Relationship Between the Fish and the Fisherman

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Elizabeth Bishop's poem "The Fish" is a work in which a fisherman takes a detailed observation of a fish. With a closer look at the poem, it becomes apparent that the fisherman develops a connection with the fish on three different levels. The fisherman connects with the fish physically, in age, and mentally.

The fisherman and the fish are connected by the physical similarities between the two. The fisherman talks about the fish's "coarse white flesh," like the flesh of the fisherman (7). The author talks about the small and large bones in the fish, which is similar to a human's small and large bones in his or her body. The author then goes on to compare her eyes with the eyes of the fish. The author says, "I looked into his eyes / which were far larger than mine / but shallower, and yellowed," showing the similarities and differences between the two (4-6). The author then begins to talk about the similarities between the two mouths. The author uses the word lip giving the fish human-like characteristics, putting the fish on the same level as the author. The fish and the fisherman are connected on more levels than just the physical.

Throughout the poem, the author notes the fish's experience. Bishop starts by noticing the fish's outside appearance. She writes, "… Here and there / his brown skin hung in strips / like ancient wallpaper," showing how the fish's skin has changed with its age (-11). Bishop then says that "He was speckled with barnacles," which indicates that the fish has been in the water a very long time (16). The author goes on to talk about the appearance of the fish's eyes by saying,

"the irises backed and packed

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with tarnished tinfoil

seen through the lenses

of old scratched isinglass." (7-40)

This quotation further emphasizes the fish's age. Bishop moves her focus to the fish's mouth, where she notices "… five old pieces of fish-line," (51). She describes the hooks as, "a five-haired beard of wisdom" (6). This goes on to show the fish's age and experience. The reason that the fisherman focuses so much on the age of the fish is because it causes the fisherman to meditate on her own life and experience, which allows her to connect with the fish on that level.

Lastly, the fisherman tries to connect with the fish on a mental level. The fisherman begins her quest to connect with the fish on a mental level when she looks into its eyes. Eyes are seen as a passageway into one's mind. The fish does not seem to have the same interest in the fisherman. This is shown when the author writes, "They [the fish's eyes] shifted a little, but not / to return my stare." (41-4). The fisherman is unable to connect with the fish until oil from her boat creates a rainbow in the water. A rainbow is a symbol of good after the bad. The fisherman lets the fish go, which gives the fish another chance at life. The fisherman does this because she hopes that one day her act of goodwill will come back to her in her favor when she is in a tough spot. This rainbow in the water allows the fisherman to finally connect with the fish on a mental level.

By the end of the poem, the fisherman connects with her catch on three different levels. First, she connects with the fish physically. Then, she connects with the fish in age and experience. Lastly, with the notice of the rainbow, the fisherman connects with the fish in thought. This allows the fisherman to further understand her catch and come to the decision to let it go.

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Laura's Glass Managerie

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Laura's Glass Menagerie

The Glass Menagerie in "The Glass Menagerie", by Tennessee Williams, is used to describe, or symbolize Laura's character in the play. Laura, a very frail and insecure character from the play, lives in a world of illusions. Crippled with one leg shorter than the other from a childhood illness called pluerosis, Laura lives her life through her collection of glass animals that provide her refuge from reality. A "fragile and rare" particular glass animal called the unicorn symbolizes the character's sufferings. The brilliant use of the imagery of the glass unicorn helps express the emotional anguish of Laura. Only when the unicorn loses its horn, and becomes like the other glass horses, does Laura learn to break from her fantasy world, snap into reality and realize that she is not a "freak" as she thought she had been.

Laura's obsession of her glass ornaments is first eminent in scene two where she is seated in her delicate ivory chair, washing and polishing her collection. Her obsession is also prominent in this scene where it becomes obvious that her mother has criticized her many times for her unusual fascination of the glass animals because at the sound her mother approaching, she nervously shoves away them away. And before entering the room, the mother, Amanda, peeks through the door to see what Laura is doing and "purses her lips, opens her eyes very wide, rolls them upward and shakes her head" (65). Amanda scorns Laura for deceiving her by pretending to go to business school even though she dropped out. Her reason was that "I couldn't go back there. I--threw upon the floor! " (661). Since Laura does not have the courage to live a normal sociable life, the glass collection in this scene represents her hopes and dreams of another life. This fantasy life that Laura longs for could be why she thought she could get away with deceiving her mother about going to business school.

