Robert Browning Essay Essay Example for Free

Robert Browning Essay Essay Browning gave life to the dramatic monologue and made it a distinctive and memorable poetic form. Browning was fascinated with human behaviour, particularly the darker side of humanity and he believed that the dramatic monologue enabled him to create very powerful masks and ‘tell the truth obliquely’. As we become aware that the characters are wearing masks, the layers of artifice or self-deception is where the real persona exits. Browning’s poems open the minds of his readers, allowing for exploration and the discovery of the dark side of human nature: in the context of his dramatic monologue, character revelations are discovered. In Robert Browning’s, My Last Duchess we are introduced to a rich, arrogant and authoritarian Duke of Ferara. Browning immediately establishes the technique apostrophe as the Duke begins to speak to an unseen character about his late wife. The Duke displays feelings of nervousness towards the death of his wife but also speaks in a revengeful and controlling tone. In comparison to the Duke is a young man who is tormented by an elderly man’s light blue eye in the short story ‘The Tell Tale Heart’ by Edger Allan Poe. Both main characters share personality flaws of the need for control over others and the lust for power and authority. Edger Allan Poe and Robert Browning demonstrate the use of an emerging theme in the Victorian era, ‘Goth’. This theme creates an externalisation of the composer’s characters, revealing their deepest passions and fears and the hunger for triumph of evil over good. Browning and Poe share the same love for the dark side of human nature and use the gothic theme to inject personality traits of insanity and madness into their characters. In the first sentence of ‘Tell Tale Heart’, the young man admits to being dreadfully nervous and asks us ‘but why would you think I’m mad?’ This immediately plants ideas of insanity and irrationalism in Poe’s character. Poe uses pathetic fallacy as a metonym as he speaks of the ‘night time darkness’ and with the quote â€Å"my secret deeds or thought†, this creates ideas of ‘the madness within’. Browning also taps into the thoughts of a madman in the characterisation of the Duke. The Duke speaks in favouritism of himself with high order and authority in his tone of voice. The Duke is blinded by his faults of vicious pride and revengeful jealousy over the lack of control in his Last Duchess and this  allows the audience to unravel the Dukes flaws and discover the villain that lay beneath. In the quote â€Å"This grew; I gave commands; Then all smiles stopped together†, gives off the idea that the Duke enforced high power and control over his Duchess and uses double entendre to imply two possible meanings to his ideas of ‘then all smiles stopped’. Browning combines the contrasts of love and passion with violence and power to enable the depiction of a lovers mind. He reveals the macabre and grotesque side of a human’s urgency for companionship which in turn leads to insanity and madness in the eyes of a lover. â€Å"Youre the brother I never had. Im the brother you never had. I would do anything for you, Dickie†, is a quote from the film ‘The Talented Mr Ripley’; the story of a man named Tom Ripley who befriends a man names Dickie Greenleaf, becoming deeply infatuated by him and as Tom’s obsession grew it led to the grotesque murder and assumed identity of Dickie. This macabre murder performed by a jealous, love-crazed man can be presented in comparison with Robert Browning’s, ‘Porphyria’s Lover’; the first person recount of an anonymous narrator who kills his lover with her own hair. Both texts explore the urgency for everlasting human companionship that is driven by a lover’s madness. Porphyria’s lover uses powerful imagery, ‘shoulder bare’ and alliteration in ‘perfectly pure’ when he speaks of her beauty. Symbolism is also displayed in the name Porphyria which means rich and red in colour. This can symbolise either the grotesque murder of the Lover or the delicate but deep love expressed through Browning’s character. There is also the question of Tom Ripley’s sexuality. He is self-hating and ashamed as he stumbles about his desire for Dickie and tries to repress his sexual impulses. Empty and absent to himself, Ripley doesn’t merely want to poses the object of his affection, he wants to be him. In the quote, â€Å"I always thought itd be better to be a fake somebody than a real nobody†, shows Tom’s yearning to become a person of significance, someone to be sort after and loved. He shows personality traits of a psychotic man who would do anything to have a sense of belonging and purpose in life even if it meant assuming the identity of another to compensate for the loss of self- love within him. Browning invites his audience to uncover the real sense of truth  in his character’s situations that they do not discover themselves. He creates disequilibrium between what the speaker reveals about himself and thinks is the truth. The Soliloquy of the Spanish Cloister and Doug Liman’s,’ The Bourne Identity’ are excellent examples of two strikingly vague men who are deceived by their own faults and follies and are unable to justify their real character traits. In the poem, Soliloquy of the Spanish Cloister, Robert Browning creates a nameless Spanish monk full of hypocrisy and jealousy. Throughout the poem, this monk expresses opinions of both himself and a fellow monk. Yet these opinions are not what the monk really thinks of himself as can be deciphered by a closer examination of the text. The monk, who is the speaker of the poem, attempts to convince the reader that he is a just, moral man. However it becomes apparent to the audience that this monk carries many hidden flaws that he reveals to us throughout his ranting. An example is shown in stanza 4 as our deceitful monk describes a scene of two nuns, washing their hair outside. The monk accuses Brother Lawrence of lusting after them. However in the quote That is, if hed let it show suggests there is no actual evidence of such thoughts of Brother Lawrence, revealing that the speaker, alone, noticed a need for such lust. In contrast the fictional character and protagonist Jason Bourne is a very quick-thinking, linear type of person who moves quickly and brutally towards his goal. He gives the impression of someone who has been severely traumatized. Jason Bourne was on a search for his own identity and discovered the worst. Bourne reveals about himself that he is a grotesque assassin and he begins to run from the horrible truth but we as the audience are able to see what he is truly like and that as he runs away from the truth, Bourne is bringing the audience closer to the real truth of his identity. He tries to convince himself of who he isn’t, ‘I dont wanna know who I am any more, everything I found out, I want to forget’.

