Macbeth Quotes from William Shakespeares Famous Tragedy

'Macbeth' Quotes from William Shakespeare's Famous Tragedy Macbeth is one of William Shakespeares great tragedies. Theres murder, battles, supernatural portents, and all the other elements of a well-worked drama. Here are a few quotes from Macbeth. First Witch: When shall we three meet againIn thunder, lightning, or in rain?Second Witch: When the hurlyburlys done,When the battles lost and won.- William Shakespeare, Macbeth, 1.1Fair is foul, and foul is fair.- William Shakespeare, Macbeth, 1.1What bloody man is that?- William Shakespeare, Macbeth, 1.2Sleep shall neither night nor dayHang upon his pent-house lid.- William Shakespeare, Macbeth, 1.3Shall he dwindle, peak, and pine.- William Shakespeare, Macbeth, 1.3The weird sisters, hand in hand,Posters of the sea and land,Thus do go about, about.- William Shakespeare, Macbeth, 1.3What are theseSo witherd and so wild in their attire,That look not like the inhabitants o the earth,And yet are on t?- William Shakespeare, Macbeth, 1.3If you can look into the seeds of time,And say which grain will grow and which will not.- William Shakespeare, Macbeth, 1.3Stands not within the prospect of belief.- William Shakespeare, Macbeth, 1.3Say, from whenceYou owe this strange intelligence? or wh yUpon this blasted heath you stop our wayWith such prophetic greeting?- William Shakespeare, Macbeth, 1.3 Or have we eaten on the insane rootThat takes the reason prisoner?- William Shakespeare, Macbeth, 1.3What! can the devil speak true?- William Shakespeare, Macbeth, 1. 3Two truths are told,As happy prologues to the swelling actOf the imperial theme.- William Shakespeare, Macbeth, 1.3Present fearsAre less than horrible imaginings.- William Shakespeare, Macbeth, 1.3Nothing isBut what is not.- William Shakespeare, Macbeth, 1.3If chance will have me king, why, chance may crown me.- William Shakespeare, Macbeth, 1.3Come what come may,Time and the hour runs through the roughest day.- William Shakespeare, Macbeth, 1.3Nothing in his lifeBecame him like the leaving it; he diedAs one that had been studied in his deathTo throw away the dearest thing he owed,As t were a careless trifle.- William Shakespeare, Macbeth, 1.4Theres no artTo find the minds construction in the face.- William Shakespeare, Macbeth, 1.4More is thy due than more than all can pay.- William Shakespeare, Macbeth, 1.4 Yet do I fear thy nature;It is too full o the milk of human kindness.- William Shakespeare, Macbeth, 1.5What thou wouldst highly,That wouldst thou holily; wouldst not play false,And yet wouldst wrongly win.- William Shakespeare, Macbeth, 1.5Come, you spiritsThat tend on mortal thoughts! unsex me here,And fill me from the crown to the toe top fullOf direst cruelty; make thick my blood,Stop up the access and passage to remorse,That no compunctious visitings of natureShake my fell purpose.- William Shakespeare, Macbeth, 1.5Come to my womans breasts,And take my milk for gall, you murdering ministers.- William Shakespeare, Macbeth, 1.5Come, thick night,And pall thee in the dunnest smoke of hell,That my keen knife see not the wound it makes,Nor heaven peep through the blanket of the dark,To cry, Hold, hold!- William Shakespeare, Macbeth, 1.5Your face, my thane, is as a book where menMay read strange matters. To beguile the time,Look like the time; bear welcome in your eye,Your hand, your t ongue: look like the innocent flower,But be the serpent under t.- William Shakespeare, Macbeth, 1.5 This castle hath a pleasant seat; the airNimbly and sweetly recommends itselfUnto our gentle senses.- William Shakespeare, Macbeth, 1.6The heavens breathSmells wooingly here: no jutty, frieze,Buttress, nor coign of vantage, but this birdHath made his pendent bed and procreant cradle:Where they most breed and haunt, I have observed,The air is delicate.- William Shakespeare, Macbeth, 1.6If it were done when tis done, then twere wellIt were done quickly: if the assassinationCould trammel up the consequence, and catchWith his surcease success; that but this blowMight be the be-all and the end-all here,But here, upon this bank and shoal of time,Wed jump the life to come. But in these casesWe still have judgment here; that we but teachBloody instructions, which being taught, returnTo plague the inventor: this even-handed justiceCommends the ingredients of our poisoned chaliceTo our own lips.- William Shakespeare, Macbeth, 1.7Besides, this DuncanHath borne his faculties so meek, hath beenSo clear in his great office, that his virtuesWill plead like angels, trumpet-tongued, againstThe deep damnation of his taking-off;And pity, like a naked new-born babe,Striding the blast, or heavens cherubim, horsedUpon the sightless couriers of the air,Shall blow the horrid deed in every eye,That tears shall drown the wind. I have no spurTo prick the sides of my intent, but onlyVaulting ambition, which oerleaps itself,And falls on the other.- William Shakespeare, Macbeth, 1.7 I have boughtGolden opinions from all sorts of people.- William Shakespeare, Macbeth, 1.7Was the hope drunk,Wherein you dressd yourself? hath it slept since,And wakes it now, to look so green and paleAt what it did so freely? From this timeSuch I account thy love.- William Shakespeare, Macbeth, 1.7Letting I dare not wait upon I would,Like the poor cat i the adage.- William Shakespeare, Macbeth, 1.7I dare do all that may become a man;Who dares do more is none.- William Shakespeare, Macbeth, 1.7I have given suck, and knowHow tender tis to love the babe that milks me:I would, while it was smiling in my face,Have plucked my nipple from his boneless gums,And dashd the brains out, had I so sworn as youHave done to this.- William Shakespeare, Macbeth, 1.7Screw your courage to the sticking-place,And well not fail.- William Shakespeare, Macbeth, 1.7Bring forth men-children only;For thy undaunted mettle should composeNothing but males.- William Shakespeare, Macbeth, 1.7 Here are more quotes from Macbeth. 38. False face must hide what the false heart doth know.- William Shakespeare, Macbeth, 1.7 39. Theres husbandry in heaven;Their candles are all out.- William Shakespeare, Macbeth, 2.1 40. Is this a dagger which I see before me,The handle toward my hand? Come, let me clutch thee.I have thee not, and yet I see thee still.Art thou not, fatal vision, sensibleTo feeling as to sight? or art thou butA dagger of the mind, a false creation,Proceeding from the heat-oppressed brain?