Pedagology of the Oppressed Essay Example for Free

Pedagology of the Oppressed Essay A careful analysis of the teacher-student relationship at any level, inside or outside the school, reveals its fundamentally narrative character. The relationship involves a narrating Subject (the teacher) and patient, listening objects (the students). The contents, whether values or empirical dimensions of reality, tend in the process of being narrated to become lifeless and petrified. Education is suffering from narration sickness. The teacher talks about reality as if it were motionless, static, compartmentalized, and predictable. Or else he expounds on a topic completely alien to the existential experience of the students. His task is to â€Å"fill† the students with the contents of his narration – contents which are detached from reality, disconnected from the totality that engendered them and could give them significance. Words are emptied of their concreteness and become a hollow, alienated, and alienating verbosity. The outstanding characteristic of this narrative education, then, is the sonority of words, not their transforming power. â€Å"Four times four is sixteen; the capital of Parà ¡ is Belà ©m.† The student records, memorizes, and repeats these phrases without perceiving what four times four really means, or realizing the true significance of â€Å"capital† in the affirmation â€Å"the capital of Parà ¡ is Belà ©m,† that is, what Belà ©m means for Parà ¡ and what Parà ¡ means for Brazil. Narration (with the teacher as narrator) leads the students to memorize mechanically the narrated content. Worse yet, it turns them into â€Å"containers,† into â€Å"receptacles† to be â€Å"filled† by the teacher. The more completely he fills the receptacles, the better a teacher he is. The more meekly the receptacles permit themselves to be filled, the better students they are. Education thus becomes an act of depositing, in which the students are the depositories and the teacher is the depositor. Instead of communication, the teacher issues communiquà ©s and makes deposits which the students patiently receive, memorize, and repeat. This is the â€Å"banking† concept of education, in which the scope of action allowed to the students extends only as far as receiving, filing, and storing the deposits. They do, it is true, have the opportunity to become collectors or cataloguers of the things they store. But in the last analysis, it is men themselves who are filed away through the lack of creativity, transformation, and knowledge in this (at best) misguided system. For apart from inquiry, apart from the praxis, men cannot be truly human. Knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry men pursue in the world, with the world and with each other. In the banking concept of education, knowledge is a gift bestowed by those who consider themselves knowledgeable upon those whom they consider to know nothing. Projecting an absolute ignorance onto others, a characteristic of the ideology of oppression, negates education and knowledge as processes of inquiry. The teacher presents himself to his students as their necessary opposite; by considering their ignorance absolute, he justifies his own existence. The students, alienated like the slave in the Hegelian dialectic, accept their ignorance as justifying the teacher’s existence – but, unlike the slave, they never discover that they educate the teacher. The raison d’à ªtre of libertarian education, on the other hand, lies in its drive towards reconciliation. Education must begin with the solution of the teacher-student contradiction, by reconciling the poles of the contradiction so that both are simultaneously teachers and students. This solution is not (nor can it be) found in the banking concept. On the contrary, banking education maintains and even stimulates the contradiction through the following attitudes and practices, which mirror oppressive society as a whole: a) the teacher teaches and the students are taught; b) the teacher knows everything and the students know nothing; c) the teacher thinks and the students are thought about; d) the teacher talks and the students listen – meekly; e) the teacher disciplines and the students are disciplined; f) the teacher chooses and enforces his choice, and the students comply; g) the teacher acts and the students have the illusion of acting through the action of the teacher; h) the teacher chooses the program content, and the students (who were not consulted) adapt to it; i) the teacher confuses the authority of knowledge with his own professional authority, which he sets in opposition to the freedom of the students; j) the teacher is the Subject of the learning process, while the pupils are mere objects. It is not surprising that the banking concept of education regards men as adaptable, manageable beings. The more students work at storing the deposits entrusted to them, the less they develop the critical consciousness which would result from their intervention in the world as transformers of that world. The more completely they accept the passive role imposed on them, the more they tend simply to adapt to the world as it is and to the fragmented view of reality deposited in them. The capability of banking education to minimize or annul the ‘students’ creative power and to stimulate their credulity serves the interests of the oppressors, who care neither to have the world revealed nor to see it transformed. The oppressors use their â€Å"humanitarianism† to preserve a profitable situation. Thus they react almost instinctively against any experiment in education which stimulates the critical faculties and is not content with a partial view of reality but always seeks out the ties which link one point to another and one problem to another. Indeed, the interests of the oppressors lie in â€Å"changing the consciousness of the oppressed, not the situation which oppresses them†;[1] for the more the oppressed can be led to adapt to that situation, the more easily they can be dominated. To achieve this end, the oppressors use the banking concept of education in conjunction with a paternalistic social action apparatus, within which the oppressed receive the euphemistic title of â€Å"welfare recipients.† They are treated as individual cases, as marginal men who deviate from the general configuration of a â€Å"good, organized, and just† society. The oppressed are regarded as the pathology of the healthy society, which must therefore adjust these â€Å"incompetent and lazy† folk to its own patterns by changing their mentality. These marginals need to be â€Å"integrated,† â€Å"incorporated† into the healthy society that they have â€Å"forsaken.† The truth is, however, that the oppressed are not â€Å"marginals,† are not men living â€Å"outside† society. They have always been â€Å"inside† – inside the structure which made them â€Å"beings for others.† The solution is not to â€Å"integrate† them into the structure of oppression, but to transform that structure so that they can become â€Å"beings for themselves.† Such transformation, of course, would undermine the oppressors’ purposes; hence their utilization of the banking concept of education to avoid the threat of student conscientizacÄ o. The banking approach to adult education, for example, will never propose to students that they critically consider reality. It will deal instead with such vital questions as whether Roger gave green grass to the goat, and insist upon the importance of learning that, on the contrary, Roger gave green grass to the rabbit. The â€Å"humanism† of the banking approach masks the effort to turn men into automatons – the very negation of their ontological vocation to be more fully human. They may perceive through their relations with reality that reality is really a process, undergoing constant transformation. If men are searchers and their ontological vocation is humanization, sooner or later they may perceive the contradiction in which banking education seeks to maintain them, and then engage themselves in the struggle for their liberation. But the humanist, revolutionary educator cannot wait for this possibility to materialize. From the outset, his efforts must coincide with those of the students to engage in critical thinking and the quest for mutual humanization. His efforts must be imbued with a profound trust in men and their creative power. To achieve this, he must be a partner of the students in his relations with them. The banking concept does not admit to such partnership – and necessarily so. To resolve the teacher-student contradiction, to exchange the role of depositor, prescriber, domesticator, for the role of student among students would be to undermine the power of oppression and serve the cause of liberation. Implicit in the banking concept is the assumption of a dichotomy between man and the world: man is merely in the world, not with the world or with others; man is spectator, not re-creator. In this view, man is not a conscious being (corpo consciente); he is rather the possessor of ÃŽ ± consciousness: an empty â€Å"mind† passively open to the reception of deposits of reality from the world outside. For example, my desk, my books, my coffee cup, all the objects before me – as bits of the world which surrounds me – would be â€Å"inside† me, exactly as I am inside my study right now. This view makes no distinction between being accessible to consciousness and entering consciousness. The distinction, however, is essential: the objects which surround me are simply accessible to my consciousness, not located within it. I am aware of them, but they are not inside me. It follows logically from the banking notion of consciousness that the educator’s role is to regulate the way the world â€Å"enters into† the students. His task is to organize a process which already occurs spontaneously, to â€Å"fill† the students by making deposits of information which he considers to constitute true knowledge.[2] And since men â€Å"receive† the world as passive entities, education should make them more passive still, and adapt them to the world. The educated man is the adapted man, because he is better â€Å"fit† for the world. Translated into practice, this concept is well suited to the purposes of the oppressors, whose tranquillity rests on how well men fit the world the oppressors have created, and how little they question it. The more completely the majority adapt to the purposes which the dominant minority prescribe for them (thereby depriving them of the right to their own purposes), the more easily the minority can continue to prescribe. The theory and practice of banking education serve this end quite efficiently. Verbalistic lessons, reading requirements,[3] the methods for evaluating â€Å"knowledge,† the distance between the teacher and the taught, the criteria for promotion: everything in this ready-to-wear approach serves to obviate thinking. The bank-clerk educator does not realize that there is no true security in his hypertrophied role, that one must seek to live with others in solidarity. One cannot impose oneself, nor even merely co-exist with one’s students. Solidarity requires true communication, and the concept by which such an educator is guided fears and prescribes communication. Yet only through communication can human life hold meaning. The teacher’s thinking I authenticated only by the authenticity of the students’ thinking. The teacher cannot think for his students, nor can he impose his thought on them. Authentic thinking, thinking that is concerned about reality, does not take place in ivory tower isolation, but only in communication. If it is true that thought has meaning only when generated by action upon the world, the subordination of students to teachers becomes impossible. Because banking education begins with a false understanding of men as objects, it cannot promote the development of what Fromm calls â€Å"biophily,† but instead produces its opposite: â€Å"necrophily.† While life is characterized by growth in a structured, functional manner, the necrophilous person loves all that does not grow, all that is mechanical. The necrophilous person is driven by the desire to transform the organic into the inorganic, to approach life mechanically, as if all living persons were things†¦.Memory, rather than experience; having, rather than being, is what counts. The necrophilous person can relate to an object – a flower or a person – only if he possesses it; hence a threat to his possession is a threat to himself; if he loses possession he loses contact with the world†¦He loves control, and in the act of controlling he kills life.[4] Oppression—overwhelming control—is necrophilic; it is nourished by love of death, not life. The banking concept of education, which serves the interests of oppression, is also necrophilic. Based on a mechanistic, static, naturalistic, spatialized view of consciousness, it transforms students into receiving objects. It attempts to control thinking and action, leads men to adjust to the world, and inhibits their creative power. When their efforts to act responsibly are frustrated, when they find themselves unable to use their faculties, men suffer. â€Å"This suffering due to impotence is rooted in the very fact that the human equilibrium has been disturbed.†[5] But the inability to act which causes men’s anguish also causes them to reject their impotence, by attempting †¦to restore [their] capacity to act. But can [they], and how? One way is to submit to and identify with a person or group having power. By this symbolic participation in another person’s life, [men have] the illusion of acting, when in reality [they] only submit to and become a part of those who act.[6] Populist manifestations perhaps best exemplify this type of behaviour by the oppressed, who, by identifying with charismatic leaders, come to feel that they themselves are active and effective. The rebellion they express as they emerge in the historical process is motivated by that desire to act effectively. The dominant elites consider the remedy to be more domination and repression, carried out in the name of freedom, order, and social peace (that is, the peace of the elites). Thus they can condemn—logically, from the point of view—â€Å"the violence of a strike by workers and [can] call upon the state in the same breath to use violence in putting down the strike.