why it would not be feasible. An English only amendment in the United States would only isolate the nation from the rest of the world. Currently with the globalization process occurring the world is becoming more homogenized. Nations that never before communicated are now communicating openly and honestly (Briscoe, 1998). The nations of the world are sharing their cultures and finding things to celebrate about their very diversity. The international trade market has opened and widened its horizons and nations are trading with each other in ways that they never have before in history (Briscoe, 1998). To adopt an English only amendment at this time would impede and stunt the growth of Americas international trade industry. A recent controversy over the possibility of an English only amendment adoption occurred in Puerto Rico (Briscoe, 1998). We will write a custom essay sample on English Only Amendment or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The idea was presented with a ten-year phase in clause.

Arab - Isreal Conflict Essays - ArabIsraeli Conflict, Western Asia

Arab - Isreal Conflict Check out essays at EssayFinder.com Arab-Israeli Conflicts Since the United Nations partition of PALESTINE in 1947 and the establishment of the modern state of ISRAEL in 1948, there have been four major Arab-Israeli wars (1947-49, 1956, 1967, and 1973) and numerous intermittent battles. Although Egypt and Israel signed a peace treaty in 1979, hostility between Israel and the rest of its Arab neighbors, complicated by the demands of Palestinian Arabs, continued into the 1980s. THE FIRST PALESTINE WAR (1947-49) The first war began as a civil conflict between Palestinian Jews and Arabs following the United Nations recommendation of Nov. 29, 1947, to partition Palestine, then still under British mandate, into an Arab state and a Jewish state. Fighting quickly spread as Arab guerrillas attacked Jewish settlements and communication links to prevent implementation of the UN plan. Jewish forces prevented seizure of most settlements, but Arab guerrillas, supported by the Transjordanian Arab Legion under the command of British officers, besieged Jerusalem. By April, Haganah, the principal Jewish military group, seized the offensive, scoring victories against the Arab Liberation Army in northern Palestine, Jaffa, and Jerusalem. British military forces withdrew to Haifa; although officially neutral, some commanders assisted one side or the other. After the British had departed and the state of Israel had been established on May 15, 1948, under the premiership of David BEN-GURION, the Palestine Arab forces and foreign volunteers were joined by regular armies of Transjordan (now the kingdom of JORDAN), IRAQ, LEBANON, and SYRIA, with token support from SAUDI ARABIA. Efforts by the UN to halt the fighting were unsuccessful until June 11, when a 4-week truce was declared. When the Arab states refused to renew the truce, ten more days of fighting erupted. In that time Israel greatly extended the area under its control and broke the siege of Jerusalem. Fighting on a smaller scale continued during the second UN truce beginning in mid-July, and Israel acquired more territory, especially in Galilee and the Negev. By January 1949, when the last battles ended, Israel had extended its frontiers by about 5,000 sq km (1,930 sq mi) beyond the 15,500 sq km (4,983 sq mi) allocated to the Jewish state in the UN partition resolution. It had also secured its independence. During 1949, armistice agreements were signed under UN auspices between Israel and Egypt, Jordan, Syria, and Lebanon. The armistice frontiers were unofficial boundaries until 1967. SUEZ-SINAI WAR (1956) Border conflicts between Israel and the Arabs continued despite provisions in the 1949 armistice agreements for peace negotiations. Hundreds of thousands of Palestinian Arabs who had left Israeli-held territory during the first war concentrated in refugee camps along Israel's frontiers and became a major source of friction when they infiltrated back to their homes or attacked Israeli border settlements. A major tension point was the Egyptian-controlled GAZA STRIP, which was used by Arab guerrillas for raids into southern Israel. Egypt's blockade of Israeli shipping in the Suez Canal and Gulf of Aqaba intensified the hostilities. These escalating tensions converged with the SUEZ CRISIS caused by the nationalization of the Suez Canal by Egyptian president Gamal NASSER. Great Britain and France strenuously objected to Nasser's policies, and a joint military campaign was planned against Egypt with the understanding that Israel would take the initiative by seizing the Sinai Peninsula. The war began on Oct. 29, 1956, after an announcement that the armies of Egypt, Syria, and Jordan were to be integrated under the Egyptian commander in chief. Israel's Operation Kadesh, commanded by Moshe DAYAN, lasted less than a week; its forces reached the eastern bank of the Suez Canal in about 100 hours, seizing the Gaza Strip and nearly all the Sinai Peninsula. The Sinai operations were supplemented by an Anglo-French invasion of Egypt on November 5, giving the allies control of the northern sector of the Suez Canal. The war was halted by a UN General Assembly resolution calling for an immediate ceasefire and withdrawal of all occupying forces from Egyptian territory. The General Assembly also established a United Nations Emergency Force (UNEF) to replace the allied troops on the Egyptian side of the borders in Suez, Sinai, and Gaza. By December 22 the last British and French troops had left Egypt. Israel, however, delayed withdrawal, insisting that it receive security guarantees against further Egyptian attack. After several additional UN resolutions calling for withdrawal and after pressure from the United States, Israel's forces left in March 1957. SIX-DAY WAR (1967) Relations between Israel and Egypt remained fairly stable in the following decade. The Suez Canal remained closed to Israeli shipping, the Arab boycott of Israel was maintained, and periodic border clashes occurred between Israel, Syria, and Jordan. However, UNEF prevented direct military encounters between Egypt