- William Shakespeare, Macbeth, 2.1 41. Now oer the one half-worldNature seems dead.- William Shakespeare, Macbeth, 2.1 42. Thou sure and firm-set earth,Hear not my steps, which way they walk, for fearThy very stones prate of my whereabout.  -William Shakespeare,  Macbeth, 2.1 43. The bell invites me.Hear it not, Duncan; for it is a knellThat summons thee to heaven or to hell.- William Shakespeare, Macbeth, 2.1 44. That which hath made them drunk hath made me bold,What hath quenched them hath given me fire.- William Shakespeare, Macbeth, 2.2 45. It was the owl that shrieked, the fatal bellman,Which gives the sternst good-night.- William Shakespeare, Macbeth, 2.2 47. The attempt and not the deedConfounds us.- William Shakespeare, Macbeth, 2.2 48. Had he not resembledMy father as he slept I had donet.- William Shakespeare, Macbeth, 2.2 49. Wherefore could I not pronounce Amen?I had most need of blessing, and AmenStuck in my throat.- William Shakespeare, Macbeth, 2.2 50. Methought I heard a voice cry, Sleep no more!Macbeth does murder sleep! the innocent sleep,Sleep that knits up the ravelled sleave of care,The death of each days life, sore labors bath,Balm of hurt minds, great natures second course,Chief nourisher in lifes feast.- William Shakespeare, Macbeth, 2.2 51. Glamis hath murdered sleep, and there CawdorShall sleep no more, Macbeth shall sleep no more!- William Shakespeare, Macbeth, 2.2 52. I am afraid to think what I have done;Look ont again I dare not.- William Shakespeare, Macbeth, 2.2 53. Infirm of purpose!- William Shakespeare, Macbeth, 2.2 54. Tis the eye of childhoodThat fears a painted devil.- William Shakespeare, Macbeth, 2.2 55. Will all great Neptunes ocean wash this bloodClean from my hand? No, this my hand will ratherThe multitudinous seas incarnadine,Making the green one red.- William Shakespeare, Macbeth, 2.2 56. A little water clears us of this deed.- William Shakespeare, Macbeth, 2.2 57. Heres a knocking, indeed! If a man were porter of hell-gate he should have old turning the key. Knock, knock, knock! Whos there, i the name of Beelzebub? Heres a farmer that hanged himself on the expectation of plenty.- William Shakespeare, Macbeth, 2.3 58. This place is too cold for hell. Ill devil-porter it no further: I had thought to have let in some of all professions, that go the primrose way to the everlasting bonfire.- William Shakespeare, Macbeth, 2.3 59. Porter: Drink, sir, is a great provoker of three things. Macduff: What three things does drink especially provoke?Porter: Marry, sir, nose-painting, sleep, and urine. Lechery, sir, it provokes, and unprovokes; it provokes the desire, but it takes away the performance.- William Shakespeare, Macbeth, 2.3 60. The labor we delight in physics pain.- William Shakespeare, Macbeth, 2.3 61. The night has been unruly: where we lay,Our chimneys were blown down; and, as they say,Lamentings heard i the air; strange screams of death,And prophesying with accents terribleOf dire combustion and confused eventsNew hatched to the woeful time. The obscure birdClamored the livelong night: some say the earthWas feverous and did shake.- William Shakespeare, Macbeth, 2.3 62. Tongue nor heartCannot conceive nor name thee!- William Shakespeare, Macbeth, 2.3 63. Confusion now hath made his masterpiece!Most sacrilegious murder hath broke opeThe Lords anointed temple, and stole thenceThe life o the building!- William Shakespeare, Macbeth, 2.3 64. Shake off this downy sleep, deaths counterfeit,And look on death itself! up, up, and seeThe great dooms image!- William Shakespeare, Macbeth, 2.3 65. Had I but lived an hour before this chance,I had lived a blessed time.- William Shakespeare, Macbeth, 2.3 66. Theres daggers in mens smiles.- William Shakespeare, Macbeth, 2.3 67. A falcon, towering in her pride of place,Was by a mousing owl hawked at and killed.- William Shakespeare, Macbeth, 2.4 68. Thriftless ambition, that wilt ravin upThine own lifes means!- William Shakespeare, Macbeth, 2.4 69. Thou hast it now: King, Cawdor, Glamis, all,As the weird women promised; and, I fear,Thou playdst most foully fort.- William Shakespeare, Macbeth, 3.1 70. I must become a borrower of the nightFor a dark hour or twain.- William Shakespeare, Macbeth, 3.1 71. Let every man be master of his timeTill seven at night.- William Shakespeare, Macbeth, 3.1 72. Upon my head they placed a fruitless crown,And put a barren sceptre in my gripe,Thence to be wrenchd with an unlineal hand,No son of mine succeeding.- William Shakespeare, Macbeth, 3.1 73. First Murderer: We are men, my liege.Macbeth: Ay, in the catalogue ye go for men,As hounds and greyhounds, mongrels, spaniels, curs,Shoughs, water-rugs, and demi-wolves are cliptAll by the name of dogs.- William Shakespeare, Macbeth, 3.1 74. Leave no rubs nor botches in the work.- William Shakespeare, Macbeth, 3.1 75. Lady Macbeth: Things without all remedyShould be without regard; whats done is done.Macbeth: We have scotched the snake, not killed it;Shell close and be herself, while our poor maliceRemains in danger of her former tooth.- William Shakespeare, Macbeth, 3.2 76. Duncan is in his grave;After lifes fitful fever he sleeps well:Treason has done his worst; nor steel, nor poison,Malice domestic, foreign levy, nothing,Can touch him further.- William Shakespeare, Macbeth, 3.2 Here are even more quotes from Macbeth, by William Shakespeare. 77. Ere the bat hath flownHis cloistered flight, ere, to black Hecates summonsThe shard-borne beetle with his drowsy humsHath rung nights yawning peal, there shall be doneA deed of dreadful note.- William Shakespeare, Macbeth, 3.2 78. Come, seeling night,Scarf up the tender eye of pitiful day,And with thy bloody and invisible handCancel and tear to pieces that great bondWhich keeps me pale! Light thickens, and the crowMakes wing to the rooky wood;Good things of day begin to droop and drowse,Whiles nights black agents to their preys do rouse.- William Shakespeare, Macbeth, 3.2 79. Cancel and tear to pieces that great bondWhich keeps me pale! Light thickens, and the crowMakes wing to the rooky wood;Good things of day begin to droop and drowse,Whiles nights black agents to their preys do rouse.- William Shakespeare, Macbeth, 3.2 80. Things bad begun make strong themselves by ill.- William Shakespeare, Macbeth, 3.2 81. The west yet glimmers with some streaks of day:Now spurs the lated traveller apaceTo gain the timely inn.- William Shakespeare, Macbeth, 3.3 82. But now I am cabined, cribbed, confined, bound inTo saucy doubts and fears.