†[7] Education as the exercise of domination stimulates the credulity of students, with the ideological intent (often not perceived by educators) of indoctrinating them to adapt to the world of oppression. This accusation is not made in the naà ¯ve hope that the dominant elites will thereby simply abandon the practice. Its objective is to call the attention of true humanists to the fact that they cannot use banking educational methods in the pursuit of liberation for they would only negate that very pursuit. Nor may a revolutionary society inherit these methods from an oppressor society. The revolutionary society which practices banking education is either misguided or mistrusting of men. In either event, it is threatened by the spectre of reaction. Unfortunately, those who espouse the cause of liberation are themselves surrounded and influenced by the climate which generates the banking concept, and often do not perceive its true significance or its dehumanizing power. Paradoxically, then, they utilize this same instrument of alienation in what they consider an effort to liberate. Indeed, some â€Å"revolutionaries† brand as â€Å"innocents,† â€Å"dreamers,† or even â€Å"reactionaries† those who would challenge this educational practice. But one does not liberate men by alienating them. Authentic liberation—the process of humanization—is not another deposit to be made in men. Liberation is a praxis: the action and reflection of men upon their world in order to transform it. Those truly committed to the cause of liberation can accept neither the mechanistic concept of consciousness as an empty vessel to be filled, not the use of banking methods of domination (propaganda, slogans—deposits) in the name of liberation. Those truly committed to liberation must reject the banking concept in its entirety, adopting instead a concept of man as conscious beings, and consciousness as consciousness intent upon the world. They must abandon the educational goal of deposit-making and replace it with the posing of the problems of men in their relations with the world. â€Å"Problem-posing† education, responding to the essence of consciousness—intentionality—rejects communiquà ©s and embodies communication. It epitomizes the special characteristic of consciousness: being conscious of, not only as intent on objects but as turned in upon itself in a Jasperian â€Å"split†Ã¢â‚¬â€consciousness as consciousness of consciousness. Liberating education consists in acts of cognition, not transferrals of information. It is a learning situation in which the cognizable object (far from being the end of the cognitive act) intermediates the cognitive actors—teacher on the one hand and students on the other. Accordingly, the practice of problem-posing education entails at the outset that the teacher-student contradiction be resolved. Dialogical relations—indispensable to the capacity of cognitive actors to cooperate in perceiving the same cognizable object—are otherwise impossible. Indeed, problem-posing education, which breaks with the vertical patterns characteristic of banking education, can fulfil its function as the practice of freedom only if it can overcome the above contradiction. Through dialogue, the teacher-of-the-students and the students-of-the-teacher cease to exist and a new term emerges: teacher-student with student-teachers. The teacher is no longer merely the-one-who-teaches, but one who is himself taught in dialogue with the students, who in turn while being taught also teach. They become jointly responsible for a process in which all grow. In this process, arguments based on â€Å"authority† are no longer valid; in order to function, authority must be on the side of freedom, not against it. Here, no one teaches another, nor is anyone self-taught. Men teach each other, mediated by the world, by the cognizable objects which in banking education are â€Å"owned† by the teacher. The banking concept (with its tendency to dichotomize everything) distinguishes two stages in the action of the educator. During the first, he cognizes a cognizable object while he prepares his lessons in his study or his laboratory; during the second, he expounds to his students about that object. The students are not called upon to know, but to memorize the contents narrated by the teacher. Nor do the students practice any act of cognition, since the object towards which that act should be directed is the property of the teacher rather than a medium evoking the critical reflection of both teacher and students. Hence in the name of the â€Å"preservation of culture and knowledge† we have a system which achieves neither true knowledge nor true culture. The problem-posing method does not dichotomize the activity of the teacher-student: he is not â€Å"cognitive† at one point and â€Å"narrative† at another. He is always â€Å"cognitive,† whether preparing a project or engaging in dialogue with the students. He does not regard cognizable objects as his private property, but as the object of reflection by himself and the students. In this way, the problem-posing educator constantly re-forms his reflections in the reflection of the students. The students—no longer docile listeners—are now critical co-investigators in dialogue with the teacher. The teacher presents the material to the students for their consideration, and re-considers his earlier considerations as the students express their own. The role of the problem-posing educator is to create, together with the students, the conditions under which knowledge at the level of the doxa is superseded by true knowledge, at the level of the logos. Whereas banking education anesthetizes and inhibits creative power, problem-posing education involves a constant unveiling of reality. The former attempts to maintain the submersion of consciousness; the latter strives for the emergence of consciousness and critical intervention in reality. Students, as they are increasingly posed with problems relating to themselves in the world and with the world, will feel increasingly challenged and obliged to respond to that challenge. Because they apprehend the challenge as interrelated to other problems within a total context, not as a theoretical question, the resulting comprehension tends to be increasingly critical and thus constantly less alienated. Their response to the challenge evokes new challenges, followed by new understandings; and gradually the students come to regard themselves as committed. Education as the practice of freedom – as opposed to education as the practice of domination – denies that man is abstract, isolated, independent, and unattached to the world; it also denies that the world exists as a reality apart from men. Authentic reflection considers neither abstract man nor the world without men, but men in their relations with the world. In these relations consciousness and world are simultaneous: consciousness neither precedes the world nor follows it. La conscience et le monde sont dormà ©s d’un meme coup: extà ©rieur par essence à   la conscience, le monde est, par essence relative à   elle.[8] In one of our culture circles in Chile, the group was discussing (based on a codification[9]) the anthropological concept of culture. In the midst of the discussion, a peasant who by banking standards was completely ignorant said: â€Å"Now I see that without man there is no world.† When the educator responded: â€Å"Let’s say, for the sake of argument, that all the men on earth were to die, but that the earth itself remained, together with trees, birds, animals, rivers, seas, the stars†¦wouldn’t all this be a world?† â€Å"Oh no,† the peasant replied emphatically. â€Å"There would be no one to say: â€Å"This is a world’.† The peasant wished to express the idea that there would be lacking the consciousness of the world which necessarily implies the world of consciousness. I cannot exist without a not-I. In turn, the not-I depends on that existence. The world which brings consciousness into existence becomes the world of that consciousness. Hence, the previously cited affirmation of Sartre: â€Å"La conscience et le monde sont dormà ©s d’un mà ª coup.† As men, simultaneously reflecting on themselves and on the world, increase the scope of their perception, they begin to direct their observations towards previously inconspicuous phenomena: That which had existed objectively but had not been perceived in its deeper implications (if indeed it was perceived at all) begins to â€Å"stand out,† assuming the character of a problem and therefore of challenge. Thus, men begin to single out elements from their â€Å"background awarenesses† and to reflect upon them. These elements are now objects of men’s consideration, and, as such, objects of their action and cognition. In problem-posing education, men develop their power to perceive critically the way they exist in the world with which and in which they find themselves; they come to see the world not as a static reality, but as a reality in process, in transformation. Although the dialectical relations of men with the world exist independently of how these relations are perceived (or whether or not they are perceived at all), it is also true that the form of action men adopt is to a large extent a function of how they perceive themselves in the world. Hence, the teacher-student and the student-teachers reflect simultaneously on themselves and the world without dichotomizing this reflection from action, and thus establish an authentic form of thought and action. Once again, the two educational concepts and practices under analysis come into conflict. Banking education (for obvious reasons) attempts, by mythicizing reality, to conceal certain facts which explain the way men exist in the world; problem-posing education sets itself the task of demythologizing. Banking education resists dialogue; problem-posing education regards dialogue as indispensable to the act of cognition which unveils reality. Banking education treats students as objects of assistance; problem-posing education makes them critical thinkers. Banking education inhibits creativity and domesticates (although it cannot completely destroy) the intentionality of consciousness by isolating consciousness from the world, thereby denying men their ontological and historical vocation of becoming more fully human. Problem-posing education bases itself on creativity and stimulates true reflection and action upon reality, thereby responding to the vocation of men as beings who are authentic only when engaged in inquiry and creative transformation. In sum: banking theory and practice, as immobilizing and fixating forces, fail to acknowledge men as historical beings; problem-posing theory and practice take man’s historicity as their starting point. Problem-posing education affirms men as beings in the process of becoming – as unfinished, uncompleted beings in and with a likewise unfinished reality. Indeed, in contrast to other animals who are unfinished, but not historical, men know themselves to be unfinished; they are aware of their incompletion. In this incompletion and this awareness lie the very roots of education as an exclusively human manifestation. The unfinished character of men and the transformational character of reality necessitate that education be an ongoing activity. Education is thus constantly remade in the praxis. In order to be, it must become. Its â€Å"duration† (in the Bergsonian meaning of the word) is found in the interplay of the opposites permanence and change. The banking method emphasizes permanence and becomes reactionary; problem-posing education—which accepts neither a â€Å"well-behaved† present nor a predetermined future—roots itself in the dynamic present and becomes revolutionary. Problem-posing education is revolutionary futurity. Hence it is prophetic (and, as such, hopeful). Hence, it corresponds to the historical nature of man. Hence, it affirms men as beings who transcend themselves, who move forward and look ahead, for whom immobility represents a fatal threat, for whom looking at the past must only be a means of understanding more clearly what and who they are so that they can more wisely build the future. Hence, it identifies with the movement which engages men as beings aware of their incompletion—an historical movement which has its point of departure, its Subjects and its objective. The point of departure of the movement lies in men themselves. But since men do not exist apart from the world, apart from reality, the movement must begin with the men-world relationship. Accordingly, the point of departure must always be with men in the â€Å"here and now,† which constitutes the situation within which they are submerged, from which they emerge, and in which they intervene. Only by starting from this situation—which determines their perception of it—can they begin to move. To do this authentically they must perceive their state not as fated and unalterable, but merely as limiting—and therefore challenging. Whereas the banking method directly or indirectly reinforces men’s fatalistic perception of their situation, the problem-posing method presents this very situation to them as a problem. As the situation becomes the object of their cognition, the naà ¯ve or magical perception which produced their fatalism gives way to perception which is able to perceive itself even as it perceives reality, and can thus be critically objective about that reality. A deepened consciousness of their situation leads men to apprehend that situation as an historical reality susceptible of transformation. Resignation gives way to the drive for transformation and inquiry, over which men feel themselves to be in control. If men, as historical beings necessarily engaged with other men in a movement of inquiry, did not control that movement, it would be (and is) a violation of men’s humanity. Any situation in which some men prevent others from engaging in the process of inquiry is one of violence. The means used are not important; to alienate men from their own decision-making is to change them into objects. This movement of inquiry must be directed towards humanization—man’s historical vocation. The pursuit of full humanity, however, cannot be carried out in isolation or individualism, but only in fellowship and solidarity; therefore it cannot unfold in the antagonistic relations between oppressors and oppressed. No one can be authentically human while he prevents others from being so. Attempting to be more human, individualistically, leads to having more, egotistically: a form of dehumanization. Not that it is not fundamental to have in order to be human. Precisely because it is necessary, some men’s having must not be allowed to constitute an obstacle to others’ having, must not consolidate the power of the former to crush the latter. Problem-posing education, as a humanist and liberating praxis, posits as fundamental that men subjected to domination must fight for their emancipation. To that end, it enables teachers and students to become Subjects of the educational process by overcoming authoritarianism and an alienating intellectualism; it also enables men to overcome their false perception of reality. The world—no longer something to be described with deceptive words—becomes the object of that transforming action by men which results in their humanization. Problem-posing education does not and cannot serve the interests of the oppressor. No oppressive order could permit the oppressed to begin to question: Why? While only a revolutionary society can carry out this education in systematic terms, the revolutionary leaders need to take full power before they can employ the method. In the revolutionary process, the leaders cannot utilize the banking method as an interim measure, justified on grounds of expediency, with the intention of later behaving in a genuinely revolutionary fashion. They must be revolutionary—that is to say, dialogical—from the outset.

