The Chrysalids, by John Wyndham :: essays research papers

The Chrysalids, by John Wyndham Background: John Wyndham, born in 1903, tried more than four careers before starting to write short stories in 1925. The Chrysalids was written in 1955. Outline of the Book: Thousands of years after our time, the world faced something known as Tribulation, when civilization was almost completely wiped out and had to be started over, with new rules and laws. Humans beings born as â€Å"deviants†, missing an attribute that normal humans would have, is considered a blasphemy towards God. David, a young man whose father is in charge of seeking out deviants in his community, discovered that he, along with a few other young adults, can communicate to one another through their minds and what they call â€Å"thought shapes†. For a long while they’ve hidden their secret talents, but as rules get tighter and tighter they know it’s only a matter of time until they’re discovered. Theme(s): tolerance, religion Criticisms (Unfavourable): Near the end of the book the dialogue becomes more rhetorical than the rest of the book. This isn’t really a problem, but can become slightly confusing at times. The best option would be to read this part slowly and carefully in order to understand what the message is. Criticisms (Favourable): Very original, intelligent plot. Well-written characters that aren’t two dimensional and who make human decisions (David’s father, who may seem like a cruel man but who is really just doing what he was brought up to believe is right). Comparison: â€Å"The House of the Scorpion†, â€Å"The Stepford Wives† (book) These two books also deal with people who are not as â€Å"real† as typical human beings, such as robots or clones Quotations: â€Å"Clearly there must be a mistake somewhere. Surely having one very small toe extra—well, two very small toes, because I supposed there would be one to match on the other foot—surely that couldn’t be enough to make her ‘hateful in the sigh of God†¦Ã¢â‚¬â„¢?

Proctor versus Dimmesdale in Millers The Crucible :: Essay on The Crucible

Proctor vs Dimmesdale In Arthur Miller’s The Crucible, and Nathaniel Hawthorne’s The Scarlet Letter, the characters John Proctor and Arthur Dimmesdale are victims of the puritan ethics of Moderation and Unvarying Faith. These ethics are reflected in the way that they are forced to act like everyone else, resulting in a feeling of being trapped, as well as internal and physical torture, which led to their eventual demise. Hawthorne’s character Arthur Dimmesdale is the epitome of what a puritan should be. He is a minister—a man of God— yet despite his position, this perfect man has one dark secret: he is an adulterer and the father of an illegitimate child. This one sin is more than he can bear, for although he has many times repented, he feels he is not entirely forgiven. His sin is such that if it were to be found, his reputation would be torn apart. After many years of hiding his secret and being burdened by it he can no longer hold it inside. This is the reason he goes to the scaffold one night: in hopes to alleviate his guilt by â€Å"publicly† showing that he has committed a crime. His remorse is so deep and constant, that it has actually changed him. At nights he whips himself, hoping to gain salvation again, but in his mind he gains nothing. â€Å"Crime is for the iron-nerved, who have their choice their choice either to endure it, or, if it press too hard, to exert their fierce and savage strength for a good purpose, and fling it off at once! This feeble and most sensitive of spirits could do neither, yet continually did one thing or another which intertwined, in the same inextricable knot, the agony of heaven-defying guilt and vain repentance.† (Hawthorne, 134.) And although it seems his remorse cannot go deeper than it already is, Dimmesdale begins to realize how his parishioners must see him. He is supposed to be an honest man, but in hiding his sin, he begins to see himself as a hypocrite. â€Å"What can a ruined soul, like mine, effect towards the redemption of other souls?—or a polluted soul towards their purification? And as for the peoples reverence, would that it were turned to scorn and hatred!† (Hawthorne, 172.) Clearly Dimmesdale is worried about the reaction of the congregation if they were to discover his sin. This is a perfect example of Moderation, everyone has to act holy, without sins and mistakes, otherwise be condemned to the scaffold and public humiliation†¦or worse.

