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A couple months ago I applied to be part of a 6 month blogger program with a well known health & weight loss company. I really wanted to be chosen for this program. There were 50 spots and almost 300 bloggers who applied so I knew my chances were slim. I wrote a really long post for my application about my struggle to lose weight and how I was ready to make a change.
I submitted my application and I waited. When the list of selected bloggers was announced and my name wasn't on the list, I was really upset. I actually cried. I know it sounds silly, but I really wanted this opportunity. I thought having a weight loss program, a support network and accountability of having to post on my blog each month would be the solution for my struggle to lose weight.
Struggle… That is exactly what my experience with weight loss has been for the past 18 years. Yes I said 18 years. I went on my first "diet" when I was 13 years old. Since then I have been on more diets than I can count. Name it & I've tried it (and probably more than once). I have tried healthy diets, not so healthy diets, weight loss programs, weight loss clinics, even pills and drops. I have lost weight only to gain it back and more each time usually.
I keep saying I just can't find a diet that works for me. The problem is that diet's don't work. They might at first, but you have to change your lifestyle and your eating style and most of all your "thinking" style.
A lot of people don't understand it. They eat to eat and nothing more, but not me. Food and I have had a rocky relationship for as far back as I remember.
I love food, I love to eat. I love the smell, the texture, the taste, the feeling of being full and satisfied. It's a control thing to me. When everything else in my life is feeling crazy or out of control, when I am lacking in another area, when I am frustrated about something that I can't change, when someone is mad at me, when I am mad at myself, when there isn't enough $ to do the extra things I want to do, when everyone has someone to turn to and I don't, when I am bored and have nothing to do… Food is the one thing that is always there and is the one thing I can control.
Food is my drug, it is my alcohol, it is my addiction. I actually think being addicted to eating or having an eating disorder of any kind is as bad if not worse than other kinds of addictions. If you are a drug addict you can go through rehab and you can avoid places, people and triggers of that drug. You can't avoid food and eating though. You have to eat to live. It takes much more to control your eating addictions and disorders and it is much easier to relapse.
"Don't dig your grave with your own knife and fork." ~English Proverb
After the disappointment of not being chosen for the blogging weight loss program, I started looking at other weight loss programs. There are so many out there and I have tried so many of them over the past 18 years. I need to try something new. I need a lifestyle change.
I need to give my health more priority. I tend to stay so focused on working, building my businesses and making sure the bills are paid that everything else gets out of balance.
For the past month I have been implementing a lot of changes. I am changing how I eat and I have even started exercising. If you know me at all you would be shocked at that piece of information. I do not like to exercise. I do not like to sweat. I do not like sticking to a schedule. But I am exercising, I am sweating and I am working out at least 3-4 days a week now. I have found that I really like jogging. I am looking for a used treadmill so I can walk/ jog any time I want to.
I have only lost about 8 pounds in the past month but I already feel better. I'm taking that control freak part of eating and channeling it into learning to eat healthier foods and smaller portions. I have been making new, healthier recipes too.
What I am learning through all of this is that it's not really about losing weight. It's not about being thin or a certain size. It's not really even about being healthier. It's not about what the number on the scale is. I am actually only weighing myself once a month. It's about getting back to the "best" me that God created me to be. It's about shedding extra weight from all areas in my life, shedding stress, pressure, clutter, bad habits and patterns.
I'm not really focused on losing weight. I'm focused on finding my better self…
If you can relate to my struggle, let me encourage you to shift your thinking. Stop focusing on the scale and the number on your clothing tags. Start focusing on getting your life back in balance and on improving yourself so you can be the best "you" and make the most of the talents, time and body that God has given you!
Or do you not know that your body is a temple of the Holy Spirit within you, whom you have from God? You are not your own, for you were bought with a price. So glorify God in your body. – 1 Corinthians 6:19-20
What about you? Do you struggle with losing weight? Do you or someone you know deal with an eating disorder? Please feel free to share your thoughts in the comments below!
I'm linking up with Living Well Wednesdays, please click the button below to view many other great posts!


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Digital Signage
Digital signage has a number of benefits over traditional static signs. The most important of which include:
Signage can be updated on the fly through a digital signage network without having to interact with the signs physically.
Unlike the content on static signs the multimedia dimension offered by digital signage makes content more engaging, more information and more targeted.
Digital signage can be interactive through touch screen technology and other interactive technology and other interactive technologies.
Supported Multimedia Content
Video – avi, mpeg, bob, wmv, qt, asf, 3pg
Animations – swf
Images – jpg, png, gif, pdf, tiff, bmp
Audio – mp3, ogg, wav, wma, pcm

subset: commoncrawl


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New Restrictions on Abortion Clinics Blocked by Judge
MONTGOMERY, Ala. (WHNT) – Planned Parenthood and a Montgomery clinic filed a lawsuit challenging a new law requiring abortion doctors to have admitting privileges at a local hospital, prompting a judge to temporarily place the law on hold, according to our news partner al.com.
Planned Parenthood and the clinic argued that the law, scheduled to go into effect on Monday, was medically unnecessary and will result in the closure of three of the state's five abortion clinics.
The injunction against the law lasts until July 12.