Introduction Of The Care Quality Commission Social Work Essay

Introduction Of The Care Quality Commission Social Work Essay The introduction of the Care Quality Commission arguably fixes  that which was not broken.   Editorial The Trials of Marriage, The Guardian, Wednesday 1st April  2009.   The CQC came into existence on 1st April 2009. Consider the intended  role of the CQC and evaluate this statement in light of the experiences  of the first full year of the CQCs existence. We need to see tougher action by the commission on poor providers. The commission can impose or vary conditions where older people may be at risk. It can cancel the registration if that is the only way to ensure safety. Areas highlighted as needing urgent attention include record-keeping, medication, care plans and staff supervision. Operating as from April 1st 2009 the Care Quality Commission (CQC) takes over from the role of the former Commission for Social Care Inspection (CSCI) as the registration and regulation body for social care in England, as well as performing the functions of the former Healthcare Commission and the Mental Health Act Commission. The CQC requires all health and adult social care providers to register their regulated activities. Regulated activities that require registration are declared in the Health and Social Care Act 2008 (Regulated Activities) Regulations 2009, Pt II, s 3(1). The intended role of the CQC is to make the general standard of care better, however concerns have been raised about the poor quality of health care for the elderly as almost one quarter of homes for older people provide inadequate care. The CQC has done a lot of juggling in its first year of existence which confirms the statement that it arguably fixes that which was not broken. First, its staff have had to cr eate an organisation from the merger of the Commission for Social Care Inspection, the Healthcare Commission and the Mental Health Act Commission. In addition, it has had to continue its predecessors functions in assessing adult social care provision, evaluating health services and monitoring the treatment of detained mental health patients. There are several health care regulators namely the Care Quality Commission (CQG), the Health Protection Agency (HPA), the Human Tissue Authority (HTA), the Medicines and Healthcare products Regulatory Agency (MHRA), the Medical Research Council (MRC), the National Institute for Health and Clinical Excellence (NICE) and the National Patient Safety Agency (NPSA). The CQG regulates all the health and adult social care in England and also protects the interests of those detained under the Mental Health Act. The most recently devised health care regulator is the CQC which seems to be an attempt at encompassing the role and functions of the other bodies. The CQC has made proposals for its approach to the assessments of quality in 2010/2011 for all institutions in England that provide healthcare and adult social care services, and for the National Health Service (commonly referred to as the NHS) and local authority organisations that commission those services. The proposals were set up in accordance with the Heath and Social Care Act 2008. From April 1st 2009 all organisations that are providers of healthcare and adult social care services in England will be required to be registered by October 1st 2010 with the CQC as stated by the Heath and Social Care Act 2008. Registration is not just about the initial registration. but includes initial registration, monitoring and assessment of ongoing compliance, inspection and implementation. The CQC has to undertake registration activities as well as to perform periodic reviews, and special reviews and studies and to publish information on its findings. A new legal framework has been created to facilitate the new regulation system that is the Health and Social Care Act 2008 (Registration Requirement Regulations 2009). The Health and Social Care Act 2008 gives the CQC extended powers. It can issue enforcement notices, withdraw provider bodies rights to provide services entirely or can issue certain conditions of service/registration if it decides it is necessary to do so. Its enforcement options range from minor to very serious sanctions depending on the service affected degree of risk or service disruption. However the CQC stresses it wants the regulatory system to drive and support the healthcare and adult social services organisations to improve and raise standards and to be based on fairness and transparency. On its official website the NHS describes the intended role of the CQC a regulator which makes sure that the voices of people who use health and adult social care services are heard by asking people to share their experiences of care services. It makes sure that users views are at the heart of its reports and reviews. In some cases patients and their carers  work alongside inspectors to provide a users view of services. The reality and whether the CQC has successfully achieved the goals the NHS mentioned is arguable. The CQC is responsible to make sure that essential common standards of quality are met everywhere health care is provided, from hospitals to private care homes and work towards improving health care services. The Commission promotes the rights and interests of people who use services and have a wide range of enforcement powers to take action on their behalf if services are unacceptably below standards The CQC brought together (for the first time) independent regulation of health, mental health and adult social care. Before April 1st 2009, these tasks were carried out by the Healthcare Commission, the Mental Health Act Commission and the Commission for Social Care Inspection. The aim of the CQC is to ensure that better care is provided for everyone wherever it is provided. The Commission has greater powers and responsibilities to use and take account of peoples views and experiences of services, and this includes evidence from overview and scrutiny committees. In June 2009, a Statemen t of Involvement was published setting out the Commissions approach to involving people in their mission.   Overview and scrutiny committees working on health issues have been an important source of evidence of peoples views and experiences of health services for the Healthcare Commission. The Commission wants to build on this relationship and to encourage committees to develop an ongoing dialogue with them. Scrutiny committees have a fundamental role in bringing together and articulating the views of local people who use health and social care services in their area, and to check whether their needs and concerns are being addressed by service commissioners and providers. In many ways, scrutiny committees operate like a local regulator, holding services to account. During its first year the CQC has faced many challenges which sheds a doubt of whether the Commission has really fixed a prevailing issue or has fixed that which was not broken. The CQC has had to proceed with the roles carried out by its predecessors as stated in the Health and Social Care Bill, Part II. The CQC has also introduced a new registration system for health and social care providers in English which is the first time the NHS has been regulated in that manner. The new core standards imposed by the CQC will replace the regulations and relative National Minimum Standards under the Care Standards Act 2000 which will be void as from September 30th 2010. The regulations introduced by the CQC will apply from October 1st 2010 (the date when the providers must be registered in the new system). Under the new system introduced by the CQC, instead of being individually registered for each service, providers will have to register according to their respective regulated activity. In September 2009, the CQC had to face a serious allegation about manipulating survey findings. The head of the Development for Mental Health, Louis Appleby, accused the CQC of trying to attract the medias attention by portraying a distorted flattering image of the Commissions work hence undermining the intended role of the CQC which is to be factual and balanced and inform the public and patients. Professor Appleby expressed his concerns about the poor performance of the CQC which the Commission did not welcome. In December 2009, Colin Angel, the head of policy and communication United Kingdom Homecare Association and the Registered Nursing Home Association criticised the Commissions failure to communicate effectively over the system of registration: We are extremely disappointed about the handling of the registration process. We fear that CQC isnt adequately prepared for the enormous communication exercise facing them. Colin Angel also identified the fact that the CQC was missing the opportunity to use the extensive technical knowledge available from providers representative bodies which the Registered Nursing Home Association chief executive Frank Ursell approved. Some service providers have expressed their concerns about the fact that the Commission might have embarked on a mission which was too extensive and challenging to them as stated by the joint chair of the Association of Directors of Adult Social Services standards and resources network: It has been stretched at senior management level and weve had quite short notice of a number of initiatives. Its been a bit hand-to-mouth in terms of its ability to make decisions. She points to the fact that final guidance on how councils were to be assessed in 2009-10 was only published three-quarters of the way through the year. Colin Angel, head of policy and communication at the UKHCA, says: The CQC has lost valuable time restructuring, leaving insufficient time for over 24,000 social care providers to adapt to new standards before they are required to re-register. But Amanda Sherlock, head of operations at the CQC, says it has been an outstanding achievement to pull together the three commissions, deliver business as usual as well as bring in a new regulatory model, while building a new organisation. She says that some things could have gone better, saying that the CQC has worked on how it handles national announcements, so councils and other bodies face no surprises when these happen. Norman acknowledges the CQC has shown itself willing to listen and accepted the concerns that weve had. On provider registration, Sherlock says: We are keen to hear how we can do things better and how we can tailor our approach and communication. She says the CQC has an absolute focus on making sure providers are clear what is expected between April and October when they must register. National Care Forum executive director Des Kelly says for its part the provider sector needs to work with the CQC to ensure registration succeeds. Sherlock admits the CQC has put a lot of time into organisational development but says this has paid off in establishing an organisation that has an absolute commitment to driving up quality and safety across health and social care without defining any sector as special. A year ago, many in social care, including former CSCI chair Dame Denise Platt, feared the health services high political and public profile would make it special. And since Johnstones departure last autumn, there has been no one with a social care background on CQCs executive team below chief executive Cynthia Bower, who left social services in 1995. Sherlock insists such fears have proved unfounded, but says the CQC has been helped by adult cares rising profile. Sherlock, who worked for the CSCI and its predecessor, the National Care Standards Commission, points to her own centrality to CQCs strategic direction, despite not being on the executive team. She also reveals that the CQC will soon appoint a national social care adviser, to provide external challenge and strengthen links with the sector. Kelly says the issue of social cares priority has gone better than I would have predicted 12 months ago. Concerns have also been raised that the CQC would not maintain the CSCIs focus on user involvement. Sue Bott, director of the National Centre for Independent Living, which provides users to act as experts by experience on inspection teams, says involvement is nowhere near as prevalent as it was in the CSCI. The CQC produced a statement on user involvement last June, pledging to conduct surveys and set up consultative panels. Sherlock agrees there is more to do but says the statement has been implemented and the CQCs user involvement team, led by Frances Hasler, who performed the same role for the CSCI, actively challenges all parts of the organisation. One of the key objectives of the CQC is to support the integration of health and social care. Kelly says he has not seen a great deal of evidence as yet of progress on this front. But Sherlock points to the special reviews that the CQC has been doing on issues that cross the divide, including the quality of healthcare for care home residents, which she says will identify good practice and any gaps. These will report in 2010-11, alongside the roll out of registration for adult care providers and a reformed performance assessment for councils. It will be another busy year. ONE YEAR OF THE CQC April 2009 The Care Quality Commission starts work. Outgoing Commission for Social Care Inspection chair Dame Denise Platt raises concerns over its potential to sufficiently prioritise social care and involve service users. May 2009 Former Association of Directors of Adults Social Services standards lead David Johnstone appointed director of operations at the CQC. He leaves the organisation after only a few months. June 2009 Statement on service user involvement published. The CQC announces series of special reviews for 2009-10, including of healthcare needs of care home residents and impact of recession on services. July 2009 The CQC says NHS trusts are failing to comply with child protection requirements in areas such as staff training in report sparked by Baby Peter case. September 2009 DH mental health director Louis Appleby says the CQCHYPERLINK http://www.communitycare.co.uk/Articles/2009/09/29/112717/appleby-accuses-care-quality-commission-of-seeking-headlines.htmHYPERLINK http://www.communitycare.co.uk/Articles/2009/09/29/112717/appleby-accuses-care-quality-commission-of-seeking-headlines.htms portrayal of results of an in-patient survey was HYPERLINK http://www.communitycare.co.uk/Articles/2009/09/29/112717/appleby-accuses-care-quality-commission-of-seeking-headlines.htmHYPERLINK http://www.communitycare.co.uk/Articles/2009/09/29/112717/appleby-accuses-care-quality-commission-of-seeking-headlines.htmdeliberately distortingHYPERLINK http://www.communitycare.co.uk/Articles/2009/09/29/112717/appleby-accuses-care-quality-commission-of-seeking-headlines.htm and simply highlighted negative findings. The CQC says many survey results were poor. October 2009 The CQC publishes draft standards for health and social care providers, and holds meeting with mental health leaders over its presentation of the results of its in-patient survey. December 2009 Adass criticises the CQC for its treatment of eight councils labelled HYPERLINK http://www.communitycare.co.uk/Articles/2009/12/04/113366/adasss-owen-attacks-cqc-over-treatment-of-eight-councils.htmHYPERLINK http://www.communitycare.co.uk/Articles/2009/12/04/113366/adasss-owen-attacks-cqc-over-treatment-of-eight-councils.htmpriority for improvementHYPERLINK http://www.communitycare.co.uk/Articles/2009/12/04/113366/adasss-owen-attacks-cqc-over-treatment-of-eight-councils.htmHYPERLINK http://www.communitycare.co.uk/Articles/2009/12/04/113366/adasss-owen-attacks-cqc-over-treatment-of-eight-councils.htm following annual performance assessment (APA). Councils improve for seventh year running. February 2010 The CQC says  £2bn could be saved a year from reduced hospital admissions if joint working improves between health and social care in first HYPERLINK http://www.communitycare.co.uk/Articles/2010/02/10/113768/cqc-health-and-socal-care-integration-can-save-2bn-a-year.htmState of CareHYPERLINK http://www.communitycare.co.uk/Articles/2010/02/10/113768/cqc-health-and-socal-care-integration-can-save-2bn-a-year.htm report. It promises 2010-11 APA for councils will be tougher. March 2010 Care provider bodies slam the CQC for an alleged lack of communication of the process for registration under its new system. The CQC claims it has engaged extensively. April 2010 The CQC is one year old. It starts process of registering adult care providers under new system. National social care adviser appointed. This article is published in the 8 April 2010 edition of Community Care under the headline Many happy returns?

