The Enigma Machine and How It Worked free essay sample

These substitutions occur because of the positions of the rotors on the inside of the machine. The rotors are first situated at any random letter in the alphabet and when the button is pressed, the letter that is at the beginning of the rotor is put onto the paper. Then if the same letter were to be pressed again, a different letter would appear because the rotor will have changed position. The fully typed and encoded message would be printed out and mailed to the person it was designated to and then that person would put in that code into their enigma machine and that machine would decipher the encoded message. Why did the Enigma machine work? : The enigma machine worked so well because there were so many different combinations of rotors that could have been used because each rotor had a different arbitrary sorting of letters. There were so many combinations for the enigma machine and its rotors. We will write a custom essay sample on The Enigma Machine and How It Worked or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Things became much more complicated when German scientists began to use 5 different rotors which could fit into only 3 slots, which increased the amount of combinations that could be used in the enigma machine. With all these rotors and so few slots that were used in the enigma machine, there were countless possibilities of combinations to choose from. When people were decrypting the codes they were sent, they had to make sure they put the rotors in the exact same position as the person who sent it. This would increase the amount of possibilities that the enigma machine possessed which made it a lot harder to crack because of all the possible combinations. My Goal: My goal in this paper is to answer several questions and provide my roof for these questions. I will be asking: 1. How many different ways can we fit 3 different rotors into 3 different slots? 2. How many combinations can we find if we have 4 different rotors that will fit into four slots? 3. How many combinations can I find if I have 5 rotors that can go into five slots? 4. How many combinations are there if I have 5 rotors but only three slots? 5. And finally, if I have 26 different starting places for each dial, how many start ing places would I have in total? Note: I will also be attempting to show many patterns that arise while searching for the answers to these questions and I will try to explain these patterns. List of Symbols: Before I begin, I feel it is important to list all the symbols that I will be using. I will be using the numbers: 1, 2, 3, 4, and 5 to represent a rotor, with 1 representing the first rotor, 2 representing the second rotor, and so on. Rotors that I will be using Rotors that I will be using Amount of Rotors, slots, and combos Amount of Rotors, slots, and combos How will I proceed with this: I will first write out the amount of rotors, slots and combinations in a format like this: â€Å"X rotors: Y Slots: Z combinations†. Then underneath this general information I will write which rotors I will be using i. e. Rotors: 1/2/3. Then, I will show how I came up with the number of combinations. By looking at the amount of rotors and by representing each rotor with a number, i. e. 1, 2, 3, 4, or 5, I will be able to display all the possible combinations of the rotors. And then, underneath my combinations, I will write my explanation and, if there is one, the equation. A way we can visualize why this works is that if we were to take a rock that had 2 scratches on it, then take another scratch that had 2 scratches on it, and placed them next to each other, then in total there would be 4 scratches when the rocks were in that certain position. But if we were to arrange the rocks so that the rock that was in front of the other rock was now in the back, and the rock that was in the back was now in the front, we have a whole new position for the rocks that still have 4 scratches on them. They are the same scratches. Changing the position of the rock is like putting each rotor into a different slot every time, the rotors will not always be in the same slot every single time, they are in different positions every time, by taking into account the amount of slots, one can calculate how many positions several rotors can take. The idea of putting the rotors into different positions is the same idea of changing the position of the rock. By looking at how many rocks we have, we can figure out how many positions we can put them in. this is combinations. If we have 3 rocks, we can arrange them into 6 different positions. If we have 4 rocks, we can arrange each of them into 24 positions. This is why we use the amount of combinations of the rotors to figure out how many combinations are there for the dials in total. If we can multiply the amount of combinations by the amount of dials, we will figure out all the combinations for the dials. Equation: (Amount of combinations for rotors)(amount of dials on rotor)=Amount of total amount of combinations for dials.