- William Shakespeare, Macbeth, 3.4 83. Now, good digestion wait on appetite,And health on both!- William Shakespeare, Macbeth, 3.4 84. Thou canst not say I did it; never shakeThy gory locks at me.- William Shakespeare, Macbeth, 3.4 85. What man dare, I dare:Approach thou like the rugged Russian bear,The armed rhinoceros, or the Hyrcan tiger,-Take any shape but that, and my firm nervesShall never tremble.- William Shakespeare, Macbeth, 3.4 86. Hence, horrible shadow!Unreal mockery, hence!- William Shakespeare, Macbeth, 3.4 87. Stand not upon the order of your going,But go at once.- William Shakespeare, Macbeth, 3.4 88. Blood will have blood.William Shakespeare, Macbeth, 3.4 89. I am in bloodStepped in so far that, should I wade no more,Returning were as tedious as go oer.- William Shakespeare, Macbeth, 3.4 90. You lack the season of all natures, sleep.- William Shakespeare, Macbeth, 3.4 91. Round about the cauldron go;In the poisoned entrails throw.Toad, that under cold stoneDays and nights hast thirty-oneSweltered venom sleeping got,Boil thou first i the charmed pot.Double, double toil and trouble;Fire burn, and cauldron bubble.- William Shakespeare, Macbeth, 4.1 92. Eye of newt and toe of frog,Wool of bat and tongue of dog.Adders fork, and blind-worms sting,Lizards leg, and howlets wing,For a charm of powerful trouble,Like a hell-broth boil and bubble.- William Shakespeare, Macbeth, 4.1 93. Liver of blaspheming Jew,Gall of goat, and slips of yewSlivered in the moons eclipse,Nose of Turk, and Tartars lips,Finger of birth-strangled babeDitch-delivered by a drab,Make the gruel thick and slab.- William Shakespeare, Macbeth, 4.1 94. By the pricking of my thumbs,Something wicked this way comes.- William Shakespeare, Macbeth, 4.1 95. How now, you secret, black, and midnight hags!- William Shakespeare, Macbeth, 4.1 96. A deed without a name.- William Shakespeare, Macbeth, 4.1 97. Be bloody, bold, and resolute; laugh to scornThe power of man, for none of woman bornShall harm Macbeth.- William Shakespeare, Macbeth, 4.1 98. Ill make assurance double sure,And take a bond of fate.- William Shakespeare, Macbeth, 4.1 99. Macbeth shall never vanquished be untilGreat Birnam wood to high Dunsinane hillShall come against him.- William Shakespeare, Macbeth, 4.1 100. The weird sisters.- William Shakespeare, Macbeth, 4.1. 101. When our actions do not,Our fears do make us traitors.- William Shakespeare, Macbeth, 4.2 102. He loves us not;He wants the natural touch.- William Shakespeare, Macbeth, 4.2 103. Son: And must they all be hanged that swear and lie?Lady Macduff: Every one.Son: Who must hang them?Lady Macduff: Why, the honest men.Son: Then the liars and swearers are fools, for there are liars and swearers enow to beat the honest men, and hang up them.- William Shakespeare, Macbeth, 4.2 104. Stands Scotland where it did?- William Shakespeare, Macbeth, 4.3 105. Give sorrow words: the grief that does not speakWhispers the oer-fraught heart and bids it break.- William Shakespeare, Macbeth, 4.3 106. What, all my pretty chickens and their damAt one fell swoop?- William Shakespeare, Macbeth, 4.3 107. Out, damned spot! out, I say!- William Shakespeare, Macbeth, 5.1 108. Fie, my lord, fie! a soldier, and afeard?- William Shakespeare, Macbeth, 5.1 109. Yet who would have thought the old man to have had so much blood in him?- William Shakespeare, Macbeth, 5.1 110. The Thane of Fife had a wife: where is she now?- William Shakespeare, Macbeth, 5.1 111. All the perfumes of Arabia will not sweeten this little hand.- William Shakespeare, Macbeth, 5.1 112. Whats done cannot be undone.- William Shakespeare, Macbeth, 5. 1 113. Foul whisperings are abroad. Unnatural deedsDo breed unnatural troubles; infected mindsTo their deaf pillows will discharge their secrets;More needs she the divine than the physician.- William Shakespeare, Macbeth, 5.1 114. Now does he feel his titleHang loose about him, like a giants robeUpon a dwarfish thief.- William Shakespeare, Macbeth, 5.2 115. Till Birnam wood remove to Dunsinane,I cannot taint with fear.- William Shakespeare, Macbeth, 5.3 116. The devil damn thee black, thou cream-faced loon!Where gottst thou that goose look?- William Shakespeare, Macbeth, 5.3 117. I have lived long enough: my way of lifeIs falln into the sere, the yellow leaf;And that which should accompany old age,As honor, love, obedience, troops of friends,I must not look to have; but in their steadCurses, not loud but deep, mouth-honor, breath,Which the poor heart would fain deny, and dare not.- William Shakespeare, Macbeth, 5.3 118. Canst thou not minister to a mind diseased,Pluck from the memory a rooted sorrow,Raze out the written troubles of the brain,And with some sweet oblivious antidoteCleanse the stuffed bosom of that perilous stuffWhich weighs upon the heart?- William Shakespeare, Macbeth, 5.3 119. The patientMust minister to himself.- William Shakespeare, Macbeth, 5.3 Here are even more quotes from Macbeth, by William Shakespeare. 120. Throw physic to the dogs: Ill none of it.- William Shakespeare, Macbeth, 5. 3 121. The cry is still, They come!- William Shakespeare, Macbeth, 5.5 122. I have almost forgot the taste of fears.The time has been my senses would have cooledTo hear a night-shriek, and my fell of hairWould at a dismal treatise rouse and stirAs life were int: I have supped full with horrors;Direness, familiar to my slaughterous thoughts,Cannot once start me.- William Shakespeare, Macbeth, 5.5 123. To-morrow, and to-morrow, and to-morrow,Creeps in this petty pace from day to dayTo the last syllable of recorded time,And all our yesterdays have lighted foolsThe way to dusty death. Out, out, brief candle!Lifes but a walking shadow, a poor playerThat struts and frets his hour upon the stageAnd then is heard no more: it is a taleTold by an idiot, full of sound and fury,Signifying nothing.- William Shakespeare, Macbeth, 5.5 124. I gin to be aweary of the sun,And wish the estate o the world were now undone.Ring the alarum-bell! Blow, wind! come, wrack!At least well die with harness on our back.- William Shakespeare, Macbeth, 5.5 125. Those clamorous harbingers of blood and death.- William Shakespeare, Macbeth, 5.6 126. I bear a charmed life.- William Shakespeare, Macbeth, 5. 8 127. Macduff was from his mothers wombUntimely ripped.- William Shakespeare, Macbeth, 5.7 128. Lay on, Macduff,And damned be him that first cries, Hold, enough!- William Shakespeare, Macbeth, 5.8