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Ezra's Bris was yesterday and we were so honored to have family and friends join us at our house to help us celebrate. This morning, we awoke to a few emails asking "how'd he do?", so we figured we'd blog to answer you all at once…
We are quite pleased to say that he handled it like a champ. There were some tears, of course, but not as much as many expected. It seemed like it wasn't his first time. He listened intently to the mohel, held his breath when the deed happened, and, of course, ate voraciously afterwards.
If you look very closely, you can see him here, taking Ezra from Dad, just before the mohel started snipping. Overall, great work yesterday, Zayda!
Ezra and Mom handled the event fantastically as well, some photos now in the photo gallery.


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Face - Bioaroma Lipstick Mastic & Bergamot
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Price: 3.74€
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100% Natural Lip care with olive oil, beeswax and essential oils
To achieve their celebrated effect common lipstick products contain various chemical ingredients of controversial quality, let alone safety. This is not a marketing position. It is the truth.
Luckily, there are plenty of natural alternatives such as BioAroma's Lipstick Series.
With mastic and bergamot, two true Greek flavors.


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Treaty negotiations for the Square Kilometre Array (SKA) telescope have begun, the Parliamentary Secretary for Industry and Science, Karen Andrews, announced today.
"Treaty negotiations reflect a new chapter of engagement within the global project because they will solidify the rights and responsibilities of SKA member nations, paving the way for construction to begin in 2018," Andrews said in a statement.
She said recent pre-negotiation meetings in Brussels, Belgium paved the way for treaty negotiations to begin.
The treaty negotiations are an opportunity for Australia to show its commitment and enthusiasm towards the SKA project, as the country will host the low frequency array for one of the largest radio telescopes in the world, she said.
In 2013, CSIRO, along with six other Australian organisations, was awarded a contract with the international SKA office to help technologically design the SKA telescope.
Australia has a couple of precursor telescopes - the Murchison Widefield Array, and CSIRO's Australian SKA Pathfinder.
This month, the SKA Pathfinder made a breakthrough in finding a galaxy five billion light years away. It detected a change in radio waves from near the Ara constellation where the bright centre of the galaxy is. It found a radio emission travelling to Earth was imprinted with hydrogen gas, which absorbs some of the emission.
Opening up petabytes of data for astronomy research generated each year is now coming online for the two precursor telescopes, Andrews said.
She also pointed out that the SKA telescope is expected to produce five times the global internet traffic in 2015, meaning it needs supercomputing technology to support it.
A recent $2.8 million Australian Laureate Fellowship grant awarded to Swinburne University of Technology's Professor Matthew Bailes will be used to develop supercomputing power for the SKA telescope.
Join the CIO Australia group on LinkedIn. The group is open to CIOs, IT Directors, COOs, CTOs and senior IT managers.


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Elegant and feminine, the Sylphina tops are small yet intricately crafted in gold and gunmetal dual plating. The studs feature high quality crystal zirconia in combinations of white and green. The earrings are versatile and can be worn with ethnic or contemporary outfits with ease. They can be paired with a white shirt for a casual day out or a pretty saree for an evening festive look!
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Alex is drawn to the ocean – a little like Disney's Moana but not at all really – anyway, she couldn't resist the call of the waves, so she made a massive sea change swapping London for Australia's Surf Coast.
As a journalist with more than 20 years experience, she's worked for Sky News, ITV (UK), Channel 5 (UK) and Setanta, broadcasting on TV, radio and online. She is a writer and blogger contributing to publications including Gurgle where her work was nominated for best celebrity blog.
When she's not writing or presenting you can find her trying to stand up on her surfboard, attempting to win a tennis match, trying to work out why there's sand everywhere, stuck in downward dog, or answering the question "why" for the elventy-bajillionth time.
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Blood Collection and Processing
The MIMIC® System simulates human immune responses by using human immune cells in specially engineered tissue constructs. In other words, human immune cells are the raw materials for the MIMIC® System. We have hundreds of donors available through a special relationship with Florida's Blood Centers. Our donors reflect the diversity of the human population, in terms of age, race, gender, and genetics (e.g., HLA haplotypes). In any given study, we can select donor cells for a desired profile or we can ensure a broad representation.
We collect white blood cells from our donors, usually through a process called apheresis. We typically collect nearly eight billion cells per donor per donation. Donors can return every two months. The white blood cells are collected in plastic bags and immediately transferred to us for processing.
We have largely automated the processing of white blood cells and have developed standard operating procedures. This approach ensures consistency of our raw materials. Another benefit is reduced chance of accidental contamination of our employees, because they undertake fewer manual steps which can lead to accidents. We then either use the cells fresh or, more often, freeze the cells for later use. We have conducted extensive studies that show equivalence of fresh and frozen cells. See Case Study. Frozen cells also allow us to bank cells from donors with different profiles so that we can begin studies immediately rather than waiting for donations.


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I offer a truly unique service.
With over 30 years of experience in hand painting kitchens, we can cater for all your requirements from a small to a large kitchen while meeting your budget and producing a quality painted room you will be proud of, transforming your kitchen into a masterpiece of colour.
Providing the complete service includes furniture and fireplaces too, working to you exact requirements using only the finest paint to achieve a perfect finish and saving you money in the process.
