This document contains an assignment asking students to analyze and discuss Kate Chopin's short story "The Story of an Hour" by responding to 6 questions in 150-200 words total. It provides the full text of the story for reference. It also contains a separate assignment analyzing Stephen Crane's short story "The Open Boat" by responding to 7 questions in 150-200 words total and provides an excerpt from that story.
Read Trifles” and View the Film Adaptation (due TONIGHT) Pick on.docxhoward651
Read: “Trifles” and View the Film Adaptation (due TONIGHT) Pick one group
https://youtu.be/zGJTHi0rliA
7.0. A Jury of Her Peers by Susan K. Glaspell (Director: Sally Heckel)
Group A: What sort of relationship forms between Mrs. Hale and Mrs. Peters? What impact does the never-glimpsed Mrs. Wright have on this relationship? Explain the use of narrative structure in "Trifles," focusing particularly on the notion of "resolution." How does the plot resolve itself? How does this resolution differ from the expected outcome of the story expressed by the townsmen looking for evidence of the crime?
Group B: The question of ethics arises in regards to the way the men and the women approach the crime. Compare the approach of the townsmen to Minnie Wright to that of the townswomen who accompany the men on their search for evidence of the crime. What drives the women to make the choice they make?
Group C: Minnie Wright never appears in the story, but we learn much about her motives and traits from the other characters. What are the motives that possibly compelled Minnie Write to kill her husband? How do we come to know them during the course of the story?
Group D: What causes the men to overlook the evidence found by the women in the play? Why would Glaspell set up the story in this way? In other words, what is her point for having the men fail in their task where the women succeed? What is the relationship of the characters involved in the action of the play to the Wright family? What do they reveal to us about the Wrights?
Group E: Although "Trifles" was written almost one hundred years ago, it possesses contemporary attitudes about women that has led many people to refer to it as a feminist or pro-woman story. What elements or occurrences in the play would produce this response in a reader?
Story of an Hour Assignment (due tomorrow at 10pm)
After reading the chapter titled "Fiction As Genre," in a 150-200 word response, address the following questions. Make sure to support your points with a secondary source from the library databases.
1 . How is Mrs. Mallard ' s character developed? Do you see examples of exposition, where the narrator simply tells us information about the protagonist? In addition, does Chopin portray particular emotional responses, thoughts, and actions to reveal Mrs. Mallard ' s character? If so, how so? How does she employ point of view in this story?
2. What is your impression of Brently Mallard? What elements of the story generate this impression?
3. How is setting (both the historical period and the physical atmosphere of the story) used to contribute to the story ' s meaning?
4 . What is Mrs. Mallard ' s social class? What clues lead you to this conclusion?
5. What is the story ' s central conflict? Does Mrs. Mallard change, as we might expect a protagonist to do?
6. What are the important themes of this story?
Kate Chopin
The Story of an Hour
Knowing that Mrs. Mallard was afflicted with.
due by 1130 pmAlso answer reading response.Reading re.docxastonrenna
due by 11:30 pm
Also answer reading response.
Reading response:
Pick out at least five phrases which you think are especially important to the story (what you might mark on a printed text.) Briefly describe why you chose each.
What questions about character or motivation or plot does this story leave in your mind?
see the link below. along with instructions
"Story of an Hour" Link to Story
Instructions
Use 250 words for each question. You must read "Story of an Hour" to answer these questions. The story can be found here:
"Story of an Hour" Link to Story
See study text in RED after selecting the link go to the bottom of the page to see the "study text" and "exploring the story"
then you will answer a few other questions.
"The Story of An Hour"
Kate Chopin Bio
Webtext prepared by
Ann Woodlief
; click on the marked phrases for notes
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sk ...
By definition, a monologue is a composition that gives the discoursejenkinsmandie
By definition, a monologue is a composition that gives the discourse of one speaker. It represents what someone might speak aloud in a situation in which there are listeners although the listeners do not speak.
Choose one of these stories to write a monologue, including background of the author.
Research the author’s background and relate in two or three paragraphs how his or her writings were meant to affect society. This should go at the top of the page, then the monologue.
Be sure to include a Works Cited at the bottom of the monologue; you will not need an outline.
Compose a one-page monologue. It should illustrate personality traits and guiding values of a character in the story in a creative fashion.
By definition, a monologue is a composition that gives the discourse of one speaker. It represents what someone might speak aloud in a situation in which there are listeners although the listeners do not speak.
Choose one of these stories to write a monologue.
Research the author’s background and relate in two or three paragraphs how his or her writings were meant to affect society. This should go at the top of the page, then the monologue.
Be sure to include a Works Cited at the bottom of each monologue; you will not need an outline.
Compose a one-page monologue. It should illustrate personality traits and guiding values of a character in the story in a creative fashion.
The Story of an Hour
by Kate Chopin
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband’s friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard’s name leading the list of “killed.” He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister’s arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there t ...
Read Trifles” and View the Film Adaptation (due TONIGHT) Pick on.docxhoward651
Read: “Trifles” and View the Film Adaptation (due TONIGHT) Pick one group
https://youtu.be/zGJTHi0rliA
7.0. A Jury of Her Peers by Susan K. Glaspell (Director: Sally Heckel)
Group A: What sort of relationship forms between Mrs. Hale and Mrs. Peters? What impact does the never-glimpsed Mrs. Wright have on this relationship? Explain the use of narrative structure in "Trifles," focusing particularly on the notion of "resolution." How does the plot resolve itself? How does this resolution differ from the expected outcome of the story expressed by the townsmen looking for evidence of the crime?
Group B: The question of ethics arises in regards to the way the men and the women approach the crime. Compare the approach of the townsmen to Minnie Wright to that of the townswomen who accompany the men on their search for evidence of the crime. What drives the women to make the choice they make?
Group C: Minnie Wright never appears in the story, but we learn much about her motives and traits from the other characters. What are the motives that possibly compelled Minnie Write to kill her husband? How do we come to know them during the course of the story?
Group D: What causes the men to overlook the evidence found by the women in the play? Why would Glaspell set up the story in this way? In other words, what is her point for having the men fail in their task where the women succeed? What is the relationship of the characters involved in the action of the play to the Wright family? What do they reveal to us about the Wrights?
Group E: Although "Trifles" was written almost one hundred years ago, it possesses contemporary attitudes about women that has led many people to refer to it as a feminist or pro-woman story. What elements or occurrences in the play would produce this response in a reader?
Story of an Hour Assignment (due tomorrow at 10pm)
After reading the chapter titled "Fiction As Genre," in a 150-200 word response, address the following questions. Make sure to support your points with a secondary source from the library databases.
1 . How is Mrs. Mallard ' s character developed? Do you see examples of exposition, where the narrator simply tells us information about the protagonist? In addition, does Chopin portray particular emotional responses, thoughts, and actions to reveal Mrs. Mallard ' s character? If so, how so? How does she employ point of view in this story?
2. What is your impression of Brently Mallard? What elements of the story generate this impression?
3. How is setting (both the historical period and the physical atmosphere of the story) used to contribute to the story ' s meaning?
4 . What is Mrs. Mallard ' s social class? What clues lead you to this conclusion?
5. What is the story ' s central conflict? Does Mrs. Mallard change, as we might expect a protagonist to do?
6. What are the important themes of this story?
Kate Chopin
The Story of an Hour
Knowing that Mrs. Mallard was afflicted with.
due by 1130 pmAlso answer reading response.Reading re.docxastonrenna
due by 11:30 pm
Also answer reading response.
Reading response:
Pick out at least five phrases which you think are especially important to the story (what you might mark on a printed text.) Briefly describe why you chose each.
What questions about character or motivation or plot does this story leave in your mind?
see the link below. along with instructions
"Story of an Hour" Link to Story
Instructions
Use 250 words for each question. You must read "Story of an Hour" to answer these questions. The story can be found here:
"Story of an Hour" Link to Story
See study text in RED after selecting the link go to the bottom of the page to see the "study text" and "exploring the story"
then you will answer a few other questions.
"The Story of An Hour"
Kate Chopin Bio
Webtext prepared by
Ann Woodlief
; click on the marked phrases for notes
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sk ...
By definition, a monologue is a composition that gives the discoursejenkinsmandie
By definition, a monologue is a composition that gives the discourse of one speaker. It represents what someone might speak aloud in a situation in which there are listeners although the listeners do not speak.
Choose one of these stories to write a monologue, including background of the author.
Research the author’s background and relate in two or three paragraphs how his or her writings were meant to affect society. This should go at the top of the page, then the monologue.
Be sure to include a Works Cited at the bottom of the monologue; you will not need an outline.
Compose a one-page monologue. It should illustrate personality traits and guiding values of a character in the story in a creative fashion.
By definition, a monologue is a composition that gives the discourse of one speaker. It represents what someone might speak aloud in a situation in which there are listeners although the listeners do not speak.
Choose one of these stories to write a monologue.
Research the author’s background and relate in two or three paragraphs how his or her writings were meant to affect society. This should go at the top of the page, then the monologue.
Be sure to include a Works Cited at the bottom of each monologue; you will not need an outline.
Compose a one-page monologue. It should illustrate personality traits and guiding values of a character in the story in a creative fashion.
The Story of an Hour
by Kate Chopin
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband’s friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard’s name leading the list of “killed.” He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister’s arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there t ...
The Story of An Hour Kate Chopin Knowing that Mrs. Mal.docxssusera34210
The Story of An Hour
Kate Chopin
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to
her as gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half
concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the
newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's
name leading the list of "killed." He had only taken the time to assure himself of its truth by a
second telegram, and had hastened to forestall any less careful, less tender friend in bearing the
sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability to
accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms.
When the storm of grief had spent itself she went away to her room alone. She would have no
one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed
down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the
new spring life. The delicious breath of rain was in the air. In the street below a peddler was
crying his wares. The notes of a distant song which some one was singing reached her faintly,
and countless sparrows were twittering in the eaves. There were patches of blue sky showing
here and there through the clouds that had met and piled one above the other in the west facing
her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a
sob came up into her throat and shook her, as a child who has cried itself to sleep continues to
sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain
strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on
one of those patches of blue sky. It was not a glance of reflection, but rather indicated a
suspension of intelligent thought.
There was something coming to her and she was waiting for it, fearfully. What was it? She did
not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching
toward her through the sounds, the scents, the color that filled the air.
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was
approaching to possess her, and she was striving to beat it back with her will--as powerless as her
two white slender hands would have been. When she abandoned herself a little whispered word
escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The
vacant stare and the look of terror that had followed it went from her eyes. They stay ...
ENG4U – SHORT STORY TESTSelect any FOUR questions from the lis.docxSALU18
ENG4U – SHORT STORY TEST
Select any FOUR questions from the list below. Write a short, argumentative paragraph for each. Each question is worth 15 marks.
1. Compare and contrast the stories “Hills Like White Elephants” and “Things That Fly”. How do both stories give the reader minimal information as a way to highlight the emotional struggles the characters are going through?
2. Pick any story we read in class, other than “Hills Like White Elephants”, and explain how the setting is used symbolically or how it significantly contributes to the meaning of the story.
3. Pick any story we read in class that uses an open or unresolved ending. Explain how this lack of resolution is an effective and appropriate conclusion to the themes of the story.
4. Pick any two stories and show how they depict a power struggle between the main characters. How does the author indicate a moral victory in this struggle?
5. Consider either “Things that fly” or “Dressing Up For the Carnival” and explain how the narrator's language (diction, voice, stylistic devices) is appropriate and reflects something about the theme or the characters.
6. Pick any story and explain how the characters achieve a small but important triumph through their imaginations.
EVALUATION
(K/U, T/I) Answer shows strong understanding of the text (4 x 5 marks)
/20
(T/I, A) Effective use of evidence to support ideas (4 x 5 marks)
/20
(C) Writing is clear and well-organized (4 x 5 marks)
/20
The kite Runnert Essay Assignment
ENG 4U
So far we’ve been analyzing and discussing various issues in The Kite Runner. Now is your opportunity to choose one of these issues to discuss in further depth.
Choose one of the themes or issues discussed during class to explore in a formal essay using MLA formatting. You will create a clear and concise thesis statement (central argument) that is related to the theme or issue you have chosen. The goal of your essay will be to prove your thesis statement and show your solid understanding and knowledge of the play.