Culture on performance Essay Example

Culture on performance Essay Example Culture on performance Essay Culture on performance Essay Gordon and DiTomaso (1992) also investigated culture strength as well as adaptability and stability and measured the growth of assets and premiums in eleven insurance companies over six years. This study suggests that culture strength and adaptability are positively related to profitability. Kotter and Heskett (1992) present various studies that support a link between culture and performance. In the first they examine the hypothesis that strong cultures are associated with performance and conclude that culture strength has a moderate positive relationship with long-term, economic performance. Their second study exploring the effect of a strategy-culture fit on performance suggests that culture contributes to performance on the condition that the culture fits the environment. Their third study compares twelve companies with performance enhancing cultures to twenty companies without such cultures. The results imply that companies with a performance-enhancing culture outperform companies lacking a performance enhancing culture by a wide margin. Marcoulides and Heck (1993) also provide convincing support for a link between culture and performance in their study of twenty-six American firms. Dimensions of organisational structure, values, task organisation, organisational climate and employee attitudes were measured along with gross revenue, product value ratios, market share, profit and investment returns. All the cultural dimensions were found to have an effect on performance. Denison and Mishra additionally report a link between organisational culture and performance and from their research conclude that profitability in large firms is best predicted by stability dimensions such as mission and consistency; that sales can be predicted by flexibility dimensions such as adaptability and involvement and that all cultural traits are positively related to return on assets, particularly mission. Despite the improvements in developing and testing the concept of the C-P link, the empirical studies presented in the 1990s nonetheless possess serious methodological and conceptual shortcomings. The major issues include the lack of agreed upon definition of culture; the questionable construct validity in operationalising the two variables in question, culture and performance; the relatively small number of organisations participating in each study; problems with respondents that are not representative of entire organisational cultures; and the direction of the relationship between culture and performance being ambiguous. Furthermore, the studies lack a relationship with each other and thus do not cumulatively build on one another. What is organisational culture? Ogbonna (1990 1996) suggests that there are as many definitions of culture as there are experts on the subject (see for example Jaques, 1952; Eldridge Crombie, 1974; Louis, 1980; Schwartz Davis, 1981; Gold, 1982; Pacanowsky ODonnell-Trujillo, 1982; Schein, 1985; Morgan, 1986; Lorrsch, 1986; Scholz, 1987; Denison, 1990; Kotter Heskott, 1992; Drennan, 1992; Williams, Dobson Walters, 1993; Brown, 1995- all of which provide varying definitions of culture) and that the definition adopted by each researcher is bound up in their view of the world and the methodology utilised. Ogbonna identifies two extreme arguments based in the conception of the subject. The two stances seem mutually exclusive- one viewing culture as something that an organisation is and the other as something an organisation has. If we view culture as something that an organisation has, culture can be seen as a powerful tool that can shape behaviour and establish premises for decision-making. When culture is viewed as something an organisation is, it cannot be controlled, as it is inseparable from organisation (Ogbonna, 1990 1996). Brown (1995) draws attention to the fundamental distinction between those who think of culture as a metaphor to be developed for understanding how organisations work and those who view culture as an objective entity. Most commentators on the subject of culture tend to regard culture as an objective entity, where an organisation including all systems and processes are elements of its cultural life. However if everything is considered part of the culture, it is impossible to use the concept to frame causal explanations of other aspects of organisational activity. Another approach to defining organisational culture views the concept as a set of basic assumptions (Schein, 1985). Members of an organisation possess these predispositions and are consequently led to work and think in certain manners. It is clear that there is a lack of agreed upon definition of organisational culture and since the manner in which we examine and research it is contingent upon the definition this has far-reaching implications. Definitions of concepts employed to help understand organisations are important in that they influence how we approach the phenomena they refer to, and determine operationalisation and measurement. Culture: cannot define it, how do we operationalise it? The operationalisation of organisational culture (the independent variable) is as problematic as its definition and considerably different in each study presented. Every quantitative study appears to operationalise culture in a different manner, questioning whether culture can be operationalised at all. The variety in the operationalisation of culture is evident in the empirical literature not only when considering characterisations of culture, but also when examining the plethora of questionnaire items utilised. The only dimension that repeatedly surfaces is adaptability and the variation in its opertationalisation and the lack of information in studies prevents an adequate comparison (Wilderum et al 2000). Clearly, the validity of a link between culture and performance is greatly undermined by the wide array of operationalisms of