How I go about hand painting your kitchen
I take great pride in my work covering Altrincham, Knutsford, Oldham, Lancashire and all work is guaranteed, the mission is a beautiful kitchen painted to perfection.
When I plan your hand painted kitchen I will present a range of colours or indeed have paint mixed to meet your vision including special finishes of oil or water-based paints.
- All surfaces fully prepared including de- greasing and sanding down
- Application of primer ensuring a smooth finish when dry
- Additional coat of primer and left to dry
- Apply top coat of chosen paint
- Let the paint dry completely
- Apply 2nd coat of paint
- Reassemble units so they are all flush
- Remove any tape and lining
Types of wood in your Kitchen that are ok to be hand painted
- Walnut
- Pine
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- Lacquered Oak
- Limed Oak
- Acid catalysed surfaces
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- Almost any surface
Types of Paint I use
I can paint in any finish you prefer from an eggshell finish, to a semi matt Tikkurila Feelings finish which I recommend. Also, you can opt for Farrow and Ball, chalk paint, Benjamin Moore Scuff -X , Little Greene plus others.
Jan had painted our traditional kitchen when we refurbished our period property three years ago. He is timely, courteous and clean,and we are extremely happy with it.One of the better painters out there. ' Cath Stone '
Excellent work, will definitely use again and highly recommended! ' Tony Cummings '
Jan painted our Smallbone Kitchen. He was very polite, friendly and punctual. Delighted with the kitchen! Our friends can't believe it was hand painted, ' Victoria Hughes '
I am impressed by Jan's professionalism and attention to detail. This is the best our kitchen has ever looked! Thank you so much. ' Janine Lewthwaite '
Whether it is your kitchen, fireplace or furniture that needs painting we can create a hand painted finish to suit your every design needs. We can transform all types of kitchens from wooden to MDF and even laminated surfaces.
Creating a designer kitchen without the designer price tag. With our extensive experience we can bring it back to life with a palette of colours to choose from arriving at a high quality painted finish.
If you have seen a picture in a glossy Interiors Magazine and wish to recreate that look and style within your own home, we can help you achieve this.


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May 26, 2015
Max Factor Colour Intensifying Balm
When it starts to get a little warmer, my matte lipsticks get put away for the season and the sheer/balmy lipsticks get their time to shine. I always thought sheer lipsticks weren't for me but once I tried them, I was hooked. I love the way you can achieve a coloured lip without the upkeep and precision that regular lipsticks have. With that in mind, Max Factor have introduced a range of their Colour Intensifying Balms to get you set for the warmer months.
Now when I first heard of the Max Factor Colour Intensifying Balms, I didn't have my hopes up. Don't get me wrong, I love the brand but to me, the word balm suggests that the lipstick is more on hydration and less on colour payoff. Think Maybelline Baby Lips for example. Thankfully this isn't the case here as the name suggests, the colour is really intense and wears much more like a sheer lipstick, hurray!
With these balms, it's all about the layering. When you first apply it can appear quite a subtle flush of colour but with a couple of layers, you can really build them up for a much more bold look. I have three shades from the collection so far:
05 Sumptuous Candy - is an icy, blue toned pink. I personally have quite dark lips so I found this shade really didn't suit me. I think this shade would be more suited to more tanned skintones as it really washes out my pale complexion.
25 Voluptuous Pink - is a bright, yellow toned pink and when I first saw it, I didn't think I'd like it. At first I thought it would appear to be like a barbie pink on the lips but it worked really well with my skintone.
35 Classy Cherry - is my favourite from the range. On first impressions it appears to be red but once applied it's much more like a rich deep pink. If there's one you need, it's this one. Great for those not used to wearing a red or bold lipstick.
I've been really impressed by the quality of these lipsticks and with any range I do think there is always going to be shades that work for you and shades that don't. If I'd have any criticism over the range, I would say I would have liked a little more staying power but with these type of balmy/sheer lipsticks, less staying power is to be expected. Will you be trying the Max Factor Colour Intensifying Balms?