Your essay must be between 3-4 double-spaced pages and include a Works Cited page. You may or may not include a title page. Your Works Cited and title page will not be included in your page count! Please ensure each page of your essay is numbered and contains your last name. Make sure your title is creative and indicates to the reader what your essay is about.
Some questions to think about when creating your thesis:
- why is this important?
- what is Khaled Hosseini trying to say with the exploration of this theme?
- remember an essay is not meant to just point out the different times in the novelthat the theme occurs. Instead, the purpose is to take a stand and argue a point about your specific topic.
Other points to consider
· The essay will be well-constructed and follow proper essay format. It must be formal in tone, but you can and should use the personal pronoun “I” when expressing your views
· Express your views strongly and cle ...
The Story of an Hour Kate Chopin (1894)Knowing that Mrs..docxsarah98765
"The Story of an Hour"
Kate Chopin (1894)
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which someone was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.
There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and.
Steps Begin your board with an explanation of your topic and th.docxrjoseph5
Steps: Begin your board with an explanation of your topic and the information you've already found. You can then place citations for your articles (so you don't get repeat suggestions). Then, ask the following questions.
1) In what way have you experienced or have been impacted by my topic? (Directly or indirectly)
2) What do already know about its history and/or current problems? (Readers should reply with a list of 3-4 things)
3) What other nations relate to my topic? (Readers, if you don't know, do a quick search!)
4) Aside from the disciplines I'm currently researching, what other fields do you think would be interested in my topic and why?
.
Steps for Effective Case Analysis Adapted from Harvard .docxrjoseph5
Steps for Effective Case Analysis
Adapted from Harvard Business Publishing
It's useful to think of a case analysis as digging deeper and deeper into the layers of a case.
You should make sure to follow these general steps in addition to answering the questions
from the case.
1. You start at the surface, Getting Oriented and examining the overall case
landscape.
2. Then you begin to dig, Identifying Problems, as well as possible alternative
solutions.
3. This is the section where you will spend most of your time.
Digging deeper, Performing Analyses you identify information that exposes the issues,
gather data, perform calculations that might provide insight. "Analysis" describes the
varied and crucial things you do with information in the case, to shed light on the problems
and issues you've identified. That might mean calculating and comparing cumulative
growth rates for different periods from the year-by-year financials in a case's exhibits. Or it
might mean pulling together seemingly unrelated facts from two different sections of the
case, and combining them logically to arrive at an important conclusion or conjecture.
Analysis usually doesn't provide definitive answers. But as you do more of it, a clearer
picture often starts to emerge, or the preponderance of evidence begins to point to one
interpretation rather than others. Don't expect a case analysis to yield a "final answer." If
you're accustomed to doing analysis that ends with a right answer, coming up with a
possible solution that simply reflects your best judgment might frustrate you. But
remember that cases, much like real-world business experiences, rarely reveal an
absolutely correct answer, no matter how deeply you analyze them. Typically, you'll do
qualitative analysis based on your reading and interpretation of the case. Ask yourself:
What is fact and what is opinion? Which facts are contributing to the problem? Which are
the causes?
Qualitative factors should be prioritized and fully developed to support your argument.
Make notes about your evolving interpretations, always being careful to list the evidence or
reasons that support them. Qualitative information in a case can be a mix of objective and
subjective information. For example, you may need to assess the validity of quotations from
company executives, each of whom has a subjective opinion. Reports from external
industry analysts or descriptions of what other companies in the industry have done might
seem more objective; no one in the case has a vested interest in this information. A
company's internal PowerPoint presentation should be considered separately and
differently from a newspaper article about the company. Cases mix firsthand quotations
and opinions with third-person narratives, so you need to consider the reliability of
sources. As in real life, you shouldn't take all case information at face value.
Quantitative data—such as amounts of.
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Similar to Story of an Hour Assignment (due tonight 65 at 1130pm est)Afte.docx
The Story of An Hour Kate Chopin Knowing that Mrs. Mal.docxssusera34210
The Story of An Hour
Kate Chopin
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to
her as gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half
concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the
newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's
name leading the list of "killed." He had only taken the time to assure himself of its truth by a
second telegram, and had hastened to forestall any less careful, less tender friend in bearing the
sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability to
accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms.
When the storm of grief had spent itself she went away to her room alone. She would have no
one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed
down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the
new spring life. The delicious breath of rain was in the air. In the street below a peddler was
crying his wares. The notes of a distant song which some one was singing reached her faintly,
and countless sparrows were twittering in the eaves. There were patches of blue sky showing
here and there through the clouds that had met and piled one above the other in the west facing
her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a
sob came up into her throat and shook her, as a child who has cried itself to sleep continues to
sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain
strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on
one of those patches of blue sky. It was not a glance of reflection, but rather indicated a
suspension of intelligent thought.
There was something coming to her and she was waiting for it, fearfully. What was it? She did
not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching
toward her through the sounds, the scents, the color that filled the air.
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was
approaching to possess her, and she was striving to beat it back with her will--as powerless as her
two white slender hands would have been. When she abandoned herself a little whispered word
escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The
vacant stare and the look of terror that had followed it went from her eyes. They stay ...
ENG4U – SHORT STORY TESTSelect any FOUR questions from the lis.docxSALU18
ENG4U – SHORT STORY TEST
Select any FOUR questions from the list below. Write a short, argumentative paragraph for each. Each question is worth 15 marks.
1. Compare and contrast the stories “Hills Like White Elephants” and “Things That Fly”. How do both stories give the reader minimal information as a way to highlight the emotional struggles the characters are going through?
2. Pick any story we read in class, other than “Hills Like White Elephants”, and explain how the setting is used symbolically or how it significantly contributes to the meaning of the story.
3. Pick any story we read in class that uses an open or unresolved ending. Explain how this lack of resolution is an effective and appropriate conclusion to the themes of the story.
4. Pick any two stories and show how they depict a power struggle between the main characters. How does the author indicate a moral victory in this struggle?
5. Consider either “Things that fly” or “Dressing Up For the Carnival” and explain how the narrator's language (diction, voice, stylistic devices) is appropriate and reflects something about the theme or the characters.
6. Pick any story and explain how the characters achieve a small but important triumph through their imaginations.
EVALUATION
(K/U, T/I) Answer shows strong understanding of the text (4 x 5 marks)
/20
(T/I, A) Effective use of evidence to support ideas (4 x 5 marks)
/20
(C) Writing is clear and well-organized (4 x 5 marks)
/20
The kite Runnert Essay Assignment
ENG 4U
So far we’ve been analyzing and discussing various issues in The Kite Runner. Now is your opportunity to choose one of these issues to discuss in further depth.
Choose one of the themes or issues discussed during class to explore in a formal essay using MLA formatting. You will create a clear and concise thesis statement (central argument) that is related to the theme or issue you have chosen. The goal of your essay will be to prove your thesis statement and show your solid understanding and knowledge of the play.
Your essay must be between 3-4 double-spaced pages and include a Works Cited page. You may or may not include a title page. Your Works Cited and title page will not be included in your page count! Please ensure each page of your essay is numbered and contains your last name. Make sure your title is creative and indicates to the reader what your essay is about.
Some questions to think about when creating your thesis:
- why is this important?
- what is Khaled Hosseini trying to say with the exploration of this theme?
- remember an essay is not meant to just point out the different times in the novelthat the theme occurs. Instead, the purpose is to take a stand and argue a point about your specific topic.
Other points to consider
· The essay will be well-constructed and follow proper essay format. It must be formal in tone, but you can and should use the personal pronoun “I” when expressing your views
· Express your views strongly and cle ...
The Story of an Hour Kate Chopin (1894)Knowing that Mrs..docxsarah98765
"The Story of an Hour"
Kate Chopin (1894)
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which someone was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.
There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and.
Steps Begin your board with an explanation of your topic and th.docxrjoseph5
Steps: Begin your board with an explanation of your topic and the information you've already found. You can then place citations for your articles (so you don't get repeat suggestions). Then, ask the following questions.
1) In what way have you experienced or have been impacted by my topic? (Directly or indirectly)
2) What do already know about its history and/or current problems? (Readers should reply with a list of 3-4 things)
3) What other nations relate to my topic? (Readers, if you don't know, do a quick search!)
4) Aside from the disciplines I'm currently researching, what other fields do you think would be interested in my topic and why?
.
Steps for Effective Case Analysis Adapted from Harvard .docxrjoseph5
Steps for Effective Case Analysis
Adapted from Harvard Business Publishing
It's useful to think of a case analysis as digging deeper and deeper into the layers of a case.
You should make sure to follow these general steps in addition to answering the questions
from the case.
1. You start at the surface, Getting Oriented and examining the overall case
landscape.
2. Then you begin to dig, Identifying Problems, as well as possible alternative
solutions.
3. This is the section where you will spend most of your time.
Digging deeper, Performing Analyses you identify information that exposes the issues,
gather data, perform calculations that might provide insight. "Analysis" describes the
varied and crucial things you do with information in the case, to shed light on the problems
and issues you've identified. That might mean calculating and comparing cumulative
growth rates for different periods from the year-by-year financials in a case's exhibits. Or it
might mean pulling together seemingly unrelated facts from two different sections of the
case, and combining them logically to arrive at an important conclusion or conjecture.
Analysis usually doesn't provide definitive answers. But as you do more of it, a clearer
picture often starts to emerge, or the preponderance of evidence begins to point to one
interpretation rather than others. Don't expect a case analysis to yield a "final answer." If
you're accustomed to doing analysis that ends with a right answer, coming up with a
possible solution that simply reflects your best judgment might frustrate you. But
remember that cases, much like real-world business experiences, rarely reveal an
absolutely correct answer, no matter how deeply you analyze them. Typically, you'll do
qualitative analysis based on your reading and interpretation of the case. Ask yourself:
What is fact and what is opinion? Which facts are contributing to the problem? Which are
the causes?
Qualitative factors should be prioritized and fully developed to support your argument.
Make notes about your evolving interpretations, always being careful to list the evidence or
reasons that support them. Qualitative information in a case can be a mix of objective and
subjective information. For example, you may need to assess the validity of quotations from
company executives, each of whom has a subjective opinion. Reports from external
industry analysts or descriptions of what other companies in the industry have done might
seem more objective; no one in the case has a vested interest in this information. A
company's internal PowerPoint presentation should be considered separately and
differently from a newspaper article about the company. Cases mix firsthand quotations
and opinions with third-person narratives, so you need to consider the reliability of
sources. As in real life, you shouldn't take all case information at face value.
Quantitative data—such as amounts of.
Steps of Assignment• Choose TWO of the social health determi.docxrjoseph5
Steps of Assignment
• Choose
TWO
of the social health determinants important to you. – Start your report with a brief description of why you chose these two• Determine your electoral riding, and which political parties are running candidates in your riding– Report in the your introduction • Examine the platforms of each of the political parties represented in your riding for promises that will influence your chosen health determinants• Report these promises in a chart– Do NOT tell me which party you prefer. Just describe the relevant promises.• Describe the process by which you would register your vote in the provincial election (where, when, what documentation required)– This may be different than usual, given the pandemic safety requirements–
www.elections.sk.ca
.
Step 2 in your textbook outlines a few specific ways to seek out pot.docxrjoseph5
Step 2 in your textbook outlines a few specific ways to seek out potential funding, including email inquiry, telephone call, brief letter, or invitation to funder to attend an event at your organization. Which method would you be most comfortable with? Which method you would be least comfortable with? Which method do you think would be the most effective? Explain your responses to each.
.
STEPPING INTO MANAGEMENT.Questions 1 to 20 Select the bes.docxrjoseph5
STEPPING INTO MANAGEMENT
.
Questions 1 to 20:
Select the best answer to each question. Note that a question and its answers may be split across a page
break, so be sure that you have seen the
entire
question and
all
the answers before choosing an answer.
1.
_______ management theory suggests we should encourage team building and listen to new ideas.
A.
Organizational development
B.
Contingency
C.
Management as discipline
D.
Entrepreneurial
2.
_______ theory works to increase the health of work processes, communication, and shared goals.
A.
Management as discipline
B.
Entrepreneurial
C.
Systems
D.
Organizational development
3.
_______ supported simplification and decentralization, with emphasis on quality improvement.
A.
Taylor
B.
Weber
C.