organisational culture and this in turn questions the constructs validity and prevents cumulation of a body of knowledge supporting the C-P link. Operationalising performance: The measurement of performance of organisations is also controversial and there is much academic discourse debating the issue (Christenson Gordon, 1999) In many cases publicly available performance data is not readily available and performance data are not consistent across industries. For instance Christenson and Gordon (1999) found in their exploration of industry moderated relationships between organizational culture that mutual insurance companies report no clear measure of profit and, therefore, no returns on equity and assets. Given the difficulties of equating variables across industries, and because they wished to include as many industries and firms as possible in the analyses, they focused on revenue growth as a single and narrow indicator of performance. Thus, some studies are forced to limit the relationship between culture and revenue growth and not to wider aspects of performance such as profitability, adaptability or efficiency Further issues also arise out of the operationalisation of performance. Many organisational performance researchers focus on the rational goal (profit maximisation) when studying profit-seeking firms. The performance is typically assessed using counting based indicators such as returns on assets, sales or equity. These measures are easily accessible and are generally considered comparable across industries. However, according to some commentators such measures are prone to manipulation, lack of consistency in accounting methods, and they have an orientation which is backward (Brown and Laverick, 1994; Kaplan Norton, 1992). Of the studies discussed in the C-P link section of this paper, most applied a pure financial performance approach (Calori Sarnin 1991; Denison, 1990; Gordon DiTomaso, 1992; Kotter Heskett, 1992; Marcoulides Heck, 1993). Rousseau (1990) utilised a unidimensional approach and four used multi-dimensional approach that Wilderom, Glunk and Maslowski (2000) suggest is good practice. However, the studies that did use multi-dimensional methods did not typically provide a sound theoretical basis for the decision on performance dimensions as required (Denison Mishra, 1995; Koene, 1996; Petty et al and Wilderom Van den Berg, 1998). Therefore of the empirical literature supporting a link between organisational culture and performance, the operationalisation of performance is inadequate and lacking in validity, once again questioning the C-P concept. What Theory? The concept of culture continues to be considered by managers and commentators as a key variable in the success or failure of organisational improvement. However several academics point out that although the concept is entering its third decade, debates about epistemology, manifestations of the concept and appropriate methodology persist, jeopardising the maturity of the concept (DiMaggio, 1997; Martin Frost, 1996; OReilly Chatman, 1996; Detert, Schroeder Mauriel, 2000). Detert, Schroeder and Mauriel (2000) claim there is a lack of consolidation followed by systematic empirical investigation concerning organisational culture and upon reviewing the literature it appears to me this is the case. It is even proposed that unless this hole in the research is addressed, the concept of culture as a driver of organisational performance will cease to exist (Firestone Lewis, 1998; Pettigrew, 1990; Reichers Schneider, 1990; Smart St. John, 1996). The literature provides several different approaches to theorising the link between culture and performance, although none appear to provide an adequate or valid explanation. Consequently, research investigating the link between culture and organisational performance lacks a clear theoretical conception of the phenomenon. One approach views that an organisations culture effects performance and success when culture is based on consensus or culture strength. This serves as a control system and leads to enhancement of the functioning of the organisation. The strong organisational culture is argued to facilitate goal alignment, lead to high levels of employee motivation and is able to learn from its past (Brown, 1995). However, the so-called strong culture theory is rife with flaws. For example, a strong culture may facilitate goal alignment, but this is not useful if the goals are not positive. It also cannot be assumed that all strong cultures are related to high levels of employee motivation. Brown (1995), for example points out that many UK public services have strong cultures, with less than motivated employees. Additionally, even though the literature presents examples of organisations with both strong cultures and superior performance, the evidence is circumstantial and not adequate to support the culture strength hypothesis. Furthermore, a relationship between two variables is not synonomous with causation or indicative of the direction of the realtionship. It is possible for example that performance effects culture. The strong culture theory also does not account for the fact that most organisations do not possess one single, unilateral culture. Another theoretical hypothesis postulated to explain the relationship between culture and performance suggests that high economic performance is associated with a strategically appropriate culture. In this case, varying cultures would be appropriate in different competitive environments and for different strategies. Unfortunately testing this theory objectively is difficult and Kotter and Hesketts attempt at doing so contains the methodological flaws discussed earlier. Additionally, there are conceptual issues such as accounting for changes in the environment, which would require organisations to also be culturally adaptive. The concept of adaptiveness relates to Denisons (1990) framework that includes an adaptability hypothesis, stating that a culture that allows an organisation to adapt to changing