Love :: essays research papers

Euthanasia is the act of ending the life of an individual suffering from a terminal illness, as by lethal injection or the suspension of extraordinary medical treatment. This is a topic with many opinions and much controversy as to whether or not it should be a legal practice. I have never known anyone close to me with an incurable disease, but if a loved one or I were diagnosed, I would like the option to end the suffering to be available. Therefore, I am pro euthanasia, and furthermore, pro individual choice. There are two essays I have recently read on the subject, each gives two different viewpoints on the topic of euthanasia. In Sidney Hook’s In Defense of Voluntary Euthanasia, he believes that â€Å"each one should be permitted to make his own choice-especially when no one else is harmed by it.†(404) Hook is pro euthanasia, contrary to Rand Richards Cooper, the author of The Dignity of Helplessness: What Sort of Society Would Euthanasia Create?† Cooper says â€Å"I’m looking for an argument with Jack Kevorkian; or rather, one against him.†(411) He believes that euthanasia should not be a practice used in society today. Sidney Hook begins his essay by giving a personal, first-hand experience of his own sufferings in his battle with congestive heart failure followed by a massive stroke. He says, â€Å"†¦I asked my physician to discontinue all life-supporting services or show me how to do it.†(403) His doctor refused and after months of rehabilitation, finally regained most of his motor skills. He admits that this argument sounds like it is pro euthanasia, however, he gives two major reasons for the right to choose. By using his own personal experience and knowledge, he gives the reader insight to his defense in his opinion. Rand Richards Cooper takes an informal approach in his argument, not giving any cut and dry facts. He uses two indirect experiences through his mother’s friend and children in Kenya to convey his ideas. Sidney Hook expresses his ideas using his own personal terminal illness. He makes his statement using reader sympathy, hoping to impact the reader on a personal level. Rand Richards Cooper uses a similar approach, recognizing the usefulness of informal, but personable persuasions. Hook writes about his own first-hand experience and is thought to be more factual. Cooper on the other hand uses the same technique, but he gives second-hand experiences through children in Kenya and also through his mother’s best friend.