Fayol
D.
Drucker
4.
_______ consists of determining whether plans are being carried out and progress is being made toward
objectives.
A.
Planning
B.
Influencing
C.
Controlling
D.
Organizing
5.
Resource allocator is one of the _______ roles.
A.
informational
B.
decisional
C.
negotiational
D.
interpersonal
6.
All other things being equal, the difference between a good supervisor and a poor supervisor is better
A.
organizational rules.
B.
education.
C.
staff.
D.
managerial skills.
7.
Which of the following is
not
one of a manager's four areas of responsibility?
A.
Maintaining good relationships with other managers
B.
Speaking one's mind always
C.
Being a competent subordinate
D.
Being a good boss
8.
When a manager serves as a liaison between different departments, he or she is acting in a/an _______
role.
A.
interpersonal
B.
decisional
C.
informational
D.
relational
9.
Positional authority is based on
A.
qualities of the manager.
B.
authority of superior over subordinate.
C.
laws and procedures.
D.
the ability to direct complex processes.
10.
A manager can delegate most duties
except
A.
writing policies.
B.
evaluating employees.
C.
planning.
D.
organizing.
11.
The acceptance theory holds that managerial authority depends on four conditions. Which of the
following is
not
one of the conditions?
A.
Employees must think the manager's directives are fair.
B.
Employees must think the directive is in keeping with organizational objectives.
C.
Employees must understand what the manager wants.
D.
Employees must be able to comply with the directives.
12.
_______ is/are vested in the organizational position and not the individual manager.
A.
Authority
B.
Delegation
C.
Managerial functions
D.
Responsibility
13.
Which of the following is
not
one of the Katz skills?
A.
Human relations skills
B.
Technical skills
C.
Budgeting skills
D.
Conceptual skills
14.
_______ first developed systems theory.
A.
Peters
B.
Thom
C.
Bertalanffy
D.
Mintzberg
15.
The supervisor's job is to do which of the following?
A.
Control employees' work to improve efficiency.
B.
Help employees f.
Stephen and Meredith have a 4-yr old son named Will. They are expect.docxrjoseph5
Stephen and Meredith have a 4-yr old son named Will. They are expecting a second child. In what ways might the second child change the dynamics of the family's communication? Will the gender of the child make a difference in this change? Why or why not? Use on of the theories discussed in chapter 12 to support your answers.
Write a page to address these questions. Give examples where necessary.
.
Step 1 Write five sentences with spelling errors.Make sure t.docxrjoseph5
Step 1
Write five sentences with spelling errors.
Make sure the sentences are at a moderate length (anywhere from 10 - 25 words in each).
Once you've written them, post them on the discussion board.
Do not include answers or say which words are misspelled; your classmates can figure that out for themselves.
.
Stephen Pevar, Chapter 8 Criminal Jurisdiction in Indian Country.docxrjoseph5
Stephen Pevar, “Chapter 8: Criminal Jurisdiction in Indian Country” (from textbook)
Stephen Pevar, “Chapter 9: Civil Jurisdiction in Indian Country” (from textbook)
1
The Religious Environment: Worldview,
Ritual, and Communal Status
Islam and Conversion
The process of conversion to Islam remains on the whole poorly studied
in either its social and historical, or affective and personal/psychologi-
cal, aspects. Despite the relatively recent and signal contributions of
Nehemiah Levtzion I and Richard Bulliet 2 who have advanced inno-
va tive classificatory, methodological, and analytical strategies in the
framework of comparative and more localized approaches toward
Islamization, the complex of problems associated with conversion to
Islam still has not drawn sufficient attention from specialists on all
"fronts" of Islamization to allow a synthetic treatment of conversion to
Islam from either a theoretical or historical perspective. 3 If old notions
of forced conversion and the choice of "Islam or the sword" have been
abandoned, at least in scholarly literature, little serious analytical work
I. See above all the volume Conversion to Islam, ed. Nehemia Levtzion (New YorklLondon:
Holmes & Meier Publishers, 1979), and Levtzion's contributions therein, "Toward a Com-
parative Study of Islamization" (pp. 1-23) and "Patterns of Islamization in West Africa" (pp.
207-216), as well as his bibliography (pp. 247-265), in which Central and Inner Asia are pre-
dictably poorly represented; cf. also his "Conversion under Muslim Domination: A Comparative
Study," in Religious Change and Cultural Domination, ed. D. N. Lorenzen (Mexico City: El
Colegio de Mexico, 1981), pp. 19-38.
2. See his seminal work, Conversion to Islam in the Medieval Period: An Essay in Quantitative
History (Cambridge: Harvard University Press, 1979), and more recently his "Process and Status
in Conversion and Continuity," introducing Conversion and Continuity: Indigenous Christian
Communities in Islamic Lands Eighth to Eighteenth Centuries, ed. Michael Gervers and Ramzi
Jibran Bikhazi (Toronto: Pontifical Institute of Mediaeval Studies, 1990), pp. 1-12, and his
"Conversion Stories in Early Islam" in the same volume (pp. 123-133).
3. For important theoretical considerations on conversion to Islam in historical surveys see,
for example, Marshall Hodgson's The Venture of Islam, vol. 2 (The Expansion of Islam in the
18 Islamization and Native Religion
has been done as a means of replacing older models and assumptions of
how Islam was adopted and appropriated in specific contexts; nor, in
general, have primary sources been tapped or reevaluated with an eye to
the particular issue of Islamization.
In the case of Inner Asia we are remarkably ill-served with regard to
studies of conversion to Islam; specialists on Islam in sub-Saharan Africa
and on South Asian Islam4 for instance, have recognized the importance
of conv.
Stephanie WroteA lean organization understands customer value a.docxrjoseph5
Stephanie Wrote:
A lean organization understands customer value and focuses its key processes to continuously increase it. The ultimate goal is to provide perfect value to the customer through a perfect value creation process that has zero waste.
To accomplish this, lean thinking changes the focus of management from optimizing separate technologies, assets, and vertical departments to optimizing the flow of products and services through entire value streams that flow horizontally across technologies, assets, and departments to customers.
Eliminating waste along entire value streams, instead of at isolated points, creates processes that need less human effort, less space, less capital, and less time to make products and services at far less costs and with much fewer defects, compared with traditional business systems. Companies are able to respond to changing customer desires with high variety, high quality, low cost, and with very fast throughput times. Also, information management becomes much simpler and more accurate.
A popular misconception is that lean is suited only for manufacturing. Not true. Lean applies in every business and every process. It is not a tactic or a cost reduction program, but a way of thinking and acting for an entire organization.
The term "lean" was coined to describe Toyota's business during the late 1980s by a research team headed by Jim Womack, Ph.D., at MIT's International Motor Vehicle Program.
Mary Wrote:
· What is the lean concept and why is it important to study?
With fewer resources lean creates more value for customers. The idea of maximizing customer value while minimizing waste. Lean is important to study because there are so many benefits such as through lean there is a cost benefit. we can increase quality and reliability. Reduce operating costs, boost staff productivity and reduce the length of production cycles.
· How can lean be applied to manufacturing and service processes?
TOYOTA is the best example of a company that use lean processes and implement them. Toyota is the first major company to use lean ideology in their manufacturing processes. They have eliminated wasted and using techniques to get rid of faulty products that do not interest the customers. They use two processes, one is Jidoka and the other one is JIT or just in time. Jidoka is used to check the quality of the product and can stop the machines themselves down when there is an error. JIT/ just in time leads to the next step once the previous step is finished.
https://www.lean.org/whatslean/
https://refinedimpact.com/4-good-examples-of-companies-that-use-lean-manufacturing/
Project Management
Processes, Methodologies, and Economics
Third Edition
Avraham Shtub
Faculty of Industrial Engineering and Management
The Technion–Israel Institute of Technology
Moshe Rosenwein
Department of Industrial Engineering and Operations Research
Columbia University
Boston Columbus San Francisco New York Hoboken
Indianapolis London Tor.
Step 1 Do some research on the Affordable Care Act. You can start.docxrjoseph5
Step 1
Do some research on the Affordable Care Act. You can start with the government sponsored website,
Health and Human Services Website (Links to an external site.)
, but find an additional resource as well.
Step 2
After reading about payment sources in this week's lesson, and conducting your research, address the following:
Where does the Affordable Care Act fit into the overall U.S. health care payment system?
How has it affected private insurance and Medicaid?
Did it go far enough in providing access to health care for all U.S. citizens? Too far? Explain your position.
.
Step 3 Construct Ethical ArgumentsDetermine which of the ethi.docxrjoseph5
Step 3: Construct Ethical Arguments
Determine which of the ethical principles/standards apply to this case (moral development; egoism; virtue; deontology; teleology; justice)
Identify the accounting principles (i.e., ethics codes of conduct and GAAP) that can be invoked to support a conclusion as to what ought to be done ethically in this case or similar cases?
Determine whether the different ethical standards/accounting principles yield converging or diverging judgments about what ought to be done?
Step 4: Evaluate the Arguments for each Option
Weigh the ethical reasons and arguments for each option in terms of their relative importance.
Determine whether there are any unwarranted factual assumptions that need to be examined in each argument.
Determine whether there are any unresolved conceptual issues in each argument.
.
Step 2 Organization ProfileCreate a one-page ‘Organization Prof.docxrjoseph5
Step 2: Organization Profile
Create a one-page ‘Organization Profile’ of the organization. Decide what kind of information would be important to include in this section. Be creative, innovative, and informative. Think of the history, key dates and innovations, locations, founders, purpose, and any other key factors. (For the Chineses restaurant HaiDiLao hotpot)
.
Step 2 Grading Rubric EconomyTask descriptionComponents of .docxrjoseph5
Step 2 Grading Rubric: Economy
Task description
Components of the task
Total points
Major economic features
Current demographic and economic features:
What is the population of your country, its age and gender composition? (2 points)
What are the major natural resources and the major features of the economy? Is the economy driven by the export of minerals and raw materials, agriculture, significant industries, or a mixture of these? What are the main exports and imports? (5 points)
Which countries are its largest trading partners? Is the country a member of regional or continental African trading blocs? (3 points)
What are major livelihood strategies, formal and informal, in both rural and urban settings? In other words, how do people in your country make a living? (5 points)
15
Economic policies
How did colonial policies impact your country’s current economic conditions? (5 points)
How has domestic economic policy since independence shaped the country? (5 points)
How have international economic forces shaped your country’s economy? For example, has your country been impacted by World Bank or International Monetary Fund programs? Do international trade agreements impact your country? (5 points)
15
Basic economic conditions
What is the current Gross Domestic Product (GDP) and Gross National Product (GNP)? What is the significance of these numbers for the economy of this country? (3 points)
What is the unemployment rate? (I point)
What is the poverty rate? (I point)
What is the foreign debt? (I point)
What do all these different economic indicators show about the state of the economy in your country? (3 points)
9
Technology
To what extent are the Internet and mobile phones, including the mobile banking system, used in your country? Do these affect economic potential and how so? (4 points)
4
Conclusion
Using all the data and analysis you have done pertaining to the above questions, write a conclusion addressing the economic health of your country and analyze the main factors contributing to its current strengths and challenges. (3 points)
3
Other requirements
Referencing:Evidential Proof of sources used: Papershould be supported by evidence and quotations from sources. At least three sources with APA citation at the bottom of the report, Variation in selection of sources necessary (2 points). Full points for accurate use of APA in-text and reference list)
Organization of text: Well organized, detailed and logical/cohesive arguments addressing relevant issues.(2 points)
4
CASE 6
From Nothing to Something: Defining Governance and Infrastructure in a Small Medical Practice
Dea Robinson
Midtown Neurology was started by a single physician who had been practicing in the community for nearly 20 years. As the practice grew, it evolved from a “mom-n-pop” operation to a more complex model. The founding physician recruited four new neurologists to join and continue to help build the practice. Subseq.
Step 2 Attend Meeting with ACME· Read the ACME meeting documen.docxrjoseph5
Step 2: Attend Meeting with ACME
· Read the ACME meeting document to know what was discussed.
Step 3: Review Marketing Information on Consumer Buying Behavior
· Read all attached step 3 documents to answer questions in step 4.
· As you read through the following materials, begin to think about how this information will apply to the report you will prepare for Erik and Tarek. To successfully complete the report, you'll need an understanding of marketing. You’ll also benefit from a keen understanding of digital marketing, consumer buying behavior, and evaluating business attractiveness.