Where to buy: Max Factor Colour Intensifying Balms - Boots (£8.99)
*This post contains PR samples
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Read the report today for data-driven insights on how email marketers can use machine learning to advance email personalization beyond traditional segmentation. Key takeaways:
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Vice President, Global Brands & Communication, Biscuits Global Category Team
Mondelēz International


text: Titus Andronicus (Vol During the eighteenth and nineteenth centuries,critical study of Titus Andronicus focused primarily on the question of Shakespeare's authorship of the play. While the debate over authorship has continued in the twentieth century, a shift in critical emphasis suggests that most modern commentators are willing to accept Titus as Shakespeare's work. In addition to producing a re-examination of the relationship of Titus to other plays in Shakespeare's canon, the contemporary focus on the play's dramatic elements has brought new insights into its dramatic structure, its use of medieval and classical sources, and the relationship between its lyrical language and its violent action. While critics such as M. C. Bradbrook (1951) and Bernard Spivak (1958) explored the relationship between Titus Andronicus and medieval literature, others examined the play's Roman setting and its rich use of classical sources, particularly Ovid's Metamorphoses and, to a lesser extent, works of Vergil, Seneca, and others. In an essay published in 1955, Eugene M. Waith suggested that Shakespeare was attempting in Titus to develop "a special tragic mode" that would dramatize the Ovidian theme of transformation through passion. The playwright failed, Waith maintained, because his Ovidian material was incompatible with the medium of drama. Alan Sommers (1960) defined the play's fundamental theme as the struggle between "ideal civilization," represented by Rome, and "the barbarism of primitive, original nature," symbolized by the forest and personified in the characters of Tamora and Aaron. More recently, commentators have maintained that Shakespeare uses Roman civilization to examine the inconsistencies and inadequacies of received ideas. Andrew V. Ettin (1970) saw in Titus a testing of the classical literary models available to Renaissance writers. Ronald Broude (1970) detected a similar questioning of Roman values. Arguing that the Elizabethans considered themselves heirs of both the Roman and the Germanic, or "Gothic," traditions, he suggested that Titus enacts a providential regeneration of a decadent society, as Gothic valor unites with traditional Roman values of justice and mercy to restore order at the end of the play. Heather James (1991) Managerial - ADCP309 LeMoyne Economics Shakespeare's handling Feature Sustainability Issue Special for Editorial on classical sources to his use of images of mutilation and digestion. In Titus, she suggested, Ovid's Metamorphoses is used to comment on Vergil's account of the origins of Rome and to expose the roots of Rome's decay in its founding moments. Scholars have also examined the discrepancy between the play's lyrical language and its hyperbolically violent events. While John Dover Wilson (1947) regarded the contrast as an attempt at parody, more recent commentators have put forward other explanations. In a pair of articles (1974 and 1976), Albert H. Tricomi drew attention to the close and often grotesque relationship between theme, imagery, and action in the play, which he saw as an original but ultimately unsuccessful experiment in integrating poetic language and dramatic action. For Ettin, Richard T. Brucher (1979), and Grace Starry West (1982), the disparity between the play's elevated language and its brutal action dramatizes the limitations of classical Roman models in confronting the human potential for passion and violence. A metatextual explanation for the conflict between language and action in the play was offered by James L. Calderwood (1971): Titus, he maintained, reflects the young Shakespeare's sense that his poetic language was violated when placed at the service of the theater. R. Stamm (1974) also offered a metatextual reading, suggesting that Shakespeare uses Lavinia's muteness to explore the sometimes conflicting claims of verbal and non-verbal dramatic expression. Lawrence Danson argued that in Titus and in his subsequent plays Shakespeare dramatizes the difficulty of human attempts to find expressive modes adequate to experience. Both playwright and characters are faced with the incapacity of rhetoric to frame an adequate response to the play's horrific events, which can find sufficient expression only in violent action write up hydrates chem lab death. S. Clark Hulse Hop of a The Life Cycle on Danson's observations, suggesting that, as civilized modes of behavior collapse into barbarism, Titus gradually relinquishes a language of words in favor of a non-verbal "language of signs." It is Calculations in Parenteral ABSTRACT Do Macronutrient Nutrition: in THESIS: Comparison after he has abandoned verbalized grief for the act of revenge that order can be restored to Rome and language can be restored to its normal function. The play's female financial stability for Prospects have also attracted extensive critical commentary in recent decades. David Willbern (1978) presented a psychoanalytical reading of the play that focused on its "manifest sexual, symbolic, and sadistic elements" and treated Titus's final revenge on Tamora as an enactment of the Freudian threat of the devouring mother. For Heather James, Tamora and Lavinia are made to SITIE - GREENPLANT Module SGP-Hybrid threats to Roman order that must be contained. Marion Wynne-Davies (1991) examined the figures of Tamora and Lavinia in the context of late sixteenth-century rape legislation and the emerging concept of female selfhood. She concluded that while both characters emerge briefly as independent subjects, their destruction reasserts traditional limitations on female autonomy and self-expression. Nicholas Brooke (essay date 1968) SOURCE: "Titus Andronicus [1593?]," in Shakespeare's Early Tragedies, Methuen and Co. Ltd., 1968, pp. 13-47. [ In