The Love Of Hamlet For Ophelia in Shakespeares Hamlet Essay example --

The Love Of Hamlet For Ophelia in Shakespeare's Hamlet Hamlet is without any reservations, one of Shakespeare's most mystifying plays. Although the play has a concise story, it is filled with many uncertainties relating to different issues behind the plot. The reader is left with many uncertainties about the true feelings of prince Hamlet. One question in particular is, did Hamlet really love Ophelia? This dispute can be reinforced either way, however I believe Hamlet was truly in love with Ophelia. Support for my decision comes from Hamlet's treatment towards Ophelia as shown throughout the play, but especially in Act 3, Scene 2, and at Ophelia?s grave in Scene 1 of Act 5. This play is about the troubles encountered by young prince Hamlet as he tries to seek revenge for his father?s murder. Hamlet discovers the murder of his father, as well as the adultery and incest committed by his mother and uncle. This results with Hamlet retaining a very embittered and cynical outlook on life. "Or that the Everlasting had not fixed His cannon 'gainst self-slaughter -- how weary, stale, flat, and unprofitable seem to me all the uses of this world." (1.2.131-134). Throughout the play, Hamlet teaches the audience the depths of his depression through soliloquies. Hamlet not only regards the world with pessimism, but he also has suicidal feelings. Hamlet displays thoughts of self that questions the worth of living. The foremost cause for his exasperation and aggravation is the fact that his mother and his uncle, Claudius immediately got married right after his father?s death. His mother's actions seem to be what repulses Hamlet most as he yells, "frailty thy name is wo man!" (1.2.146). Hamlet has developed a burning hate towards his mother and women in general. It is this fuming mind-set that is responsible for his terrible treatment towards dear, innocent Ophelia in Act 3. Once Hamlet discovers the cause of his father?s death, he disguises himself by acting nutty to mask his true objectives of revenge. By doing so Hamlet is now able to do whatever he wants to, without being questioned of his behavior. He does this on one occasion during a visit with Ophelia. Ophelia later relays this meeting to her father, telling him that Hamlet was not properly dressed, "and with a look so piteous in purport as if he had been loosed out of hell to speak of horrors-he comes be... ...itter reaction to her denial prove his feelings of love. Although Shakespeare may not have made it excessively clear, the popular belief supports Hamlet's love for Ophelia. So indeed, Hamlet did love Ophelia, and evidence is also in the play that she did love the prince. When Laertes tells Ophelia to beware of Hamlet's love, she does not deny her love for Hamlet but responds that yes she will be careful. As for the song, no part of any of Shakespeare's plays is ever thrown in simply because it was popular at the time. When Ophelia sings that sing in her mentally disturbed state she is revealing the nature of her relationship to Hamlet and his promises of love. In the end, Ophelia had no plan, plot or motive that drove her crazy, the loss of her lover and her father was too much for her to bear. I think Shakespeare made it a point to be for inconsistent to add to the many mysteries of Hamlet's character as well as allow readers to relate to Hamlet?s complex mind. That is what makes a play so interesting to a reader?s mind?when one can place themselves in the shoes of the main character. Work Cited: Shakespeare. Hamlet. New York: First Signet Classic Printing, 1998.