· As you conduct your analysis of ACME's consumer environment, remember that there are two types of market research: primary and secondary research. Both types of research are required in real-life, and each of them has its pros and cons. However, for this Project, only secondary research is required.
· Finally, to fully understand ACME's position, read about offerings—what a company provides its customers, be it a product, a service, or a mix of both. Also consider the differences between a product and a service. You know that a product can be more than just a physical good, it can be a service attached to a physical product, a "pure" service, an idea, a place, an organization, or even a person.
· After you have read these materials, proceed to the next step, where you will begin your analysis of the specified consumer markets
Step 4: Conduct a Consumer Buying Behavior Study
As previously mentioned, I would like you to conduct an analysis of the consumers in our main markets. Your analysis should consider both current and potential product users and should address the following questions:
· What needs are being met by the product purchase? What are the benefits to the consumers? Make sure that you differentiate between features and benefits; go beyond manifest motives and consider latent motives.
· Who is involved in the purchase process? Who are the influencers? Who are the buyers? Who are the end users?
· Where are the products sold, and what are the distribution channels?
· How often are the products purchased? Is there seasonality to sales?
I need you to produce a six-page preliminary consumer buying behavior report (excluding cover page, reference list, tables, graphs, and exhibits) explaining your findings on consumer needs, wants, and preferences in these markets. Make sure that your report is specific to consumers of ACME’s potential product and not to consumers in general.
Step 5: Complete Your Value Proposition
· I wanted to clarify that a customer-focused value proposition explains the reason why a customer purchases a product or uses a service (i.e., the value that a company delivers to its customers).
· Deliverable: (complete this part separate from step 2-4) Based on your research of consumer needs in our main markets, describe your value proposition, or the benefits that ACME and its potential new product would provide to customers. Remember.
Step 1 Put the following steps in the order of a routine patient .docxrjoseph5
Step 1:
Put the following steps in the order of a routine patient care flow, from the beginning through to the end of the patient encounter flow.
New patient paperwork is signed and returned to front desk with insurance information for verification of benefits
Patient pays standard co-pay if applicable
Hard copy record is pulled, or made if new patient
Patient called to back office
Height, weight, and blood pressure taken by CNA or CMA
CMS 1500 form is coded and sent to insurance for reimbursement
Signs in at reception desk
Patient released from exam room
Call in to schedule appointment
Doctor, NP, or Physician’s Assistant examines patient
Shown to patient care room
Reason for visit reviewed with patient by CNA, CMA, or NP
Any refunds due to patient or insurance sent out
Collections efforts initiated if patient's charges not paid, and any insurance appeals are processed
Patient checks out and pays any deductible verified
Explanation of benefits returns with breakdown of payments
Height, weight, and blood pressure taken by CNA or CMA
Practice manager applies payments, writes off amounts required by contract with insurance companies, adjusts patient’s account records, and initiates billing to patient that indicates insurance has processed charges
Step 2:
Write an essay of 1–2 pages explaining how a new office would be set up or organized. Some of the elements included could be:
The physical appearance of the office
The types of personnel that would be needed
The types of activities, policies, or procedures that would be put into place to mentor employees and promote teamwork
Create and describe the demographics of the patients that would receive care at this facility.
Remember that demographics include any and all of the following: type of population (rural, suburban, urban); male or female; adult or child; type of insurance, public assistance, or no insurance; emergency care needed or preventative care; and many others.
Describe the specialized training that you, the office manager, need to help this particular facility accomplish its mission of efficient integrated medical care to its patient population.
Please submit your assignment.
.
Step 1 To annotate a source, first cite the source in correct .docxrjoseph5
Step 1:
To annotate a source,
first cite the source in correct MLA format
.
For example:
Gould, Joseph.
Citizen United and the Breakdown of Democracy.
New York: University of New York Press, 2012.
Step 2:
Break down the source into the
four sentence pattern
:
Sentence 1 (Credentials and Thesis
): Joseph Gould, a noted journalist covering issues of public policy and elections for the
Washington Post
, argues that the
Citizens United
decision has irrevocably undermined the democratic process of our electoral system.
Sentence 2 (Medium / Genre and Evaluation
): Gould constructs a thesis-driven, book-length, academic argument in the field of political science.
Sentence 3 (Audience
): Gould’s audience consists of academics in the field of political science and public policy as well as public officials.
Sentence 4 (How You Can Use This Source):
This source provides information about the effects of
Citizens United
that I can use to support my thesis, and because it is written by a noted expert it lends credibility to my argument.
Annotations should be written as paragraphs
and should follow the four sentence pattern above. Do not include labels, bold text, or spaces between sentences. These are provided here so that you can more easily identify the parts of the annotation. Yours will look more like this:
Gould, Joseph.
Citizen United and the Breakdown of Democracy.
New York: University of New York Press, 2012.
Joseph Gould, a noted journalist covering issues of public policy and elections for the
Washington Post
, argues that the
Citizens United
decision has irrevocably undermined the democratic process of our electoral system. Gould constructs a thesis-driven, book-length, academic argument in the field of political science. Gould’s audience consists of academics in the field of political science and public policy as well as public officials. This source provides information about the effects of
Citizens United
that I can use to support my thesis, and because it is written by a noted expert it lends credibility to my argument.
Your annotated bibliography
must include at least six sources
. At least three sources should be peer-reviewed academic sources or otherwise approved by me before submitting this assignment's deadline. Sources should be listed in alphabetical order by the first word of the works cited entry (usually, this will be the author's last name).
Annotations should be specific and include details; however, they
should not include
any
quotes.
All of the writing should be
your original writing.
Due Date and Submissions
Submit your annotated bibliography in the Turnitin window below as a Word document by 11:59pm Friday, 6/12.
.
Step 1Read the first two sections of Wordsworths Tintern.docxrjoseph5
Step 1
Read the first two sections of
Wordsworth's "Tintern Abbey". (Links to an external site.)
Step 2
In a separate Word document, complete the following points:
Explain what the ideas, memories, and presence of the natural world give to Wordsworth.
Copy and paste a section of the poem that supports your claim, and explain how it supports your claim.
Must be no fewer than 300 words, not including the quote.
.
Step 1The first step in performing an IT audit that is tied to b.docxrjoseph5
Step 1
The first step in performing an IT audit that is tied to business strategy is understanding the short-term and long-term goals and objectives of the business. While we expect IT strategies to be aligned to an organization's business strategies, in practice, this is not easy to achieve. The organization typically has made large investments in legacy systems that have been supporting the current business. The organization must balance the maintenance of current business requirements with the need to support longer term strategies, using emerging technologies to improve the competitiveness of the organization.
Completing this business audit will ensure that you learn a lot about the business of the organization.
To prepare for the audit, read Audits, Internal and Core Competencies. The templates provided for Step 1 will give you a framework for collecting this information. Be sure to ask the following questions:
· What are the strategic goals of the organization?
· What are the business operational goals?
· How do you see your organization in one year, in five years, and beyond?
Download and open the Templates_for_Project2_with_Instructions.xlsx file. You will be using this file throughout this project. For optional feedback in Steps 1 and 3, use the following naming protocols:
· Step 1 -> Lastname_first name_Project 2_Appx_A1_A2_B_C
· Steps 2 and 3 -> Lastname_first name_Project 2_Appx_A1_A2_B_C_D_E_F
For the final submission in this project, please use the following naming protocol:
· Step 5 -> Lastname_first name_Project 2_Appx_A1_A2_B_C_D_E_F_G_H_I
The templates for business objectives in Appendices A1 and A2 will guide your discovery. You should list a minimum of three business objectives that exist for your organization, which will likely vary from these templates. Existing entries in templates A1 and A2 are for illustration purposes only. You should fill in and submit to the assignment folder two tables: Appendix A1 is for short-term goals (one year) and Appendix A2 is for longer term goals (five or more years). See Goal Setting for more information.
After you understand your organization's business objectives, you will need to evaluate how well your organization is meeting those objectives. The template in Appendix B will guide you through a quick analysis of overall organizational effectiveness. You may want to ask those in leadership positions how well the organization is performing, but you can also get this information by examining how well the organization is performing according to current operational objectives. Choose a minimum of three organizational effectiveness criteria. Provide a one-sentence description of each measure, along with an overall score on a five-point scale and an explanation of the score you provided. See Effectiveness and Efficiency.
Now that you've looked at how well the overall organization is performing, you should evaluate the organization at a lower level. Using the Appendix C template to guide yo.
Step 1Select ONE of the following fugal agents for your assignme.docxrjoseph5
Step 1
Select ONE of the following fugal agents for your assignment.
Aspergillus, Tinea pedis, Candida albicans, Coccidioides, Pneumocystis jirovecii, Blastomyces, Cryptococcus neoformans, Histoplasma, Tinea corporis
Step 2
Research the chosen fungal agent to examine the anatomical structures and diseases associated with it.
Step 3
Using the template below answer the following questions:
Where the organism is normally found and how is it spread?
What are the virulence factors of the organism?
What are the symptoms and incubation period of the infection caused by the organism?
How would you diagnose an infection caused by the organism?
Describe how the organism infects different organs and how the immune system responds to infection.
What is the current treatment plan for the infections caused by the organism and the treatment success rate?
What populations are most at risk for infection?
What environments and sources are associated with the organism?
What are some public health implications of the infection caused by the agent?
What precautions can the public take to prevent infections?
.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Story of an Hour Assignment (due tonight 65 at 1130pm est)Afte.docx
1. Story of an Hour Assignment (due tonight 6/5 at 11:30pm est)
After reading the chapter titled "Fiction As Genre," in a 150-
200 word response (200 words in total not per question),
address the following questions. Make sure to support your
points with a secondary source from the library databases.
1 . How is Mrs. Mallard ' s character developed? Do you see
examples of exposition, where the narrator simply tells us
information about the protagonist? In addition, does Chopin
portray particular emotional responses, thoughts, and actions to
reveal Mrs. Mallard ' s character? If so, how so? How does she
employ point of view in this story?
2. What is your impression of Brently Mallard? What
elements of the story generate this impression?
3. How is setting (both the historical period and the physical
atmosphere of the story) used to contribute to the story ' s
meaning?
4 . What is Mrs. Mallard ' s social class? What clues lead you
to this conclusion?
5. What is the story ' s central conflict? Does Mrs. Mallard
change, as we might expect a protagonist to do?
6. What are the important themes of this story?
Kate Chopin
The Story of an Hour
Knowing that Mrs. Mallard was afflicted with a heart trouble,
great care was taken to break to her as gently as possible the
news of her husband's death.
It was her sister Josephine who told her, in broken
2. sentences; veiled hints that revealed in half concealing. Her
husband's friend Richards was there, too, near her. It was he
who had been in the newspaper office when intelligence of the
railroad disaster was received, with Brently Mallard's name
leading the list of "killed." He had only taken the time to assure
himself of its truth by a second telegram, and had hastened to
forestall any less careful, less tender friend in bearing the sad
message.
She did not hear the story as many women have heard the
same, with a paralyzed inability to accept its significance. She
wept at once, with sudden, wild abandonment, in her sister's
arms. When the storm of grief had spent itself she went away to
her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy
armchair. Into this she sank, pressed down by a physical
exhaustion that haunted her body and seemed to reach into her
soul.
She could see in the open square before her house the tops
of trees that were all aquiver with the new spring life. The
delicious breath of rain was in the air. In the street below a
peddler was crying his wares. The notes of a distant song which
some one was singing reached her faintly, and countless
sparrows were twittering in the eaves.
There were patches of blue sky showing here and there
through the clouds that had met and piled one above the other in
the west facing her window.
She sat with her head thrown back upon the cushion of the
chair, quite motionless, except when a sob came up into her
throat and shook her, as a child who has cried itself to sleep
continues to sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke
repression and even a certain strength. But now there was a dull
stare in her eyes, whose gaze was fixed away off yonder on one
of those patches of blue sky. It was not a glance of reflection,
but rather indicated a suspension of intelligent thought.
3. There was something coming to her and she was waiting for
it, fearfully. What was it? She did not know; it was too subtle
and elusive to name. But she felt it, creeping out of the sky,
reaching toward her through the sounds, the scents, the color
that filled the air.