The Modern Essay by Virginia Woolf

The Modern Essay by Virginia Woolf Widely considered one of the finest essayists of the 20th century, Virginia Woolf composed this essay as a review of Ernest Rhyss five-volume anthology of Modern English Essays: 1870-1920 (J.M. Dent, 1922). The review originally appeared in The Times Literary Supplement, November 30, 1922, and Woolf included a slightly revised version in her first collection of essays, The Common Reader (1925). In her brief preface to the collection, Woolf distinguished the common reader (a phrase borrowed from Samuel Johnson) from the critic and scholar: He is worse educated, and nature has not gifted him so generously. He reads for his own pleasure rather than to impart knowledge or correct the opinions of others. Above all, he is guided by an instinct to create for himself, out of whatever odds and ends he can come by, some kind of wholea portrait of a man, a sketch of an age, a theory of the art of writing. Here, assuming the guise of the common reader, she offers a few . . . ideas and opinions about the nature of the English essay. Compare Woolfs thoughts on essay writing with those expressed by Maurice Hewlett in The Maypole and the Column and by Charles S. Brooks in The Writing of Essays. The Modern Essay by Virginia Woolf As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essaywhether it derives from Socrates or Siranney the Persiansince, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes, containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history. Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world. So great a feat is seldom accomplished, though the fault may well be as much on the readers side as on the writers. Habit and lethargy have dulled his palate. A novel has a story, a poem rhyme; but what art can the essayist use in these short lengths of prose to sting us wide awake and fix us in a trance which is not sleep but rather an intensification of lifea basking, with every faculty alert, in the sun of pleasure? He must knowthat is the first essentialhow to write. His learning may be as profound as Mark Pattisons, but in an essay, it must be so fused by the magic of writing that not a fact juts out, not a dogma tears the surface of the texture. Macaulay in one way, Froude in another, did this superbly over and over again. They have blown more knowledge into us in the course of one essay than the innumerable chapters of a hundred textbooks. But when Mark Pattison has to tell us, in the space of thirty-five little pages, about Montaigne, we feel that he had not previously assimi lated M. Grà ¼n. M. Grà ¼n was a gentleman who once wrote a bad book. M. Grà ¼n and his book should have been embalmed for our perpetual delight in amber. But the process is fatiguing; it requires more time and perhaps more temper than Pattison had at his command. He served M. Grà ¼n up raw, and he remains a crude berry among the cooked meats, upon which our teeth must grate forever. Something of the sort applies to Matthew Arnold and a certain translator of Spinoza. Literal truth-telling and finding fault with a culprit for his good are out of place in an essay, where everything should be for our good and rather for eternity than for the March number of the Fortnightly Review. But if the voice of the scold should never be heard in this narrow plot, there is another voice which is as a plague of locuststhe voice of a man stumbling drowsily among loose words, clutching aimlessly at vague ideas, the voice, for example, of Mr. Hutton in the following passage: Add to this that his married life was brief, only seven years and a half, being unexpectedly cut short, and that his passionate reverence for his wifes memory and geniusin his own words, a religionwas one which, as he must have been perfectly sensible, he could not make to appear otherwise than extravagant, not to say an hallucination, in the eyes of the rest of mankind, and yet that he was possessed by an irresistible yearning to attempt to embody it in all the tender and enthusiastic hyperbole of which it is so pathetic to find a man who gained his fame by his dry-light a master, and it is impossible not to feel that the human incidents in Mr. Mills career are very sad. A book could take that blow, but it sinks an essay. A biography in two volumes is indeed the proper depository, for there, where the licence is so much wider, and hints and glimpses of outside things make part of the feast (we refer to the old type of Victorian volume), these yawns and stretches hardly matter, and have indeed some positive value of their own. But that value, which