In scene three, the glass ornaments represent Laura's shattered emotion. Amanda and Tom get into a quarrel, and Tom accidentally breaks some of Laura's treasured glass collection as he dashes out the door. Laura screams "My glass!--menagerie"(665), covering her face and turning away. The shattered glass represents Laura's shattered feeling as her family is in turmoil. She turns away from broken glass because she wants to turn away from reality. It is obvious that Laura feels at fault for the tension in the house, hence the reason why she persuades Tom to apologize to Amanda and make peace in scene four. It is in this scene where Amanda tells Tom that Laura cannot spend the rest of her life playing the Victrola and fooling with the pieces of glass. The reference to the glass in this scene used by Amanda suggests Laura's wasting life. In scene two, Amanda's fear is exposed when she ridicules Laura of how she will stay home and amuse herself with the glass menagerie and eternally play the worn-out phonograph records for the rest of her life. In scene five, Tom and his mother discuss about the gentleman caller that Tom has invited over for dinner to meet Laura. Amanda goes on about what traits men should have and not have and Tom tries to snap Amanda into reality by telling her that, she should not expect too much of her crippled daughter who lives in a world of glass ornaments. Since they love Laura so much, they do not realize what other people visualize her as--a very different girl. In this scene Tom's reference to the glass refers to Laura's different and fragile character. She is very fragile because she gets sick at the slightest uncomfortable situation, such as being in public or when she is asked to eat dinner with the gentleman caller. In scene six when Amanda desperately asks Laura to open the door for the gentleman caller, Laura is very hesitant and tells her mom she's sick. Amanda replies "she's sick too ---of your nonsense! Why can't you and your brother be normal people?" (678). Laura ends up very sick, and Amanda tries to cover up by telling the gentleman caller that she got ill from standing over the hot stove. Amanda just could not face the fact that Laura was indeed very different from other girls.

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In scene seven, Laura explains the significance of her glass menagerie to the gentleman caller, Jim O'conner. The conversation carried on by Laura and Jim coincides with Laura's self. When she described the ornament to him, she was actually describing her self as a fragile unicorn. Laura tells him, "be careful-- if you breath, it breaks!" (68). She also includes that her glass collection is thirteen years old, which is a perfect description of her. Laura is a very fragile girl who acts like a thirteen year old who is innocent, and unaware of the real world around her. Jim acknowledges that unicorns do not exist and says "poor little fellow, he must feel sort of lonesome" (60). Laura replies with, "well, if he does, he doesn't complain about it. He stays on with some horses that don't have horns and all of them seem to get along nicely together" (60). This means that Laura knows she is different from other people, but it does not affect her as much as other people would think it should. After the conversation, Jim asks Laura to dance. Laura is stiff like glass and has a hard time loosening up. Then suddenly, while they're dancing, they bump the table where the unicorn is and it falls on the floor and breaks it's horn. To Jim's surprise, Laura smiles and acts like nothing happened. She says it makes him feel less "freakish" and "he will feel more at home with the other horses, the ones that don't have horns" (61). This symbolizes Laura's transformation towards a more normal person. She has shed some of her shyness by opening up to Jim. Jim's attention has given her hope that she could be more ordinary. Laura really snaps into reality when she finds out that Jim is engaged to be married. She hands the unicorn to Jim and tells him it's a souvenir. The unicorn is a souvenir of the breaking of Laura's illusion that her disability is a permanent barrier between her and the outside world. In parting with the treasure, she seems to be saying that she does not need to fantasize anymore. The author's use of symbolism, in this case the, glass menagerie, is a way to describe the characters on a figurative level.

Williams uses a lot of symbols, such as the fire escape, blue rose and the gentleman caller to name a few, but none have more of an impact than the significance of symbolism as does the glass menagerie. The glass animals as a whole represents Laura's fantasy world, where as the unicorn itself symbolizes Laura's emotional anguish. Only when the unicorn loses its horn does Laura too become more like ordinary people, instead of living a fantasy life through ornaments.

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Confirmation

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Confirmation

NEED TO CHANGE THE WORDS AROUNUD!

In confirmation it is right to consider the sign of anointing. It signifies and imprints "a spiritual seal." Anointing is rich in meaning. Oil is a sign of abundance and joy. It cleanses, and limbers, it is a sign of healing, since it is soothing to bruises and wounds. It is radiant in beauty, health, and strength. Anointing with oil has all these meanings in the sacramental life. Anointing with the oil of catechumens signifies cleansing and strengthening. Confirmation can only happen to people who have been baptized. The post- baptismal anointing with sacred chrism in Confirmation and ordination is the sign of consecration. By Confirmation, Christians who are anointed, share more completely in the mission of Jesus Christ and the fullness of the Holy Spirit in which he is filled, so that their lives may give off the aroma of Christ. There are two signs usually associated with the sacrament of Confirmation, they are the laying on of hands and the anointing with chrism. When oil is smeared on a person, that is a physical appearance that "You are the Anointed." When the Christian is anointed with chrism, the church proclaims "You are the Christ", since Christ is the Greek word for anointed. St Augustine speaks of the anointing of the whole Christ, the body together with the Head. It is a declaration not of replacing Christ but of reigning together with him, the Head of the Church, as his body. This declaration, "You are Anointed" is the core meaning of being anointed. Confirmation is an increase of sanctifying grace, which makes the person being confirmed a "perfect Christian."