Definition and Examples of Anastrophe in Rhetoric

Definition and Examples of Anastrophe in Rhetoric Anastrophe is a  rhetorical term for the inversion of conventional word order. Adjective: anastrophic. Also known as  hyperbaton, transcensio, transgressio, and tresspasser. The term derives from Greek, meaning turning upside down. Anastrophe is most commonly used to emphasize one or more of the words that have been reversed. Richard Lanham notes that Quintilian would confine anastrophe to a transposition of two words only, a pattern Puttenham mocks with In my years lusty, many a deed doughty did I (A Handlist of Rhetorical Terms, 1991). Examples and Observations ofAnastrophe Ready are you? What know you of ready? For eight hundred years have I trained Jedi. My own counsel will I keep on who is to be trained. . . . This one a long time have I watched. . . . Never his mind on where he was. (Yoda in Star Wars: Episode V: The Empire Strikes Back, 1980)Sure I am of this, that you have only to endure to conquer. (Winston Churchill, address delivered at the Guildhall, London, September 14, 1914)Gracious she was. By gracious I mean full of graces. . . .Intelligent she was not. In fact, she veered in the opposite direction.(Max Shulman, The Many Loves of Dobie Gillis. Doubleday, 1951)Clear, placid Leman! thy contrasted lakeWith the wild world I dwelt in.(Lord Byron, Childe Harold)From the Land of Sky Blue Waters,From the land of pines lofty balsams,Comes the beer refreshing,Hamms the beer refreshing.(Jingle for Hamms Beer, with lyrics by Nelle Richmond Eberhart)Talent, Mr. Micawber has; capital, Mr. Micawber has not. (Charles Dickens, David Copperfield, 1848) Corie Bratter: Six days does not a week make.Paul Bratter: What does that mean?Corie Bratter: I dont know!(Jane Fonda and Robert Redford in Barefoot in the Park, 1967) Timestyle and New Yorker Style A ghastly ghoul prowled around a cemetery not far from Paris. Into family chapels went he, robbery of the dead intent upon. (Foreign News Notes, Time magazine, June 2, 1924)Backward ran sentences until reels the mind. . . . Where it all will end, knows God! (Wolcott Gibbs, from a parody of Time magazine. The New Yorker, 1936)Today almost forgotten is Timestyle, overheated method of newswriting by which, in Roaring Twenties, Turbulent Thirties, Time sought to put mark on language of Shakespeare, Milton. Featured in adjective-studded Timestyle were inverted syntax (verbs first, nouns later), capitalized compound epithets (Cinemactor Clark Gable, Radiorator H. V. Kaltenborn), astounding neologisms (rescued from Asiatic obscurity were Tycoon, Pundit Mogul, oft-used still by newshawks, newshens), sometime omission of definite, indefinite articles, ditto final ands in series except when replaced by ampersands. Utterly unlike Timestyle was New Yorker style. Relied latter heavily then, reli es it still on grammatical fanaticism, abhorrence of indirection, insistence on comma before final and in series. Short, snappy were Time’s paragraphs. Long, languid were The New Yorker’s. (Hendrik Hertzberg, Luce vs. Ross. The New Yorker, Feb. 21, 2000) Emphatic Word Order Anastrophe often is used to add emphasis. Consider a comic example. In a Dilbert cartoon strip published on March 5, 1998, the pointy-haired boss announces that he will begin using the chaos theory of management. Dilberts co-worker Wally replies, And this will be different how? Normally, we would place the interrogative  adverb how at the beginning of the sentence (as in How would this be different?). By deviating from the normal word order, Wally places extra emphasis on the question of difference. Wallys extra emphasis suggests that the new theory will not dramatically change the bosss behavior. (James Jasinski, Sourcebook of Rhetoric. Sage, 2001) Anastrophe in Films Anastrophe is an unusual arrangement, an inversion of what is logical or normal, in literature of the words of a sentence, in film of the image, in angle, in focus, and in lighting. It comprises all forms of technical distortion. It is clearly a figure to be used rarely, and it is not always certain if it has the effect intended. . . .[I]n the Ballad of a Soldier (Grigori Chukhrai), one of two signalmen is killed, and the other runs, pursued by a German tank. In a down air shot, the camera pans with tank and man, and at one point the scene turns, placing the ground up, the sky bottom right, the chase continuing. Is it the disoriented panic of the man fleeing wildly without plan, or the manic mind of the tank driver, pursuing one man, when he should be addressing himself to the destruction of companies, when, in fact, he could shoot? A bizarre act seems to call for an anastrophic treatment. (N. Roy Clifton, The Figure in Film. Associated University Presses, 1983)

Marketing research Case Study Example | Topics and Well Written Essays - 2750 words

Marketing research - Case Study Example However, Alok (2009) is convinced that female shoppers are more likely to remain loyal to shops they have signed loyalty programs with. Nazia (2011) delved into the effect of income levels on shopping habits, supporting notions spread by Peter, Borle and Kadane (2003) that shoppers with higher income tend to be loyal to more shops than those with lower income. Yuping, Williams and Tam (2010) refuted this claim, noting that every individual signs up with a program based on how much they need the products offered by a store. Older buyers are shown in Rose (2013) as being less likely to make large purchases, due to their partial inability to earn at the same pace as the energetic younger cohorts. Seyhmus (2002), however, had a differing opinion, preceding Rose’s article with the assertion that age does not actually affect ability to shop (size of purchase) since there are many wealthy older persons. Based on these contradicting notes, this research poses the questions: The current research is based on a model depicting the consumer as more being more loyal based on their membership to loyalty programs. Therefore, the response (percentage of clothing budget spent at the store’s clothing category and amount of money spent at the store) are affected by the age, income, gender and membership to loyalty for the participants. The hypotheses developed in response to the research questions are: H4: There is no significant difference between amount spent at the clothing category and percentage of clothing budget spent on clothing at the store for participants signed to the loyalty program and those not signed. The sample comprised 202 participants who were all shoppers at the selected clothing store. 122(60.4%) were male while 80 (39.6%) were female shoppers. There were no shoppers below the age of 18 years. However, 184 (91.1%) were adults aged between 19 and 50 years while 18 (8.9%) were older persons aged above

