The Purpose of Disguise in Twelfth Night Essay -- Twelfth Night essays

Theme of Disguise in Twelfth Night The notion of disguise is very important theme within Twelfth Night.   From my point of view I feel that the crux of the play is primarily based on this concept.   Indeed "there's something in it that is deceivable" summarizes this point precisely.   Disguise runs like a thread through the play from start to end and holds it all together just as tightly as thread would fabric.   Yet, paradoxically as the plot progresses there are many problems, deceptions and illusions, which provide a comment on human behavior and creating the needed escape of comedy. The place of women within the theatre is well known, that being that they had no place within the stage.   Women's parts were played by young men in Shakespeare's day, so that the audience would have found sophisticated in Viola's part:   a boy dressing up as a woman who, in the play disguises herself as a man. The first example of the use of disguise in the Twelfth Night is Viola's disguise as Cesario.   As aforementioned this notion is central to the plot.   I think it is clearly evident that the fluctuation in attitude to the dual role and the situations and tribulations imposed upon the character Viola/Cesario, ends up creating a better understanding of both sexes and thus, allows Viola to have a better understanding of Orsino.   Viola learns whil... ... "Nothing that is so, is so" Works Cited and Consulted: Bloom, Harold, ed. William Shakespeare's Twelfth Night. New York: Chelsea House Publishers, 1987. Grief, Karen. "Plays and Playing in Twelfth Night". Bloom (47-60). Nevo, Ruth. Comic Transformations in Shakespeare. London: Methuen & Co., 1980. Shakespeare, William. The Arden Edition of the Works of William Shakespeare: Twelfth Night. Ed. J. M. Lothian and T.W. Craik. UK: Methuen & Co., 1975. Thatcher, David. Begging to Differ: Modes of Discrepancy in Shakespeare. New York: Peter Lang, 1999. Vickers, Brian. Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven: Yale U P, 1993 The Purpose of Disguise in Twelfth Night Essay -- Twelfth Night essays Theme of Disguise in Twelfth Night The notion of disguise is very important theme within Twelfth Night.   From my point of view I feel that the crux of the play is primarily based on this concept.   Indeed "there's something in it that is deceivable" summarizes this point precisely.   Disguise runs like a thread through the play from start to end and holds it all together just as tightly as thread would fabric.   Yet, paradoxically as the plot progresses there are many problems, deceptions and illusions, which provide a comment on human behavior and creating the needed escape of comedy. The place of women within the theatre is well known, that being that they had no place within the stage.   Women's parts were played by young men in Shakespeare's day, so that the audience would have found sophisticated in Viola's part:   a boy dressing up as a woman who, in the play disguises herself as a man. The first example of the use of disguise in the Twelfth Night is Viola's disguise as Cesario.   As aforementioned this notion is central to the plot.   I think it is clearly evident that the fluctuation in attitude to the dual role and the situations and tribulations imposed upon the character Viola/Cesario, ends up creating a better understanding of both sexes and thus, allows Viola to have a better understanding of Orsino.   Viola learns whil... ... "Nothing that is so, is so" Works Cited and Consulted: Bloom, Harold, ed. William Shakespeare's Twelfth Night. New York: Chelsea House Publishers, 1987. Grief, Karen. "Plays and Playing in Twelfth Night". Bloom (47-60). Nevo, Ruth. Comic Transformations in Shakespeare. London: Methuen & Co., 1980. Shakespeare, William. The Arden Edition of the Works of William Shakespeare: Twelfth Night. Ed. J. M. Lothian and T.W. Craik. UK: Methuen & Co., 1975. Thatcher, David. Begging to Differ: Modes of Discrepancy in Shakespeare. New York: Peter Lang, 1999. Vickers, Brian. Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven: Yale U P, 1993