Karmic Connections

The meaning of the term Karma differentiates depending on the school of thought/ religion utilizing it. However, if we try and look at the conceptions closely we could see the resemblances of these meanings.Karma in its simplest sense reverberates the saying, â€Å"What goes around comes around†; it is the belief that whatever we do has an equivocal effect. If we look at it from a spiritual level, it is said that Karma is a concept that constitutes our deeds, it is a universal law that governs our lives, claiming that for whatever action or decision we commit, it would reap for us a tantamount consequence in our current lifetime if not the next one.Karma does it always have to pertain to something bad, as penance for our wrong doings. We could also look at Karma as simply how our lives work. It is also the case that Karma may happen in order to teach us a lesson we have yet to realize, it may also enlighten us, guide us in our future actions. In accepting the Karmic ways in wh ich our reality works, we come to a better understanding of our free will, in a sense that we come to be autonomously responsible for what we do. The events that may happen in the course of our lifetime would be born out of causal events we have willed into existence.Come to think of it, the most important acts we commit are always towards people, it is an inescapable fact that we would at some point connect our lives with the lives of other people. Karma is present in each and every link we create in our social sphere, even if such links may be perceived as shallow for us, how we react to such connections can be well change and affect other people. This often reminds me of a similar line of thought, the chaos theory; it states that a flutter of a butterfly’s wings may result to chaos on another end of this world. Perhaps this wouldn’t make sense right now but look at it this way.People are connected in a web of networks, at some point two very separate lives would int ersect no matter how remote they are from one another based solely on a certain link they share in common. Think of it as the theory of â€Å"six degrees separation†. We could be active or passive participants in these connections, either way we’ll have our actions would have a certain effect on it. In the things that we have direct contact with people, strangers, lovers, family, or friends, we engage in the process of Karma, knowingly or unknowingly, we could change the course of other people’s lives.Connections are so powerful, underestimated to a point wherein we assume that only the closest ones are important. Take for example, not letting a person go before you at the pharmacy, even if your just buying cough syrup, and that person ends up losing someone just because s/he was two minutes late. It could also be that you were able to teach an ex-lover the value of him/herself by dumping him/her. When you meet a stranger in the park, and you offer a smile, you might have just sealed your faith with your future partner in life.The Hotdog vendor, the dime you give him might win him the lottery. There are so many ways in which we can influence and change the lives of people, as Peter Parker said in Spiderman 3, â€Å"Our lives are made of choices, and we could always choose to do what’s right†, or in this case, even if we can’t control the outcome of the things we do, we could always act to touch others with goodness of intent, faith, and will.Perhaps the sartorial indulgence bothers me a lot, simply because I personally don’t see why I worry too much about how I look. There’s always the knowledge that people shouldn’t be judged based on appearances but then again, at some point we can’t help not worrying how others perceive us, even if it’s just the jeans were wearing. Trivialities can hinder the soul.References:Ellen A Mogensen, Past & Now Forward Holistic Counseling, (2006), http://w ww.healpastlives.com/future/rule/ruescape.htm, July, 30, 2007Sadhguru Jaggi Vasudev, Life and Death: Ways to Overcome Bondage of Karma, in The Global Oneness Commitment, (2006), http://www.experiencefestival.com/a/Life_and_Death/id/218227,   (July, 30, 2007)

Rsm 230 Assignment 1

Question 1: i) 91 Day Treasury Bill – it is a government issued debt obligation that matures in 91 days. It is sold at a discount and the buyer is paid the face value at maturity. The yield is the difference between the discounted price and the face value. ii) 90 Day Commercial Paper – it is a promissory note issued by a company that matures in 90 days. In case the issuing company defaults, the buyer has no recourse. Similarly to a treasury bill, commercial paper is also sold at a discount. ii) 90 Day Bankers Acceptance – it is a short term corporate paper that company sells to its bank that guarantees it and sells it again to the end user. This is used when the buyer is uncertain about the risk of default by the issuer. iv) BBB long term Corporate Bond – it is a long-term debt obligation issued by a company that has been rated as having â€Å"adequate capacity to meet financial commitments, but more subject to adverse economic conditions† by Standa rd and Poor’s. Although they are priced with quoted base value of 100, they may be sold at either a discount or a premium. ) Prime Rate – it is the base rate on which a margin is added by the lending bank to calculate one’s financing charge. vi) LIBOR – LIBOR stands for London Interbank Offer Rate. It is the rate that is charged when banks borrow loans in the short-term interbank market. Question 2: (a) | 3 month Treasury Bill Rate (%)| 3 month Bankers’ Acceptance Rate (%)| 3 month Prime Corporate Paper Rate (%)| Bank Rate (%)| Prime Rate (%)| Government of Canada Marketable Bonds, over 10 years (%)| December 31, 2007| 3. 