Databases Essays -- essays research papers

Databases in My Organization Abstract   Ã‚  Ã‚  Ã‚  Ã‚  Databases have been in use since the early days of computing programs. An Information Technology services company, such as Getronics, not only utilizes databases for information and record management, it earns revenue by providing database management services. Getronics uses Microsoft SQL Server 2000 as its database software. The clients that contract Getronics for Information Technology services rely and depend on the accuracy and currency of the database information that is stored. Databases will continue to exist and expand as more companies become more of aware of the importance of record and data management.   Ã‚  Ã‚  Ã‚  Ã‚  Databases have been in use since the early days of computing programs. In basic terms, a database is a collection of information that can be easily accessed, managed, and updated. (www.whatis.com) Regardless of the type of information that is stored in a database, it is categorized and filed. And every type of business utilizes a database for information and record management.   Ã‚  Ã‚  Ã‚  Ã‚  An Information Technology services company, such as Getronics, not only utilizes databases for information and record management, it earns revenue by providing database management services. Some of the other services that are provided by Getronics rely on a backend database that is integrated with a client facing application. These databases have tables that contain end user information such as phone numbers, employee numbers, and site addresses. As well as tables that include many application functions that directly connect with a client facing application.   Ã‚  Ã‚  Ã‚  Ã‚  Getronics is a certified Microsoft Partner; therefore, Getronics uses Microsoft technology such as Microsoft SQL Server 2000. Microsoft SQL, or structured query language, is a standard interactive and programming language for getting information from and updating a database. (www.whatis.com) Every application that is developed or purchased by Getronics uses a SQL database as its backend office application. This standard application allows for development teams to design and implement applications and utilities that can integrate with one another. This type of design is intentional based on the type of services Getronics provides to its clients.   Ã‚  &nbs... ...nformation. There is a human resources database, a phone database, network database, an incident management system database, and many more. If these databases could be consolidated and linked then management of the systems could be reduced. Getronics has a many databases servers. If consolidated to one large database cluster, then unnecessary hardware could be decommissioned and enterprise licenses returned to the license pool. Also, Getronics could improve the database architecture by designing a similar and standard structure or common schema for the data records. This would also improve the maintenance and management of the database servers.   Ã‚  Ã‚  Ã‚  Ã‚  Regardless of the type of business, it is supported by a database or many databases. Even if the database is a paper based system of record, or it is organized by the most sophisticated, technically advanced software, it is a important fundamental piece of the business. Databases will continue to exist and expand as more companies become more of aware of the importance of record and data management. Resources http://whatis.techtarget.com/ Online Information Technology Encyclopedia, TechTarget Copyright 2005 Databases Essays -- essays research papers Databases in My Organization Abstract   Ã‚  Ã‚  Ã‚  Ã‚  Databases have been in use since the early days of computing programs. An Information Technology services company, such as Getronics, not only utilizes databases for information and record management, it earns revenue by providing database management services. Getronics uses Microsoft SQL Server 2000 as its database software. The clients that contract Getronics for Information Technology services rely and depend on the accuracy and currency of the database information that is stored. Databases will continue to exist and expand as more companies become more of aware of the importance of record and data management.   Ã‚  Ã‚  Ã‚  Ã‚  Databases have been in use since the early days of computing programs. In basic terms, a database is a collection of information that can be easily accessed, managed, and updated. (www.whatis.com) Regardless of the type of information that is stored in a database, it is categorized and filed. And every type of business utilizes a database for information and record management.   Ã‚  Ã‚  Ã‚  Ã‚  An Information Technology services company, such as Getronics, not only utilizes databases for information and record management, it earns revenue by providing database management services. Some of the other services that are provided by Getronics rely on a backend database that is integrated with a client facing application. These databases have tables that contain end user information such as phone numbers, employee numbers, and site addresses. As well as tables that include many application functions that directly connect with a client facing application.   Ã‚  Ã‚  Ã‚  Ã‚  Getronics is a certified Microsoft Partner; therefore, Getronics uses Microsoft technology such as Microsoft SQL Server 2000. Microsoft SQL, or structured query language, is a standard interactive and programming language for getting information from and updating a database. (www.whatis.com) Every application that is developed or purchased by Getronics uses a SQL database as its backend office application. This standard application allows for development teams to design and implement applications and utilities that can integrate with one another. This type of design is intentional based on the type of services Getronics provides to its clients.   Ã‚  &nbs... ...nformation. There is a human resources database, a phone database, network database, an incident management system database, and many more. If these databases could be consolidated and linked then management of the systems could be reduced. Getronics has a many databases servers. If consolidated to one large database cluster, then unnecessary hardware could be decommissioned and enterprise licenses returned to the license pool. Also, Getronics could improve the database architecture by designing a similar and standard structure or common schema for the data records. This would also improve the maintenance and management of the database servers.   Ã‚  Ã‚  Ã‚  Ã‚  Regardless of the type of business, it is supported by a database or many databases. Even if the database is a paper based system of record, or it is organized by the most sophisticated, technically advanced software, it is a important fundamental piece of the business. Databases will continue to exist and expand as more companies become more of aware of the importance of record and data management. Resources http://whatis.techtarget.com/ Online Information Technology Encyclopedia, TechTarget Copyright 2005

Cyperus papyrus: From the Nile to Modern Times :: Botany

Cyperus papyrus: From the Nile to Modern Times Cyperus papyrus, commonly called papyrus or paper plant, is a member of the sedge family (Cyperaceae). It is a monocot that is native to riverbanks and other wet soil areas in Egypt, Ethiopia, the Jordan River Valley, and other parts of the Mediterranean basin (1). Few members of the sedge family hold economic importance as crop plants, but throughout the world these plants hold great regional importance in weaving mats, baskets, screens, and even sandals (3). Though not normally grown for crops sedges do hold economic importance to agriculture. A substantial amount of sedges are noxious weeds, invading crop fields in all climates of the world. These include species that invade rice paddies, grazing pastures, as well as others (3.) Sedges do however have a considerable amount of ecological importance. They are of extreme importance to primary production as well as an integral part of the hydrologic cycle (3.) C. papyrus is an aquatic plant that has woody, bluntly triangular stems and grows up to about 15 feet in quietly flowing water up to three feet deep and the stem can grow up to six centimeters in width near the top (4). While the bottom portion of the stem can be up to six inches in width (7). The stem has scattered vascular bundles and no inner pith, like other typical monocots. The stem is composed of cellulose (54-68%) and lignin (24-32%), this helps to provide support for the stem and subsequently helps maintain the plant structure. There are also air ducts in the stem to help the plant stay buoyant; this is an important adaptation since C. papyrus grows in wet conditions (1). The roots, which are rhizomes, spread over the water, forming floating mat. These mats can sometimes break apart allowing the plant to colonize new areas in rivers and lakes. This can sometimes cause problems for shipping vessel (1). The leaves of the paper plant are long and sharp-keeled and have parallel veination (7). The leaves also have an epidermis with no 'long' and 'short' cell differentiation. The leaves usually have silica bodies and stomata are present (6.) The leaves are arranged in umbels, or tufts, on the end of tall, leafless stems (1). The economic contributions of C. papyrus may not be evident to moderns, but its importance to some ancient civilizations is tremendous. The ancient Egyptians were using papyrus to make paper more than five thousand years ago to make the first paper (1.

The Importance of the Sea in The Awakening Essay -- Chopin Awakening

The Importance of the Sea in The Awakening      Ã‚   Throughout her novel, The Awakening, Kate Chopin uses symbolism and imagery to portray the main character's emergence into a state of spiritual awareness. The image that appears the most throughout the novel is that of the sea. â€Å"Chopin uses the sea to symbolize freedom, freedom from others and freedom to be one's self† (Martin 58). The protagonist, Edna Pontellier, wants that freedom, and with images of the sea, Chopin shows Edna's awakening desire to be free and her ultimate achievement of that freedom.    Edna's awakening begins with her vacation to the beach. There, she meets Robert Lebrun and develops an intense infatuation for him, an infatuation similar to those which she had in her youth and gave up when she married. The passionate feelings beginning to overwhelm her are both confusing and exciting. They lead to Edna beginning to ponder what her life is like and what she is like as a person. The spell of the sea influences these feelings which invite "the soul . . . to lose itself in mazes of inward contemplation" (Chopin 57). Edna begins to fall under the sea's spell and begins to evaluate her feelings about the life that she has.    During the summer of Edna's awakening, the sea's influence increases as she learns how to swim, an event which holds much more significance that her fellow vacationers realize. â€Å"To her friends, she has accomplished a simple feat; to Edna, she has accomplished a miracle† (Showalter 114). She has found a peace and tranquility in swimming which gives her the feeling of freedom. The narrator tells us that as she swims, "she seem[s] to be reaching out for the unlimited in which to lose herself" (Chopin 74). She sees the freedom t... ...ms out into the ocean for the final time, she finds her ultimate freedom.    In the end, the sea symbolizes freedom for Edna. It will never treat her as a possession like her husband has for so many years. It will not demand all of her time and attention as her children do. It will never abandon her as Robert does. It will enfold her "in its soft, close embrace" (Chopin 176) and allow her to experience the vast array of feelings that her life has forbidden her to do. The sea will allow her to be free.    Works Cited and Consulted Chopin, Kate. "The Awakening." 1899. The Complete Works of Kate Chopin. Ed. Per Seyersted. Baton Rouge: Louisiana State UP, 1969. 881-1000. Martin, Wendy, ed. New Essays on the Awakening. Cambridge: Cambridge UP, 1988. Showalter, Elaine. "Tradition and the Female Talent: The Awakening as a Solitary Book." 1993

The Allusions in the Waste Land

The Allusions in T. S. Eliot's The Waste Land The Waste Land is an important poem. It has something important to say and it should have an important effect on the reader. But it is not easy. In Eliot's own words: â€Å"We can say that it appears likely that poets in our civilization as it exists at present, must be difficult. Our civilization comprehends great variety and complexity, and this variety and complexity, playing upon a refined sensibility, must produce various and complex results.The poet must become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate if necessary, language into its meaning. † â€Å"Tradition cannot be inherited, and if you want it you must obtain it by great labour. † Eliot is dealing with the loss of meaning and significance of many things, and so he continually contrasts the present with the past, often using literary allusions to help to arouse in the reader the response he wants. For this reason he gives some of these allusions in a set of notes. However, he merely says where they come from or gives them in the original Italian or French or German.These notes give the actual allusions, translated into English where necessary, and printed in such a way that the reader can see the allusion and the relevant passage in the poem at the same time. For instance, a passage from the poem is on page 3 and the allusions to it are on page 2. The notes have also amplified Eliot's notes in some cases, with valuable help from three excellent books: Stephen Coote: The Waste Land in Penguin Master Studies 1985 B C Southam: A Student's Guide to the Selected Poems of T S Eliot Faber and Faber, 1968 George Williamson: A reader's Guide to T S Eliot Thames and Hudson, Second Edition, 1967It is a pleasure to thank Sheila Davies for her translation of Baudelaire's Au Lecteur Allusion are numbered and you will seldom have to scroll down more than a page to find the comment on the allusion The comment s on the allusions are in frames. Page 1 of 26 The Allusions in T. S. Eliot's The Waste Land. doc The Waste Land â€Å"Nam sibyllam quiden Cumis ego ipse oculis meis vidi in ampulla pendere, et cum illi pueri dicerent: ; respondebat illa: A â€Å" . † For Ezra Pound il miglior fabro B A For I once saw with my own eyes the Sybil at Cumae hanging in a cage, and when the boys said to her â€Å"What do you want? she answered, â€Å"I want to die. † B ‘il miglior fabro' means ‘ the better craftsman', a well-deserved tribute to Ezra Pound. Eliot sent the original manuscript of The Waste Land to Pound, and as Eliot said ‘the sprawling, chaotic poem left Pound's hands reduced to about half its size and in the process it was changed from a jumble of good and bad passages into a poem,' Photo-copies of the manuscript, with the changes made by Pound, are available in book form, and fully support Eliot's acknowledgment of his debt to Pound. I. THE BURIAL OF T HE DEAD April is the cruelest month, breeding 1 Lilac out of the dead land, mixingMemory and desire, stirring Dull roots with spring rain. Winter kept us warm, covering Earth with forgetful snow, feeding Life with dried tubers. 