demands will promote effectiveness. Dennisons presents an explanatory framework encompassing involvement, consistency, adaptability and mission. However Denisons theory like, Kotter and Heskotts general features of the culture of organisations associated with economic success, is a one best culture framework, which is problematic (see Brown, 1995 for further explanation). Other researchers have postulated that the culture-performance link may be moderated or contingent upon some other variable such as the industry of the organisation. For example Christenson Gordon, (1999), report the existence of cultural practices that are industry specific, suggesting that the C-P link is not universal. It is clear from a brief discussion of C-P theory that there is an absence of a solid conceptual framework. Lim (1995), based on an analysis examining organisational culture and performance via a discussion of models of culture and empirical research conducted to investigate causal relationships between them reiterates that the culture-performance link remains unclear. There is a desperate need to improve on the application of the concepts involved and focus of methodological issues. Cumulative empirical research, based on a theoretical framework is required to validate the culture- performance concept. Can all managers create and use an organisations culture to improve organisational performance? If subsequent research shows that culture does affect performance, it is likely that creating, changing or using culture will be a difficult task. Depending on the conceptual viewpoint adopted, it could be considered impossible. For example, Krefting and Frost (1985 In Ogbonna, 1996) argue that culture simply exists and cannot be managed or created, because by definition assumptions exist without the individual being aware. Even commentators who believe that culture can be managed point to the difficulties in doing so (for example Uttal, 1983 Fombrun, 1983. In Ogbonna, 1996). Morgan (1997) also argues that managers can never control culture, but can influence others by being aware of their actions and fostering desired values. It is also important to note that not all managers have the expertise or leadership qualities to exercise adequate influence on others to create change. In conclusion, the contention that an organisations culture is a powerful tool that all managers can create and use to improve organisational performance is not supported by the literature. Although empirical studies appear to support a link between organisational culture and performance there are several issues which question the validity of such research. There is a lack of solid definition of organisational culture, there is no clear operationalisation of culture, the operationalisation of performance has been typically questionable and there is a lack of a conceptually sound framework. It is only when these challenges are tackled, and studies are more methodologically sound that research investigating the culture performance link can more effectively establish the predictive effect of organisational culture on performance. Following this, the challenge will be to determine if culture can actually be managed and to make the tool available to all managers to utilise optimally.

What does it take to get into the University at Buffaloâ€SUNY?

With an acceptance rate of 57%, the University at Buffalo is moderately selective. What does it take to get in? The largest campus in the SUNY system, the University at Buffalo is comprised of eight schools, including the only schools of architecture and law among SUNY universities. While it is particularly well-known for its School of Pharmacy and Pharmaceutical Sciences and School of Engineering and Applied Sciences, UB students can take advantage of a wide range of stellar academic programs. UB also boasts notable alumni including Wolf Blitzer, Terry Gross, and Jeremy Jacobs. Applicants may apply to UB using the Common Application, Coalition Application, or the SUNY Application. If you use the SUNY Application, you must also complete a supplement . If you plan to apply using the Common Application, be aware that two SUNY Buffalo institutions are listed. You should select â€Å"University at Buffalo (SUNY).† On the SUNY Application, UB is listed as â€Å"Buffalo, University at.† Along with your application, you will submit your SAT or ACT scores. UB does not require but does recommend submitting the writing or essay portions of the SAT or ACT. In order to increase your chances of admission, advises submitting this section of your choice exam. You will also need to submit your high school transcript and a letter of recommendation from a teacher or counselor. Applicants may apply by the nonbinding Early Action (EA) deadline of November 15 or by the Regular Decision deadline of February 1. While prospective students should aim to apply by one of these deadlines, UB notes that students may continue to apply for consideration until the university reaches full capacity for its freshman class. If you wish to be considered for scholarships, however, you must apply by December 15. Keep in mind that some scholarships require separate applications. UB is moderately selective, with an acceptance rate of 57%. Its EA acceptance rate is considerably higher at 83.6%. While many EA applicants apply to UB as their first choice and are therefore more likely to be strong candidates, applying early can give any competitive applicant an advantage, and considering that the plan is nonbinding, it is helpful to apply under this plan if you are able to meet the early deadline regardless of whether or not UB is your first choice. For the class of 2022, the middle 50% range for the combined critical reading and math sections on the SAT was 1190-1350 and 25-30 for the ACT. On a scale of 100, the middle 50% range for high school GPA was 91-96. To be a competitive applicant, you should aim to have scores and a GPA closer to the upper end of this range. UB performs a holistic review of applicants, evaluating your academic record as well as other factors such as your personal essay, recommendations, activities and special talents, leadership, life circumstances, and more. While UB does not require any specific coursework as prerequisites for admission, the university does suggest that prospective students complete the following by their high school graduation: Students who have not completed this coursework may still be admitted but will likely need to take additional courses after matriculating. To be a strong candidate for admission, you should aim to complete this coursework during high school.   