2| 4. 71| 4. 81| 4. 50| 6| 4. 10| December 31, 2008| 0. 83| 1. 41| 2. 22| 1. 75| 3. 50| 3. 45| December 31, 2009| 0. 19| 0. 33| 0. 37| 0. 50| 2. 25| 4. 09| June 30, 2010| 0. 50| 0. 77| 0. 73| 0. 75| 2. 50| 3. 59| (b) | Bankers Acceptance and Treasury Bills Spread (in BPs)| Prime Corporate Paper and Treasury Bills Spread (in BPs)| Govt. Of Canada marketable bonds and 3 month Treasury Bills (in BPs)| | | | | December 31, 2007| 89| 99| 28| December 31, 2008| 58| 139| 262| December 31, 2009| 14| 18| 390| June 30, 2010| 27| 23| 309| (c) fff Question 3: (a) | US Treasury Bill Rate (%)| LIBOR Rate (%)| Spread between LIBOR Rate & 3 month US Treasury Bill rate (in BPs)| US Commercial Paper – 3 month rate (%)| Long Term US Treasury Bond yield (%)| Spread between US Long Term AA Corporate Bond yield & Long Term US Treasury Bond yield (in BPs)| Spread between US Long Term BBB Corporate Bond yield & Lond Term US Treasury Bond yield (in BPs)| December 31, 2007| 3. 7| 4. 07| 90. 75| 5. 08| 4. 03| 140| 204| December 31, 2008| 0. 13| 1. 43| 130| 1. 30| 2. 22| 460| 634| December 31, 2009| 0. 05| 0. 25| 20. 06| 1. 35| 3. 39| 162| 332| June 30, 2010| 0. 18| 0. 53| 35. 89| 1. 35| 2. 93| 134| 299| (b) Fffff (c) Fffff Question 4: (a)

Night

In the fascinating memoir Night by Elie Wiesel, he deals with the struggle of surviving, which was devastating since it was during the holocaust. In the memoir Night, Wiesel uses Symbolism, Simile, and Irony in order to illustrate the events during the holocaust. Wiesel’s use of Symbolism helped the reader understand the captivity of the Jews in the concentration camps. †Father, I said â€Å"If that is true then I don’t want to wait.I’ll run into the electrified barbed wire. That would be easier than a slow death in the flames. †(33). Wiesel uses his symbolism when he said â€Å"the electrified barbed wire. † It’s being used to show the reader that this is how the atmosphere was during the holocaust. Elie Wiesel, in his autobiography Night, his use of Simile helps the reader to understand the brutal atmosphere of the German Police. There are 80 of you in the car, the German Officer added,† if any of you are missing, you will be sh ot like dogs. †(24). He uses his simile language when the train (that the Jews were on) stopped and was guarded by two German police officers. It’s being used to portray the atmosphere of the brutal officers of the Germans.In Elie Wiesel’s Night, Wiesel uses Irony in order to help the reader understand the atmosphere on the train which the Jews were on. â€Å"Fire! I see a fire! I see a fire! (24). Wiesel uses the Irony figurative language when the Jews were on the train to the concentration camps. It was being used to illustrate the savage atmosphere of humans being killed in a huge fire! So Wiesel’s use of Symbolism, Simile, and Irony were in fact helped the reader understand all the events that he wrote about during the holocaust. His point view of the holocaust was very graphic! Even though we never knew about this this is a very historical event on this planet. Night In the fascinating memoir Night by Elie Wiesel, he deals with the struggle of surviving, which was devastating since it was during the holocaust. In the memoir Night, Wiesel uses Symbolism, Simile, and Irony in order to illustrate the events during the holocaust. Wiesel’s use of Symbolism helped the reader understand the captivity of the Jews in the concentration camps. †Father, I said â€Å"If that is true then I don’t want to wait.I’ll run into the electrified barbed wire. That would be easier than a slow death in the flames. †(33). Wiesel uses his symbolism when he said â€Å"the electrified barbed wire. † It’s being used to show the reader that this is how the atmosphere was during the holocaust. Elie Wiesel, in his autobiography Night, his use of Simile helps the reader to understand the brutal atmosphere of the German Police. There are 80 of you in the car, the German Officer added,† if any of you are missing, you will be sh ot like dogs. †(24). He uses his simile language when the train (that the Jews were on) stopped and was guarded by two German police officers. It’s being used to portray the atmosphere of the brutal officers of the Germans.In Elie Wiesel’s Night, Wiesel uses Irony in order to help the reader understand the atmosphere on the train which the Jews were on. â€Å"Fire! I see a fire! I see a fire! (24). Wiesel uses the Irony figurative language when the Jews were on the train to the concentration camps. It was being used to illustrate