7 Summer surprised us, coming over the Starnbergersee 8 With a shower of rain; we stopped in the colonnade, And went on in sunlight, into the Hofgarten, And drank coffee, and talked for an hour. Bin gar keine Russin, stamm aus Litauen, echt deutsch. 12 And when we were children, staying at the archduke's , My cousin's , he took me out on a sled, And I was frightened. He said, Marie, Marie, hold on tight. Ands down we went. In the mountains, there you feel free.I read much of the night, and go south in the winter. 18 What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man 21 You cannot say, or guess , for you know only A heap of broken images, where the sun beats, 23 And the dead tree gives no shelter, the cricket no relief, 24 And the dry stone no sound of water. Only Page 2 of 26 The Allusions in T. S. Eliot's The Waste Land. doc There is shadow under this red rock, 26 (Come in under the shadow of this red rock), And I will show you something different from either Your shadow at morning striding behind youOr your shadow at evening rising to meet you; I will show you fear in a handful of dust. 1 to 7 Critics usually contrast the description of spring with the opening of the general Prologue to the Canterbury Tales. To regard April, the harbinger of spring, as ‘the cruelest month' is natural for the dwellers in the waste land, who are afraid of life, who are ‘living and partly living'. What the general Prologue says more clearly but with less charm than Chaucer in modern English is When that April with its sweet showers Has pierced the drought of March down to the root And filled each plant with so much moistureAs made it burgeon forth in flowers 8 to 18 are a reverie. 12 I am not a Russian at all; I come from Lithuania, a true German. This is the strained, neurotic reaction of a dispossessed person at a time when only German nationality or protection could ward off the threat of danger. This line anticipates the vision of anarchy, of fleeing refugees, in lines 367 to 377. 21 Son of man Ezekiel 2:3 â€Å"And he said unto me, Son of man, I send thee to the children of Israel, to a rebellious nation that hath rebelled against me: they and their fathers have transgressed against me even unto this very day. † 3 broken images Ezekiel 6:3 â€Å"Behold I, even I, will bring a sword upon you, and I will destroy your high places. And your altars shall be desolate, and your images shall be broken; and I will cast your slain men before your idols. † 24 the cricket no relief â€Å"the cricket no relief† is an echo from Ecclesiastes 12:5, where the preacher describes the desolation of old age: â€Å"Also they shall be afraid of that which is high, and fears shal l be in the way, and the almond tree shall flourish, and the grasshopper shall be a burden, and desire shall fail: because man goeth to his long home, and the mourners go about the streets. 26 There is shadow under this red rock Isaiah 32:1, 2 describes the blessing of Christ's kingdom: â€Å"Behold a king shall reign in righteousness, and princes shall rule in judgment. And a man shall be as a hiding place from the wind, and as a covert from the tempest; As rivers of water in a dry place, as the shadow of a great rock in a weary land. † Frisch weht der Wind 31 Der Heimat zu Mein Irisch Kind, Wo weilest du Fresh blows the wind Towards my homeland My Irish child Where do you linger? â€Å"You gave me hyacinths first a year ago; Page 3 of 26 The Allusions in T. S. Eliot's The Waste Land. doc They called me the hyacinth girl. – Yet when we came back, late, from the hyacinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, and I was neithe r Living nor dead, and I knew nothing, Looking into the heart of light, the silence. Oed' und leer das Meer Desolate and empty the sea 42 31 Frisch weht der Wind This is a song of innocent and naive love from Tristan and Isolde, which is a work of passionate love. A young sailor, feeling the wind blowing toward his homeland, sings of the girl he loves. 42 Oed' und leer das Meer The dying Tristan is waiting for Isolde's ship, but the lookout reports that the sea is desolate and empty.Between these two scene there is, by way of contrast, a modern love affair, beautiful but ultimately meaningless. Even in love she is neither living nor dead. Madame Sosostris, famous clairvoyante, 43 Had a bad cold, nevertheless Is known to be the wisest woman in Europe, With a wicked pack of cards. Here, said she, Is your card, the drowned Phoenician Sailor, (Those are pearls that were his eyes. Look! ) 48 Here is Belladonna, the Lady of the Rocks, The lady of situations. Here is the man with three sta ves, and here the Wheel, And here is the one-eyed merchant, and this card,Which is blank, is something he carries on his back, Which I am forbidden to see. I do not find The Hanged Man. Fear death by water. I see crowds of people, walking round in a ring. Thank you. If you see dear Mrs Equitone, Tell her I bring the horoscope myself: One must be so careful these days. 43 Madame Sosostris Madame Sosostris and the Taro cards represent ancient magic and ritual, here reduced to the insignificance of vulgar fortune telling. Eliot says of this passage: â€Å"I am not familiar with the exact constitution of the Tarot pack of cards, from which I have obviously departed to suit my own convenience.The Hanged Man, a member of the traditional pack, fits my purpose in two ways: Because he is associated in my mind with the Hanged God of Frazer, and because I associate him with the hooded figure in the passage of the disciples to Emmaus in Part v. The Phoenician Sailor and the Merchant appear lat er; also the ‘crowds of people' and Death by Water is executed in part IV. The Man with Three Staves (an authentic member of the Tarot pack) I associate , quite arbitrarily, with the Fisher King himself. † Page 4 of 26 The Allusions in T. S. Eliot's The Waste Land. doc 48 Those are pearls that were his eyesThe Tempest, Act 1 ii , 394 Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes; Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Unreal city, 60 Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. 63 Sighs, short and infrequent were exhaled, 64 And each man fixed his eyes before his feet. Flowed up the hill and down King William Street, To where Saint Mary Woolnoth kept the hours With a dead sound on the final stroke of nine. 8 60 Unreal city Baudelaire: â€Å"O teeming city, city full of illusions, Where ghosts accost the passerby in broad daylight. † 63 I had not thought death had undone so many Inferno, Canto 3: â€Å"And behind it came so long a train of people, that I should never have believed death had undone do many. † (In this canto Dante describes the :†dreary souls who lived without blame and without praise . . . who were not rebellious, nor were faithful to God, but were for themselves. † Dante also call them â€Å"these wretches that never were alive. † 64 Sighs, short and infrequent were exhaledInferno, Canto 4: â€Å"Here as mine ear could note, no plaint was heard, except of sighs, that made the eternal air to tremble, not caused by torture but from grief felt by those multitudes, many and vast. † This canto deals with people – like Socrates – who lived virtuously but never knew the Gospel. So two kinds of people live in the modern Waste Land: those who are secularised and those who have no knowledge of the faith. 68 With a dead sound at the final stroke of nine. Eliot says that he often noticed this when the clock of St Mary Woolnoth struck nine. In lines 60 to 68 Eliot is dealing with man's spiritual bankruptcy.He does this by recreating life about him by using the language and ideas of the past. In the modern Waste Land where people are living and partly living, they have no standards of right and wrong, of virtue and sin, that individuals or society accept or live by. Eliot uses the reminders to Dante to contrast this with another, more aware time. The people in Dante's Hell Page 5 of 26 The Allusions in T. S. Eliot's The Waste Land. doc were people who had sinned to various degrees and were punished in different circles of hell. Like the people James Thomson spoke of, who were gratified to gain hat positive eternity of pain Instead of this insufferable inane. There I saw one I knew; and stopped him, crying: â€Å"Stetson! 69 â€Å"You who were with me in the ships at Mylae! 70 â€Å"T hat corpse you planted last year in your garden 71, â€Å"Has it begun to sprout? Will it bloom this year? â€Å"Or has the sudden frost disturbed its bed? â€Å"Oh keep the Dog far hence, that's foe to men 74 â€Å"Or with his nails he'll did it up again! â€Å"You! Hypocrite lecteur! Mon semblable, mon frere! † 76 69 Stetson is the representative commuter 70 Mylae was one of the battles in the Punic war, a sordid trade war.By choosing this war rather than the similar and more topical 1914 – 1918 war, Eliot is making the point that all wars are similar. 71 The corpse you planted in your garden In ancient fertility rites, images of the gods were buried in the fields. 74 Oh keep the Dog far hence Dirge sung by Cornelia in THE WHITE DEVIL by John Webster Act 5, Scene 4: Call for the robin redbreast and the wren, Since o'er the shady groves they hover And with leaves and flowers do cover The friendless bodies of unburied men. Call unto his funeral dole The ant, the fi eldmouse and the mole To rear him hillocks that shall keep him warm.But keep the wolf far hence, that's foe to man Or with his nails he'll dig it up again. It is not such an odd step from wolf to dog. In the old testament the dog is not a friend to man, but even sometimes feeds on corpses. And Psalm 22 verse 20 has â€Å"Deliver my soul from the sword, my darling from the power of the dog. † 76 â€Å"You! Hypocrite lecteur†¦Ã¢â‚¬  This is the last line of Au Lecteur (To the reader), the poem that is the preface to Fleurs du Mal (Flowers of Evil) which is Charles Baudelaire's manifesto. It is addressed to the reader and means: â€Å"You, hypocrite reader, my image, my brother. â€Å"Translation of Au Lecteur by Sheila Davies Page 6 of 26 The Allusions in T. S. Eliot's The Waste Land. doc Stupidity, indiscretion, sin and meanness Take over our minds and wear away our bodies, And, full of remorse, we affectionately nurture our wrongdoings In the same way that beggars fe ed titbits to vermin. Our sins are strong-willed, our repentance cowardly; Making gushing confession becomes a habit. We walk with gay abandon along fouled-up pathways, Believing that our cheap tears will wash away the stains of filth. It is Satan of the three-pronged fork who, On the pillow of evil, gently rocks our entranced spirit,And the precious metal of our free will Is all vaporised by this cunning alchemist. It is the devil who grasps the cords that entangle us. In whatever is repugnant we find charm. Each day we take one step nearer down to Hell, Blind to its horrors as we cross the stinking gloom. Just like a penniless lecher who kisses and nibbles The shriveled up breast of an old tart, We filch from life's journey our furtive pleasures Which we squeeze as we would an old orange. Holding on fast, writhing around like a million worms, A race of Demons holds an orgy in our brains, And, when we breathe, Death floods our lungs,An invisible river of stifled groans. If rape, po ison, murder or fire Have not yet embroidered their pretty designs On the insignificant canvas of our pitiful destinies, It is because our souls, alas, are not taut enough. But of all the jackals, panthers, lice, Apes, scorpions, vultures and serpents, The yelping, howling, snarling, creeping monsters Of the loathsome menagerie of our depravity, There is one that is even uglier, more wretched, more vile than all the rest; Though he utters no savage cries nor thrashes about in a frenzy, He would gladly reduce the world to a heap of debris,And with one great yawn swallow up the earth. He is Ennui! – his eye brimming over with an ineffectual tear, Page 7 of 26 The Allusions in T. S. Eliot's The Waste Land. doc He dreams up scaffolds while he smokes his opium. You know him, reader, this insidious monster, Hypocrite reader, – my kinsman – my brother! I I A GAME OF CHESS The chair she sat in, like a burnished throne, 78 Glowed on the marble, where the glass Held up th e standards wrought with fruited vines From which a golden Cupidon peeped out (Another hid his eyes behind his wings) Doubled the flames of seven branched candelabraReflecting light upon the table as The glitter of her jewels rose to meet it, From satin cases poured in rich profusion; In vials of ivory and colored glass Unstoppered, lurked her strange synthetic perfumes, Unguent, powdered, or liquid – troubled, confused And drowned the sense in odors; stirred by the air That freshened from the window, these ascended In fattening the prolonged candle flames, Flung their smoke into the laquearia, 93 Stirring the pattern on the coffered ceiling. 94 Huge sea-wood fed with copper Burned green and orange, framed by the colored stone, In which sad light a carved dolphin swam.Above the antique mantel was displayed As though a window gave upon the sylvan scene 99 The change in Philomel, by the barbarous king 100 .So rudely forced; yet there the nightingale Filled all the desert with i nviolable voice And still she cried, and still the world pursues, â€Å"Jug Jug† to dirty ears. And other withered stumps of time Were told upon these walls; staring forms Leaned out, leaning, hushing, hushing the room enclosed. Footsteps shuffled on the stair. Under the firelight, under the brush, her hair Spread out in fiery points Glowed into words, then would be savagely still. II A GAME OF CHESS This section of the poem deals with sex without love, especially within marriage, just as Fire Sermon deals with sex outside marriage. Page 8 of 26 The Allusions in T. S. Eliot's The Waste Land. doc The title refers to a game of chess in Women Beware Of Women, a play by Thomas Middleton 1580 – 1627. While the duke is seducing Bianca in the gallery in view of the audience, his confederate is distracting her mother-in-law's attention with a game of chess. 