Now her bosom rose and fell tumultuously. She was
beginning to recognize this thing that was approaching to
possess her, and she was striving to beat it back with her will -
as powerless as her two white slender hands would have been.
When she abandoned herself a little whispered word escaped
her slightly parted lips. She said it over and over under her
breath: "free, free, free!" The vacant stare and the look of terror
that had followed it went from her eyes. They stayed keen and
bright. Her pulses beat fast, and the coursing blood warmed and
relaxed every inch of her body.
She did not stop to ask if it were or were not a monstrous joy
that held her. A clear and exalted perception enabled her to
dismiss the suggestion as trivial.
She knew that she would weep again when she saw the kind,
tender hands folded in death; the face that had never looked
save with love upon her, fixed and gray and dead. But she saw
beyond that bitter moment a long procession of years to come
that would belong to her absolutely. And she opened and spread
her arms out to them in welcome.
There would be no one to live for during those coming
years; she would live for herself. There would be no powerful
will bending hers in that blind persistence with which men and
women believe they have a right to impose a private will upon a
fellow-creature. A kind intention or a cruel intention made the
act seem no less a crime as she looked upon it in that brief
moment of illumination.
And yet she had loved him - sometimes. Often she had not.
What did it matter! What could love, the unsolved mystery,
count for in face of this possession of self-assertion which she
suddenly recognized as the strongest impulse of her being!
"Free! Body and soul free!" she kept whispering.
4. Josephine was kneeling before the closed door with her lips
to the keyhole, imploring for admission. "Louise, open the door!
I beg, open the door - you will make yourself ill. What are you
doing Louise? For heaven's sake open the door."
"Go away. I am not making myself ill." No; she was drinking
in a very elixir of life through that open window.
Her fancy was running riot along those days ahead of her.
Spring days, and summer days, and all sorts of days that would
be her own. She breathed a quick prayer that life might be long.
It was only yesterday she had thought with a shudder that life
might be long.
She arose at length and opened the door to her sister's
importunities. There was a feverish triumph in her eyes, and she
carried herself unwittingly like a goddess of Victory. She
clasped her sister's waist, and together they descended the
stairs. Richards stood waiting for them at the bottom.
Some one was opening the front door with a latchkey. It was
Brently Mallard who entered, a little travel-stained, composedly
carrying his grip-sack and umbrella. He had been far from the
scene of accident, and did not even know there had been one.
He stood amazed at Josephine's piercing cry; at Richards' quick
motion to screen him from the view of his wife.
But Richards was too late.
When the doctors came they said she had died of heart
disease - of joy that kills.
5. The Open Boat Assignment ( due tonight 6/5 at 11:30pm )
After reading the chapter titled, "Fiction As Genre," answer the
following questions in 150-200 words. (200 words total. Not per
question) Use secondary sources to support your answers.
1. From whose point of view is this story told? How are the
effects of the third person omniscient point of view different
than if the story had been told in first person by one of the men?
2. How does Crane use setting to reveal the experience of the
men? How does he use diction to set the tone of the story and to
convey the story ' s meaning?
3. How do the men interpret certain events and items as signs
of their fate? In what way is the man waving his shirt ironic?
4. What is the effect of repetition in the story?
5. What does a temple symbolize? How is this symbol used in
the story?
6. Is there anything meaningful in the men's time together
navigating the sea in a lifeboat?
7. What is the plot twist at the end of the story? Why do we
consider this event unexpected? How does it affect the meaning
of the story?
The Open Boat
By Stephen Crane
A Tale intended to be after the fact.
Being the experience of four men sunk from the steamer
Commodore.
6. I
None of them knew the color of the sky. Their eyes glanced
level, and were fastened upon the waves that swept toward
them. These waves were of the hue of slate, save for the tops,
which were of foaming white, and all of the men knew the
colors of the sea. The horizon narrowed and widened, and
dipped and rose, and at all times its edge was jagged with waves
that seemed thrust up in points like rocks.
Many a man ought to have a bath-tub larger than the boat which
here rode upon the sea. These waves were most wrongfully and
barbarously abrupt and tall, and each froth-top was a problem in
small boat navigation.
The cook squatted in the bottom and looked with both eyes at
the six inches of gunwale which separated him from the ocean.
His sleeves were rolled over his fat forearms, and the two flaps
of his unbuttoned vest dangled as he bent to bail out the boat.
Often he said: "Gawd! That was a narrow clip." As he remarked
it he invariably gazed eastward over the broken sea.
The oiler, steering with one of the two oars in the boat,
sometimes raised himself suddenly to keep clear of water that
swirled in over the stern. It was a thin little oar and it seemed
often ready to snap.
The correspondent, pulling at the other oar, watched the waves
and wondered why he was there.
The injured captain, lying in the bow, was at this time buried in
that profound dejection and indifference which comes,
temporarily at least, to even the bravest and most enduring
when, willy nilly, the firm fails, the army loses, the ship goes
down. The mind of the master of a vessel is rooted deep in the
timbers of her, though he command for a day or a decade, and
this captain had on him the stern impression of a scene in the
grays of dawn of seven turned faces, and later a stump of a top-
mast with a white ball on it that slashed to and fro at the waves,
went low and lower, and down. Thereafter there was something
strange in his voice. Although steady, it was deep with
mourning, and of a quality beyond oration or tears.
7. "Keep'er a little more south, Billie," said he.
" 'A little more south,' sir," said the oiler in the stern. A seat in
this boat was not unlike a seat upon a bucking broncho, and, by
the same token, a broncho is not much smaller. The craft
pranced and reared, and plunged like an animal. As each wave
came, and she rose for it, she seemed like a horse making at a
fence outrageously high. The manner of her scramble over these
walls of water is a mystic thing, and, moreover, at the top of
them were ordinarily these problems in white water, the foam
racing down from the summit of each wave, requiring a new
leap, and a leap from the air. Then, after scornfully bumping a
crest, she would slide, and race, and splash down a long incline
and arrive bobbing and nodding in front of the next menace.
A singular disadvantage of the sea lies in the fact that after
successfully surmounting one wave you discover that there is
another behind it just as important and just as nervously anxious
to do something effective in the way of swamping boats. In a
ten-foot dingey one can get an idea of the resources of the sea
in the line of waves that is not probable to the average
experience, which is never at sea in a dingey. As each slaty wall
of water approached, it shut all else from the view of the men in
the boat, and it was not difficult to imagine that this particular
wave was the final outburst of the ocean, the last e f fort of the
grim wate r. There was a terrible grace in the move of the
waves, and they came in silence, save for the snarling of the
crests.
In the wan light, the faces of the men must have been gray.
Their eyes must have glinted in strange ways as they gazed
steadily astern. Viewed from a balcon y, the whole thing would
doubtlessly have been weirdly picturesque. But the men in the
boat had no time to see it, and if they had had leisure there were
other things to occupy their minds. The sun swung steadily up
the sky, and they knew it was broad day because the color of the
sea changed from slate to emerald-green, streaked with amber
lights, and the foam was like tumbling sno w. The process of
the breaking day was unknown to them. They were aware only
8. of this effect upon the color of the waves that rolled toward
them.
In disjointed sentences the cook and the correspondent a r gue d
as to the di f ferenc e between a life-savin g station and a house
of refuge. The cook had said: "There ' s a house of refuge just
north of the Mosquito Inlet Light, and as soon as they see us,
they'll come o ff in their boat and pick us up."
"As soon as who see us?" said the correspondent. "The crew,"
said the cook.
"Houses of refuge don't have crews," said the correspondent.
"As I understand them, they are only places where clothes and
grub are stored for the benefit of shipwrecked people. They
don't carry crews."
"Oh, yes, they do," said the cook.
"No, they don't," said the correspondent.
" Well, we're not there yet, anyhow," said the oiler, in the stern.
" Well," said the cook, "perhaps it's not a house of refuge that
I'm thinking of as being near Mosquito Inlet Light. Perhaps it's
a life-saving station."
" We're not there yet," said the oiler, in the stern.
II
As the boat bounced from the top of each wave, the win d tore
through the hair of the hatless men, and as the craft plopped her
stern down again the spray slashed past them. The crest of each
of these waves was a hill, from the top of which the men
surveyed, for a moment, a broad tumultuous expanse; shining
and wind-riven. It was probably splendid. It was probably
glorious, this play of the free sea, wild with lights of emerald
and white and amber.
"Bully good thing it's an on-shore wind," said the cook. "If not,
where would we be? Wouldn't have a show."
"That's right," said the correspondent. The busy oiler nodded his
assent.
Then the captain, in the bow, chuckled in a way that expressed
humor, contempt, tragedy, all in one. "Do you think we've got
9. much of a show, now, boys?" said he.
Whereupon the three were silent, save for a trifle of hemming
and hawing. To express any particular optimism at this time
they felt to be childish and stupid, but they all doubtless
possessed this sense of the situation in their mind. A young man
thinks doggedly at such times. On the other hand, the ethics of
their condition was decidedly against any open suggestion of
hopelessness. So they were silent.
"Oh, well," said the captain, soothing his children, "we'll get
ashore all right."
But there was that in his tone which made them think, so the
oiler quoth: " Yes! If this wind holds!"
The cook was bailing: " Yes! If we don ' t catch hell in the
surf."
Canton flannel gulls flew near and far. Sometimes they sat
down on the sea, near patches of brown sea-weed that rolled
over the waves with a movement like carpets on line in a gale.
The birds sat comfortably in groups, and they were envied by
some in the dingey, for the wrath of the sea was no more to
them than it was to a covey of prairie chickens a thousand miles
inland. Often they came very close and stared at the men with
black bead- like eyes. At these times they were uncanny and
sinister in their unblinking scrutin y, and the men hooted
angrily at them, telling them to be gone. One came, and
evidently decide d to alight on the top of the captain ' s head.
The bird flew parallel to the boat and did not circle, but made
short sidelong jumps in the air in chicken-fashion. His black
eyes were wistfully fixed upon the captain ' s head. "Ugly brute,
" said the oiler to the bird. " Y ou look as if you were made with
a jack-knife. " The cook and the correspondent swore darkly at
the creature. The captain naturally wished to knock it away with
the end of the heavy painte r, but he did not dare do it, becaus e
anything resembling an emphatic gestur e would have capsized
this freighte d boat, and so with his open hand, the captain
gently and carefully waved the gull away. After it had been
discouraged from the pursuit the captain breathed easier on
10. account of his hair, and others breathed easier because the bird
struck their minds at this time as being somehow grewsome and
ominous.
In the meantime the oiler and the correspondent rowed. And
also they rowed.
They sat together in the same seat, and each rowed an oar. Then
the oiler took both oars; then the correspondent took both oars;
then the oiler; then the correspondent. They rowed and they
rowed. The very ticklish part of the business was when the time
came for the reclining one in the stern to take his turn at the
oars. By the very last star of truth, it is easier to steal eggs from
under a hen than it was to change seats in the dingey. First the
man in the stern slid his hand along the thwart and moved with
care, as if he were of Sevres. Then the man in the rowing seat
slid his hand along the other thwart. It was all done with the
most extraordinary care. As the two sidled past each other, the
whole party kept watchful eyes on the coming wave, and the
captain cried: "Look out now! Steady there!"
The brown mats of sea-weed that appeared from time to time
were like islands, bits of earth. They were travelling,
apparently, neither one way nor the other. They were, to all
intents stationary. They informed the men in the boat that it was
making progress slowly toward the land.
The captain, rearing cautiously in the bow, after the dingey
soared on a great swell, said that he had seen the lighthouse at
Mosquito Inlet. Presently the cook remarked that he had seen it.
The correspondent was at the oars, then, and for some reason he
too wished to look at the lighthouse, but his back was toward
the far shore and the waves were important, and for some time
he could not seize an opportunity to turn his head. But at last
there came a wave more gentle than the others, and when at the
crest of it he swiftly scoured the western horizon.
"See it?" said the captain.
"No," said the correspondent, slowly, "I didn ' t see anything."
"Look again," said the captain. He pointed. "It ' s exactly in that
direction."
11. At the top of another wave, the correspondent did as he was bid,
and this time his eyes chanced on a small still thing on the edge
of the swaying horizon. It was precisely like the point of a pin.
It took an anxious eye to find a lighthouse so tiny.
"Think we'll make it, captain?"
"If this wind holds and the boat don ' t swamp, we can ' t do
much else," said the captain.