Estimating your chance of getting into a college is not easy in today’s competitive environment. Thankfully, with our state-of-the-art software and data, we can analyze your academic and extracurricular profile and estimate your chances. Our profile analysis tool can also help you identify the improvement you need to make to enter your dream school. Emphasize your strengths and choose the most suitable program. UB does accept applicants who have not stated an anticipated major; however, you should still demonstrate strengths in certain areas to ensure that you are admitted into the correct school for you, as evidenced by your extracurricular participation and coursework. For example, if you are considering pursuing a major in the humanities in the College of Arts and Sciences, even if you’re undeclared, you should demonstrate proficiency and interest by challenging yourself and performing well in your English, history, and foreign language courses and by participating in corresponding extracurricular activities, such as a foreign language club. Keep in mind that some programs have additional requirements or are limited enrollment. For example, the Department of Music and the Department of Theatre and Dance require applicants to complete an audition as part of the admissions process. Additionally, engineering applicants will receive a more rigorous review to assess their â€Å"readiness† in key science and math disciplines. Some majors, including architecture, art, biological sciences, business administration, engineering, exercise science, and nuclear medicine technology, admit freshmen directly, while the others admit students in their sophomore year. Your coursework and extracurriculars should demonstrate a strong interest and aptitude in your specific discipline if you choose to apply to these programs directly. Identify special programs. UB offers special programs to some qualifying students. These programs can help you gain admission, as well as give you opportunities you may not have had otherwise. For example, the Educational Opportunity Program offers a path for talented students who have not been able to reach their full academic potential due to educational, economical, or personal circumstances. If you qualify for this program you will receive benefits such as mentoring, scholarships, and more. This means that even if you haven’t excelled due to circumstances beyond your control, you may still have the opportunity to attend UB. Learning about these programs and demonstrating your strengths in other ways can mean the difference between acceptance and rejection. Because UB thrives on its diversity and celebrates student from all backgrounds, it also offers guidance to international applicants. Check out the International Undergraduate Admission Office website for details on applying, including additional requirements and the steps for applying for a student visa. Additional special programs include the Honors College . Among seminars and other courses, Honors students will complete a course on teamwork and service learning. To apply for the Honors College, you will select it as an option in the Academics section on your application. Keep in mind that is is much more selective than general university admissions, with a class size of 350 students. Successful applicants are generally within the top 10% of incoming freshman and have demonstrated civic engagement, intellectual curiosity, resilience, and other qualities. Being denied admission to any college, particularly one of your top choices, is disappointing. Still, it’s important to take a step back and regroup. If you get rejected from UB, here’s what you can do: Take a gap year or transfer in. If you had your heart set on UB but received bad news, one option is to take a gap year and reapply next admissions cycle. If you do decide to go this route, make sure you have a productive plan for the upcoming year. You might undertake a research project, volunteer, study to improve your SAT scores, or take classes at a local college. Do know, however, that this path is risky, as taking a gap year won’t ensure your acceptance the second time around. You could also begin your studies at another institution with the hopes of transferring. Approximately 2,300 students transfer to UB annually. Note that there are certain minimum admission criteria for transfer students and some programs have additional transfer admission requirements; for example, Biochemistry requires a departmental application and a GPA of 3.0 in prerequisite courses, along with a 2.0 GPA overall. Keep it in perspective. Even if UB was your top choice, chances are, you’ll find a way to make the best of your experience at another college. College really is what you make of it, and if you put effort into adjusting to another school by joining clubs, working hard in your classes, and cultivating a healthy social life, you’ll likely find that you can make a fulfilling college experience for yourself, even if you end up at your second or third choice college. When you sign up for our program, we carefully pair you with the perfect admissions specialist based on your current academic and extracurricular profile and the schools in which you’re interested. Your personal application specialist will help you with branding, essays, and interviews, and provide you with support and guidance in all other aspects of the application process.