Classical Concerto

CONCERTO A concerto (from the Italian: concerto, plural concerti or, often, the anglicised form concertos) is a musical composition usually composed in three parts or movements, in which (usually) one solo instrument (for instance, a piano, violin, cello or flute) is accompanied by an orchestra.The etymology is uncertain, but the word seems to have originated from the conjunction of the two Latin words conserere (meaning to tie, to join, to weave) and certamen (competition, fight): the idea is that the two parts in a concerto, the soloist and the orchestra, alternate episodes of opposition, cooperation, and independence in the creation of the music flow. The concerto, as understood in this modern way, arose in the Baroque period side by side with the concerto grosso, which contrasted a small group of instruments with the rest of the orchestra.The popularity of the concerto grosso form declined after the Baroque period, and the genre was not revived until the 20th century. The solo co ncerto, however, has remained a vital musical force from its inception to this day. Classical concerto . Sonata form in the Classical ConcertoFor exposition, development and recapitulation, The concerti of the sons of Johann Sebastian Bach are perhaps the best links between those of the Baroque period and those of Mozart. C. P. E. Bach’s keyboard concerti contain some brilliant soloistic writing.Some of them have movements that run into one another without a break, and there are frequent cross-movement thematic references. Mozart, as a boy, made arrangements for harpsichord and orchestra of three sonata movements by Johann Christian Bach. By the time he was twenty, Mozart was able to write concerto ritornelli that gave the orchestra admirable opportunity for asserting its character in an exposition with some five or six sharply contrasted themes, before the soloist enters to elaborate on the material. He wrote one concerto each for flute, oboe (later rearranged for flute and known as Flute Concerto No. ), clarinet, and bassoon, four for horn, a Concerto for Flute, Harp, and Orchestra, a Sinfonia Concertante for Violin, Viola and Orchestra, and Exsultate, jubilate, a de facto concerto for soprano voice. They all exploit and explore the characteristics of the solo instrument. His five violin concerti, written in quick succession, show a number of influences, notably Italian and Austrian. Several passages have leanings towards folk music, as manifested in Austrian serenades. However, it was in his twenty-seven original piano concerti that he excelled himself. citation needed] It is conventional to state that the first movements of concerti from the Classical period onwards follow the structure of sonata form. Final movements are often in rondo form, as in J. S. Bach's E Major Violin Concerto. [2] Sonata form Sonata form is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period). While it is typically us ed in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement.The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. [2] There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation;[3] however, beneath this, sonata form is difficult to pin down in terms of a single model.The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.Since its establishment, the sonata form became the most common form in the first movement of works entitled â€Å"sonata†, as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. [3] Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within eras and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.Outline of sonata form Introduction The Introduction section is optional, or may be reduced to a minimum. If it is extended, it is, in general, slower than the main section, and frequently focuses on the dominant key. It may or may not contain material that is later stated in the exposition. Th e introduction increases the weight of the movement, and also permits the composer to begin the exposition with a theme that would be too light to start on its own, as in Haydn's Symphony No. 03 (â€Å"The Drumroll†) and Beethoven's Quintet for Piano and Winds Op. 16. The introduction usually is not included in the exposition repeat. On occasion, the material of introduction reappears in its original tempo later in the movement. Often, this occurs as late as the coda, as in Mozart's String Quintet in D major K. 593, Haydn's Drumroll Symphony, or Beethoven's Piano Sonata No. 8 (â€Å"Pathetique†). Exposition The primary thematic material for the movement is presented in the Exposition. This section can be further divided into several sections.The same section in most sonata form movements has prominent harmonic and thematic parallelisms (although in some works from the 19th century and onward, some of these parallelisms are subject to considerable exceptions), which inc lude: First subject group, P (Prime) – this consists of one or more themes, all of them in the home key (also called the tonic)—so if the piece is in C major, all of the music in the first group will be in C major. Although some pieces are written differently, most follow this form. Transition, T – in this section the composer modulates from the key of the first subject to the key of the second.Second subject group, S – one or more themes in a different key from the first group. If the first group is in a major key, the second group will usually be in the dominant. If the original key is C major, for example, the key of the music of the second group will be G major, a perfect fifth higher. If the first group is in a minor key, the second group will, in general, be in the relative major, so that, if the original key is C minor, the second group will be in E-flat major. The material of the second group is often different in rhythm or mood from that of the f irst group (frequently, it is more lyrical).Codetta, K – the purpose of this is to bring the exposition section to a close with a perfect cadence in the same key as the second group. The exposition is commonly repeated, particularly in classical works. Often, though not always, the last measure or measures of the exposition are slightly different between the repeats, one to point back to the tonic, where the exposition began, and the second to point towards the development. Development In general, the development starts in the same key as the exposition ended, and may move through many different keys during its course.It will usually consist of one or more themes from the exposition altered and on occasion juxtaposed and may include new material or themes – though exactly what is acceptable practice is a famous point of contention. Alterations include taking material through distant keys, breaking down of themes and sequencing of motifs, and so forth. The development v aries greatly in length from piece to piece and from time period to time period, sometimes being relatively short compared to the exposition (e. g. , the first movement of Eine kleine Nachtmusik, K 525/I by Mozart) and in other cases quite long and detailed (e. . , the first movement of the â€Å"Eroica† Symphony by Beethoven). Developments in the classical era are typically shorter due to how much composers of that era valued symmetry, unlike the more expressive romantic era (â€Å"Eroica† is considered to be the first Romantic symphony) in which development sections gain a much greater importance. However, it almost always shows a greater degree of tonal, harmonic, and rhythmic instability than the other sections. At the end, the music will usually return to the tonic key in preparation of the recapitulation. On occasion it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition). The transition from the development to the recapitulation is a crucial moment in the work. The last part of the development section is called the retransition: It prepares for the return of the first subject group in the tonic, most often through a grand prolongation of the dominant seventh. Thus, if the key of the movement is C major, the retransition would most typically stress the dominant seventh chord on G.In addition, the character of the music would signal such a return, often becoming more frenetic (as in the case of the first movement of Beethoven's â€Å"Waldstein† Sonata, Op. 53). A rather notable exception to the harmonic norm of the retransition occurs in the first movement of Brahms's Piano Sonata No. 1, Op. 1. The general key of the movement is C major, and it would then follow that the retransition should stress the dominant seventh chord on G. Instead, it builds in strength over the seventh chord on C, as if the music were proceeding to F major.At the height of the musical tension, this chord triumphs with great volume and wide registral scope on the downbeat, only to take up immediately the first theme in C major – that is, without any standard harmonic preparation. Occasionally, the retransition can begin with a false recapitulation, in which the opening material of the first theme group is presented in a key other than the tonic. The surprise that ensues when the music continues to modulate toward the tonic can be used for either comic or dramatic effect. RecapitulationFirst subject group – normally given prominence as the highlight of a recapitulation, it is usually in exactly the same key and form as in the exposition. Transition – Often the transition is carried out by introducing novel material, a kind of brief additional development section; this is called a secondary development. Second subject group – usually in roughly the same form as in the exposition, but now in the home key, which sometimes involves change of mode from major to minor, or vice versa, as occurs in the first movement of Mozart's Symphony No. 0 (K. 550). More often, however, it may be recast in the parallel major of the home key (for example, C major when the movement is in C minor like Beethoven's Symphony No. 5 in C Minor, op. 67/I). Key here is more important than mode (major or minor) – the recapitulation provides the needed balance even if the material's mode is changed, so long as there is no longer any key conflict. Exceptions to the recapitulation form include Mozart and Haydn works that often begin with the second subject group when the first subject group has been elaborated at ength in the development. After the closing cadence, the musical argument proper is said to be completed. If the movement continues, it is said to have a coda. Coda After the final cadence of the recapitulation, the movement may continue with a coda which will contain material from the movement proper. Codas, when present, vary considerably in length, b ut like introductions are not part of the â€Å"argument† of the work. The coda will end, however, with a perfect authentic cadence in the original key.Codas may be quite brief tailpieces, or they may be very long and elaborate. A famous example of the more extended type is the coda to the first movement of Beethoven's Eroica Symphony (no. 3 in E flat), although there are numerous others in Beethoven's music. Explanations for why an extended coda is present vary. One reason may be to omit the repeat of the development and recapitulation sections found in earlier sonata forms of the eighteenth century. Indeed, Beethoven's extended codas often serve the purpose of further development of thematic material.