In the early church, when usually adults were only baptized, Confirmation was done right after baptism. Confirmation was usually at the age around fourteen, and is still usually around that age.

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Pichwai paintings of Nathdwara

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PICHWAI PAINTINGS OF NATHDWARA

Location

Nathdwara, a sleepy ,dusty ,small town set on a hill some 50kms(0 miles) from Udaipur,is the scene of most lush and vibrant visual art forms in India , Pichwai paintings.

History

In the 17th century ,when Aurangzeb prohibited the worship of images, Hindu devotees in Mathura , home of Lord Krishna ,became fearful that their sacred statues might be smashed & decided to take them to safer locations.

The images of Sri Nathji were loaded on a chariot and sent on its way to Mewar.At Sikar, a wheel of the chariot sank deep into the sand and it couldn't be removed despite reapeated efforts.This was interpreted as a sign that the image wanted to dwell at that place and the priests decided that it should stay.

A temple was built for the idol and the village came to be known as Nathdwara , "home of Sri Nathji" or Lord Krishna.

Pichwai paintings

Pichwai literally means that which hangs behind. They are the backdrops setting the mood and religious significance of each ritualized scene.They are basically 4 iconographic renderings of the Krishna legend traditionally portrayed in the Nathdwara Pichwais.Each image is linked with a particular festival or holy day.

For eg

Gokulashtami, will have Krishna playing the flute to the assembled gopas, gopis & cows.

Dana Ekadashi, the taking of the toll or dana from the gopis & the breaking of the pots.

The paintings not only form a devotional backdrop for the temple, but also serve the purpose of outlining the religious stories to a largely illiterate population.They delight the eyes with the richness of colour and delicacy of execution.

Style of Pichwais

Pichwais , were traditionally done in a variety of media brocaded, blockprinted, embroidered, or worked in gold. In Nathdwara, however, a rich tradition of painted Pichwais grew. They are done on handspun cloth, sized with starch & painted in pigments derived from natural vegetables and mineral colours. They are also mixed with starch ,giving the Pichwais its charactersic strong smell. They have a stylized, rather static format with frozen figures set in idyllic landscape of brilliant green trees , midnight blue skies which sun, moon, stars, forked lightning, all shine together amidst fluffy white clouds; peacocks, parrots & monkeys in flowering fields and swans & storks, fish and turtles swim in Lotus-strewn silver waters.

This is the Indian conception of paradise known as Braj, unlike the bleak, beige Rajasthani landscape. These depict Krishna, the blue boy-God; Radha & gopis play; dance & make love; a pictorial allegory of the soul's yearning for union with the divine.

Present Scenario

The Pichwai tradition is carried on and its not only devotees of Srinathji who buy the cloth scrolls painted by today's descendants of Raja RajSingh's original court painters. The Pichwai has also become a tourist souvenir. They tend to now be painted with chemical fabric paints that have taken the palce of Indigo, Cochineal, Lapiz & Orpiment. Like many other forms of craft, Pichwai paintings are also slowly changing their form, influenced by the fast pace of today's life. They are gradually travelling out from temples to adrn the walls of homes of those who consider themselves to be the patron of art and craft.

Smaller sizes are constantly being made to satisfy the demand. They are done on lengths of silk, ornaments etc and are painted in rich dark hues.

Rates

Available on silk and synthetic silk, prices range from 00/- to 0,000/-. These paintings have very strong religious traditions. And the artist who works on them considers himself to be the servant of the Lord and puts in SHRADDHA or devotion on each Pichwai that he paints, though its now done for commercial use too.

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Automobiles

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The Automobile An Overlooked Luxury

Driving home for the weekend, taking a road trip across the country, going to the store across town at midnight for a quick snack none of these simple tasks would be possible without the existence of the automobile. The ingenious work of a man named Henry Ford changed the scope of American life with an invention that rocked the entire world. When they came into existence in the beginning of the 0th century cars were considered a luxury, something reserved for the rich and famous. Henry Ford realized his dream of producing an automobile that was reasonably priced, reliable, and efficient with the introduction of the Model T in 108. It was easy to operate, maintain, and handle on rough roads, immediately becoming a huge success. In less than one hundred years, with a plethora of styles and manufacturers, the automobile has been used to give Americans an identity and has offered a unique freedom to anyone over the age of sixteen. America's fascination with the automobile, however, has lessened and the convenience that it offers is often taken for granted.