The little boat, lifted by each towering sea, and splashed
viciously by the crests, made progress that in the absence of
sea-weed was not apparent to those in her. She seemed just a
wee thing wallowing, miraculously, top-up, at the mercy of five
oceans. Occasionally, a great spread of water, like white flames,
swarmed into her.
"Bail her, cook," said the captain, serenely. "All right, captain,"
said the cheerful cook.
III
It would be difficult to describe the subtle brotherhood of men
that was here established on the seas. No one said that it was so.
No one mentioned it. But it dwelt in the boat, and each man felt
it warm him. They were a captain, an oiler, a cook, and a
correspondent, and they were friends, friends in a more
curiously iron-bound degree than may be common. The hurt
captain, lying against the water-jar in the bow, spoke always in
a low voice and calmly, but he could never command a more
ready and swiftly obedient crew than the motley three of the
dingey. It was more than a mere recognition of what was best
for the common safety. There was surely in it a quality that was
personal and heartfelt. And after this devotion to the
commander of the boat there was this comradeship that the
correspondent, for instance, who had been taught to be cynical
of men, knew even at the time was the best experience of his
life. But no one said that it was so. No one mentioned it.
" I wish we had a sail, " remarked the captain. " We might try
my overcoat on the end of an oar and give you two boys a
chance to rest. " So the cook and the correspondent held the
12. mast and spread wide the overcoat. The oiler steered, and the
little boat made good way with her new rig. Sometimes the oiler
had to scull sharply to keep a sea from breaking into the boat,
but otherwise sailing was a success.
Meanwhile the light-house had been growing slowly larger. It
had now almost assumed color, and appeared like a little gray
shadow on the sky. The man at the oars could not be prevented
from turning his head rather often to try for a glimpse of this
little gray shadow.
At last, from the top of each wave the men in the tossing boat
could see land. Even as the light-house was an upright shadow
on the sky, this land seemed but a long black shadow on the sea.
It certainly was thinner than paper. " We must be about opposite
New Smyrna," said the cook, who had coasted this shore often
in schooners. "Captain, by the way, I believe they abandoned
that life- saving station there about a year ago."
"Did they?" said the captain.
The wind slowly died away. The cook and the correspondent
were not now obliged to slave in order to hold high the oar. But
the waves continued their old impetuous swooping at the
dingey, and the little craft, no longer under way, struggled
woundily over them. The oiler or the correspondent took the
oars again.
Shipwrecks are apropos of nothing. If men could only train for
them and have them occur when the men had reached pink
condition, there would be less drowning at sea. Of the four in
the dingey none had slept any time worth mentioning for two
days and two nights previous to embarking in the dingey, and in
the excitement of clambering about the deck of a foundering
ship they had also forgotten to eat heartily.
For these reasons, and for others, neither the oiler nor the
correspondent was fond of rowing at this time. The
correspondent wondered ingenuously how in the name of all
that was sane could there be people who thought it amusing to
row a boat. It was not an amusement; it was a diabolical
punishment, and even a genius of mental aberrations could
13. never conclude that i t wa s anything but a horror to the muscles
and a crime against the back. He mentioned to the boat in
general how the amusement of rowing struck him, and the
weary-face d oiler smiled in full sympathy . Previously to the
foundering, by the wa y, the oiler had worked double-watch in
the engine-room of the ship.
" Take her easy, now, boys," said the captain. "Don ' t spend
yourselves. If we have to run a surf you'll need all your
strength, because we'll sure have to swim for it. Take your
time."
Slowl y the land arose from the sea. From a black line it became
a line of black and a line of white, trees, and sand. Finally, the
captain said that he could make out a house on the shore.
"That's the house of refuge, sure, " said the cook. "They'll see
us before long, and come out after us."
The distant light-house reared high. "The keeper ought to be
able to make us out now, if he's looking through a glass, " said
the captain. "He'll notify the life- saving people."
"None of those other boats could have got ashore to give word
of the wreck," said the oiler, in a low voice. "Else the life-boat
would be out hunting us."
Slowly and beautifully the land loomed out of the sea. The wind
came again. It had veered from the northeast to the southeast.
Finally, a new sound struck the ears of the men in the boat. It
was the low thunder of the surf on the shore. " We'll never be
able to make the light-house now," said the captain. "Swing her
head a little more north, Billie," said the captain.
"'A little more north,' sir," said the oiler.
Whereupo n the little boat turned her nose once more down the
wind, and all but the oarsman watched the shore grow . Under
the influence of this expansion doubt and direful apprehension
was leaving the minds of the men. The management of the boat
was still most absorbing, but it could not prevent a quiet
cheerfulness. In an hour, perhaps, they would be ashore.
Their back-bones had become thoroughly used to balancing in
the boat and they now rode this wild colt of a dingey like circus
14. men. The correspondent thought that he had been drenched to
the skin, but happening to feel in the top pocket of his coat, he
found therein eight cigars. Four of them were soaked with sea-
water; four were perfectly scatheless. After a search,
somebody produced three dry matches, and thereupon the four
waifs rode in their little boat, and with an assurance of an
impending rescue shining in their eyes, puffed at the big cigars
and judged well and ill of all men. Everybody took a drink of
water.
IV
"Cook," remarked the captain, "there don ' t seem to be any
signs of life about your house of refuge."
"No," replied the cook. "Funny they don ' t see us!"
A broad stretch of lowly coast lay before the eyes of the men. It
was of low dunes topped with dark vegetation. The roar of the
surf was plain, and sometimes they could see the white lip of a
wave as it spun up the beach. A tiny house was blocked out
black upon the sky. Southward, the slim light-house lifted its
little gray length.
Tide, wind, and waves were swinging the dingey northward.
"Funny they don't see us," said the men.
The surf 's roar was here dulled, but its tone was, nevertheless,
thunderous and mighty. As the boat swam over the great rollers,
the men sat listening to this roar. " We'll swamp sure," said
everybody.
It is fair to say here that there was not a life-saving station
within twenty miles in either direction, but the men did not
know this fact and in consequence they made dark and
opprobrious remarks concerning the eyesight of the nation ' s
life-savers. Four scowling men sat in the dingey and surpassed
records in the invention of epithets.
"Funny they don ' t see us."
The light-heartedness of a former time had completely faded. To
their sharpened minds it was easy to conjure pictures of all
kinds of incompetency and blindness and indeed, cowardice.
15. There was the shore of the populous land, and it was bitter and
bitter to them that from it came no sign.
" Well, " said the captain, ultimatel y, " I suppose we'll have to
make a try for ourselves. If we stay out here too long, we'll
none of us have strength left to swim after the boat swamps."
An d so the oile r, who was at the oars, turned the boat straight
for the shore. There was a sudden tightening of muscles. There
was some thinking.
"If we don ' t all get ashore—" said the captain. "If we don ' t
all get ashore, I suppose you fellows know where to send news
of my finish?"
They then briefly exchanged some addresses and
admonitions. As for the reflections of the men, there
was a great deal of rage in them. Perchance they might be
formulated thus: "If I am going to be drowned—if I am going to
be drowned—if I am going to be drowned, why, in the name of
the seven mad gods who rule the sea, was I allowed to come
thus far and contemplate sand and trees? Was I brought here
merely to have my nose dragged away as I was about to nibble
the sacred cheese of life? It is preposterous. If this old ninny-
woman, Fate, cannot do better than this, she should be deprived
of the management of men ' s fortunes. She is an old hen who
knows not her intention. If she has decided to drown me, why
did she not do it in the beginning and save me all this trouble.
The whole affair is absurd...But, no, she cannot mean to drown
me. She dare not drown me. She cannot drown me. Not after all
this work." Afterward the man might have had an impulse to
shake his fist at the clouds: "Just you drown me, now, and then
hear what I call you!" The billows that came at this time
were more formidable. They seemed always just about to
break and roll over the little boat in a turmoil of foam. There
was a preparatory and long growl in the speech of them. No
mind unused to the sea would have concluded that the dingey
could ascend these sheer heights in time. The shore was still
afar. The oiler was a wily surfman. "Boys, " he said, swiftl y,
"she won't live three minutes more and we're too far out to
16. swim. Shall I take her to sea again, captain?"
" Yes! Go ahead!" said the captain.
This oiler, by a series of quick miracles, and fast and steady
oarsmanship, turned the boat in the middle of the surf and took
her safely to sea again.
There was a considerable silence as the boat bumped over the
furrowed sea to deeper water. Then somebody in gloom spoke. "
Well, anyhow, they must have seen us from the shore by now."
The gulls went in slanting flight up the wind toward the gray
desolate east. A squall, marked by dingy clouds, and clouds
brick-red, like smoke from a burning building, appeared from
the southeast.
"What do you think of those life-saving people? Ain't they
peaches?"
"Funny they haven ' t seen us."
"Maybe the y think we're out here for sport ! Maybe they think
we're fishin'. Maybe they think we're damned fools." It was a
long afternoon. A changed tide tried to force them southward,
but wind and wave said northward. Far ahead, where coast-line,
sea, and sky formed their mighty angle, there were little dots
which seemed to indicate a city on the shore.
"St. Augustine?"
The captain shook his head. " Too near Mosquito Inlet." And
the oiler rowed, and then the correspondent rowed. Then the
oiler rowed. It was a weary business. The human back can
become the seat of more aches and pains than are registered in
books for the composite anatomy of a regiment. It is a limited
area, but it can become the theatre of innumerable muscular
conflicts, tangles, wrenches, knots, and other comforts.
"Did you ever like to row, Billie?" asked the correspondent.
"No," said the oiler. "Hang it."
When one exchanged the rowing-seat for a place in the bottom
of the boat, he suffered a bodily depression that caused him to
be careless of everything save an obligation to wiggle one
finger . There was cold sea-water swashing to and fro in the
boat, and he lay in it. His head, pillowed on a thwart, was
17. within an inch of the swirl of a wave crest, and sometimes a
particularly obstreperous sea came in-board and drenched him
once more. But these matters did not annoy him. It is almost
certain that if the boat had capsized he would have tumbled
comfortably out upon the ocean as if he felt sure it was a great
soft mattress.
"Look! There ' s a man on the shore!" "Where?"
"There! See 'im? See 'im?"
" Yes, sure! He's walking along."
"Now he's stopped. Look! He's facing us!" "He's waving at us!"
"So he is! By thunder!"
"Ah, now, we're all right! Now we're all right! There'll be a boat
out here for us in half an hour."
"He's going on. He's running. He's going up to that house
there."
The remote beach seemed lower than the sea, and it required a
searching glance to discern the little black figure. The captain
saw a floating stick and they rowed to it. A bath- towel was by
some weird chance in the boat, and, tying this on the stick, the
captain waved it. The oarsman did not dare turn his head, so he
was obliged to ask questions.
"What's he doing now?"
"He's standing still again. He ' s looking, I think...There he goe
s again. Toward the house...Now he's stopped again."
"Is he waving at us?"
"No, not now! he was, though." "Look! There comes another
man!" "He's running."
"Look at him go, would you."
"Why, he's on a bicycle. Now he's met the other man. They're
both waving at us. Look!"
"There comes something up the beach." "What the devil is that
thing?"
"Why, it looks like a boat." "Why, certainly it's a boat."
"No, it ' s on wheels."
" Yes, so it is. Well, that must be the life-boat. They drag them
along shore on a wagon."
18. "That ' s the life-boat, sure."
"No, by——, it ' s—it ' s an omnibus." "I tell you it ' s a life-
boat."
"It is not! It's an omnibus. I can see it plain. See? One of these
big hotel omnibuses."
"By thunder, you're right. It ' s an omnibus, sure as fate. What
do you suppose they are doing with an omnibus? Maybe they
are going around collecting the life-crew , hey?" "That's it,
likely. Look! There's a fellow waving a little black flag. He's
standing on the steps of the omnibus. There come those other
two fellows. Now they're all talking together. Look at the fellow
with the flag. Maybe he ain't waving it."
"That ain't a flag, is it? That's his coat. Why, certainly, that's
his coat."
"So it is. It's his coat. He's taken it off and is waving it around
his head. But would you look at him swing it."
"Oh, say, there isn ' t any life-saving station there. That ' s just
a winter resort hotel omnibus that has brought over some of the
boarders to see us drown."