is contributed by the reader, perhaps illicitly, in his desire to get as much into the book from all possible sources as he can, must be ruled out here. There is no room for the impurities of literature in an essay. Somehow or other, by dint of labor or bounty of nature, or both combined, the essay must be purepure like water or pure like wine, but pure from dullness, deadness, and deposits of extraneous matter. Of all writers in the first volume, Walter Pater best achieves this arduous task, because before setting out to write his essay (Notes on Leonardo da Vinci) he has somehow contrived to get his material fused. He is a learned man, but it is not knowledge of Leonardo that remains with us, but a vision, such as we get in a good novel where everything contributes to bring the writers conception as a whole before us. Only here, in the essay, where the bounds are so strict and facts have to be used in their nakedness, the true writer like Walter Pater makes these limitations yield their own quality. Truth will give it authority; from its narrow limits he will get shape and intensity; and then there is no more fitting place for some of those ornaments which the old writers loved and we, by calling them ornaments, presumably despise. Nowadays nobody would have the courage to embark on the once famous description of Leonardos lady who has learned the secrets of the grave; and has been a diver in deep seas and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants; and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary . . . The passage is too thumb-marked to slip naturally into the context. But when we come unexpectedly upon the smiling of women and the motion of great waters, or upon full of the refinement of the dead, in sad, earth-coloured raiment, set with pale stones, we suddenly remember that we have ears and we have eyes and that the English language fills a long array of stout volumes with innumerable words, many of which are of more than one syllable. The only living Englishman who ever looks into these volumes is, of course, a gentleman of Polish extraction. But doubtless our abstention saves us much gush, much rhetoric, much high-stepping and cloud-prancing, and for the sake of the prevailing sobriety and hard-headedness, we should be willing to barter the splendor of  Sir Thomas Browne  and the vigor of  Swift. Yet, if the essay admits more properly than biography or fiction of sudden boldness and metaphor, and can be polished till every atom of its surface shines, there are dangers in that too. We are soon in sight of ornament. Soon the current, which is the life-blood of literature, runs slow; and instead of sparkling and flashing or moving with a quieter impulse which has a deeper excitement, words coagulate together in frozen sprays which, like the grapes on a Christmas-tree, glitter for a single night, but are dusty and garnish the day after. The temptation to decorate is great where the theme may be of the slightest. What is there to interest another in the fact that one has enjoyed a walking tour, or has amused oneself by rambling down Cheapside and looking at the turtles in Mr. Sweetings shop window?  Stevenson  and  Samuel Butler  chose very different methods of exciting our interest in these domestic themes. Stevenson, of course, trimmed and polished and set out his matter in the traditional eighteenth-century form. It is admirably done, but we cannot help feeling anxious, as the essay proceeds, lest the material may give out under the craftsmans fingers. The ingot is so small, the manipulation so incessant. And perhaps that is why the  peroration To sit still and contemplateto remember the faces of women without desire, to be pleased by the great deeds of men without envy, to be everything and everywhere in sympathy and yet content to remain where and what you are has the sort of insubstantiality which suggests that by the time he got to the end he had left himself nothing solid to work with. Butler adopted the very opposite method. Think your own thoughts, he seems to say, and speak them as plainly as you can. These turtles in the shop window which appear to leak out of their shells through heads and feet suggest a fatal faithfulness to a fixed idea. And so, striding unconcernedly from one idea to the next, we traverse a large stretch of ground; observe that a wound in the solicitor is a very serious thing; that Mary Queen of Scots wears surgical boots and is subject to fits near the Horse Shoe in Tottenham Court Road; take it for granted that no one really cares about Aeschylus; and so, with many amusing anecdotes and some profound reflections, reach the peroration, which is that, as he had been told not to see more in Cheapside than he could get into twelve pages of the  Universal Review, he had better stop. And yet obviously Butler is at least as careful of our pleasure as Stevenson, and to write like oneself and call it not writing is a much harder exercise in style than to write like Addison and call it writing well. But, however much they differ individually, the Victorian essayists yet had something in common. They wrote at greater length than is now usual, and they wrote for a public which had not only time to sit down to its magazine seriously, but a high, if peculiarly Victorian, standard of culture by which to judge it. It was worth while to speak out upon serious matters in an