Individual or Issue Related to Africana Studies Essay

Individual or Issue Related to Africana Studies - Essay Example Similar to the arts of all individuals in the world, African art illustrate thought, attitudes, and values which are a result of African experiences in the past. Therefore, the study of African art gives an avenue for learning about the history of Africa. Through the study of African Art, individuals can find answers to the questions which have been engrossing the continent for long. Nonetheless, it is not only African art that can assist people get information on the past of Africa. Other elements, for example, lifestyle and stage of African development can also assist people gain additional information on the status of Africa in the globe. As individuals search information on Africa and its past, they must also take into consideration how Western view of racial and race differences has had an impact on views of the African history (Said 8). This paper will look at the impact of slavery and the slave trade era on the development of Africa. The ideas of race and racial differences ha ve always assumed, black people are inferior compared to their white counterparts. This notion begun in Western regions as the people from these regions attempted to rationalize their enslavement of Africans and the consequent colonization of the African continent. Historians and other professional studying African issues have now established that views of racial inadequacy have led to the conviction that African people in the past existed in a condition of primitive barbarism (Said 11). In addition, these professionals have also recognized that a large number of European works on the past of Africa, for example, stories by 19thcentury travelers and missionaries are stained by the similar view points of African inadequacy. This recognition has made historian and other experts studying the past of Africa to search for different sources of information that is less or not inspired by European or foreign concern with racial disparity. These different resources comprise oral traditions f ound in Africa, works by Africans, the physical evidence unearthed by archeologists, African art, and structures and vocabularies of the African language. These different sources, unlike European or foreign sources, will assist individuals comprehend the history of Africa from the African point of view.

Money Laundering Sources Essay Example for Free

Money Laundering Sources Essay 1.Drug traffic: it is considered as the most important financial source in the illegal business. The important money operation is related to drug dealings. 2.Bribery: it is one of the sources that lead to have illegal money. Most of the laws prohibited the bribery in its different ways and have imposed some punishments when bribery takes place. 3.Money embezzlements: the crime of embezzling money is one of the important crimes that is related to administrative corruption. People who get the embezzled money tend to put it in banks outside the country with the intention of bringing it back in an illegal way. 4.The illegal evading from paying taxes: it is also called â€Å"tax cheating† or â€Å"tax evading†. This means that one can evade or escape from paying the due taxes through practicing cheating and counterfeiting in the records and breaking the taxation rules and laws. The evading process is considered one of the sources that lead to gain huge amounts of money that will become later a target for the money laundering operations. 5.The crime of money: these are crimes that aim to gain huge amounts of money and the people that commit such crime work on hiding or concealing its sources so it can look as if it is legal. 6.The crimes of people with white collars: these crimes are done by people who have a high position socially and economically while practicing their businesses. 7.The crimes of the politicians: the money laundering operations is connected to the political corruption that is associated with the utilization of the power and authority to gain the huge amounts of money then, smuggle it outside to be laundered and bring it back in a legal way. There is also the method of buying the stocks and assets where the money launderers buy perceptible assets such as cars, boats, real estate, precious stones, drawings for famous artists, or buying cash instruments like banking checks, paying orders, traveler‘s checks, notes and many other means. The most favored technique for the money launderers is buying commercial notes, especially depositing certificates, for example instead of depositing cash money which in many cases can be detected if the amount is big, it is divided into the ways of buying the notes which could be easily bought in value ranges between 100 and 100,000 dollars. Some commercial activities that can be used for laundering money are : 1.Operations of the equivalent markets: in this type of plans, the launderers tend to replace the dirty dollars with other foreign currencies and sometimes, they switch it back to dollars again. 2.Illusive deals: counterfeiting operations is considered one of the popular activities used in laundering money. With the use of exaggerated prices, money launderers can establish illusive companies or work with their partners for finding illusive bills where the prices included in these bills are either exaggerated to an extent exceeding the amount paid actually, or that the commodity is never bought at all. 3.Insurance companies: there is another planning for cash brokers in the free commercial areas which appears in accepting cash liquidity from the drug dealers to buy life insurance documents and get back its value by the virtue of checks. 4.Off shore companies: the off shore companies are traditionally used by money launderers. For example, a money launderer can establish commercial business in Lebanon as a cover for opening a commercial account in a bank. Then, the money launderers travels to one of the countries that are refuges for free taxation with the help of a lawyer or local agents to establish an external company in the free area. The local agent can be the owner and the boss of that company where the name of the launderer isn‘t used in any of the external documents. After that, the illusive company pretends to do some commercial activities and then transfer the dirty money telegraphically from the commercial account in Lebanon to the account of the external company in the free area. This could be done through the counterfeited bills which are used to pretend that there are legal commercial dealings. As the dirty money is put in the Off Shore companies, it can be transferred telegraphically to any place in the world. Money laundering is not restricted to banks but in the banking field for example, the money launderers are used to collude with the employees of the banks administrations. This is often done by using methods of corruption to allow the passing of the special transaction related to transferring huge amounts to pass by without filling the application from or through splitting them into small amounts to avoid the procedures.

Designing a Leaflet :: Leaflets Consumerism Essays

Designing a Leaflet Tasks: 1. Design Leaflet 2. Produce Pricing System 3. Create a website 4. Create a Labelling System Task 1: Analysis Design a leaflet containing the information of the content of the shop’s selling items, prices, opening and closing hours. Form of Output:  · Hand made leaflet on an A4 sized page, which will be photo copied many times and be posted off to companies, businesses, and near by houses. The leaflet will contain pictures of sandwiches and various drinks Information to be output:  · On the first page I will have the Lancre lunch box logo.  · Opening hours  · Closing hours  · Shop name  · Location  · Map with Location clearly labelled  · Pricing  · Vouchers giving a certain amount of cash off certain sandwiches, printed in each leaflet!  · Terms and conditions top using the vouchers. (In small print on the last page, not to waste space for other deals and advertisements.  · Information on different types of sandwiches, providing a different vegetarian alternative menu for vegetarian customers.  · Information on a large selection of meat sandwiches for the majority of customers who are meat eaters. Data for output:  · On the first page I will have the Lancre lunch box logo.  · Opening hours  · Closing hours  · Shop name  · Location  · Map with Location clearly labelled Desired outcomes: 1. Text must stand out 2. Details must stand out 3. Must be colourful 4. Must be easy to read 5. Information must be justified and look neat Task 1: Design: Leaflet I have designed 2 leaflets on paper. Shortly after I designed the first one, I surveyed the issues and problems that arose. I solved the problems and applied the changes to the second leaflet. I will be using Microsoft publisher to design the leaflet. This program will provide a solution because:  · It has a colour feature, which I will take full advantage of, to attract potential customers.  · It has the ability to show me my 3-page leaflet via a visual display unit (VDU).  · It is very user friendly in the way that it can easily interpret my desired outcomes. E.g. the leaflet feature used to create a leaflet.  · Will give me a good visualisation of the outcome!  · It is specially designed to create this type of outcome! (A leaflet)  · I can import colour graphic files! Why I have chosen the colours and effects that I have chosen for the leaflet: Front page:  · I will have an Ivy border due to the fact that it will create good contrast against the Lancre lunch box logo! It will also look very