Into Thin Air

The Tragedy On Everest The preventable mistakes caused by several guides caused several climbers to perish. As a group of climbers get closer and closer to the top of the world, a freak storm arrives and mistakes are made, transforming what should have been the greatest days of the climbers’ lives into a battle for survival and for some, their last moments on Earth. The guides on Mount Everest made several mistakes. There were multiple teams which tried to summit on one day, not taking into consideration the possibly fatal results of the bottleneck effect on the climb.On the summit climb, a number of different mishaps confronted them causing the climbers to fall behind schedule. This caused most of the climbers and guides to be in a poor position on the mountain when the storm arrived (Krakauer 11). This storm trapped and killed several guides and climbers. Time delays were a huge contributing cause of this tragedy and the majority of time issues were caused by the guides. Bef ore they summited, they had a set schedule which would allow the climbers to return to base camp safely in a reasonable time (Krakauer 7). Bottlenecks caused a significant delay in ascent (Storm Over Everest).Too much time reaching and celebrating on the summit caused delays. Rob Hall ( guide) did not abide by the rules of the turn-around time (Krakauer 11). This was a vital element in the outcome of whether he and his clients would live or die. Hubris was a major problem for the guides that led to the demise of many climbers. In this case, some guides did not use oxygen masks (Storm Over Everest). This increased the risk of the climb and made it more likely that they could be incapacitated and unable to perform the duties of a guide as necessary and endangering the customers (Krakauer 9).Regardless of their climbing experience, the safety of the customer should have been put first. Hubris was also relevant when the guides got behind schedule and thought that they could disregard th eir own safety rules without quickening the descent down the mountain. The final error the guides committed was with their decision-making and priorities on the climb. Their intent was to get as many climbers to the summit as possible for their business and reputation interests( Krakauer 4).They did not consider fully the safety of the climber’s summiting. Another issue was Anatoli Boukreev’s decision to descend ahead of his customers indicating more self-interest than interest in the safety of the group (Boukreev et al. 3). In many instances, the guides placed a greater importance on reputation, money, and business and in one case personal safety over the safety of the climbers. Although there might be other causes of the disaster, if the guides put the climbers safety first, then there would have been much less chance of a bad outcome.The tragedy cannot be blamed on the sherpas because if the guides had properly reacted to the mistakes that the sherpas made and sent the climbers back to camp, then every one would have been safe. I do not feel like you can blame this on the physical condition of a few individuals because the guides had the responsibility of making sure that all climbers were cleared for health conditions that would have hampered their ability to climb. Due to the decisions the guides made during the tragedy, some people who perished may still be alive.In general, the guides put money, pride and reaching the summit ahead of the safety of the climbers. This ultimately was the deciding and most influential cause for the 1996 Mount Everest tragedy. Works Cited Boukreev, Anatoli, Jon Krakauer, and Lopsang Jangbu Sherpa. â€Å"What Really Happened In The Thin Air†. MountainZone. Demand Media Sports, 29 August 1996. Web. 27 October 2011. Krakauer, Jon. â€Å"Into Thin Air. † Outside. Mariah Media Network, September 1996. Web. O5 October 2011. Storm Over Everest. Dir. David Breashears. Perf. Neil Beidleman, David Breashear s, and Guy Cotter. Frontline. 2008. Film.

The Many Ways to Use Spanish Bajo in a Sentence

Bajo is a common Spanish preposition, adjective, and adverb that means being low in some way, either figuratively or literally or under something. Also,  bajo  is used in common idioms  usually as a preposition. Bajo Used as an Adjective As an adjective, common translations include low or short, and bajo can also be used to indicate contemptibility or lack of intensity. Spanish Sentence English Translation Mi prima es baja para su edad. My cousin is short for her age. No es necesario tratar esta enfermedad de bajo riesgo con quimioterapia. It is not necessary to treat this low-risk illness with chemotherapy. El valle bajo es rico en historia. The low valley is rich in history. Tenemos problemas de baja calidad de la seà ±al inalà ¡mbrica. We have problems with poor quality of the wireless signal. Alberto cayà ³ en los mà ¡s bajos pecados durante los dos aà ±os. Alberto fell into the basest sins during the two years. La clase baja sufre las consecuencias de su reforma polà ­tica. The lower class is suffering the consequences of his political reform. Son capaces de los mà ¡s bajos actos de violencia. They are capable of the vilest acts of violence. La presià ³n sanguà ­nea baja puede ser un signo de enfermedad. Low blood pressure can be a sign of sickness. Bajo as an Adverb Although more commonly used as an adjective, bajo can be used as an adverb that means quietly or softly. For example, Si  habla  bajo, es  necesario  elevar  volumen  del  micrà ³fono, which means, If you speak softly, you need to turn up the microphone volume. Another way bajo can be used as an adverb is when describing something falling or flying low as in low to the ground. For example, El pà ¡jaro  volaba  muy  bajo, which means, The bird was flying very low. Bajo as a Preposition Bajo can serve as a preposition and can almost always be translated as under. Spanish Sentence English Sentence El gato està ¡ bajo la cama. The cat is under the bed. La vida bajo el mar es muy difà ­cil. Life undersea is very difficult. Un barco mercante encallà ³ bajo un puente. The merchant ship ran aground under a bridge. Los compresores principales està ¡n bajo el coche. The main compressors are under the car. Correr bajo la lluvia es mà ¡s gratificante que hacerlo en seco. Running in the rain is more rewarding than doing it when it's dry. Bajo Used in Idioms or Borrowed Phrases Bajo can also be a preposition with an indefinite meaning when it is used as an idiom or expression. Many of these figurative expressions correspond to similar ones in English, some of which are likely calques. A  calque or  loan translation  is a  word  or  phrase  borrowed from another  language  by  literal, word-for-word translation. Spanish Expression English Translation bajo arresto under arrest bajo circunstancias normales under normal circumstances bajo condicià ³n de que under condition that bajo construccià ³n under construction bajo control under control bajo cubierto undercover bajo fianza on bail bajo la influencia under the influence bajo investigacià ³n under investigation bajo juramento under oath bajo la mesa under the table bajo ningà ºn concepto in no conceivable way bajo palabra on parole bajo peso underweight bajo presià ³n under pressure bajo protesta under protest Words Related to Bajo Bajar, is a related verb to bajo, which often means to lower or to get down. Related adverbs are abajo and debajo, which often mean underneath, or down there.