essay; and there was nothing absurd in writing as well as one possibly could when, in a month or two, the same public which had welcomed the essay in a magazine would carefully read it once more in a book. But a change came from a small audience of cultivated people to a larger audience of people who were not quite so cultivated. The change was not altogether for the worse. In volume iii. we find Mr. Birrell and  Mr. Beerbohm. It might even be said that there was a reversion to the classic  type and that the essay by losing its size and something of its sonority was approaching more nearly the essay of Addison and Lamb. At any rate, there is a great gulf between Mr. Birrell on  Carlyle  and the essay which one may suppose that Carlyle would have written upon Mr. Birrell. There is little similarity between  A Cloud of Pinafores, by Max Beerbohm, and  A Cynics Apology, by Leslie Stephen. But the essay is alive; there is no reason to despair. As the conditions change so the  essayist, most sensitive of all plants to public opinion, adapts himself, and if he is good makes the best of the change, and if he is bad the worst. Mr. Birrell is certainly good; and so we find that, though he has dropped a considerable amount of weight, his attack is much more direct and his movement more supple. But what did Mr. Beerbohm give to the essay and what did he take from it? That is a much more complicated question, for here we have an essayist who has concentrated on the work and  is, without doubt, the prince of his profession. What Mr. Beerbohm gave was, of course, himself. This presence, which has haunted the essay fitfully from the time of Montaigne, had been in exile since the death of  Charles Lamb. Matthew Arnold was never to his readers Matt, nor Walter Pater affectionately abbreviated in a thousand homes to Wat. They gave us much, but that they did not give. Thus,  sometime  in the nineties, it must have surprised readers accustomed to exhortation, information, and denunciation to find themselves familiarly addressed by a voice which seemed to belong to a man no larger than themselves. He was affected by private joys and  sorrows and had no gospel to preach and no learning to impart. He was himself, simply and directly, and himself he has remained. Once again we have an essayist capable of using the essayists most proper but most dangerous and delicate tool. He has brought personality into literature, not unconsciously and impurely, but so consciously and purely that we do not know whether t here is any relation between Max the essayist and Mr. Beerbohm the man. We only know that the spirit of personality permeates every word that he writes. The triumph is the triumph of  style. For it is only by knowing how to write that you can make use in literature of  yourself; that self which, while it is essential to literature, is also its most dangerous antagonist. Never to be yourself and yet alwaysthat is the problem. Some of the essayists in Mr. Rhys collection, to be frank, have not altogether succeeded in solving it. We are nauseated by the sight of trivial personalities decomposing in the eternity of print. As talk, no doubt, it was charming, and  certainly, the writer is a good fellow to meet over a bottle of beer. But literature is stern; it is no use being charming,  virtuous or even learned and brilliant into the bargain, unless, she seems to reiterate, you  fulfill  her first conditionto know how to write. This art is possessed to perfection by Mr. Beerbohm. But he has not searched the dictionary for polysyllables. He has not  molded  firm periods or seduced our ears with intricate cadences and strange melodies. Some of his companionsHenley and Stevenson, for exampleare momentarily more impressive. But  A Cloud of Pinafores  has in it that indescribable inequality, stir, and final expressiveness which belong to life and to life alone. You have not finished with it because you have read it, any more than friendship is ended because it is time to part. Life wells up and alters and adds. Even things in a book-case change if they are alive; we find ourselves wanting to meet them again; we find them altered. So we look back upon essay after essay by Mr. Beerbohm, knowing that, come September or May, we shall sit down with them and talk. Yet it is true that the essayist is the most sensitive of all writers to public opinion. The drawing-room is the place where a great deal of reading is done nowadays, and the essays of Mr. Beerbohm lie, with an exquisite appreciation of all that the position exacts, upon the drawing-room table. There is no  gin  about; no strong tobacco; no puns, drunkenness, or insanity. Ladies and gentlemen talk together, and some things, of course, are not said. But if it would be foolish to attempt to confine Mr. Beerbohm to one room, it would be still more foolish, unhappily, to make him, the artist, the man who gives us only his best, the representative of our age. There are no essays by Mr. Beerbohm in the fourth or fifth volumes of the present collection. His age seems already a little distant, and the drawing-room table, as it recedes, begins to look rather like an altar where, once upon a time, people deposited offeringsfruit from their own orchards, gifts carved with their own hands. Now once more the conditions have changed. The public needs essays as much as ever, and perhaps even more. The demand for the