Modern Irony Essay

Since the beginning of time, man has attempted to unravel the seemingly infinite mysteries of life. The English playwright Tom Stoppard has written plays that address the existence of â€Å"fate† (or a predestined outcome for every human being) and controlling one’s own destiny. His plays also deal with the many other uncertainties that arise during a normal person’s life; such as sex, how we know things, etc. (Tom Stoppard) Stoppard’s utilization of satire and drawn parallels mirror the image of life’s faults and intricacies. His plays serve to show people the humor and irony that life presents. During the time that Stoppard wrote his first play, Rosencrantz and Guildenstein, society was experiencing a social upheaval. The late sixties was a time of experimentation and existentialism. People were asking questions about their very existence in a way never before seen. In this climate, Stoppard saw the opportunity to begin writing plays that dealt with the issues of the time (Overview of Tom Stoppard). He took a whimsical spin though, on the method in which he delivered it. He embarked on the continuing journey of a great literary tradition, but diverged from its path by ridiculing it. His desire to write plays was not a spontaneous venture; during this era, many people wanted to express their thoughts and feelings, and plays were a common medium. Stoppard observed this and pondered if success and knowledge could be his as well. The general question being asked around this time was â€Å"Why are we here? † Man has always sought an answer to this question, but now more than ever was it expressed in literature and plays. Stoppard’s craft shows a propensity for humor, which offers a more light-hearted viewpoint of this previously serious and mundane subject. Stoppard asks the question of not only â€Å"Why are we here? † but also â€Å"How are we here? † as well. He explores the intricacies of life in an attempt to derive a meaning. His comical touch alleviates the heavy association of philosophy though. Whether or not his question is answered is secondary to the method in which we view it. In Stoppard’s eyes, it is more important â€Å"to live† rather than to comprehend â€Å"why we live. † This approach brought fanfare to Stoppard, as society saw his style as fresh; and a tangible device to which they could relate. Literary history has had a heavy impact on Stoppard’s method and conceptual presentation. He admits to being swooned by such masterpieces as Waiting for Godot by Samuel Beckett, and ‘The Love Song of J. Alfred Prufock† by T. S. Elliot. The ideas that he extracted from these artists and their works helped him divulge his own style to which he could further literature. A parallel may be drawn between Waiting for Godot and Stoppard’s â€Å"Rosencrantz and Guildenstein are Dead. † Both works feature two men, and their journey in existentialism. Beckett’s version has them waiting for a surreal character (Godot) that, in the end, never appears. The characters are portrayed as confused, and the play takes on an air of severe depression. The play is very much an appeal to the audience, as they too are overcome by this depression. The characters slowly fade away, emotionless and unexcitable. Stoppard’s â€Å"version† though has his characters embark on a journey; a fruitless journey, but a â€Å"goal† to meet none the less. Beckett disarms his audience, while Stoppard embraces them into his play; making the audience feel at home and comfortable. Stoppard diffuses the rather â€Å"heavy† atmosphere belied by Beckett with satire and a whimsical wit. For example, In â€Å"Rosencrantz and Guildenstein are Dead,† Stoppard portrays the idea of â€Å"death† as a game. He does this in an attempt to show the audience that it is not to be feared. He achieves this by his satirical depiction of the internal â€Å"play† within â€Å"Hamlet† by Shakespeare. The characters in the â€Å"play† perish, and then the actual characters die in the exact same manner. The audience can identify with death, as all humans are concerned with their own demise. They take away though, a much less serious approach in viewing it. The other author, Elliot, often depicted his characters as stumbling and indecisive. One of his most famous works, The Love Song of J. Alfred Prufrock, deals with a man who is enamored with the variables and uncertainties of approaching a woman that he admires. In the poem, Prufrock realizes that only he cares about his decision, and whether he chooses to pursue her or not, will not matter. He sees himself as part of his own world; in which he is the â€Å"sole occupant. † He, sadly, is only coherent enough in his â€Å"world† though to realize how much he is potentially missing by not being completely immersed in it. He cannot solve this problem though, and continues wandering and pondering till the end of time. Stoppard took away from Elliot a similar stance to character development. He portrays his characters as aware, but not completely in tune with their surroundings. The effect is one of dismay, but comical as well. Stoppard’s portrayal is more humorous in nature, displaying them as bungling and unresponsive. This is exemplified in his play, Rosencrantz and Guildenstein are Dead. His characters attempt to divulge the plan and their â€Å"purpose† as designated by the King (Claudius), but are unable to fully grasp its meaning. These literary greats do not contribute the fabulous humor that Stoppard has developed though. His humorous elements can best be equated to his passion for the â€Å"Theatre of the Absurd. † This type of theater came into popularity during the 1950s and 1960s; and was applied to plays that portrayed the human situation without purpose and with absurd plot elements. This form was a reemergence of an attempt towards awareness of man’s purpose in life; the sense of wonder that man has always had concerning how things work and why. In some respect, it was anti-theater, as it went against the basic premise of regular theater. It was illogical and usually had very little or no plot (Culik). Stoppard’s fascination with this art form had a profound impact on his own personal style. Sigmund Freud, a proponent of the Absurd, said, â€Å"In trying to burst the bounds of logic and language, the absurd theater is trying to shatter the enclosing walls of the human condition itself. â€Å"(Culik) This confirms the spatial concepts that the theater was attempting to portray, and Stoppard’s comedic element is based upon this illogical and removed nature. The play Rosencrantz and Guildenstein are Dead is a satirical look upon the much more staunch play Hamlet. It delves into the lives of two supporting characters named â€Å"Rosencrantz† and â€Å"Guildenstein. † The characters ‘ unimportance is exemplified in the play by their lack of understanding and baffling thought patterns. This play shows Stoppard’s portrayal of â€Å"artificiality of theater. † The performance is not about the actual play, but the context of the play; the idea of attending the performance. The characters appeal directly to the audience, instead of becoming immersed in its story and plot. The effect is comical, as the play begins with them merely spinning coins and making bizarre implications towards the audience. Rosencrantz has spun the coin and received â€Å"heads† nearly 85 times. His humorous portrayal of the â€Å"law of averages† is his â€Å"justification† for his luck. This is the play’s first look into why things happen. The characters are unable to come to a proper conclusion though; and the path that Rosencrantz begins upon (the law of averages) cannot be farther removed from the truth. The play continues with these hilarious situations, finally having the pair receive their mission from Claudius the King. The pair ponders why they have received the mission, and why they must complete it. Stoppard constantly asserts that a â€Å"play is being read. ;† instead of allowing the reader to delve into a story. He makes the reader think of Hamlet, and its tragic implications; and applies a humorous tone to it. In the end of the play, Rosencrantz and Guildenstein are supposedly murdered (the English king is instructed to execute them, but their actual deaths are not witnessed), but instead of a grand exit, they merely fade away. Stoppard shows through this that the characters had served only a menial and insignificant purpose. The reader is unable to sympathize with the characters’ demise, as the play is portrayed with a comical tone. This disservice to death with satire is both eye widening and thought provoking. A person is assaulted with the moral implications of death, instead of offering a deaf sympathy to the character’s grief. Stoppard’s ability to allow the playgoers to analyze what they feel is his greatest achievement in the work; not the story itself. Stoppard’s play Arcadia is another intelligent play that provokes the reader to appraise man’s life long debacles. In the play, the characters attempt to grasp the mysteries of sex, and a path towards knowledge that leads to an understanding of the future. The latter is portrayed as an equation developed by Thomasina, in an attempt to control her own destiny. Her professor, Septimus, also contributes to the equation by way of a lesson to his student, Thomasina. He explains to her that the loss of knowledge isn’t the end of the world; as it is rediscovered eventually in the future. This subject is an explanation of humanity’s technological progression and our knowledge. The play attempts to allow the reader to grasp the many unknown or misunderstood concepts in life. â€Å"Mysteries† such as sex can only be acquired through practice and progression of time. Stoppard appeals to the general public that things cannot be instantly understood; they must be studied and experimented with to fully grasp the full meaning. These mysteries will eventually be solved, but it shall take time and patience; nothing is instantaneous in life. Stoppard’s inclusion of Thomasina’s â€Å"equation† is both humorous and practical in its implication. Thomasina’s goal was to create an equation that could more or less tell the future. It is humorous to surmise that a simple equation can predict the future with numbers. The limitless variables and uncertainties in life will forever impede such an â€Å"advancement. † Stoppard attempts to explain that life itself is intangible; it can neither be predicted nor reduced to a simple equation. Stoppards’ plays contain many useful outlooks on how a person should view their life on earth. People are always concerned with the future and their own death (and when it will occur). Stoppard believes that man shouldn’t view life with such a critical eye; and instead should accept certain facts to be true. Man is powerless concerning the ability to control life. There are many uncertainties in life that are both humorous and infinitely escapable to the human mind. His plays show inept characters driven into the ground by their consumption of the â€Å"study of life. † Stoppard suggests through his characters’ comical adventures that life is for living, and the consequence of a life spent longing and pondering equates to a life disenfranchised of pulp and meaning. The â€Å"meaning† which man longs for cannot be quantified; it must be experienced to break the surface of significance. Works Cited Stoppard, Tom. Arcadia. Stoppard, Tom. Rosencrantz and Guildenstern Are Dead. â€Å"Tom Stoppard. † DISCovering Biography. Online Edition. Gale, 2003. Student Resource Center. Thomson Gale. 17 January 2005  http://galenet.galegroup.com/servlet/SRC