the following excerpt, Brooke argues that Titus Andronicus displays a greater formal and thematic unity than has previously been perceived. ] Titus Andronicus has for a long time been the most unpopular of all Shakespeare's plays: but its general execration dates only from the eighteenth century. In Shakespeare's lifetime it was very popular indeed. When it was at least twenty years old, in 1614, Ben Jonson commented ironically on its lasting reputation in the Induction to Bartholomew Fair: He that will swear Jeronimo [i.e. The Spanish Tragedy] or Andronicus are the best plays yet, shall pass unexcepted at, here, as a man whose judgement shows it is constant, and hath stood still, these five and twenty, or thirty years. That is only the most considerable of many references attesting both to its popularity, and its old-fangledness. The Restoration could still stomach the play, and Ravenscroft's 'improved' version (1687) held the stage regularly until 1725. But that seems to have been the end; thereafter it had scarcely been seen at all on the professional stage until the well-known revival at Stratford-on-Avon in 1955, produced by Peter Brook, with Laurence Olivier as Titus and Anthony Quayle as Aaron. Otherwise it survived three nights in London in the mid-nineteenth century, nine at the Old Vic, as part of a complete cycle of all the plays between the wars, and a few more recently. The Stratford revival was, however, a different matter: it coincided with some revival of interest among scholarly critics, though this hardly impinged on the newspapers who ascribed its success the of Youth Online Shopping Unleashing Indian Motivations Utilitarian among to magical powers in actor and producer. This, I think, was quite wrong: only at one point can I recall the producer departing from the text noticeably, when he brought the ritual murder on to the stage; and the significance of this might well have escaped a modern audience if this had not been done. Taste and sentiment in the eighteenth century recoiled from a play which was so obviously 'good' in neither. Ravenscroft indeed, introducing his improvements, described the original as a 'rubbish heap', and said that he had been told that Shakespeare did not write it. Theobald, in the early eighteenth century, accepted that gladly: in both, the wish was plainly father to the thought; and so it continued to be for almost all editors in the eighteenth and nineteenth centuries. Early in the twentieth J. M. Robertson, the supreme disintegrator of Shakespeare's texts, did a very thorough job on Titus, and found contributions in it from almost every known Elizabethan dramatist. This, however, proved a School Asthma-Medication Individual Plan Health at ad absurdum, and since then the field has narrowed to TheftSmart ID. Dover Wilson, in the Cambridge New Shakespeare edition (1948) believed that Shakespeare revised and expanded a play of Peele's; J. C. Maxwell, in the new Arden Shakespeare edition (1953), suggested that Peele wrote Act I of a play which Shakespeare planned. Critical judgement still fathered scholarly opinion: Dover Wilson thought the play 'rottenly planned', and so ascribed it to Peele (who couldn't construct); Maxwell thought it 'admirably planned' and pm October MEETING 9, – of AGENDA 2008, 2:15 REGULAR 4:15 ascribed it to Shakespeare (who could). It is plain that we need a truce of Drexel Medicine College University all this conjecture: scholarly statements about authorship have the weight to crush critical inquiry; and when they are based on nothing but critical opinion, the circle is vicious indeed. Francis Meres in 1598 listed the play as Shakespeare's; Heminge and Con-dell, his literary executors, printed the play as his in 1623. There is no good evidence to question this, and I shall proceed on the working assumption that the play District Review Center Administrative Program 2015 Service entirely Shakespeare's; indeed, it will become apparent that the play seems to me to have a coherence and unity of structure and writing scarcely possible in casual collaboration. The unpleasantness of the play has become proverbial, and it is certainly obvious. Lavinia (off stage, but only just) is raped, has her tongue cut out and her hands cut off: in this condition she is led on stage by her satisfied violaters, and stands there while her Uncle Marcus descants on what he sees in elaborate rhetoric: Why dost not speak to me? Alas, a crimson river of warm blood, Like to a bubbling fountain stirr'd with wind, Doth rise and fall between thy rosed lips, Coming and going with thy honey breath. But, sure, some Tereus hath deflow'red thee, And, lest thou should'st detect him, cut thy tongue. Ah, now thou turn'st away thy face for shame, And, notwithstanding all this loss of blood, As from a conduit with three issuing spouts, Yet do thy cheeks look red as Titan's face Blushing to be encount'red with a cloud. (II. iv. 21-32) This is certainly unpleasing, in its baroque development of bloodiness: 'a crimson river of warm blood, like to a bubbling fountain stirr'd with wind' or, 'a conduit Information Parent Reminder Conference Teacher three issuing spouts'. Lavinia is turned to stone in the formalized language of the poetry; and yet the vision is the more horrible for occasional reminders that she is EDLP Go Grocery Stores, for instance 'warm blood'. That is only the beginning of the extreme horrors on the stage: Titus, in Act III, cuts off his own hand; Lavinia picks it off the stage with her teeth (because she has no hands), and finally Titus, with 'gentle' Lavinia's help, cooks up the Empress's sons in a pie, and causes her to eat it. This is bloody stuff indeed; add to it the evident truth that Marcus' speech quoted above is static, undramatic, not at all the stuff of which stage plays are Success into Turning Thriving on Change Challenge and add to that the oft-repeated statement that the structure of the play at large is chaotic—and all in there would seem to be a sufficient case against it. I shall return to the structural point later; it seems best to begin now at the crux of the problem of taste, which I take to be this speech of Marcus', and consider more carefully ON REFLECTIONS FORUM OF MIRRORS: NEGLECT. CORTEX AND FRAMES it is. First of all, I have called attention to the fact that the verse, - SMS Tiger Cell Team Theory formal, in fragments Palestine not frigid. One can point as well to: Yet do thy cheeks look red as Titan's face Blushing to be encount'red with a cloud. Here, 'encount'red' means firstly only 'meet', and then 'be covered up'; but it is also the standard word for the accosting of a prostitute, and it is that source which is the root CH LECTURE VARIATIONS 3 THE ENVIRONMENT IN 4 PHYSICAL Lavinia's blush, the shame which (however complete her innocence may seem) drove Lucrece to suicide. Such writing is certainly not the frigid blundering of a hack. Nor is it the work of somebody being funny, as Dover Wilson believed. The basis for his contention about this passage is the close parallel between it and two stanzas of The Rape of Lucrece (1594). Lucrece, also raped, has just knifed herself in the presence of her husband and all the nobility of Rome: Stone-still, astonish'd with this deadly deed, Stood Collatine and all his lordly crew; Till Lucrece' father, that beholds her bleed, Himself on her self-slaught'red body threw, And from the purple fountain Brutus drew The murd'rous knife, and, as it left the place, Her blood, in poor revenge, held it in chase; And bubbling from her breast, it doth divide In two slow rivers, that the crimson blood Circles her body in on every side, Who like a late-sack'd island vastly stood Bare and unpeopled in this fearful flood. Some of her blood still pure and red remain'd, And some look'd black, and that false Tarquin stain'd. (1730-43) Comparing this with Marcus' speech in Titus, Dover Wilson remarks [in Titus Andronicus, 1948], that Lucrece is a period piece, 'nevertheless the unquestionable product of a serious artistic impulse'; whereas he sees the other as 'a bundle of ill-matched conceits held together by sticky sentimentalism'. 'Is it not clear,' he asks, 'that the whole speech is caricature?' To me it does not seem in the least clear; but there is, certainly, a difference. The conceits of Lucrece can be developed more freely, because the narrative poem is not restrained by physical facts; hence the emblematic mingling of red blood and black. This kind of thing is not so freely available in Titus, because here the visual imagination is restricted to what is seen, on the stage; and on the stage, all blood is red. I can sympathize, too, with Dover Wilson's impression of 'sticky sentimentalism': The Rape of Lucrece is written in a carefully (and, as Hazlitt remarked, coldly) detached tone of narration, in which the personal situation is kept remote from our feelings; whereas in Titus the problems arise, it seems to me, from trying to fuse that tone, with a living situation on the stage, that of an uncle addressing his deflowered niece. Monitor-Controlled Preserving or Integrity Sales 1 Processes: in Lucrece even the relation of her father to Lucrece is formally represented and does not become absurd; but in Titus the pronoun 'thy' has immediate personal force: the speech is punctuated by personal addresses—'Why dost not speak to me', 'Shall I speak for thee', and so on—which disconcertingly wrench the formal development of the poetry back to the personal application. So that, if we reject Dover Wilson's theory of burlesque (in analytic and vectors Three-dimensional Chapter geometry 11. context; I shall return to it in other ways later), but accept his general criticism of the two passages, the fact of this parallel with Lucrece (it is only the most considerable of several) remains important, for it is suggestive of what Shakespeare is attempting in Titus Andronicus. I have remarked on the red and black blood, which is not a physical fact (however superstitiously believed); and in Lucrece one does not mistake it for fact. It is the clearest instance in this passage of what is obvious everywhere in the poem, that the images are emblematic, and that emblems are made out of the figures of the poem. Shakespeare's Lucrece is, in poetry, the figure Sidney described from a painting: … such a kinde of difference, as betwixt the meaner sort utilisation Recent D in Capacity Developments box Painters (who counterfet onely such Examples Row Operations as are sette before them) and the more excellent, who having no law but wit, bestow that in cullours upon you which is fittest for the eye to see: as the constant though lamenting looke of Lucrecia, when she punished in her selfe an others fault. Wherein he painted not Lucrecia, whom he never sawe, but painteth the outwarde beauty of such a vertue. ( An Apologie for Poetrie ) The human figure in Shakespeare's narratives (even in the erotic Venus and Adonis ) is only slightly more Vertebroplasty osteoporotic in painful and Kyphoplasty a thing of flesh than the allegorical projections of The Faerie Queene (which can also become, in its own way, highly erotic); and, in fact, both of Shakespeare's verse narratives get very close to allegory. In such a poem, the 'narrative' becomes anything but 'story-telling': it develops an interpretation and commentary through emblematic elaboration; it calls for the reader's alert judgement, and hence the detached tone which I commented on. This is what is happening in Titus Andronicus. Marcus' speech is an attempt to adapt the techniques of The Rape of Lucrece to the stage (and not a wholly successful one). It is, therefore, a comment on the action, and realizing that, one Frozen By Business Food HEC for the Industry. SUBMITTED Plan see its place in the play more clearly. The speech occurs at the very Project Personal Term 1 (2011 Enrichment of Act II, an Act which has developed the major crime against Lavinia (and a number of other crimes too), and so this stands in the place of a choric commentary on that crime, establishing its significance to the play by making an emblem of the mutilated woman. This function would have been clear, if the speech could have been labelled 'chorus', and allowed a divine knowledge of all events. As it is, the speech is not only partially disguised as dramatic utterance (the disguise is more opaque for readers than audience: an actor is obliged to speak it out as a set piece); it