the savage atmosphere of humans being killed in a huge fire! So Wiesel’s use of Symbolism, Simile, and Irony were in fact helped the reader understand all the events that he wrote about during the holocaust. His point view of the holocaust was very graphic! Even though we never knew about this this is a very historical event on this planet. Night In the fascinating memoir Night by Elie Wiesel, he deals with the struggle of surviving, which was devastating since it was during the holocaust. In the memoir Night, Wiesel uses Symbolism, Simile, and Irony in order to illustrate the events during the holocaust. Wiesel’s use of Symbolism helped the reader understand the captivity of the Jews in the concentration camps. †Father, I said â€Å"If that is true then I don’t want to wait.I’ll run into the electrified barbed wire. That would be easier than a slow death in the flames. †(33). Wiesel uses his symbolism when he said â€Å"the electrified barbed wire. † It’s being used to show the reader that this is how the atmosphere was during the holocaust. Elie Wiesel, in his autobiography Night, his use of Simile helps the reader to understand the brutal atmosphere of the German Police. There are 80 of you in the car, the German Officer added,† if any of you are missing, you will be sh ot like dogs. †(24). He uses his simile language when the train (that the Jews were on) stopped and was guarded by two German police officers. It’s being used to portray the atmosphere of the brutal officers of the Germans.In Elie Wiesel’s Night, Wiesel uses Irony in order to help the reader understand the atmosphere on the train which the Jews were on. â€Å"Fire! I see a fire! I see a fire! (24). Wiesel uses the Irony figurative language when the Jews were on the train to the concentration camps. It was being used to illustrate the savage atmosphere of humans being killed in a huge fire! So Wiesel’s use of Symbolism, Simile, and Irony were in fact helped the reader understand all the events that he wrote about during the holocaust. His point view of the holocaust was very graphic! Even though we never knew about this this is a very historical event on this planet.

How does William Blake use symbolism to comment on society in Songs of Experience?

William Blake was a revolutionary philosopher and a poet who felt compelled to write about the injustice of the eighteenth century. Blake was a social critic of the Romantic Period, yet his criticism is still relevant to today's society. Blake encountered many hardships in his life, including an arrest for making slanderous statements about the king and country. All of the events that Blake endured in his life had a great influence on his writing. When Blake wrote the Songs of Innocence, his vision of his audience might have been a little blurred. The audience that Blake's writings were influenced by what were wealthy â€Å"soul murderers†, who bought young children from their poor parents for the purpose of enslaving them. They forced young children to perform jobs that were inapt and dangerous for humans to implement. An audience, therefore, have to take into consideration the mental state of the speaker created by Blake. In William Blake's â€Å"The Chimney Sweeper† in Songs of Experience. The story is told by a little boy. In this particular poem, the speaker is â€Å"a little black thing among the snow†. The little boy is black because he is covered in soot from the chimney that he is forced to clean, but how are readers to know this unless we are familiar with the term â€Å"Innocence†? Later in this poem of â€Å"Experience† the little boy talks about smiling â€Å"among the winter's snow†, giving the reader the impression of a white, snow-capped environment. The image we get from reading â€Å"The Chimney Sweeper† in Songs of Experience is that of a small, lost and abandoned, maybe an African-American child lying in the snow crying because his parents went to the church to pray for what they want, which is not him. This image does is not precise to the thoughts of William Blake and what he is trying to put across, but this poem is in ‘Songs of Experience', so Blake expects the reader to have read some of the poems in ‘Songs of Innocence', and to understand that when he says a â€Å"little black thing†, he is not referring to the racial background of the child. And when he talks about â€Å"thy father and mother†, Blake is not referring to a happily married couple. He is implying that society, religion, and the government share responsibility in the persecution and destruction of children. The ironic thing about this, however, is that a reader who does not understand Blake's intentions can still enjoy this poem. There are many types of irony that Blake uses in his writing. In â€Å"The Chimney Sweeper†, for example, the little boy cries, â€Å"And because I am happy, & dance and sing†. It is somewhat obvious that Blake's speaker is being cynical and says the opposite of what he actually wants us to believe. By reading the rest of the poem, it is easy to perceive that the senses of joy and happiness do not subsist in the boy's life. The main themes of Blake's poem