Importance of Poetry Essay

â€Å"Poetry may make us from time to time a little more aware of the deeper, unnamed feelings which form the substratum of our being, to which we rarely penetrate; for our lives is mostly a constant evasion of ourselves. † ‘ T. S. Eliot. Poetry, just as in other literature contributes a major role in the development of many aspects of life. The utilization of poets and poetry can serve for many different positive purposes and effects on society. Thus, poetry is important to each of us. A person is constantly involved in thinking a variety of things. Through poetry, one can lend voice to one’s thoughts, feelings and beliefs. Often, poetry is the resultant of misunderstandings that a person often undergoes. The anger, frustration and agony are revealed through penning down the different expressions one feels at that moment. Poetry allows you to visualize things from the eyes of the writer, thus marking the importance of writing poetry. Ever Merrian sharing the same thought has said â€Å"Pick it up with your fingers and lick, the juice that may run down your chin† in his poem â€Å"How To Eat a Poem. † He compares a poem to a fruit and the emotions behind it as its juice. Poetry has been in existence since ages. Poems from the ancient historical eras give us a glimpse of the previous generations, right from depicting historical events to the primeval lifestyles. The thoughts and feelings of the oldies are depicted to us. What was considered beautiful, important or even profound, is clearly stated to us through those poems. Just as Maya Angelou has evidently expressed the same in her poem â€Å"I rise†, â€Å"You may write me down in history with your bitter, twisted lies, You may trod me in the very dirt but still, like dust, I’ll rise. † Therefore, poetry is an imperative section of literature that holds great importance in our lives, and cannot be eliminated or replaced. Succinctly, the importance of poetry is best revealed through a John Keats quote which states, â€Å"Poetry should†¦ should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance. †

Free Essays on Media Influence On Sexuality

â€Å"What you see is†¦(influence of media)† In the United States, the media has a great amount of influence over human sexuality. Whether it is presented by means of television shows, magazines, advertisements, news, or even radio, the result is still the same. These sources of information all shape individuals and their thoughts on sex and sexuality. They help to define for people who they should and should not be attracted to sexually, how they should look in order to be sexually appealing, and general social interactions towards a sexual partner. Often times, young children look to the media for guidance on what is socially acceptable and what is not. From this, the media helps to shape our attitudes on what we like and what we do not. Television shows cast attractive people in their lead roles. Young children see that their parents and peers find these people attractive and therefore learn what an attractive person is supposed to look like. The same principle applies to magazine ads, and news cast members. Even through radio programs, such as Howard Sterns, we can receive vivid descriptions of what makes men and women attractive, and what makes them repulsive. Though throughout our lives, our opinions may change many times, we look to the media to layout a blue print for what makes a member of the opposite sex more appealing than another. On the opposite side, the media also influences how we see ourselves. Most young women, including myself, look to magazines, popular television shows, and advertisements as a source for the latest and greatest in fashion. The negative effect this media influence has on us comes in the form of self-imaging. For many men and women, the bodies seen in the media are unachievable or unrealistic by the general population. For a woman to look like a runway model, she would have to be a minimum of 5’9, wear a size 9 shoe, weight a maximum of 112 pounds, have a maximum 32† bust lin... Free Essays on Media Influence On Sexuality Free Essays on Media Influence On Sexuality â€Å"What you see is†¦(influence of media)† In the United States, the media has a great amount of influence over human sexuality. Whether it is presented by means of television shows, magazines, advertisements, news, or even radio, the result is still the same. These sources of information all shape individuals and their thoughts on sex and sexuality. They help to define for people who they should and should not be attracted to sexually, how they should look in order to be sexually appealing, and general social interactions towards a sexual partner. Often times, young children look to the media for guidance on what is socially acceptable and what is not. From this, the media helps to shape our attitudes on what we like and what we do not. Television shows cast attractive people in their lead roles. Young children see that their parents and peers find these people attractive and therefore learn what an attractive person is supposed to look like. The same principle applies to magazine ads, and news cast members. Even through radio programs, such as Howard Sterns, we can receive vivid descriptions of what makes men and women attractive, and what makes them repulsive. Though throughout our lives, our opinions may change many times, we look to the media to layout a blue print for what makes a member of the opposite sex more appealing than another. On the opposite side, the media also influences how we see ourselves. Most young women, including myself, look to magazines, popular television shows, and advertisements as a source for the latest and greatest in fashion. The negative effect this media influence has on us comes in the form of self-imaging. For many men and women, the bodies seen in the media are unachievable or unrealistic by the general population. For a woman to look like a runway model, she would have to be a minimum of 5’9, wear a size 9 shoe, weight a maximum of 112 pounds, have a maximum 32† bust lin...