The people of America do not realize how much automobile dependence has increased in the last one hundred years. Neither do they account for the fact that cars have been around for only a century. Imagine a day without a car resting just twenty feet away, and how different life would be. Life would be much slower; it would lack the extreme rapidity that exists today. If one icon serves to represent life in America, the automobile would be it. Baseball has been around for the same amount of time, and has been labeled "America's pastime," but most people do not watch or play baseball everyday. Neither is our icon the American flag; in the wake of our nation's tragedy, the stars and stripes has lost a large part of its symbolic qualities. America's fascination and subsequent need for the car has caused the automobile to become the one icon that has stood the test of time.

On a typical afternoon back home, as mom cooks diligently in the kitchen, I suddenly hear an outburst. "Oh, no! I forgot to get milk at the store." She had gone to the store just hours beforehand, planning dinner for the family. It seems like such a great inconvenience to have to drive three miles back to the store for one insignificant yet imperative item. It takes all of twenty minutes to drive to the store and back; in the minds of people today, that is a hefty portion of our extremely fast-paced days.

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Just fifty years ago, however, a three-mile walk to the grocery store was a short jaunt that lasted almost an hour each way. I remember talking to my grandmother about when she was a little girl growing up in the forties. She told me that a three-mile walk to and from the store was a common occurrence after school and before dinner. "Many people had cars back then," she explained, "but your great grandfather had to take our only car to work every morning and wouldn't return until late in the evening. We didn't have cellular phones back then, so we couldn't ask him to pick up a few things at the store on his way home. So I had to walk to the store, just two miles down the road to buy the necessities for dinner that night. My mother was always busy with the younger children, and I knew that was just my duty as a part of the family." My grandmother lived without the automobile luxury while growing up; for me, it is hard to fathom what life would be like without a car attending to my every move. This American icon has changed life as we know it today; most conveniences we enjoy stem from the ownership of our automobiles.

The automobile not only presents great conveniences, and it doesn't just help speed up the pace of our lives; this versatile machine exists as a means of finding a specific identity. Stereotypically, there is a specific make and model that fits certain types of people. Most male drivers enjoy driving either gigantic trucks with huge tires, lifted so high it is impossible to even get on board, or a boosted muscle car bejeweled with performance parts and a roaring sound. The classic female automobile is the Volkswagen Jetta, a sporty little car that would tarnish a man's image if he was ever caught driving one. Middle-aged mothers drive minivans or SUVs to and from soccer practice; the wealthy businessperson will drive a nice BMW or Lexus, dressed professionally en route to a large metropolitan location. Add something here

As a young teenager growing up in Suburbia, California, I anxiously anticipated the day when I was to turn sixteen years of age. I saw what my older brother had been able to do with his license and newly found freedom, and I could not wait for my day to sit behind the wheel. The feeling is indescribable; for years I had to sit in the passenger seat, watching the driver as he turned the wheel and clicked the blinker. On a scorching July afternoon, just months from acquiring my license, and while my brother enjoyed his day at the beach with his friends, I was stuck at home with my remote and my overused basketball. I could only watch television and shoot hoops for so long; I was trapped at home with a license to kill rather than a license to drive. Finally, when my day came, I got my license on that fourteenth day of February and I, too, could have that right of passage. I was amazed by the audacious freedom that car ownership offered to me. Purchased with my money alone, the old Honda Prelude was my ticket to anywhere I desired to go. I felt like I could go anywhere or do anything and nothing could get in my way. I no longer had to ride my bike in the blistering heat for a cherry slurpee. I could drive to the beach, or to the snow, or to my buddy's house, parent-willing of course.

No car illustrates these fascinating qualities like The Ford Motor Company's model of the 164 Ford Mustang. With its sleek fastback body style and muscular 8 V8 engine, this eternal machine offers the very freedom that all Americans long for. As a young, naïve sophomore, my friend's '64 silver-blue Mustang convertible was perfect for cruising down Main Street on a Saturday evening, music blaring and pedestrians staring. We were free from the grips of our chauffeur-parents; we were labeled with the "cool image", or so we thought. The Mustangs of the mid-60's have been popular since the day they hit the showroom floor, and many people today still work endlessly to restore their beauty to perfection. The new models are just as appealing; they are fast, sporty, and even relatively affordable. There is no stereotypical driver for this legendary automobile; anyone can own and "sport" a Ford Mustang. Henceforth, if the automobile is America's icon, then the Mustang is America's classic car of all time.