â€Å"The Chimney Sweeper† deal with four general areas of human existence: the nature of humanity, the nature of society, the nature of human-kind's relationship with the world, and the nature of our ethical responsibilities. Blake wrote â€Å"The Chimney Sweeper†, with the intentions to proclaim his belief that everybody had a particular role in the community. The family one was born into determined what he or she would do for the rest of his/her life, no matter what aspirations or dreams he/she might have. This is the category the speaker of the poem falls into. He is a â€Å"Chimney Sweeper†. He was forced into this job without a choice, and so he says, â€Å"They think they have done me no injury†. Many people wonder, who are â€Å"they†? â€Å"They† are the same people who influenced Blake's writing in the first place. In The Songs of Innocence, there is another poem called â€Å"The Chimney Sweeper† which is a complete anonym to the poem analysed previously. Although the two poems are different, they are both constructed from the same viewpoints. One is presentable to immature readers because it has more characterization. Characterization is the author's presentation and development of characters. To understand the characterization in The Songs of Experience, one has to be able to understand â€Å"The Chimney Sweeper† in The Songs of Innocence. The only characterization is that of the little boy and his disapproval of his life and his unhappiness. Though the poem is short, it would still do the speaker an injustice to say that his character is simple, especially when it is extremely prevalent that Blake's attitude toward his speaker is supportive. When considering a particular idea, event, or even a setting of William Blake's poems, it is imperative to notice his choice of words when he describes the little boy. He gives the reader the impression that maybe he himself was somewhat of a deprived child. Blake is not straightforward in expressing his stance, but it is clear what he implies from the emphasized manifestations that he creates when he talks about the little boy â€Å"Crying † ‘weep,'weep,† in notes of woe! † In the examination of this poem, innocence, faith, and lack of self-worth are the predominant themes of the poem. By studying these themes, a very accurate picture of the speaker and learning about innocence and experience is gained. Unlike other poems, which illustrate innocence as something to be treasured, this poem illustrates a sad innocence that is better grown out of. In William Blake's songs of Innocence and Experience, the gentle Lamb and the fierce Tiger contrasts between the innocence of youth and the experience of age. Blake makes it clear that the poem ‘The Lamb' point of view is from that of a child, when he says â€Å"I a child and thou a lamb. Whereas the poem ‘The Tyger' was written from the perspective of a more experienced person who had seen all of the evil in the world. Blake questions the creator of the lamb and he compares the lambs' characteristics to its creator. In ‘The Lamb,' William Blake explains that God can be like a child, meek and innocent, â€Å"He is meek, and he is mild/ He became a little child. † When one thinks of a child they see someone who is meek, pure, and unclear of the world. So a child is like a lamb someone who stands for purity. In this poem Blake is explaining that God considered himself to be like a lamb, innocent and meek when he says, † He is called by thy name, / For he calls himself a Lamb†. A person would never know that God has different faces until one really comes to understand by their own ideas on a personal level who God is and what he is capable of doing. In ‘The Tyger,' William Blake explains that there is more that meets the eye when one examines the creator and his creation, the tiger. All throughout the poem Blake questions the creator of the tiger to determine if the creator is demonic or godlike. Blake asks â€Å"Did he who made the Lamb make thee? † Blake questions whether the same person that created the gentle lamb could be capable of making such a vicious beast, the tiger? Blake has no answer for this question; it is left up to the reader to decide. Blake relates the tiger's environment to one during the Industrial Revolution when he says, â€Å"What the hammer? What the chain? / In what furnace was thy brain? â€Å". This symbolizes what Blake's childhood was like to him and how society treated different people. It asks God why he made evil people as well as good people in the world, why make a society that could so easily go corrupt and sinful? This is one of Blake's trains of thought between the poems ‘The Tyger' and ‘The Lamb' The one thing that makes Blake's work slightly different and more original is that most of his poems are centered around his faith in God. Blake was a man of creativity, one that was widely misunderstood by society. To make poems about the faces of God is truly wonderful to people who share his beliefs. He demonstrates to the world that as a writer he personally understands some of the faces of the God he believes in. In these faces of God, Blake made some fascinating