78 The chair she sat in, like a burnished throne An empty, rich woman is sitting at her dressing table.The reference is t o Antony And Cleopatra, Act I, Sc 2, line 194, in which Enobarbus describes Cleopatra at her first meeting with Anthony. The barge she sat in, like a burnish'd throne, Burn'd on the waters, the poop was beaten gold, Purple the sails, and so perfumed that The winds were love-sick with them And later in line 239: Age cannot wither her, nor custom stale Her infinite variety; other women cloy The appetites they feed, but she makes hungry Where most she satisfies. The allusion to Antony and Cleopatra contrasts voluptuous femininity and romantic love, and the artificial and sterile personal relationships in the waste land. 3 laquearia A paneled lacquered ceiling In his notes Eliot refers us to The Aeneid, Book 1 line 726 The chandeliers that hung from the gold fretted ceiling Were lit, and cressets of torches subdued the night with flames Translation by Cecil Day Lewis 94 coffered Decorated with sunken panels 99 sylvan scene Eliot's note refers us to Paradise Lost Book 4, line 140,describ ing the scene before Satan when he first arrives at the borders of Eden. and overhead up-grew Insuperable height of loftiest shade, Cedar, and pine, and fir, and branching palm, A sylvan scene, and, as the ranks ascend, Shade above shade, a woody theatreOf stateliest view. Framed by this sylvan scene we see a reminder of Philomela. 100 The change in Philomel Tereus, king of Thrace married Procne , a girl from Athens. She missed her sister, Philomela, and sent Tereus to fetch her. Tereus fell in love with Philomela and raped her. He then cut out her tongue to prevent her from telling Procne, but she still found out. The sisters revenged themselves on Tereus by killing his son, Itylus, and setting his flesh before Tereus at a banquet. The gods took pity on these people and changed them into various birds: Tereus into a hoopoe, Procne into a swallow and Philomela into a nightingale.Swinburne also uses this myth in The huntsman's chorus in Atalanta In Calydon: And the brown bright night ingale amorous Is half assuaged for Itylus And the Thracian ships and the foreign faces, The tongueless vigil, and all the pain. Eliot uses the nightingale as a symbol of beauty born out of suffering, but in the waste land it only sings â€Å"Jug, jug† to dirty ears. In Elizabethan poetry, â€Å"jug, jug† was a conventional way of representing birdsong, but it was also a crude, joking way of referring to the sex act. Page 9 of 26 The Allusions in T. S. Eliot's The Waste Land. doc A conversation starts at line 111.The woman in quotation marks, her husband not. The woman is sharp, shrill, irritable, the man detached and melancholy. Eliot puts his words in quotation marks, probably to imply that he does not answer at all, but merely says those words to himself. â€Å"My nerves are bad tonight. Yes, bad. stay with me. 111 â€Å"Speak to me. Why do you never speak? Speak. â€Å":What are you thinking of? What thinking? What? â€Å"I never know what you are thinking. Thi nk†. I think we are in rat's alley Where the dead men lost their bones â€Å"What is that noise? † The wind under the door. â€Å"Do you know nothing? Do you see nothing? â€Å"Do you remember nothing? I remember those are pearls that were his eyes. up to here â€Å"Are you alive or not? Is there nothing in your head? † But O O O O that Shakespeherian Rag It's so elegant So intelligent â€Å"What shall I do now? What shall I do? â€Å"I shall rush out as I am, and walk the street â€Å"With my hair down, so. What shall we do tomorrow? â€Å"What shall we ever do? † The hot water at ten. And if it rains, a closed car at four. And we shall play a game of chess Pressing lidless eyes and waiting for a knock upon the door. â€Å"When Lil's husband got demobbed, I said â€Å"I didn't mince my words, I said to her myself,† HURRY UP PLEASE IT'S TIME Now Albert's coming back, make yourself a bit smart. â€Å"He'll want to know what you done with that money he gave you To get yourself some teeth. He did, I was there. ‘You have them all out Lil, and get a nice set' He said, ‘I swear I can't bear to look at you. ‘ And no more can't I, I said, and think of poor Albert He's been in the army four years he wants a good time And if you don't give it him, there's others will, I said. Page 10 of 26 The Allusions in T. S. Eliot's The Waste Land. doc Oh is there, she said, Something o'that I said Then I'll know who to thank, she said, and give me a straight look. HURRY UP PLEASE IT'S TIME â€Å"If you don't like it you can get on with it, I said. Others can pick and choose if you can't. But if Albert takes off, it won't be for lack of telling. You ought to be ashamed, I said, to look so antique. (And her only thirty-one. ) I can't help it, she said, pulling a long face, It's them pills I took, to bring it off, she said. She's had five already, and nearly died of young George. The chemist said it would be all right but I'v e never been the same. You are a proper fool, I said. Well, if Albert won't leave you alone, there it is, I said. What you get married for if you don't want children? HURRY UP PLEASE IT'S TIME â€Å"Well, that Sunday Albert was home, they had a hot gammon, And they asked me to dinner to get the beauty of it hot -† HURRY UP PLEASE IT'S TIME HURRY UP PLEASE IT'S TIME Goonight Bill, Goonight Lou, Goonight May, Goonight. Ta ta, Goonight Good night, ladies, goodnight, sweet ladies, good night, good night. 172 172 Good night, ladies Ophelia's last words before she drowns herself, driven mad by Hamlet's pretended love for her and then his feigned indifference. Hamlet, Act 4, scene 5, line 55 What does Eliot achieve with the allusions in A Game of Chess?The emotions aroused by the physical beauty and charm of Cleopatra, the passions in the rape and revenge of Philomela, the intensity of feeling and hurt that drove Ophelia to suicide, have no place in the lives of the rich or the poor , â€Å"living and partly living† in the waste land. III THE FIRE SERMON The river's tent is broken: the last fingers of leaf 173 Clutch and sink into the wet bank. The wind Crosses the brown land unheard. The nymphs are departed 175 Sweet Thames, run softly, till I end my song. 176 The river bears no empty bottles, sandwich papers, Silk handkerchiefs, cardboard boxes, cigarette endsOr other testimony of summer nights. The nymphs are departed. And their friends, the loitering heirs of city directors; Departed, have left no addresses. By the waters of Leman I sat down and wept . . . 182 Sweet Thames, run softly, till I end my song. Sweet Thames, run softly, for I speak not loud or long But at my back, in a cold blast I hear 185 Page 11 of 26 The Allusions in T. S. Eliot's The Waste Land. doc The rattle of bones and the chuckle spread from ear to ear. The Fire Sermon was preached by the Buddha against the fires of lust, anger, envy and other passions that consumed men.However, the trouble with any sermon is that, as Prospero said, â€Å"the strongest oaths are straw to the fire in the blood. † 173 The river's tent is broken The river's tent evokes the image of the shelter provided in summer by the leafy boughs of trees overhanging a river, a shelter now lost through the loss of leaves at the end of summer. But ‘the river's tent is broken' suggests a deeper and more solemn meaning. Perhaps the loss of some sacred or mystic quality. In the Old Testament, a tent can be a tabernacle or holy place because the wandering tribes of Israel used a tent as a portable tabernacle.In Isaiah 33: 20 we have a reminder of the time when the tabernacle was a tent: â€Å"Look upon Zion, the city of our solemnities: thine eyes shall see Jerusalem a quiet habitation, a tabernacle that shall not be taken down; not one of the stakes thereof shall ever be moved, neither shall any of the cords thereof be broken. † And in Isaiah 33:21 the statement that a river gives power and safety: â€Å"But there the glorious Lord will be unto us a place of broad rivers and streams; wherein shall go no galley with oars, neither shall gallant ships pass thereby. † 175 The nymphs are departedEdmund Spenser celebrates the beauty and joy of marriage in his beautiful lyric, Prothalamion, using the Thames as a perfect pastoral setting. The nymphs that Eliot refers to are probably those described in the lines There in a Meadow, by the river's side, A flocke of Nymphs I chaunced to espy All lovely daughters of the flood thereby. 176 ‘Sweete Themmes runne softely till I end my Song' is the refrain from Prothalamion. (Prothalamion is a song or poem in celebration of a forthcoming wedding. ) 182 By the waters of Leman I sat down and wept Psalm 137 is the lamentation of the Israelites exiled to Babylon, yearning for their homeland.It starts: â€Å"By the waters of Babylon, there we sat down and wept, yea, we wept, when we remembered Zion. † â⠂¬ËœLeman' means an unlawful lover, so the phrase ‘the waters of Leman' is associated with lust. Lac Leman is the French name for Lake Geneva. Eliot worked on The Waste Land at Lausanne, a town near Lake Geneva. in 1922. 185 But at my back, in a cold blast I hear Andrew Marvel in TO HIS COY MISTRESS: Had we but world enough and time This coyness, Lady, were no crime, . . . But at my back I always hear Time's winged chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Page 12 of 26 The Allusions in T. S.Eliot's The Waste Land. doc 192 And on the king my father's death before him Eliot's note refers to The Tempest, Act 1, scene 2, line 390. Ferdinand has just heard Ariel singing â€Å"Come unto these yellow sands† and says Sitting on a bank Weeping again the king my father's wreck, This music crept by me upon the waters, Allaying both their fury and my passion With its sweet air 193 White bodies naked on the low damp ground The drowned Phoenician sailor of Line 47 is a kind of fertility god whose image is thrown into the sea each spring to symbolize the death of summer, without which death there could be no resurrection of the new year.Southam claims that ‘the white bodies' here refer to the image of the fertility god taken out of the water to symbolize the god's resurrection. 197 The sound of horns and motors John Day in THE PARLIAMENT OF BEES: When of a sudden, listening, you shall hear, The noise of horns and hunting, which shall bring Actaeon to Diana in the Spring Where all shall see her naked skin. 199 O the moon shine bright on Mrs Porter The words come from a ballad popular with the Australian troops in world War 1. Mrs Porter was a legendary brothel keeper in Cairo. 202 Et 0 ces voix d'enfants chantant dans la coupole! And O those voices of children singing in the copula! † Paul Verlaine in Parsifal. Southam claims that Verlaine is referring to Wagner's Parsifal and its music. In the Grail Legend, the ch ildren's choir sings at the ceremonial foot washing before the knight Parsifal restores the wounded Anfortas, the Fisher King, and so lifts the curse from the waste land. Line 205 So rudely forced refers again to the rape of Philomela by Tereus. ‘Tereu' is the Latin vocative form of Tereus. This interpretation of the nightingale's song is found in ALEXANDER AND CAMPASPE BY John Lyly: ‘Oh, tis the ravished nightingale Jug, jug, jug, jug, tereu! he cries. ‘ ‘Tereu', being the vocative, implies that she is addressing Tereus. Line 211 C. i. f. London is the price, including cost, insurance, freight to London. At the violet hour, when the eyes and back 215 Page 13 of 26 The Allusions in T. S. Eliot's The Waste Land. doc Turn upward from the desk, when the human engine waits Like a taxi throbbing waiting, I Tiresias, though blind, throbbing between two lives, 218 Old man with wrinkled female breasts, can see At the violet hour, the evening hour that strives 220 Hom eward, and brings the sailor home from sea, 221 The typist home at teatime, clears her breakfast lightsHer stove, and lays out food in tins. Out of the window perilously spread Her drying combinations touched by the sun's last rays, On the divan are piled (at night her bed) Stockings, slippers, camisoles, and stays. I Tiresias, old man with wrinkled female dugs Perceived the scene, and foretold the rest He, the young man carbuncular. arrives, A small house agent's clerk, with one bold stare One of low on whom assurance sits As a silk hat on a Bradford millionaire. 234 The time is now propitious, as he guesses, The meal is over, she is bored and tired, Endeavors to engage her in caresses Which still are unreproved, if undesired.Flushed and decided, he assaults at once; Exploring hands encounter no defense; His vanity requires no response, And makes a welcome of indifference. (And I Tiresias have foresuffered all Enacted on this same divan or bed; I who have sat by Thebes below the wa ll 245 And walked among the lowest of the dead. ) 246 Bestows one final patronizing kiss, And gropes his way, finding the stairs unlit. She turns and looks a moment in the glass, Hardly aware of her departed lover; Her brain allows one half-formed thought to pass: â€Å"Well now that's done: and I am glad it's over† When lovely woman stoops to folly and 253Paces about her room again, alone, She smoothes her hair with automatic hand And puts a record on the gramophone. 215 At the violet hour This refers to Dante's PURGAT0RY, Canto 8. It was the hour when a sailor's thoughts, the first day out, turn homeward, and his heart yearns for the loved ones he has left behind, the hour when the novice pilgrim aches Page 14 of 26 The Allusions in T. S. Eliot's The Waste Land. doc with love: the far off tolling of a bell now seems to him to mourn the dying day. Translation by Frank Musa. (A pity I did not have Musa's translations of Inferno and Paradiso. ) 218 I TiresiasIn lines 218 to 22 0, Eliot refers to the prophetic powers of Tiresias and the fact that he was bisexual, quoting Ovid's METAMORPHOSES in Latin. But we can settle for a free translation: Tiresias saw snakes mating in the forest. He hit them with his staff and was changed into a woman. Seven years later he saw the same two snakes and hit them again. As he had hoped, he was turned back into a man. Because he had experience as both a man and a woman, Jove called him in as an expert witness in a quarrel with his wife, Juno. He was arguing that in love the woman enjoys the greater pleasure; she argued that the man did.Tiresias supported Jove. Juno then blinded him out of spite. To make up for this, Jove gave him long life and the power of prophesy. Eliot also points out how the point-of-view in The Waste Land changes: â€Å"Tiresias, although a mere spectator and not indeed a ‘character', is yet the most important personage in the poem, uniting all the rest. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand, Prince of Naples, so all the women are one woman, the two sexes meet in Tiresias.What Tiresias sees, in fact, is the substance of the poem. † 220 the evening hour that strives Eliot refers us to Sappho's prayer to the Evening Star: Oh, Evening Star that brings back all That shining Dawn has scattered far and wide, You bring back the sheep, the goat, And the child back to its mother. 221 and brings the sailor home from sea Eliot says he meant the longshore fisherman who returns at nightfall. 234 Silk hat upon a Bradford millionaire The manufacturing town of Bradford produced many new-rich millionaires during the first World War 245 I who have sat by Thebes below the wallTiresias is a key figure in King Oedipus by Sophocles because he knew that the pollution in Thebes came from Oedipus himself, and it is to prove him wrong that Oedipus embarks on his searching inquiries. Note that i n Thebes the people, the soil and the animals were all made infertile. 246 And walked among the lowest of the dead The Odyssey Book 10, lines 488 to 495 has the first reference to Tiresias in literature. speaks: Son of Laertes and seed of Zeus, resourceful Odysseus, You shall no longer stay in my house when none of you wish to; but first there is another journey you must accomplish nd reach the house of Hades and revered Persephone, there to consult with the soul of Teiresias the Theban, the blind prophet, whose senses stay unshaken within him, Page 15 of 26 The Allusions in T. S. Eliot's The Waste Land. doc Circe to whom alone Persephone has granted intelligence even after death, but the rest of them are flittering shadows. Translation by Richmond Lattimore 253 When lovely woman stoops to folly In The Vicar of Wakefield by Oliver Goldsmith, Olivia returns to the place where she was seduced and sings: When lovely woman stoops to folly The only art her guilt to cover' And finds too l ate that men betray,To hide her shame from every eye, What charm can soothe her melancholy, To get repentance from her lover, What art can wash her guilt away? And wring his bosom, is to die. And wring his bosom, is to die â€Å"This music crept by me upon the waters† 257 And along the Strand, up Queen Victoria Street, O City city, I can sometimes hear Beside a public bar in Lower Thames Street The pleasant whining of mandolin And a clatter and a chatter from within Where fishmen lounge at noon: where the walls 263 Of Magnus Martyr hold 264 Inexplicable splendor of Ionian white and gold. The river sweats 266 Oil and tar The barges drift 68 With the turning tide Red sails Wide to leeward, swing on the heavy spar. The barges wash Drifting logs Down Greenwich reach Past the isle of dogs. Weialala leia 277 Wallala leialala Elizabeth and Leicester 279 Beating oars The stern was formed A gilded shell Red and gold The brisk swell Rippled both shores Southwest wind Carried down strea m The peal of bells Page 16 of 26 The Allusions in T. S. Eliot's The Waste Land. doc White towers Weialala leia Wallala leialala â€Å"Trams and dusty trees Highbury bore me. Richmond and Kew 293 Undid me. By Richmond I raised my knees 294 Supine on the floor of a narrow canoe. † My feet are at Moorgate, and my heart Under my feet. After the event He wept. Promised ‘a new start' I made no comment. What should I resent? † â€Å"On Margate Sands. 301 I can connect Nothing with nothing The broken fingernails of dirty hands. My people, humble people who expect Nothing. † la la To Carthage then I came 308 Burning burning burning 309 O Lord Thou pluckest me out 310 O Lord Thou pluckest Burning 312 257 â€Å"This music crept by me upon the waters† See line 192 263 Fishmen are workers at nearby Billingsgate market. 264 Eliot says he regards the interior of Magnus Martyr as one of the finest of Christopher Wren's interiors 66 The river is the Thames. The song of the three Thames daughters starts here . From 292 to 306 they speak in turn. 268 The barges drift Some of this scene is based on the description of the river at the start of Joseph Conrad's Heart of Darkness. 277 Weialala leia The lament of the Rhine-maidens because the beauty of the river has been lost with the theft of the river's gold. As in the Grail legend, the theft has brought a curse. 279 Elizabeth and Leicester were thought to be lovers. In Froude's Elizabeth (Vol I chapter 4) there is a letter about a trip they took on the Thames. 293, 294 Highbury bore me.Richmond and Kew undid me. Eliot refers us to Canto 5 in Dante's Purgatory, which deals with those who died a violent death. At its end a woman from Sienna whose husband had suspected her of adultery and had her pushed out of a window in Maremma, speaks to the Pilgrim: Oh please, when you are in the world again and are quite rested from your journey here, Oh please remember me! I am called Pia Sienna gave me life, Ma remma death, as he knows who began it when he put his gem upon my finger, pledging faith. Mark Musa comments on how this short speech reveals her gentle and considerate Page 17 of 26 The Allusions in T. S.Eliot's The Waste Land. doc nature: â€Å"when you are in the world again and quite rested from your journey here† 294 Undid me. By Richmond I raised my knees The first two Thames daughters (292 to 295, 296 to 299) simply accept what happens to them. 301 â€Å"On Margate Sands. Eliot started writing The Waste Land on Margate Sands when he was recovering from a breakdown. But Eliot would deny the relevance of this. He said: â€Å"The more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmit the passions which are its material. 308 To Carthage then I came St Augustine's Confessions: ‘to Carthage then I came, where a cauldron of unholy loves sang all about min e ears. ‘ 309 Burning burning burning From The Fire Sermon, which Eliot sees as corresponding to the Sermon on the Mount. The Buddha says that â€Å"forms are on fire, †¦ impressions received by the eye are on fire: and whatever sensation, pleasant, unpleasant or indifferent, originates in dependence on impressions received by the eye, that also is on fire. And with what are these on fire? With the fire of passion, say I, with the fire of hatred, with the fire of infatuation. The Fire Sermon can be found in Henry Clarke Warren's Buddhism in Translation, Harvard Oriental Series. 310 O Lord Thou pluckest me out St Augustine's Confessions: â€Å"I entangle my steps with these beauties, but Thou pluckest me out, O Lord, Thou pluckest me out. † Eliot says that : â€Å"The collocation of these two representatives of eastern and western asceticism, as the culmination of this part of the poem, is not an accident. † 312 burning In Canto 25, Dante reaches the last st age of the mountain of Purgatory, where he meets those who atone for the deadly sin of lechery, by fire. As long as they must burn within the fire the cure of flames, the diet of the hymns with these the last of their wounds is healed. ‘ Translated by Mark Musa IV DEATH BY WATER Phlebas the Phoenician, a fortnight dead, Forgot the cry of gulls, the deep sea swell And profit and loss. A current under the sea 315 Picked his bones in whispers. As he rose and fell he passed the stages of his youth Entering the whirlpool. Gentile or Jew 319 Page 18 of 26 The Allusions in T. S. Eliot's The Waste Land. doc O you who turn the wheel and turn to windward, Consider Phlebas, who was once as handsome and tall as you.Helen Gardner described Death by water as â€Å"a passage of ineffable peace in which the stain of living is washed away. † Southam points out that â€Å"This section is a close adaptation of the last seven lines of a French poem Dans le Restaurant written by Elliot in 1916 – 1917. † Here is a translation by Southam: Phlebas the Phoenician, a fortnight drowned, Forgot the cry of gulls, and the swell of the Cornish sea and the profit and the loss, and the cargo of tin. An undersea current carried him far, Took him back through the ages of his past. Imagine it – a terrible end for man once so handsome and tall. 15 and 316 A current under the sea This is again on the theme of sea change of Line 48: Those are pearls that were his eyes 319 Gentile or Jew That is, all mankind. (The Jews in this case mean the faithful and the gentiles those who rejected God. ) V WHAT THE THUNDER SAID After the torchlight red on sweaty faces 322 After the frosty silence in the gardens After the agony in stony places The shouting and the crying Prison and palace and reverberation Of thunder of spring over distant mountains He who was living is now dead And we who were living are now dying With a little patience 326 327Here is no water, but only rock 331 Rock and no water and the sandy road The road winding above among the mountains Which are mountains of rock without water If there were water we should stop and drink Amongst the rock one cannot stop and think Sweat is dry and feet are in the sand If there were only water amongst the rock Dead mountain mouth of carious teeth that cannot spit Here one cannot neither stand nor lie nor sit There is not even silence in the mountains But dry sterile thunder without rain There is not even solitude in the mountain But red sullen faces sneer and snarl From doors of mudcracked housesIf there were water And no rock If there were rock Page 19 of 26 The Allusions in T. S. Eliot's The Waste Land. doc And also water A spring A pool among the rock If there were the sound of water only No the cicada and dry grass singing But the sound of water over a rock Where the hermit-thrush sings in the pine trees Drip drop drip drop drop drop drop But there is no water 359 Who is the third who walks always b eside you? 360 When I count there is only you and I together But when I look ahead up the white road There is always another one walking beside you Wrapped in a brown mantle, hoodedI do not know whether a man or a woman – But who is that on the other side of you? 366 What is the sound high in the air 367 Murmur of maternal lamentation Who are those hooded hordes swarming Over endless plains, stumbling in cracked earth Ringed by the flat horizon only What is the city over the mountains Cracks and reforms and bursts in the violet air Falling towers Jerusalem Athens Alexandria Vienna London Unreal 377 A woman drew her long black hair out tight 378 And fiddled whisper music on those strings And bats with baby faces in the violet light Whistled, and beat their wingsAnd crawled head downward down a blackened wall And upside down in air were towers Tolling reminiscent bells, that tolled the hours And voices singing out of empty cisterns and exhausted wells 385 What the thunder said Eliot says in his notes: â€Å"In the first part of Part V three themes are employed: the journey to Emmaus, the approach to the Chapel Perilous, (see Miss Weston's book) and the present decay of eastern Europe. † (The book is Miss Jessie L Weston's From Ritual to Romance on the Grail legend. He says it â€Å"will elucidate the difficulties of the poem much better than my notes can do. ) 322 to 330 refer to the events from the betrayal and arrest of Jesus until his death, as described in John 18. Page 20 of 26 The Allusions in T. S. Eliot's The Waste Land. doc 322 torchlight on sweaty faces John 18: 3 â€Å"Judas then, having received a band of men and officers from the chief priests and Pharisees, cometh hither with lanterns and torches and weapons. † 326 Prison and palace and reverberation: Jesus was taken under arrest to the palace of the high priest, where he was publicly interrogated and then taken to the Roman governor, Pontius Pilate in the hall of judgment 27 Reverberation of thunder: Matthew 27: 50, 51 â€Å"Jesus, then when he had cried again with a loud voice, yielded up the ghost. And behold, the veil of the temple was rent in twain from the top to the bottom; and the earth did quake and the rocks rent. † 331 Here is no water, but only rock: The God, as represented here by Jesus has been killed, and this is followed by spiritual death, the image of which is a barren, mountainous world of rock and sand. This is a place of physical and emotional purgatory. The search in WHAT THE THUNDER SAID is for water, for the sacred river and its wisdom.But there is no water. 353 to 355 are an echo of lines 23 to 25. 360 to 367: Even when man's savior has arisen, man cannot recognize him. Luke 24, 13 to 21 describes the journey to Emmaus. Christ has arisen, but his disciples think that he is gone from them forever. He meets two of them on the road to Emmaus, but they do not recognize him. Eliot says that lines 360 to 365 were stimulated by a n account by Shackleton of an Antarctic exhibition on which the exhausted explorers were haunted by the delusion that there was one more person with them than could be counted. 67 to 377: Eliot quotes Herman Hesse: Blick ins Chaos: â€Å"Already half of Europe, already at least half of eastern Europe, is reeling towards the abyss in a state of drunken illusion, and as she reels sings a drunken hymn, as Dimitri Karamasoff sang. The insulted masses laugh these songs to scorn, the saint and the seer hear them with tears. † Eliot was deeply concerned about the decay of Eastern Europe. Coote: â€Å"With the collapse of spiritual values, with moral and financial ruin after the First World War and, further, the massive rises in population, there was at this time a widespread fear of revolution.The example had already been set by Russia, and what Eliot pictured here is a swarming, mindless anarchy reared on the ‘endless plains of eastern Europe which, with their ‘cracked earth' and ‘flat horizon' correspond to the Waste Land itself. † 378 to 385: The Chapel Perilous was filled with horrors to test a knight's courage; nightmare visions, including bats with baby faces, assail him on his approach. Eliot says that some of the details of this part of the poem were inspired by a painting of the school of Hieronymus Bosch, some of whose works are grotesque and horrifying visions of Hell. 85: empty cisterns and exhausted wells In the Old Testament these signify drying up of faith and the worship of false gods. In this decayed hole among the mountains 386 In the faint moonlight, the grass is singing Over the tumbled graves, about the chapel Page 21 of 26 The Allusions in T. S. Eliot's The Waste Land. doc There is the empty chapel, only the wind's home. It has no windows, and the door swings, Dry bones can harm no one. Only a cock stood on the rooftree Co co rico co co rico In a flash of lighting. Then a damp gust Bringing rain 395 Ganga has sunk en, and the limp leaves 396 Waited for rain, while black cloudsGathered far distant over Himavant. 