Thanks to America's one and only icon, we can claim our freedom and can enjoy the luxuries that automobiles offer to our ever-so-transient lives.

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The Retreat of a culture

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Im into having sex, I aint into making love

So come give me a hug if you into to getting rubbed

WOW! Now that's poetry if I have ever read it? Understand that there is nothing wrong with having a good time, but why does this song stand above every other song on the artists LP? The lyrics are blunt, sexy and crude. The beat is catchy. The artist has even survived gang war and a life through hell to deliver this life-changing message to us. These are the lyrics and beat that a major record label knows a retreatist society will adopt. Our society will not only adopt this "art-form", but it will feed a pretty penny for the copy and make this young man rich and successful. Which, in the end, is all were really after. 50 Cent can attest to that, the title of his album is Get Rich or Die Tryin'.

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So what effect does the stranglehold of major record labels on today's popular artists have? And what effect do they have on shaping and molding the music of today's society, and its values? If you go into any club across America you will probably need to be twenty-one to get in, does that mean only the clubbing crowd or audience buys these discs? No. These songs are played constantly on the radio, MTV, clubs, everywhere, pounding the lyrics into our heads like a Christmas jingle. So what social-class are buying these discs? Is it the white-collar politician up on the hill? No. It is more likely to be a teenager born and raised in the ghetto, a teen that can relate. What do these artists preach? If nothing else, have "a good time". Let the upper class stay above the lower class, and let the people of the lower class adopt a culture that will keep them in the lower class. This is what they may be unintentionally teaching them.

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Canada Vs. USA

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Both Canada and the USA have governments that seem to work quite well, amidst their differences. While the USA is a republic, Canada is a constitutional monarchy, and both are based on the ideas of democracy. However, they are different in many ways, and each government has it's share of better methods than the other. For example, the USA has a definite term of office set for the president, 4 years, so that the president will know when he is done, and elections do not come as a surprise to the citizens. In Canada, the Prime Minister may sit for up to 5 years, calling an election any time he/she wants, from his/her first day in office, until the day before their last day in office. This can come as a surprise to the public, leaving them unprepared for an election. This is one of the ways that makes the USA system seem better than the Canadian. However, with the exact date known well in advance, campaigns in the USA start over a year ahead of the election, which can be quite annoying to many people. Canadian campaigns last for only 50 days.

The Canadian system does have it's strong points, as well. In the USA, presidents may only be in office for a maximum of 10 years with the rare possibility that their predecessor is no longer able to run the country, during a term. In most cases, the maximum is 8 years per president, in terms. This is not a very good system, if a president that is liked by all and makes decisions well is kept in office for 8 years, he is no longer allowed to be the president, no matter how much he's liked. In Canada, there is no limit on how much a leader may be Prime Minister. If the Prime Minister proves himself to be a very good leader, he will be kept in office for as long as needed. If the Prime minister proves to be a bad leader, they will not be re-elected. The parties keep or replace leaders as they see fit, and the voters have the final word.

The Americans have the better model for choosing government representatives, however. In an American election, the voters will vote on both the president and vice president, to ensure that they are who the people want. In Canada, we only indirectly vote for our prime minister, who then chooses his own staff all by himself, most likely all will be members of his own party.

Canadians also have a better separation system between the highest levels of government, as well. When the voters in America elect a head of government, they are also electing the head of state. This one person is the president, who occupies both titles. In Canada, the head of state is the Queen and the Governor General, who are above the differences between the parties. They are there just to be the monarch, not to get involved with all the different ideologies of the political parties. In the USA, the president will be either republican or democratic, which does not bode well for the patriotic symbol of head of state.

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If there's blame to be had, the American's don't know who did what, there are different parties in the different branches, and each branch blames the other. In Canada, it will always be the government party, so that the voters know for certain who did it.

I can't say for certain which government system I believe is better. Each country has different strengths and weaknesses, which balance each other out quite nicely. Canadian voters are more involved in government decisions, but lack the involvement in who is running the government, the Prime Minister appoints his staff. America lets their voters get more involved in choosing their leaders, but they cannot determine who to blame when something goes wrong. If I had to choose between them for sure, I believe I would choose Canada as the better government. Canada has a few poor qualities, such as the prime minister having immense power, but they can be made up for simply, such as choosing a prime minister that everyone can trust.

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