light middle not exceeding fifteen hundred words, or in special cases seventeen hundred and fifty, much exceeds the supply. Where Lamb wrote one essay and Max perhaps writes two,  Mr. Belloc  at a rough computation produces three hundred and sixty-five. They are very short, it is true. Yet with what dexterity the practised ess ayist will utilise his spacebeginning as close to the top of the sheet as possible, judging precisely how far to go, when to turn, and how, without sacrificing a  hairs breadth  of paper, to wheel about and alight accurately upon the last word his editor allows! As a feat of  skill, it is well worth watching. But the personality upon which Mr. Belloc, like Mr. Beerbohm, depends suffers in the process. It comes to  us, not with the natural richness of the speaking voice, but strained and thin and full of mannerisms and affectations, like the voice of a man shouting through a megaphone to a crowd on a windy day. Little friends, my readers, he says in the essay called An Unknown Country, and he goes on to tell us how There was a shepherd the other day at Findon Fair who had come from the east by Lewes with sheep, and who had in his eyes that reminiscence of horizons which makes the eyes of shepherds and of mountaineers different from the eyes of other men. . . . I went with him to hear what he had to say, for shepherds talk quite differently from other men. Happily, this shepherd had little to say, even under the stimulus of the inevitable mug of beer, about the Unknown Country, for the only remark that he did make proves him either a minor poet, unfit for the care of  sheep or Mr. Belloc himself masquerading with a fountain pen. That is the penalty which the habitual essayist must now be prepared to face. He must masquerade. He cannot afford the time either to be himself or to be other people. He must skim the surface of thought and dilute the strength of personality. He must give us a worn weekly halfpenny instead of a solid sovereign once a year. But it is not Mr. Belloc only who has suffered from the prevailing conditions. The essays which bring the collection to the year 1920 may not be the best of their authors work, but, if we except writers like Mr. Conrad and Mr. Hudson, who have strayed into essay writing accidentally, and concentrate upon those who write essays habitually, we shall find them a good deal affected by the change in their circumstances. To write weekly, to write daily, to write shortly, to write for busy people catching trains in the morning or for tired people coming home in the evening, is a  heartbreaking  task for men who know good writing from bad. They do it, but instinctively draw out of harms way anything precious that might be damaged by contact with the public, or anything sharp that might irritate its skin. And so, if one reads Mr. Lucas, Mr. Lynd, or Mr. Squire in the bulk, one feels that a common  grayness  silvers everything. They are as far removed from the extravagant beauty of Wal ter Pater as they are from the intemperate  candor  of Leslie Stephen. Beauty and courage are dangerous spirits to bottle in a column and a half; and thought, like a brown paper parcel in a waistcoat pocket, has a way of spoiling the symmetry of an article. It is a kind, tired, apathetic world for which they write, and the marvel is that they never cease to attempt, at least, to write well. But there is no need to pity Mr. Clutton Brock for this change in the essayists conditions. He has clearly made the best of his circumstances and not the worst. One hesitates even to say that he has had to make any conscious effort in the matter, so  naturally, has he effected the transition from the private essayist to the public, from the drawing-room to the Albert Hall. Paradoxically enough, the shrinkage in size has brought about a corresponding expansion of individuality. We have no longer the I of Max and of Lamb, but the we of public bodies and other sublime personages. It is we who go to hear the Magic Flute; we who ought to profit by it; we, in some mysterious way, who, in our corporate capacity, once upon a time actually wrote it. For music and literature and art must submit to the same  generalization  or they will not carry to the farthest recesses of the Albert Hall. That the voice of Mr. Clutton Brock, so sincere and so disinterested, carries such a distance and r eaches so many without pandering to the weakness of the mass or its passions must be a matter of legitimate satisfaction to us all. But while we are gratified, I, that unruly partner in the human fellowship, is reduced to despair. I must always think things for himself, and feel things for himself. To share them in a diluted form with the majority of well-educated and well-intentioned men and women is  for him sheer agony; and while the rest of us listen intently and profit profoundly, I slips off to the woods and the fields and rejoices in a single blade of grass or a solitary potato. In the fifth volume of modern essays, it seems, we have got some way from pleasure and the art of writing. But in justice to the essayists of  1920  we must be sure that we are not praising the famous because they have been praised already and the dead because we shall never meet them wearing spats in Piccadilly. We must know what we mean when we say that they can write and give us pleasure. We must compare them; we must bring out the quality. We