Security Brokers, Inc. - 2152 Words

Security Policy 1. Overview Security Brokers, Inc. is a brokerage firm dedicated solely to the trading of stocks, bonds, mutual funds, and other money market products geared towards serving our customers needs. Security Brokers, Inc. has committed to not only providing the best of financial services to our customers but also providing our customers the security to protect our company assets required to gain and retain trust in our ability to do business in the financial industry. This document will serve as a guideline on how the Security Brokers, Inc. server and workstation hardware and operating systems will be hardened, secured and maintained. All employees, contractors, consultants, temporary and other workers at Security Brokers,†¦show more content†¦utilizes Dell as the sole manufacturer for providing equipment for servers and user workstations. Server hardware utilized includes the Dell R series server hardware platforms including a mixture of R210, 410, and 710 chassis’. User workstations are provided by Dell as well and include the Optiplex series towers for non-mobile users and the latitude 820 for mobile and remote users. Remote and mobile user laptops are encrypted and require an RSA USB encryption token to unencrypted the mobile workstation upon boot. Remote and mobile users choosing to gain remote access into the Security Brokers, Inc. network using their company issued laptop must use their RSA token to gain VPN access into the company network. Remote user wishing to utilize a company issued Optiplex series tower will be issued an RSA token to use to gain VPN access to the company network. Security Brokers, Inc. utilizes the Checkpoint Mobile VPN access client to provide secure VPN communication between the remote user and the company network. Security Brokers, Inc. utilizes Microsoft operating systems and other Microsoft Windows based products to ensure 100% compatibility with our customers and other partner’s ability to access our company resources. Utilizing a sole baseline for software also allows Security Brokers, Inc. the ease of maintaining the server and workstation software, applying patches and updates to ensure the highest level of security and