"What's that idiot with the coat mean? What's he signaling,
anyhow?"
"It looks as if he were trying to tell us to go north. There must
be a life-saving station up there."
"No! He thinks we're fishing. Just giving us a merry hand. See?
Ah, there, Willie."
" Well, I wish I could make something out of those signals.
What do you suppose he means?"
"He don ' t mean anything. He ' s just playing."
" Well, if he'd just signal us to try the surf again, or to go to sea
and wait, or go north, or go south, or go to hell—there would be
some reason in it. But look at him. He just stands there and
keeps his coat revolving like a wheel. The ass!"
"There come more people."
"Now there's quite a mob. Look! Isn ' t that a boat?" "Where?
Oh, I see where you mean. No, that ' s no boat."
"That fellow is still waving his coat."
19. "He must think we like to see him do that. Why don't he quit it.
It don't mean anything."
" I don ' t know. I think he is trying to make us go north. It must
be that there ' s a life-saving station there somewhere."
"Say, he ain't tired yet. Look at 'im wave."
" Wonder how long he can keep that up. He's been revolving his
coat ever since he caught sight of us. He ' s an idiot. Why aren't
they getting men to bring a boat out. A fishing boat—one of
those big yawls—could come out here all right. Why don't he do
something?"
"Oh, it's all right, now."
"They'll have a boat out here for us in less than no time, now
that they've seen us."
A faint yellow tone came into the sky over the low land. The
shadows on the sea slowly deepened. The wind bore coldness
with it, and the men began to shiver.
"Holy smoke!" said one, allowing his voice to express his
impious mood, "if we keep on monkeying out here! If we've got
to flounder out here all night!"
"Oh, we'll never have to stay here all night! Don ' t you worry.
They've seen us now, and it won ' t be long before they'll come
chasing out after us."
The shore grew dusk y. The man waving a coat blended
gradually into this gloom, and it swallowed in the same manner
the omnibus and the group of people. The spray, when it dashed
uproariously over the side, made the voyagers shrink and swear
like men who were being branded.
"I'd like to catch the chump who waved the coat. I feel like
soaking him one, just for luck." "Why? What did he do?"
"Oh , nothing, but then he seemed so damned cheerful." In the
meantime the oiler rowed, and then the correspondent
rowed, and then the oiler rowed. Gray- faced and bowed
forward, they mechanically, turn by turn, plied the leaden oars.
The form of the light-house had vanished from the southern
horizon, but finally a pale star appeared, just lifting from the
sea. The streaked saffron in the west passed before the all-
20. merging darkness, and the sea to the east was black. The land
had vanished, and was expressed only by the low and drear
thunder of the surf.
"If I am going to be drowned—if I am going to be drowned—if I
am going to be drowned, why, in the name of the seven mad
gods, who rule the sea, was I allowed to come thus far and
contemplate sand and trees? Was I brought here merely to have
my nose dragged away as I was about to nibble the sacred
cheese of life?"
The patient captain, drooped over the water-jar, was sometimes
obliged to speak to the oarsman.
"Keep her head up! Keep her head up!"
"'Keep her head up, ' si r . " The voices were weary and low.
This was surely a quiet evening. All save the oarsman lay
heavily and listlessly in the boat's bottom. As for him, his eyes
were just capable of noting the tall black waves that swept
forward in a most sinister silence, save for an occasional
subdued growl of a crest.
The cook's head was on a thwart, and he looked without interest
at the water under his nose. He was deep in other scenes.
Finally he spoke. "Billie," he murmured, dreamfully, "what kind
of pie do you like best?"
V
"Pie," said the oiler and the correspondent, agitatedly. "Don't
talk about those things, blast you!"
" Well," said the cook, "I was just thinking about ham
sandwiches, and—"
A night on the sea in an open boat is a long night. As darkness
settled finally, the shine of the light, lifting from the sea in the
south, changed to full gold. On the northern horizon a new light
appeared, a small bluish gleam on the edge of the waters. These
two lights were the furniture of the world. Otherwise there was
nothing but waves.
Two men huddled in the stern, and distances were so
magnificent in the dingey that the rower was enabled to keep his
21. feet partly warmed by thrusting them under his companions.
Their legs indeed extended far under the rowing-seat until they
touched the feet of the captain forward. Sometimes, despite
the efforts of the tired oarsman, a wave came piling into
the boat, an icy wave of the night, and the chilling water soaked
them anew. They would twist their bodies for a moment and
groan, and sleep the dead sleep once more, while the water in
the boat gurgled about them as the craft rocked.
The plan of the oiler and the correspondent was for one to row
until he lost the ability, and then arouse the other from his sea-
water couch in the bottom of the boat.
The oiler plied the oars until his head drooped forward, and the
overpowering sleep blinded him. And he rowed yet afterward.
Then he touched a man in the bottom of the boat, and called his
name. " Will you spell me for a little while?" he said, meekly.
"Sure , Billie, " said the correspondent, awakening and dragging
himself to a sitting position. They exchanged places carefull y,
and the oile r, cuddling down to the sea- water at the cook ' s
side, seemed to go to sleep instantly.
The particular violence of the sea had ceased. The waves came
without snarling. The obligation of the man at the oars was to
keep the boat headed so that the tilt of the rollers would not
capsize her, and to preserve her from filling when the crests
rushed past. The black waves were silent and hard to be seen in
the darkness. Often one was almost upon the boat before the
oarsman was aware.
In a low voice the correspondent addressed the captain. He was
not sure that the captain was awake, although this iron man
seemed to be always awake. "Captain, shall I keep her making
for that light north, sir?"
The same steady voice answered him. " Yes. Keep it about two
points off the port bow."
The cook had tied a life-belt around himself in order to get even
the warmth which this clumsy cork contrivance could donate,
and he seemed almost stove-like when a rower, whose teeth
invariably chattered wildly as soon as he ceased his labor,
22. dropped down to sleep.
The correspondent, as he rowed, looked down at the two men
sleeping under foot. The cook ' s arm was around the oiler ' s
shoulders, and, with their fragmentary clothing and haggard
faces, they were the babes of the sea, a grotesque rendering of
the old babes in the wood.
Later he must have grown stupid at his work, for suddenly there
was a growling of water, and a crest came with a roar and a
swash into the boat, and it was a wonder that it did not set the
cook afloat in his life-belt. The cook continued to sleep, but the
oiler sat up, blinking his eyes and shaking with the new cold.
"Oh, I'm awful sorry, Billie," said the correspondent, contritely.
"That's all right, old boy," said the oiler, and lay down again
and was asleep.
Presently it seemed that even the captain dozed, and the
correspondent thought that he was the one man afloat on all the
oceans. The wind had a voice as it came over the waves, and it
was sadder than the end.
There was a long, loud swishing astern of the boat, and
a gleaming trail of phosphorescence, like blue flame, was
furrowed on the black waters. It might have been made by a
monstrous knife.
Then there came a stillness, while the correspondent breathed
with the open mouth and looked at the sea.
Suddenly there was another swish and another long flash of
bluish light, and this time it was alongside the boat, and might
almost have been reached with an oar. The correspondent saw
an enormous fin speed like a shadow through the water, hurling
the crystalline spray and leaving the long glowing trail.
The correspondent looked over his shoulder at the captain. His
face was hidden, and he seemed to be asleep. He looked at the
babes of the sea. They certainly were asleep. So, being bereft of
sympathy, he leaned a little way to one side and swore softly
into the sea.
But the thing did not then leave the vicinity of the boat. Ahead
or astern, on one side or the other, at intervals long or short,
23. fled the long sparkling streak, and there was to be heard the
whirroo of the dark fin. The speed and power of the thing was
greatly to be admired. It cut the water like a gigantic and keen
projectile.
The presence of this biding thing did not affect the man with the
same horror that it would if he had been a picnicker. He simply
looked at the sea dully and swore in an undertone.
Nevertheless , it is true that he did not wish to be alone with the
thing. He wished one of his companions to awaken by chance
and keep him company with it. But the captain hung motionless
over the water -jar and the oiler and the cook in the bottom of
the boat were plunged in slumber.
VI
"If I am going to be drowned—if I am going to be drowned—if I
am going to be drowned, why, in the name of the seven mad
gods, who rule the sea, was I allowed to come thus far and
contemplate sand and trees?"
During this dismal night, it may be remarked that a man would
conclude that it was really the intention of the seven mad gods
to drown him, despite the abominable injustice of it. For it was
certainly an abominable injustice to drown a man who had
worked so hard, so hard. The man felt it would be a crime most
unnatural. Other people had drowned at sea since galleys
swarmed with painted sails, but still —
When it occurs to a man that nature does not regard him as
important, and that she feels she would not maim the universe
by disposing of him, he at first wishes to throw bricks at the
temple, and he hates deeply the fact that there are no bricks and
no temples. Any visible expression of nature would surely be
pelleted with his jeers.
Then, if there be no tangible thing to hoot he feels, perhaps, the
desire to confront a personification and indulge in pleas, bowed
to one knee, and with hands supplicant, saying: " Yes, but I love
myself."
A high cold star on a winter ' s night is the word he feels that
24. she says to him. Thereafter he knows the pathos of his situation.
The men in the dingey had not discussed these matters, but each
had, no doubt, reflected upon them in silence and according to
his mind. There was seldom any expression upon their faces
save the general one of complete weariness. Speech was devoted
to the business of the boat.
To chime the notes of his emotion , a verse mysteriously entere
d the correspondent ' s head. He had even forgotten that he had
fo r gotten this verse, but it suddenly was in his mind.
A soldier of the Legion lay dying in Algiers; There was lack of
woman ' s nursing, there was dearth of woman's tears; But a
comrade stood beside him, and he took that comrade's hand And
he said: "I shall never see my own, my native land."
In his childhood, the correspondent had been made acquainted
with the fact that a soldier of the Legion lay dying in Algiers,
but he had never regarded the fact as important. Myriads of his
school-fellows had informed him of the soldier's plight, but the
dinning had naturally ended by making him perfectly
indifferent. He had never considered it his affair that a soldier
of the Legion lay dying in Algiers, nor had it appeared to him as
a matter for sorrow. It was less to him than breaking of a
pencil's point.
Now, however, it quaintly came to him as a human, living thing.
It was no longer merely a picture of a few throes in the breast of
a poet, meanwhile drinking tea and warming his feet at the
grate; it was an actuality—stern, mournful, and fine.
The correspondent plainly saw the soldier. He lay on the sand
with his feet out straight and still. While his pale left hand was
upon his chest in an attempt to thwart the going of his life, the
blood came between his fingers. In the far Algerian distance, a
city of low square forms was set against a sky that was faint
with the last sunset hues. The correspondent, plying the oars
and dreaming of the slow and slower movements of the lips of
the soldier, was moved by a profound and perfectly impersonal
comprehension. He was sorry for the soldier of the Legion who
25. lay dying in Algiers.
The thing which had followed the boat and waited had evidently
grown bored at the delay. There was no longer to be heard the
slash of the cut-water, and there was no longer the flame of the
long trail. The light in the north still glimmered, but it was
apparently no nearer to the boat. Sometimes the boom of the
surf rang in the correspondent ' s ears, and he turned the craft
seaward then and rowed harder. Southward, someone had
evidently built a watch-fire on the beach. It was too low and too
far to be seen, but it made a shimmering, roseate reflection upon
the bluff back of it, and this could be discerned from the boat.
The wind came stronger, and sometimes a wave suddenly raged
out like a mountain-cat and there was to be seen the sheen and
sparkle of a broken crest.
The captain, in the bow, moved on his water-jar and sat
erect. "Pretty long night," he observed to the correspondent. He
looked at the shore. "Those life-saving people take their time."
"Did you see that shark playing around?"
" Yes, I saw him. He was a big fellow, all right." " Wish I had
known you were awake."
Later the correspondent spoke into the bottom of the boat.
"Billie! " There was a slow and gradual disentanglement.
"Billie, will you spell me?"
"Sure," said the oiler.
As soon as the correspondent touched the cold comfortable sea-
water in the bottom of the boat, and had huddled close to the
cook ' s life-belt he was deep in sleep, despite the fact that his
teeth played all the popular airs. This sleep was so good to him
that it was but a moment before he heard a voice call his name
in a tone that demonstrated the last stages of exhaustion. " Will
you spell me?"
"Sure, Billie."