Operation Fine Girl Essay Example | Topics and Well Written Essays - 500 words

Operation Fine Girl - Essay Example lt my stomach turn, I wanted to throw up as I sat listening to the accounts of how parents were killed or made to watch as their daughters were raped. As the video stated, Sierra Leone is classified as the poorest country in the world and it shows in the way that they treat their women and the way that a majority of the country obviously lives in abject poverty. I feel that the United Nations Human Rights Commission should step into this situation and put an end to the atrocities and sexual abuse against women. The women of Sierra Leone need to be saved and shown that they actually have a future even though they are rape victims. They need to be taught that the rape was not the end of they are. Rather, it is only the beginning of their lives. They are not the enemy of their country but its backbone. They are not sex slaves, but women who deserve all the respect that should be accorded to them as the givers of life. They do not deserve to be raped, held hostage for years on end, and then discarded like a piece of

TMA01 Prometheus Essay Example | Topics and Well Written Essays - 1000 words

TMA01 Prometheus - Essay Example There is no poetry, no artistic liberty, and certainly nothing to spark a discussion of his exploits thousands of years later. However, in most accounts, he is a Titan, a giant man or god who attempted to overthrow Zeus, and is the brother of the equally unfortunate Atlas. His personal lasting mark is strangely a side-effect of both his compassion for mankind and his contempt for the gods: bringing fire to the human race. This single act would solidify his martyr status, as he would spend an eternity at the bottom of the pecking order. Zeus sentenced him to survival. Zeus was not known for his mercy; this survival entailed being chained to a rock and eaten by an eagle, which is an animal widely acknowledged to symbolize justice and, ironically, equality. Beyond that, he shares a semi-divine status with Hercules, the demigod who would later release him from his torturous sentence. After this escape, his name was selected to grace the sky as one of the moons of Saturn (Dictionary.com, LLC, 2010). Hesiod’s account of Prometheus fits neatly into the tale of Thegonia, the birth of the gods. Hesiod sought to accommodate the many tales of the development of the gods and of Greek mythology through the production of one cohesive narrative. In particular, there is a constant war between the perspectives of the gods, men (who are represented as having a characteristic kinship with animals), and of the multitudes of characters in between the two extremes. Unlike many writers before him, Hesiod also cast off the ulterior motives of establishing a divine role in human authority. By his reasoning, the gods had a hierarchy as headed by Zeus and granted little importance to the affairs of men- unless they defied godly commands or desires (Vickery 1966, pp. 86-87). As an embodiment of the human spirit of defiance, brothers Atlas and Prometheus would defy the gods and be made martyrs. What makes them iconic is their status as a party between men

Discuss the role of John Proctor Essay Example for Free

Discuss the role of John Proctor Essay Discuss the role of John Proctor in The Crucible. Why does he choose to die at the end of the play? John Proctor is the protagonist of the play The Crucible, written by Arthur Miller. This is because Miller uses Proctor as a character to help the audience understand the characters experience. He does this by either making sympathetic expressions or the actions that Proctor makes, whether they are violent or confusing. Miller makes us feel sympathetic for Proctor when Proctors wife, Elizabeth gets taken away to court for being accused of doing the devils work. Proctor knows she is innocent but nobody will believe him. In Act I, John Proctors role is to introduce himself and show his character: Be you deaf? I forbid you leave the house did I not? (Proctor, Act I) This comment suggests he likes to be powerful and in control, in this case, by being forceful. He feels strong about hypocricy, but is even-tempered. Miller tells us that in the presence of Proctor a fool felt his foolishness instantly. He also tells us that proctor is a sinner against his own vision of decent conduct, of which he is talking about the affair with Abigail Williams. This is dramatic irony as, only three characters (including Proctor) are aware of