must point to this and say it is good because it is exact, truthful, and imaginative: Nay, retire men cannot when they would; neither will they, when it were Reason; but are impatient of Privateness, even in age and sickness, which require the shadow: like old Townsmen: that will still be sitting at their street door, though therby they offer Age to Scorn . . . and to this, and say it is bad because it is loose, plausible, and commonplace: With courteous and precise cynicism on his lips, he thought of quiet virginal chambers, of waters singing under the moon, of terraces where taintless music sobbed into the open night, of pure maternal mistresses with protecting arms and vigilant eyes, of fields slumbering in the sunlight, of leagues of ocean heaving under warm tremulous heavens, of hot ports, gorgeous and perfumed. . . . It goes on, but already we are bemused with sound and neither feel nor hear. The comparison makes us suspect that the art of writing has for backbone some fierce attachment to an idea. It is on the back of an idea, something believed in with conviction or seen with precision and thus compelling words to its shape, that the diverse company which includes Lamb and  Bacon, and Mr. Beerbohm and Hudson, and Vernon Lee and Mr. Conrad, and Leslie Stephen and Butler and Walter Pater reaches the farther shore. Very various talents have helped or hindered the passage of the idea into words. Some scrape through painfully; others fly with every wind  favouring. But Mr. Belloc and  Mr. Lucas  and Mr. Squire are not fiercely attached to anything in itself. They share the contemporary dilemmathat lack of an obstinate conviction which lifts ephemeral sounds through the misty sphere of anybodys language to the land where there is a perpetual marriage, a perpetual union. Vague as all definitio ns are, a good essay must have this permanent quality about it; it must draw its curtain round us, but it must be a curtain that shuts us in, not out. Originally published in 1925 by Harcourt Brace Jovanovich,  The Common Reader  is currently available from Mariner Books (2002) in the U.S. and from Vintage (2003) in the U.K.

Catholics opposing views on abortion over History Research Paper

Catholics opposing views on abortion over History - Research Paper Example The early Christians were opposed to abortion because it exposed the unborn babies thus making them die. Abortion was condemned with disregarding to what stage of the pregnancy it was carried out in the first three centuries of Christianity. This can be captured in Tertullian writings in 197AD that† it does not matter whether you take away life that is born or destroy one that is coming to birth. In both instances, destruction is murder.† The council of Ancyra (314) is said to have referred to an ancient law that excommunicated women that aborted their children deliberately. (life.org.nz, 2011) The second mention of abortion is in a theological tract known as the Epistle of the pseudo-Barnabas which was written in about 138 and highly regarded by the theologians of Alexandria. The author of this publication treats abortion as corollary to the law of fraternal charity which was in existence. This can be captured in the written statements that, â€Å"You shall love your ne ighbor more than your own life. You shall not slay the child by abortion.† (catholicculture.org, 2011) Athenagoras who was an Athenian philosopher states in a letter he writes to Marcus Aurelius (177) that â€Å"All those who use abortifacients are homicides and they will have to account to God for their abortions as well as the killing of men†. ... arly church councils established strong precedents in history in relation to matters of abortion which were later ratified and strengthened by the council of Chalcendon in 415 and Consillium Quinisextum in 692. During the early period of foundation of Christianity, there were many writers who condemned abortion as a gravel evil. These include Christians writer like Hippolytus (235), Cyprian (258), St Ambrose, Bishop of Milan (375), St Jerome (d. 420), St Augustine(d. 430), Caesarius, the Bishop of Arles(d. 543), and St Martin of Braga(580). The first collection of church laws that were promulgated with the authority of pope for the universal church was The Decretals of Pope Gregory IX in 1324. These laws list one canon that describes a murderer as one who procures an abortion. The decrials emphasized the idea of formed and unformed so as to determine the kind of penalties that applied for this type of crime. From the 13 century and the other succeeding centuries, the council of churc hes in existence continued to condemn abortion. (catholicculture.org, 2011) In 1588, the first papal legislation that was meant to bring into play penal sanction against abortion came into existence and was referred to EFFRAENATAM of Pope Sixtus V who reigned in the period 1585-1590. In 1591, Pope Gregory XIV altered slightly the constitution of Sixtus V so as to apply harsher punishments among those that caused abortion of animated fetus (a fetus whose movement could be felt). In spite of the changes to the constitution, the seriousness of abortion offences were emphasized (Haney, 2008, p 24). Not until in the 18th century when Martin Luther king led a reformation from the Catholic Church, most Catholics were united and accepted the Magisterium authority and condemnation of abortion. In