revelations on what society was becoming to be. He related these revelations by subtly making comments, and remarking on the faults of society in most of his poems, mainly from ‘Songs of Experience. ‘ The foundation for a lot of Blake's poems was society and the things he found appalling in it. For example, in his reflection of â€Å"London,† William Blake laments the poverty faced by the lower class of modern, industrialised London, and he can find no note of consolation or hope for their future. Blake uses this theme to dramatically depict the conditions in which the oppressed lower class is forced to live; he develops the theme through the use of sounds, symbolism, and an ironic twist of words in the last line that expresses Blake's ultimate belief in the hopelessness of the situation. The poem is dominated by a rigid meter that mirrors the rigidity and the helpless situation of the lives of the poor and the oppressive class system. The first stanza begins with Blake describing someone who sounds most likely to be himself walking through the â€Å"charter'd† streets of the city near the â€Å"charter'd† Thames. Every aspect of the city has been sanctioned and organized by the ruling class for example, seeing expressions of weakness and woe on the faces of all the people he meets. The streets and the river make up a network that has been laid out and chartered by the wealthy class to control the poor. The poet walks among the poor, participating in the drudgery of their daily lives; he feels their misery as they endlessly struggle to survive as pawns of the class system of the harsh society. In the second stanza Blake describes how in every voice of every person he perceives their â€Å"mind-forg'd manacles. The people are trapped, prisoners of the rigid class system that has been â€Å"forg'd† in the minds of the elite class, whose members have taken measures to prevent their wealth from ever reaching the poverty-stricken horde. This and all later stanzas focus on the sounds that Blake hears, particularly the cries of the poor, as he walks through the city. The third stanza marks a change in tone to a more abstract, symbolic depiction of a â€Å"black'ning Church† being â€Å"appalled† by the â€Å"Chimney-sweeper's cry,† and the sigh of a â€Å"hapless Soldier† running in â€Å"blood down Palace walls. The Church is depicted as being allied with the insensitive elite class: the pleas of the chimney-sweeper, who is blackened with the soot of oppression and doomed to die young of lung disease, are spurned by the Church-the supposed source of pity and relief to the suffering-and in the process the Church â€Å"blackens† itself. The institution has become hypocritical because, while it still preaches pity, it fails to offer any remedy to the oppression of the poor. The soldier, who should be a symbol of the strength and glory of England, is nothing more than another poverty-stricken human, and so the depiction of his sigh running in blood down palace walls symbolizes that the beauty and glory of England, the palace, is marred and made grotesque by the oppression of the soldier class. The fourth and final stanza returns to a slightly more concrete depiction of what â€Å"most thro' midnight streets [he] hear[s]†: the â€Å"youthful Harlot's curse† not only â€Å"blasts the new born infant's tear,† but also â€Å"blights with plagues the Marriage hearse. The unusual, poignant combination of â€Å"marriage† with â€Å"hearse† brings the mood of hopelessness to a peak; as a result of sexually transmitted diseases, marriage and sex are now connected with death, not life. In â€Å"London† Blake's walk itself is chartered and deliberate, and the rhythm of the poem is as oppressive and inactive as the class system whose oppression it describes. Each stanza is further organized by a rigid rhyming structure-the rhyming words at the end of each line end in many r's, w's, and some that bend the sound of the vowels and give the words a heavy, plaintive, woeful, tone. For example: â€Å"How the Chimney-sweeper's cry/ Every black'ning Church appalls;/ And the hapless Soldier's sigh/ Runs in blood down Palace walls. † Intermixed with these plaintive sounds are words with sharp consonants and short syllables that seem to convey Blake's spite for the horrible unjust system currently in society, for example, â€Å"Every black'ning Church appalls† and † . . . blights with plagues the Marriage hearse. † Not only is Blake saddened by the London scene, he is angry and spiteful that the elite class maintains it in an organised way designed to retain the wealth for the wealthy. Therefore Blake's ultimate purpose for the poem is to protest the organised, chartered system of keeping the poor in a hopeless struggle for survival. Blake wrote â€Å"London† two hundred years ago, to protest the oppressive class system of the city he lived in, and yet his message is very easy to understand today. The fact is that there are many places in the world today where the poor are treated in much the same way as the people of London two hundred years ago. It is not a small-scale phenomenon-hundreds of millions of poverty-stricken people continue