How to Be a Good Active Listener

How to Be a Good Active Listener Listening is a study skill most of us take for granted. Listening is automatic, isn’t it? We might think we’re listening, but active listening is something entirely different. Think of how much easier it would be to study for tests, to write papers, to participate in discussions, when you know you have really heard everything important that was said in the classroom, not only by your teacher but also by other students actively engaged in learning. It may sound silly, but active listening can be exhilarating. You might be surprised by how much you have missed in the past when your mind has gone off on errands like what to make for dinner or what your sister really meant when she said... You know what were talking about. It happens to everyone. Learn how to keep your mind from wandering with some tips here, plus a listening test at the end. Test your listening skills and then start practicing active listening in the classroom. It’s where your studying begins. Three Kinds of Listening There are three levels of listening: Half listeningPaying attention some; tuning out some.Focusing on your reaction.Commenting to others.Waiting for a chance to break in.Distracted by personal thoughts and what’s going on around you.Doodling or texting.Sound listeningHearing the words, but not the meaning behind them.Missing the significance of the message.Responding with logic only.Active listeningIgnoring distractions.Ignoring delivery quirks and focusing on the message.Making eye contact.Being aware of body language.Understanding the speaker’s ideas.Asking clarifying questions.Recognizing the speaker’s intent.Acknowledging the emotion involved.Responding appropriately.Remaining engaged even when taking notes. 3 Keys to Developing Active Listening Develop active listening by practicing these three skills: Keep an open mindFocus on the speaker’s ideas, not on the delivery.Give the speaker your full attention.Resist forming an opinion until you’ve heard the entire lecture.Don’t let the speaker’s quirks, mannerisms, speech patterns, personality, or appearance get in the way of listening to the message.Stay focused on the central ideas being communicated.Listen for the significance of the message.Ignore distractionsBe fully present.Make sure your phone is silenced or turned off. Everyone can hear a vibrating phone.Tune out any chatter around you, or politely tell the talkers that you’re having trouble listening.Better yet, sit up front.Face away from windows if you can to avoid outside distractions.Set aside all emotional issues you brought with you to the classroom.Know your own hot buttons and don’t allow yourself to respond emotionally to issues being presented.ParticipateMake eye contact with the speaker.Nod to show understanding.Ask clarifyin g questions.Maintain body language that shows you are interested.Avoid slouching in your chair and looking bored.Take notes, but continue to stay focused on the speaker, looking up often. Active listening will make studying later so much easier. By paying close attention to the significant ideas presented in the classroom, you’ll be able to remember the actual experience of learning the material when it comes time to retrieve it. The Power of Meditation If youre a person who has never considered learning to meditate, you might think about giving it a try. People who meditate take control of their thoughts. Just think of how powerful that can be in the classroom when your thoughts are wandering. Meditation also helps manage the stress of going back to school. Learn to meditate, and youll be able to pull those thoughts right back to the task at hand. The Listening Test Take this listening test and find out if youre a good listener.

Comparison of Finkel and O'Brian Essay Example | Topics and Well Written Essays - 1000 words

Comparison of Finkel and O'Brian - Essay Example O’Brian in his book â€Å"How to Tell a War story† illustrates on events during a war and the art of telling those events. He paints on a vivid picture of war and the effects it has on people involved in it. This makes the story true and very realistic as it drives a point in today’s life because war has become a big part of life in the recent times. Considering the book wrote by Finkel, â€Å"The Good Soldiers,† he made art out of the crucial moments in history. His book is the most honest, agonizing, and vividly made accounts of the current war. It captures the horror nature of war. It actually reveals the fact about war and explains what happened in real life. According to the story Finkel tells about war, being a journalist who is supposed to report on facts, I truly think that he is actually telling the truth in his story. According to what he explains in the book, he witnessed and in reality interacted with the victims who were involved in the war, t he soldiers. He wrote the story from the stories he was told by the victims concerning what they experienced during the struggle. This shows clearly that Finkel did not make up the story as a fiction but was a fact that happened in reality.   O’Brian described that a true war story is never moral. He explained that a true war story does not instruct or even encourage virtues. ...   Ã‚  Finkel as a journalist witnessed the 2-16 battalion because he spent eight months with the solders who were involved in the war. The soldiers therefore told him what they experienced in the war struggles and how they lost some of their fellows and some being wounded. From these stories, Finkel managed to write the real experience of war expressing the pain, sorrow, death and destruction as they were experienced by the soldiers. This is also clear evidence that the story is very true.  Ã‚  Finkel described the horrible situation of war which ended in death and destruction. When he was writing the book, he got some stories and ideas from the soldiers who at first thought that he had ill motives with the book. His main idea was to use the book to write about the battalion experience of infantry soldiers and character in the lost moment during the Iraq war. He expresses all his opinions and feelings about war in the story. The story is really explains real; facts about war. Fin kel is very realistic in his story because during the events, he was present and witnessed the situation having coming into contact with the soldiers, â€Å"Here came the explosion. It came through the door†¦. It came through the good soldiers.† He made clear facts that the soldiers were wounded in the war. He further described war as hell due to the fact that decent men were sent to fights where they were wounded and killed creating a lot of fear and grief. â€Å"The battalion chaplain was in search of a quick business in soldiers wishing to unburden their grief, fear and desperation.† O’Brian in the chapter â€Å"How to Tell a War Story† also illustrates how young and innocent men are s-end in fights where they later suffer