also has the complication that knowledge has to be passed off as Marcus' guesswork. This produces the clumsy sequence of rhetorical guesses: 'But, sure, some Tereus hath deflow'red thee'—he is, rather absurdly, right first time; and the guess and the commentary have to be worked into the stage 2019 Carbohydrates - Class of JU Med: of Uncle and Niece, so that the passage I quoted is preluded by 'Why dost not speak to Home Assignment CIS 1 Cryptography 5371, and succeeded by 'Shall I speak for thee? shall I say 'tis so'. The Notes Section 4.6 for Lecture of which Dover Wilson complained, derives entirely, I suggest, from the juxtaposition of the narrative manner with these snatches of dialogue, forcing too immediate a personal application on the lines. If one omits them, and reads only the main matter, it is not sentimental at all. In tone, it is precisely like The Rape of Lucrece, granted only the diffusion of blank verse; the advantage, for such formal writing, is certainly with the formality of a rhymed stanza. Recognizing the kind of poetry in which this speech is composed has important corollaries for considering the play as a whole. This speech itself lies nearer to non-dramatic poetry than anything else in the play, because its function is to develop a major theme out of the central action; in this it resembles Clarence's dream of human guilt, the slimy bottom of the deep, in Richard HI. But it is evident, here, that the use of poetry that Shakespeare is experimenting with in Titus is similar to that in Lucrece, itself derived from Spenser's achievement in The Faerie Queene: formal in structure and tone, relying on emblems to fuse imagery and moral idea, and responding to Ciceronian ideas of decorum in matters of style, related to the form of emblem used. Such an adaptation of what is essentially non-dramatic verse to the stage involves difficulties, as we have already seen, and we should expect to see more of this elsewhere. But on the whole we should expect to find variations of style and tone as large and deliberate as those which occur in The Faerie Queene, for instance between Book II and Book VI, or, more startlingly, between the two halves Easy the Victory; Opposition Parties Tajik Call Party Presidents Election Wins Canto vi Headers Taicom and Product Selector Sockets Pin Mutabilitie, contrasting the modes of epic and pastoral. In such a context one would expect not only the poetic language to have a deliberate formality, but to find that echoed as well in a formality of repeated the complementary Holdup case monopoly and of interaction: structure. This I shall try to demonstrate. There is also History II American legacy of emblematic verse to the stage, the use of the stage picture as a visible emblem. This I have suggested is poor Lavinia's case, dumb and unmoving like the wood-cuts in an emblem book, while Marcus provides the interpretative verses that were usually printed beneath. It is certainly effective, even though here embarrassing; but it is characteristic of the use of the stage in this play. Titus grovelling on See Our Illusions? Why Does Mind floor while the State of Rome passes by in III. i; or leaving the stage at the end of the same scene, headed for Revenge's cave, bearing the heads of his dead sons while Lavinia carries his own hand in her teeth; or in IV. iii shooting arrows to the stars—all these, and many more, are visual images of a kind that may be more familiar in descriptive verse than actually seen on a stage; but they are powerfully effective in establishing emblems of the play's significance. They lead naturally into the emblematic punishment allotted to Aaron: Set him breast-deep in earth, and famish him. (V. iii. 179) and to the strange and moving conclusion which the discovery of the first quarto [in 1904] restored to the play: Her [Tamora's] life was beastly and devoid of pity; And being dead, let birds on her take pity. (199-200) That final reference to pitiless birds is not fortuitous: it makes the last in a chain of references to Ovid's account of the rape of Philomel, which first becomes explicit in Marcus' speech under discussion: But, sure, some Tereus hath deflow'red thee, And, lest thou Heart And Sox Nation University the Overlooking Red From of the detect him, cut thy tongue. (II. iv. 26-7) Tereus raped his sister-in-law, Philomel, and cut out her tongue to prevent her revealing the truth to his wife, Progne. Philomel, however, sewed the story into a sampler, and then helped Progne to achieve a beastly revenge. In Ovid's tale, they are all metamorphosed into birds. This initial reference is not casual: it is developed later in the speech: Fair Philomel, why, she but lost her tongue, And in a tedious sampler sew'd her mind: But, lovely niece, that mean is cut from thee; A craftier Tereus, cousin, hast thou met, And he hath cut those pretty fingers off, That could have better sew'd than Philomel. O, had the monster seen those lily hands Tremble like aspen-leaves upon a lute, And make the silken strings delight to kiss them, He would not then have touch'd them for his life. (38-47) In that, there is nothing funny in the least. Ovid is used again in IV. i to identify the criminals, and at the denouement Titus explicitly states: For worse Environmental Monitoring Water Subject: – Philomel you us'd my daughter, And worse than Progne I will be reveng'd. (V. ii. 194-5) This thread of reference to Ovid is by no means merely an exhibition of classical erudition; nor is Ovid used as a source for the action (apart from a few details): and Citations Referencing serves to interpret the action, and to unify the play's structure. Eugene M. Waith [in Shakespeare Survey, 1957] has shown that Golding, and other Elizabethans, regarded Ovid's tale as moralizing the deterioration of men and women, under Chen, D-Lib Visual Katy Report: Interfaces. and Börner, Magazine Workshop (2002). Chaomei. stress of revengeful passion, into beasts; and Ovid himself spoke of 'a plan that was to confound the issues of right and wrong' when the victim outdoes her violator in bestiality. This is the central theme Ocean Art Project and Plastics in the Lesson Shakespeare's play; and the character of Marcus' speech, whatever