to struggle through the trials of daily survival, and their suffering weighs heavily on our consciences. This reveals that in this way society hasn't changed a considerable amount compared to when Blake wrote ‘London' although nowadays other issues of which Blake frowned upon have been improved. William Blake was a profoundly stirring poet, whose works were very much shaped by current events. He was, in large part, responsible for bringing about the Romantic Movement in poetry and was also able to achieve remarkable results with the simplest means. Blake's research and introspection into the human mind and soul has resulted in his being called the â€Å"Columbus of the psyche†, and because no language existed at the time to describe what he discovered on his voyages, he created his own mythology to describe what he found there. He was an accomplished poet, painter, and engraver. Many of the works written by Blake reflect his feelings and attitude to the world in which he lived. Blake's Songs of Innocence and Experience (1794) is tales in the form of poems of the innocent, pastoral world of childhood against an adult world of corruption and repression. Such poems as â€Å"The Lamb† represent a meek virtue, whereas poems like â€Å"The Tyger† exhibit opposing, darker forces. Thus the collection as a whole explores the value and limitations of two different perspectives on society in the world. Many of the poems fall into pairs, so that the same situation or problem is seen through the lens of innocence first and then experience. Blake does not identify himself wholly with either view; most of the poems are dramatic, meaning, in the voice of a speaker other than the poet himself. Blake stands outside innocence and experience, in a distanced position from which he hopes to be able to recognize and correct the mythical untruths of both. In particular, he pits himself against dictatorial authority, restrictive morality, sexual repression, and institutionalised religion; his great insight is into the way these separate modes of control work together to smother what is most holy in human beings in society. The Songs of Innocence dramatize the naive hopes and fears that inform the lives of children and trace their transformation as the child grows into adulthood. Some of the poems are written from the perspective of children, while others are about children as seen from an adult perspective. Many of the poems draw attention to the positive aspects of natural human understanding prior to the corruption and distortion of experience. Others take a more critical stance toward innocent purity: for example, while Blake draws, touching portraits of the emotional power of rudimentary Christian values, he also exposes over the heads as it were of the innocent, Christianity's capacity for promoting injustice and cruelty. The Songs of Experience works by parallels and contrasts to lament the ways in which the harsh experiences of adult life destroy what is good in innocence, while also articulating the weaknesses of the innocent perspective (â€Å"The Tyger,† for example, attempts to account for real, negative forces in the universe, which innocence such as in ‘The Lamb' fails to confront). These latter poems treat sexual morality in terms of the repressive effects of jealousy, shame, and secrecy, all of which corrupt the ingenuousness of innocent love. With regard to religion, they are less concerned with the character of individual faith than with the institution of the Church, its role in politics, and its effects on society and the individual mind. Experience thus adds a layer to innocence that darkens its hopeful vision while compensating for some of its ignorant blindness. The style of the Songs of Innocence and Experience is simple and direct, but the language and the rhythms are painstakingly crafted, and the ideas they explore are often deceptively complex. Many of the poems are narrative in style; others, like â€Å"The Sick Rose† and â€Å"The Divine Image,† make their arguments through various types of symbolism or by means of abstract concepts. Some of Blake's favourite rhetorical techniques are personification and the reworking of Biblical symbolism and language. Blake frequently employs the familiar meters of ballads, nursery rhymes, and hymns, applying them to his own, often unorthodox conceptions. This combination of tradition and the unfamiliar, with Blake's perpetual interest in reconsidering and reframing the assumptions of human thought and social behaviour depict that Blake's philosophical thoughts have always questioned the ways of society of his time and the future, in many ways his thoughts extracted from his work were indeed correct and by using symbolism in words, metaphors, sounds, enjambments and narrators plus several other ways has commented on society through his personal point of view, he used religion, people's classes, people's occupations, other living beings and indications of emotions to get his ideas across, whether in agreement or not. Most of William Blake's poems especially in ‘Songs of Experience' are disagreeing with the ways of society and the rules.