this. When we first meet Proctor he is with Abigail, Mary and Mercy Lewis. Abigails first words are: Gah, Id almost forgotten how strong you are John Proctor! (Abigail, Act I) John Proctor quickly realises what she is implying and replies: Whats this mischief then? (Proctor, Act I) This shows he doesnt want anything to happen between him and Abigail. No, no Abby. Thats done with. (Proctor, Act I) Later on he replies with this to Abigail, and this shows he is strong-willed, recognises what is happening and the mistake. However Abigail thinks that John is just playing around with her and speaks of how he clutched her back behind his house and sweated like a stallion. I may have looked up. (Proctor, Act I) This quotation suggests that Proctor is still interested and this brings across a message that people dont change, in this case Proctor a sinner, but then the strong, powerful part of his character comes across and he threatens to whip her, to which the stage directions say shaking her. This suggests he regrets the affair and wants no more to do with Abigail. As an affair is more likely to have happened in the 20th century, the audience sympathise with him as the play is set in the late 17th century, so Proctor is a man ahead of his time. When Proctor meets Hale, he wants him to make Salem more realistic. He shows his sensible character, but could also be seen that Proctor is trying to be in charge and think he knows too much: He dont believe in witches. (Giles, Act I) I never speak of witches one-way or the other. Will you come Giles? (Proctor, Act I) Ive heard you to be a sensible man Mr Hales. I hope youll leave some of it in Salem. (Proctor, Act I) Act II shows Proctors house, and Proctor is tense, which brings tension upon the audience. He carries a gun, which suggests insecurity among Salem, and himself. He places it leaning on the wall, which is an accessible point, again showing insecurity. It makes the audience feel inferior. AS Elizabeth walks down the stairs he goes to a basin washing his hands and face. This is symbolic as he is trying to forget the affair, because he feels so guilty. This builds more tension: What keeps you so late? Its almost dark. (Elizabeth, Act II) This comment of Elizabeths shows she is anxious and suspicious of his whereabouts. He replies that he was planting far out the forest edge. Then goes on to say: Pray now for a fair summer. (Proctor, Act II) He is trying to please his wife, still feeling guilt. He says with a grin: I mean to please you, Elizabeth. (Proctor, Act II) Elizabeth replies, although hard to say, which suggests denial or disbelief: I know it, John. (Elizabeth, Act II) Proctor and Elizabeth fear each other, and this illustrates the feature of the play-fear. Their short sentences and being silent suggests this, and also brings tension upon their marriage, and the audience. Act II is mostly to do with John Proctor, the visiting of Hale to which he is questioned about his religious efforts, his arguments with his wife, his suspicions of the witchcraft in Salem and Abigail, and the arrest of his wife. He grabs the search warrant off Cheever: Proctor, you dare not touch the warrant. (Cheever, Act II) Ripping the warrant. (Stage directions, Act II) This is Proctors angry side. He knows what Abigail is up to, yet no one will believe him. They go on what Abigail says. As he rips up the warrant, he puts a reputation to his name at the courts of the Witch trials. Act III shows Danforth, a deputy governor, talking to Proctor about witchcraft. He is questioning about the pretence that Mary Warren has confessed. He wants a second view from John Proctor: We burn a hot fire her; it melts down all concealment. (Danforth, Act III) This relates to the title of the play The Crucible. It is a metaphor of a crucible, which points out the message of the play. As a crucible is a container in which metals are heated to extract the pure elements. In the play, witches are to be purified and to come back to God. When Mary is in court, Proctor is determined to get the judges to see what is really happening. He goes into the courts and confesses his sin of adultery with Abigail to try and make the judges see how much of a whore she really is. He risks his well-preserved name to save his wife from being hanged. The judges have no proof: In her life, sir, she have never lied. (Proctor, Act III) Here he talks of Elizabeth, and he thinks she will tell the courts the truth of the affair, but instead she thinks the courts dont know. She worries that she is