398 The jungle crouched, humped in silence. Then spoke the thunder DA 401 Datta: what have we given? My friend, blood shaking my heart The awful daring of a moment's surrender Which an age of prudence can never retract By this and this only, we have existed Which is not to be found in our obituaries Or in memories draped by the beneficent spider 409 Or under seals broken by the lean solicitor In our empty rooms. 386 to 395: For this quester the Chapel Perilous has become a decayed hole among the mountains. The chapel is empty, the symbols have lost their meaning. Coote: â€Å"There is only the wind's home.The seeker has pushed himself to the absolute and found nothing. The traditions are dead. It is at this moment that there comes a glimpse of partial salvation Only a cock stood on the rooftree Co co rico co co rico In a flash of lighting. Then a damp gust Bringing rain This clarion c all announces a new stage symbolized by the possibility of rain. For the moment it is ‘far distant'. But the thunder is no longer sterile. The flash of lightning, the flash of spiritual as well as actual illumination prepares us for the voice of God and his command to creatures to ‘give, sympathize, control', to free themselves from the world of selfish desire. 396 Ganga is the Ganges, the sacred river of India. It is the home of the early vegetation myths 398: Himavant is a holy mountain in the Himalayan range. 401: DA Here is the fable of the meaning of the thunder given in the Upanishads, the sacred writings of Hinduism: 1. The threefold descendants of Prajapati, gods, men and evil spirits, dwelt as students with their father, Prajapati. Having finished their studentship, the gods said: â€Å"Tell us something, Sir†. He told them the syllable da. Then he said: â€Å"Did you understand? † They said: we did understand. You told us ‘Damyatta', Be subd ued. † â€Å"Yes† he said, you have understood. 2.Then the men said unto him: â€Å"Tell us something, Sir†. He told them the same syllable da. Then he said: â€Å"Did you understand? † Page 22 of 26 The Allusions in T. S. Eliot's The Waste Land. doc They said: we did understand. You told us ‘Datta, Give. † â€Å"Yes† he said, you have understood. 3. Then the men said unto him: â€Å"Tell us something, Sir†. He told them the same syllable da. Then he said: â€Å"Did you understand? † They said: we did understand. You told us ‘Dayadvam, Be merciful. † â€Å"Yes† he said, you have understood. The divine voice of thunder repeats the same Da da da, that is Be subdued, Give, Be merciful. Therefore let this triad be taught.Subduing, Giving and Mercy. 402 to 410 Giving, here means giving yourself in love, losing yourself in love of others, beyond the neurotic love of A Game of Chess. 407 Memories draped by the b eneficent spider Eliot refers us to John Webster's The White Devil where Flamineo warns against the inconstancy of women. they'll remarry ere the worm pierce your winding-sheet, ere the spider Make a thin curtain for your epitaphs. DA Dayadvam: I have heard the key 412 Turn in the door once and turn once only We think of the key, each in his prison Thinking of the key, each confirms a prison Only at nightfall, ethereal rumorsRevive for a moment a broken Coriolanus. 417 DA Damyata: The boat responded 419 Gaily to the hand expert with sail and oar The sea was calm, your heart would have responded Gaily, when invited, beating obedient To controlling hands. 423 412: I have heard the key Eliot refers us to Inferno, Canto 33, line 46: Ugolino: I heard the key below the door of the dreadful tower being locked, and I looked at the faces of my sons without a word. I did not weep, I had so turned to stone within me. They wept . . . Dante is now in that part of Hell where traitors are punished and sees Count Ugolino and Archbishop Ruggiero.In the struggle between the Ghibelline and Guelph factions that split Italy, Ugolino, a Ghibelline, conspired with Giovanni Visconti to raise the Guelphs to power. Three years later he plotted with Ruggiero, the head of the Ghibellines to rid Pisa of the Visconti. Ruggiero had other plans, and imprisoned Ugolino, together with his sons in a tower where they were left to starve to death. When the door was locked, the key was thrown in the river. Coote: â€Å"The cold-blooded traitor seeking his own advantage is the most anti-social of sinners, the destroyer of social order which – at least in its ideal form – was for Dante the work of God.To abuse it was a deadly offence. There is no sympathy here, no working for the common weal. One Page 23 of 26 The Allusions in T. S. Eliot's The Waste Land. doc form of spiritual death, Eliot is saying, is total and sterile selfishness. In political terms, this means the self-seeking of Ugolino and Coriolanus. † 417 Revive for a moment a broken Coriolanus Another example of tragic selfishness. Coriolanus was so obsessed with his own honour and dignity that he went over to the enemies of Rome. All that was available to him there was selfdestructive violence. He is â€Å"broken† because his selfishness led to his death. 11 to 417 On the subject of our isolation from others, our lack of sympathy and hence our need to feel sympathy for others, Eliot quotes from F H Bradley's Appearance and Reality: â€Å"My external sensations are no less private to myself than are my thoughts and feelings. In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it . . . In brief, regarded as an existence which appears in a soul, the whole world for each is peculiar to that soul. 419 to 423 Damyata implies self-control, a restraint that you put upon desi re. Coote: â€Å"Eliot's interpretation is somewhat different. He takes a moment of one-ness while sailing and compares it to the wished-for unity of lover and beloved. Contented human passion is again the value most to be prized, but here control becomes not self-constraint but the feeling of order derived from a rightly conceived unity with one's beloved and the elements – the prosperous world of water and returned affection. â€Å"However, the moment of revelation and of possible potency is not complete and, as we shall see, is not final either.What the thunder urges on man is love, the free surrendering of self and the consequent spiritual and psychological health of the private and universal Waste Land redeemed. But such loss of self can neither be complete nor permanent. Mankind is obliged to return to his own closed circle of perception. The best he can hope for is a remembered glimpse of what has been or could have been experienced, and the Narrator is forced to rec all this in isolation. † I sat upon the shore Fishing, with the arid plain behind me Shall I at least set my lands in order? London bridge is falling down falling down falling downPoi s'ascose nel foco che gli afina 428 Quando fiam uti chelidon – o swallow swallow 429 Le Prince d'Aquitaine a la tour abolie 430 These fragments I have shored against my ruins Why then Ile fit you. Hieronymo's mad againe. 432 Datta. Dayadvam. Damyata Shanti shanti shanti 434 424 to 434 It is with this isolation that the poem ends. The protagonist has gone in search of the water of life and ends up fishing with the arid plains behind him. Williamson: â€Å"Having traveled the Grail road to no avail, he ends in the knowing but helpless state of the Fisher King.Now that the Thunder has spoken he is the Man with Three Staves – with three cardinal virtues that could be supports, that would ensure the rain. But awareness is not will, and so he thinks of preparing for death, with a questio n that recalls Isaiah 38:1: ‘Set thine house in order: for thou shalt die, and not live. ‘ This preparation involves some account of his fishing for life, of the fragments or ‘broken images' which he has shored against his ruins. This defines not only his predicament and state of mind, but the discoveries that are indicated in the poem.As partial quotations they are in fact ‘fragments' that have their full Page 24 of 26 The Allusions in T. S. Eliot's The Waste Land. doc meaning in other contexts; they summarise the ‘broken images' of truths left in the Waste Land. Even nursery rhymes may contain or hide terrible truths; so ‘London Bridge' presents an image of modern disintegration, of sinking into the river. † 428 Poi s'ascose nel foco che gli afina Purgatory, Canto 26: 142 to 148: Dante is here in the circle of the lustful who repented, and speaks to his old poetic mentor Guinizelli.Then he sees Arnaut Daniel, ‘il miglior fabbro' a be tter craftsman than Guinizelli, who says: ‘I am Arnaut, singing now through my tears regretfully recalling my past follies, and joyfully anticipating joy. I beg you in the name of that great power guiding you to the summit of the stairs: remember, in the good time, my suffering here. ‘ Then in the purifying flames he hid. Translated by Frank Musa (The last line is the one quoted in The Waste Land) Eliot says of these lines: â€Å"The souls in Purgatory suffer because they wish to suffer, for in purgation through suffering is their hope. † 29 Quando fiam uti chelidon When shall I be like the swallow? From the anonymous Latin poem Pervigilium Veneris (The Vigil of Venus) which, according to George Steiner, â€Å"was written in a darkening time, amid the breakdown of classical literacy. † The poet who knows that the Muses can perish by silence (perdidi musam tacendo), laments that his song is unheard and asks when spring will give it a voice, so that it can re turn like the swallow. 430 Le Prince d'Aquitaine a la tour abolie The Prince of Aquitaine has a ruined castle From the sonnet El Desdichado ( The Disinherited) by Gerard de Nerval.Southam: â€Å"The poet refers to himself in this sonnet as the disinherited prince, heir to the tradition of the French troubadour poets of Aquitaine in Southern France. One of the cards in the Tarot pack is the tower struck by lighting, symbolizing a lost tradition. † 432 Why then Ile fit you. Hieronymo's mad againe. The Spanish Tragedy by Thomas Kyd is sub-titled Hieronymo's mad againe. Southam: Hieronymo is driven mad by the murder of his son. When he is asked to write a court entertainment, he replies. ‘Why then Ile fit you! meaning ‘Why then I'll produce something fitting for you! He arranges that his son's murderers are themselves killed in his little play, which was made up of poetry in ‘sundry languages', exactly as in The Waste Land. 434 Shanti shanti shanti In his notes Eliot says that this is the formal ending to an Upanishad. Page 25 of 26 The Allusions in T. S. Eliot's The Waste Land. doc The equivalent in the Anglican faith would be as in Phillipians 4, verse 7: And the peace of God which surpasses all understanding, shall keep your hearts and minds through Christ Jesus. Page 26 of 26 The Allusions in T. S. Eliot's The Waste Land. doc

Compare the Ways the Distinctively Visual Is Created in Run Essay

Compare the ways the distinctively visual is created in Run Lola Run and in one other related text of your choosing. Distinctively visual texts aim to manipulate the way we explore and interpret the images we see. Critically affecting the way we make interpretations of the experiences we encounter in the world. The distinctively visual represented in Run Lola Run by Tom Tykwer and the Dove Artificial Time Lapse are similar in some elements. Run Lola Run has multiple distinctively visual features throughout the film, but the Dove ad on the overhand has a few techniques or elements thrown into a 2minute short film. Through Tom Tykwer 1998 film Run Lola Run, he presents visual images and reflects the dominance of post modernism in popular culture at the same time. He has included in the film a set of themes/ideas, which characterise the cultural context: e. g. is Fate versus freewill. The colour red appears throughout the film, as a motif representative of different emotions and ideas central to the film’s core message. Red suggests a sense of passion and freedom from inhibition, quintessentially by Lola’s vivid hair. The colour of Lola’s hair makes her distinctive as the protagonist of the film, as well as symbolising her attitude of defiance towards authority and her individualism. Another motif is circles and spirals in the film, they have been incorporated throughout the film, from the various extreme close ups of clocks to the logos upon buildings and personnel uniforms. Further examples include: the Mercedes benz insignia, the various rings that Lola wears around her fingers, the Bolle sign on the wall behind the phone booth where Manni waits for Lola and the spinning spiral at the Spirale Bar. These circles all symbolises the film’s central message that life is circular and cylical; endings are new beginnings and beginnings mark the end of that which came prior. The image of the spiral is used in the film to represent confusion and desperation as well as the interplay between Fate and our own Free will. For instance, a spiral is used to convey Manni’s confusion about the events of the day prior the call to Lola while he is outside the Spirale Bar. This function as a visual metaphor for the idiom â€Å"his life is spiralling out of control†, a potent reminder of the consequences born of bad decision making or apathy about the outcome of one’s existence. In my related text the Dove Artificial Time Lapse it looks our how the media and we deceive beauty. The ad shows a girl who just looks normal nothing special but is turned into a model by the use of different techniques. Lighting is a key element used during the ad. The beginning when the girl comes in and takes a seat they have used low-key lighting to introduce the subject to the viewer. Once the change begins to the girl the lighting changes, high-key lighting is used to highlight the subject as the transformation happens. Another technique used is movement; this refers to the movement of actors or objects known as kinetics, the movement of the camera and the mechanical distortion of movement. The ad has included mechanical distortion and multiple freeze frames or snap shots of a change in appearance to the girl. They have created this by taking multiple photos to show the motion of the clip at a faster pace. By looking at these two texts you can point out the distinctively visuals created by the themes and motifs found in Run Lola Run and The Dove Artificial Time Lapse. They have incorporated many visual techniques to show both these films; although they are two completely different films you can see the similarities between them.