The light in the north had mysteriously vanished, but the
correspondent took his course from the wide-awake captain.
Later in the night they took the boat farther out to sea, and the
captain directed the cook to take one oar at the stern and keep
26. the boat facing the seas. He was to call out if he should hear the
thunder of the surf. This plan enabled the oiler and the
correspondent to get respite together. " We'll give those boys a
chance to get into shape again," said the captain. They curled
down and, after a few preliminary chatterings and trembles,
slept once more the dead sleep. Neither knew they had
bequeathed to the cook the company of another shark, or
perhaps the same shark.
As the boat caroused on the waves, spray occasionally bumped
over the side and gave them a fresh soaking, but this had no
power to break their repose. The ominous slash of the wind and
the water affected them as it would have affected mummies.
"Boys," said the cook, with the notes of every reluctance in his
voice, "she ' s drifted in pretty close. I guess one of you had
better take her to sea again." The correspondent, aroused, heard
the crash of the toppled crests.
As he was rowing, the captain gave him some whiskey and
water, and this steadied the chills out of him. "If I ever get
ashore and anybody shows me even a photograph of an oar—"
At last there was a short conversation. "Billie...Billie, will you
spell me?" "Sure," said the oiler.
VII
When the correspondent again opened his eyes, the sea and the
sky were each of the gray hue of the dawning. Later, carmine
and gold was painted upon the waters. The morning appeared
finally, in its splendor with a sky of pure blue, and the sunlight
flamed on the tips of the waves.
On the distant dunes were set many little black cottages, and a
tall white wind-mill reared above them. No man, nor dog, nor
bicycle appeared on the beach. The cottages might have formed
a deserted village.
The voyagers scanned the shore. A conference was held in the
boat. " Well," said the captain, "if no help is coming, we might
better try a run through the surf right away. If we stay out here
much longer we will be too weak to do anything for ourselves at
27. all." The others silently acquiesced in this reasoning. The
boat was headed for the beach. The correspondent wondered
if none ever ascended the tall wind-tower, and if then they
never looked seaward. This tower was a giant, standing with its
back to the plight of the ants. It represented in a degree, to the
correspondent, the serenity of nature amid the struggles of the
individual—nature in the wind, and nature in the vision of men.
She did not seem cruel to him, nor beneficent, nor treacherous,
nor wise. But she was indifferent, flatly indifferent. It is,
perhaps, plausible that a man in this situation, impressed with
the unconcern of the universe, should see the innumerable flaws
of his life and have them taste wickedly in his mind and wish
for another chance. A distinction between right and wrong
seems absurdly clear to him, then, in this new ignorance of the
grave-edge, and he understands that if he were given another
opportunity he would mend his conduct and his words, and be
better and brighter during an introduction, or at a tea.
"Now , boys, " said the captain, "she is going to swamp sure.
All we can do is to work her in as far as possible, and then
when she swamps, pile out and scramble for the beach. Keep
cool now and don ' t jump until she swamps sure."
The oiler took the oars. Over his shoulders he scanned the surf.
"Captain," he said, "I think I'd better bring her about, and keep
her head-on to the seas and back her in." "All right, Billie," said
the captain. "Back her in."
The oiler swung the boat then and, seated in the stern, the cook
and the correspondent were obliged to look over their shoulders
to contemplate the lonely and indifferent shore.
Th emonstrous inshore rollers heaved the boat high until th e
men were again enabled to see the white sheets of water
scudding up the slanted beach. " We won't get in very close,"
said the captain. Each time a man could wrest his attention from
the rollers, he turned his glance toward the shore, and in the
expression of the eyes during this contemplation there was a
singular quality. The correspondent, observing the others, knew
that they were not afraid, but the full meaning of their glances
28. was shrouded.
As for himself, he was too tired to grapple fundamentally with
the fact. He tried to coerce his mind into thinking of it, but the
mind was dominated at this time by the muscles, and the
muscles said they did not care. It merely occurred to him that if
he should drown it would be a shame.
There were no hurried words, no pallor, no plain agitation. The
men simply looked at the shore. "Now, remember to get well
clear of the boat when you jump," said the captain.
Seaward the crest of a roller suddenly fell with a thunderous
crash, and the long white comber came roaring down upon the
boat.
"Steady now," said the captain. The men were silent. They
turned their eyes from the shore to the comber and waited. The
boat slid up the incline, leaped at the furious top, bounced over
it, and swung down the long back of the waves. Some water had
been shipped and the cook bailed it out.
But the next crest crashed also. The tumbling boiling flood of
white water caught the boat and whirled it almost
perpendicular. Water swarmed in from all sides. The
correspondent had his hands on the gunwale at this
time, and when the water entere d at that place he swiftly
withdrew his fingers, as if he objected to wetting them.
The little boat, drunken with this weight of water, reeled and
snuggled deeper into the sea.
"Bail her out, cook! Bail her out," said the captain. "All right,
captain," said the cook.
"Now, boys, the next one will do for us, sure," said the oiler.
"Mind to jump clear of the boat."
The third wave moved forward, huge, furious, implacable. It
fairly swallowed the dingey, and almost simultaneously the men
tumbled into the sea. A piece of life-belt had lain in the bottom
of the boat, and as the correspondent went overboard he held
this to his chest with his left hand.
The January water was icy, and he reflected immediately that it
was colder than he had expected to find it off the coast of
29. Florida. This appeared to his dazed mind as a fact important
enough to be noted at the time. The coldness of the water was
sad; it was tragic. This fact was somehow mixed and confused
with his opinion of his own situation that it seemed almost a
proper reason for tears. The water was cold.
When he came to the surface he was conscious of little but the
noisy water. Afterward he saw his companions in the sea. The
oiler was ahead in the race. He was swimming strongly and
rapidly. Off to the correspondent's left, the cook's great white
and corked back bulged out of the water, and in the rear the
captain was hanging with his one good hand to the keel of the
overturned dingey.
There is a certain immovable quality to a shore, and the
correspondent wondered at it amid the confusion of the sea.
It seemed also very attractive, but the correspondent knew that
it was a long journey, and he paddled leisurely. The piece of
life-preserver lay under him, and sometimes he whirled down
the incline of a wave as if he were on a hand-sled.
But finally he arrived at a place in the sea where travel was
beset with difficulty. He did not pause swimming to inquire
what manner of current had caught him, but there his progress
ceased. The shore was set before him like a bit of scenery on a
stage, and he looked at it and understood with his eyes each
detail of it.
As the cook passed, much farther to the left, the captain was
calling to him, " Turn over on your back, cook! Turn over on
your back and use the oar."
"All right, sir!" The cook turned on his back, and, paddling with
an oar, went ahead as if he were a canoe.
Presently the boat also passed to the left of the correspondent
with the captain clinging with one hand to the keel. He would
have appeared like a man raising himself to look over a board
fence, if it were not for the extraordinary gymnastics of the
boat. The correspondent marvelled that the captain could still
hold to it.
They passed on, nearer to shore—the oiler, the cook, the
30. captain—and following them went the water-jar, bouncing gayly
over the seas.
The correspondent remained in the grip of this strange new
enemy—a current. The shore, with its white slope of sand and
its green bluff, topped with little silent cottages, was spread like
a picture before him. It was very near to him then, but he was
impressed as one who in a gallery looks at a scene from
Brittany or Algiers.
He thought: "I am going to drown? Can it be
possible? Can it be possible? Can it be possible?" Perhaps an
individual must consider his own death to be the final
phenomenon of nature.
But later a wave perhaps whirled him out of this small deadly
current, for he found suddenly that he could again make
progress toward the shore. Later still, he was aware that the
captain, clinging with one hand to the keel of the dingey, had
his face turned away from the shore and toward him, and was
calling his name. "Come to the boat! Come to the boat!"
In his struggle to reach the captain and the boat, he reflected
that when one gets properly wearied, drowning must really be a
comfortable arrangement, a cessation of hostilities accompanied
by a large degree of relief, and he was glad of it, for the main
thing in his mind for some moments had been horror of the
temporary agony. He did not wish to be hurt.
Presently he saw a man running along the shore. He was
undressing with most remarkable speed. Coat, trousers, shirt,
everything flew magically off him.
"Come to the boat," called the captain.
"All right, captain." As the correspondent paddled, he saw the
captain let himself down to bottom and leave the boat. Then the
correspondent performed his one little marvel of the voyage. A
large wave caught him and flung him with ease and supreme
speed completely over the boat and far beyond it. It struck him
even then as an event in gymnastics, and a true miracle of the
sea. An overturned boat in the surf is not a plaything to a
swimming man.
31. The correspondent arrived in water that reached only to his
waist, but his condition did not enable him to stand for more
than a moment. Each wave knocked him into a heap, and the
under-tow pulled at him.
Then he saw the man who had been running and undressing, and
undressing and running, come bounding into the water. He
dragged ashore the cook, and then waded toward the captain,
but the captain waved him away, and sent him to the
correspondent. He was naked, naked as a tree in winte r, but a
halo was about his head, and he shone like a saint. He gave a
strong pull, and a long drag, and a bully heave at the
correspondent's hand. The correspondent, schooled in the minor
formulae, said: "Thanks, old man." But suddenly the man cried:
"What's that? " He pointed a swift finger. The correspondent
said: "Go."
In the shallows, face downward, lay the oiler. His forehead
touched sand that was periodically, between each wave, clear of
the sea.
The correspondent did not know all that transpired afterward.
When he achieved safe ground he fell, striking the sand with
each particular part of his body. It was as if he had dropped
from a roof, but the thud was grateful to him.
It seems that instantly the beach was populated with men with
blankets, clothes, and flasks, and women with coffee-pots and
all the remedies sacred to their minds. The welcome of the land
to the men from the sea was warm and generous, but a still and
dripping shape was carried slowly up the beach, and the land's
welcome for it could only be the different and sinister
hospitality of the grave.
When it came night, the white waves paced to and fro in the
moonlight, and the wind brought the sound of the great sea's
voice to the men on shore, and they felt that they could then be
interpreters.
32. "The Raven" by Edgar Allen Poe Assignment (due tonight 6/5 at
11:30pm est )
Read the poem "The Raven"
https://www.poetryfoundation.org/poems/48860/the-raven
Write a 150 word analysis that answers one of the following
questions:
How do the formal properties of Poe’s poem (rhythm, meter,
rhyme, alliteration, assonance, repetition) relate to the poem’s
meaning? How did readers in his time understand this poem?
How does “The Raven” participate in 19th-century cultures of
mourning?
What exactly happens in “The Raven,” and how does the plot
unfold? How do we chart the speaker’s transformation over the
course of the poem?
What are Poe’s own ideas about poetry, and how did he explain
the workings of “The Raven”?
The Raven
BY EDGAR ALLAN POE
Once upon a midnight dreary, while I pondered, weak and
weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a
33. tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the
floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost
Lenore—
For the rare and radiant maiden whom the angels name
Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came
rapping,
And so faintly you came tapping, tapping at my chamber
door,
That I scarce was sure I heard you”—here I opened wide the
door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there
wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream
before;
34. But the silence was unbroken, and the stillness gave no
token,
And the only word there spoken was the whispered word,
“Lenore?”
This I whispered, and an echo murmured back the word,
“Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me
burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window
lattice;
Let me see, then, what thereat is, and this mystery
explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and
flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or
stayed he;
But, with mien of lord or lady, perched above my chamber
door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure
no craven,
Ghastly grim and ancient Raven wandering from the Nightly
shore—
Tell me what thy lordly name is on the Night’s Plutonian
shore!”
35. Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so
plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber
door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he
fluttered—
Till I scarcely more than muttered “Other friends have flown
before—
On the morrow he will leave me, as my Hopes have flown
before.”
Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden
bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust
and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of
yore
36. Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated
o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an
unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels
he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or
devil!—
Whether Tempter sent, or whether tempest tossed thee here
ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I
implore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or
devil!
By that Heaven that bends above us—by that God we both
adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name
Lenore—
37. Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked,
upstarting—
“Get thee back into the tempest and the Night’s Plutonian
shore!
Leave no black plume as a token of that lie thy soul hath
spoken!
Leave my loneliness unbroken!—quit the bust above my
door!
Take thy beak from out my heart, and take thy form from off my
door!”
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is
dreaming,
And the lamp-light o’er him streaming throws his shadow on
the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!