risking her husbands well-dignified name, and lies: Answer the question! Is your husband a lecher! (Danforth, Act III) No, sir. (Elizabeth, Act III) Proctor gets taken into jail for perverting the course of justice: Marshal! Take him and Corey with him to the jail! (Danforth, Act III) Hale realises what is happening and quits the courts. Act IV is tragic, bringing the death of the hero of the play. Danforth is doing almost anything he can to get a confession from Proctor. For example he gets Elizabeth, his wife that he tries so hard to please, to go and talk to him. They understand what Proctor meant by all the lies. Abigail ran off the Barbados. When Proctor sees Elizabeth again, it creates a tragic atmosphere. To them it seems almost unreal, like they didnt think they would see each other again. The short, quick sentences that they exchange give us a sense of tension: You are a marvel, Elizabeth. (Proctor, Act IV) You have been tortured? (Elizabeth, Act IV) As she asks Proctor this it proves that she wants to forgive him, and that she wants to love him again. He decides to confess about witchery, for Elizabeths sake. Once the confession has been written down he grabs it, saying: You have all witnessed it it is enough. (Proctor, Act IV) He refuses to sign his confession. He doesnt want to blacken his name anymore: God knows how black my sins are! It is enough! (Proctor, Act IV) If he doesnt give it back, or sign the confession, he will be hanged, he will be killed. Instead he rips it like, just like he did the warrant/ He decides to die. The atmosphere turns tragic and goes still. The audiences reaction is also tragic, but also understandable after all, that was the role of John Proctor. He chooses to die because he would blacken his name, and his childrens name Proctor. He realises he has ruined his reputation from the affair, and that the courts in Salem were finished. He couldnt lie anymore. He chose his own death rather than betrayal of his conscience. This shows us that he too has come through the fire to be purified, just like the pure elements extracted from the metals in a crucible.

Dulce et Decorum Es :: essays research papers

An Analysis of â€Å"Dulce et Decorum Est† Dolce et Decorum Est is the product of Wilfred Owen’s frustration, not only against those who repeat the old lie â€Å"Dulce et Decorum Est†, in other words, it is sweet and right to die for your country, but also against a certain kind of poetry. Through his poem, Owen who himself took part in World War 1, has no difficulty to convince us that the horrors that took place at this moment far outweighs the idea of those who encourage war. In this essay, I will approach the symbolic significance of the poem by analysing each stanza. In the first stanza, Owen sets the scene. This stanza contains a lot of simile and metaphors that shows us how crushed these men are, physically and mentally. Soldiers are turning their back to the lights of the battle field â€Å"Till on the haunting flares we turned ours backs†. Exhausted, their knees are touching â€Å"knock-kneed†, tired of supporting their heavy backpack â€Å"like old beggars under sacks†. The condition of the poor soldiers is so miserable that the author compare them to â€Å"old beggars† and â€Å"hags† (ugly old woman). Some men had lost their boots and the only shoes they have is the blood on their feet â€Å"blood-shod†. They are walking painfully, not even hearing the noise made by the shells rushing through the air â€Å"deaf even to the hoots†. Then, little bye little, soldiers struggle away from the battle field, shells now falling behind â€Å"Of tired, outstripped Five-Nines that dropped behind† . In the second stanza, the author is focusing on one man who, because of stress and fatigue was not able to put his gas mask in time. The author describe the pain of this poor man throughout a big underwater metaphor: â€Å"flound’ring†, â€Å"green sea†, â€Å"drowning† and â€Å"plunges†, in the third stanza. Plugged by the glass in the eyepieces of the gas masks and the green light (chlorine gas) â€Å"Dim, through the misty panes and thick green light†, Owen can see his comrade succumbing to the poison gas. In the third stanza, our speaker compare the scene to a nightmare. Owen will never forget the images of his friend, dying: â€Å"plunges at me†, â€Å"my helpless sight†. Dismayed, Owen can’t do anything to help his friend. In line 16, by guttering, the speaker was probably referring to the sound in the throat of the man, that was gurgling like water draining down a gutter.