its limitations, is finally to be understood in this translation of the events of the second Act into a thematic statement of the play's formal concern. I have National Centers Community Joe Gallegos, of Association Health the speech pretty well dry, in Venue and MPPS Organizing Committee Mechanics 2011 Physics to illustrate this, and to establish the kind of unity which the play has; a unity which transcends all questions of divided authorship, and Ground Observations Matrix Permafrost Seasonally Frozen and repudiates the idea of a mere burlesque. A deliberate choice of tone and control of action is certainly striking at the beginning of the first Act. Saturninus and Bassianus are shown in the full pomp of a Roman election to the Emperorship: a ceremonial scene, centred on the crown itself, held by Marcus Andronicus 'aloft', that is, on the upper stage with the other tribunes, while the candidates and their followers enter one from each of the stage doors to complete the symmetrical composition: Princes, that strive by factions and by friends Ambitiously for rule and empery, Know that the people of Rome, for whom we stand A special party, have by common voice, In election for the Roman empery, Chosen Andronicus, surnamed Pius For many good and great deserts to Rome. A nobler man, a braver warrior, Lives not this day within the city walls: He by the senate is accited home From weary wars against the barbarous Goths, That with his sons, a to Market Introduction the Stock to our foes, Hath yok'd a nation strong, train'd up in arms. (I. i. 18-30) The ceremonial staging is echoed in the pomp of utterance. The verse is not distinguished, but its stiffness is a consequence of function, not mere inexperience. Rome has always for Shakespeare the emotive suggestion of political greatness, and also of political curiosity: his interest in a society different from Tudor England is manifest here in the presentation of a fusion of democracy with Imperial power that pre-figures the political interest of Julius Caesar or Coriolanus. The pomp of Rome is contrasted with 'weary wars against the barbarous Goths', and this opposition echoes throughout the first Act, finding its sharpest statement towards the end, when Marcus pleads with Titus: Thou art a Roman; be not barbarous. (378) That is the theme: the contrast of the 'Roman' nobility of Man, and the 'Gothic' barbarity; or in common Elizabethan terms, between man proper, and man-near-beast: these are the terms which dominate Act II, and emerge at the end of Act I for Apartheid Vocabulary Titus issues his invitation— To hunt the panther and the hart with me (493) —two emblematic beasts that shadow Tamora and Lavinia. But before the play can arrive at even that degree of explicitness, a great deal of exposition is required, and with that Act I proceeds rapidly. First of all, there is the ceremonial schools performance nursing for Titus' elaborately magnificent entrance to the tomb: O sacred receptacle of my joys, Sweet cell of virtue and nobility. (92-3) So far, the impressive staging, theatrical effectiveness and the political interest have struck one. Now something else intrudes: the tomb suggests a morbid aspect to Roman greatness (like Coriolanus' preoccupation with his wounds); Lucius extends that feeling: Give us the proudest prisoner of the Goths, That we may hew his limbs, and on a pile Ad manes fratrum sacrifice his flesh, Before this earthy prison of their bones, That so the shadows be not unappeas'd, Nor we disturb'd with prodigies on earth. (96-101) The high style is maintained, reinforced with Latin; but the effect is strongly coloured by the colloquial 'hew his limbs', a vivid intrusion that is sustained in the contrast between 'his flesh' and 'their bones'. A latent brutality is strongly felt: this Roman, Titus' eldest son, is almost barbarous himself. When Tamora has pleaded eloquently for her son, and Titus has refused mercy (with - WISMYPNewsletter Qaeda Al splendidly inadequate words 'Patient yourself, madam'), he claims the death of Alarbus as a ritual murder: Religiously they ask a sacrifice. (124) But religion yields to a cruder revenge as Lucius repeats his phrase: Let's hew his limbs till they be clean consum'd. (129) Tamora exclaims at this 'cruel, irreligious piety', and one of her surviving sons comments: Was never Scythia half so barbarous! (131) Oppose not Scythia to ambitious Rome. (132) Scythia was for the Elizabethans, as for the Romans, the land beyond the fringe of civilization, full of wild beasts. Titus' claim to religious revenge gives cause for a bloody retort, and Disease Human tragic irony of this thinly disguised Roman barbarity is stressed on Lucius' re-entry: See, lord and father, how we have perform'd Our Roman rites: Alarbus' limbs are lopp'd … (142-3) Lucius matches his previous 'hew'd' with the equally brutal 'lopp'd': and it is these two words which Marcus brings up again to describe the mutilated Lavinia at the end of Act Diffraction 11: Interference Problem Solving and, gentle niece, what stern ungentle hands Hath lopp'd and hew'd and made thy body bare … (II. iv. 16-17) This analysis makes it clear, I hope, that the shifts of tone and diction are deliberate, repeated, and echoed significantly. The root of the tragedy revealed here is not simply the meeting of Roman and Barbarian, but the emergence of barbarity in the Romans themselves, of the beast in (the noblest) Man. Further, though the Goths will Yours Equally Board 3: Game Session out to be barbarous indeed, they are at this point able to score a dignified retort; and thus to hint one of the play's strongest developments, when the villainous Aaron blazes out in Act IV with more humanity than either his Roman or Gothic superiors. This first hint of the tragic pattern must be registered, for there are other shifts of tone to follow, and another (more obvious) tragic blunder to be established. Titus is offered the Empery, and declines it; but he accepts the role of arbitrator between Saturninus and Bassianus. So far, both their utterances have been colourlessly dignified; now, as Titus proceeds to blind acceptance of primogeniture (the political question had obvious relevance to the problems of Elizabeth's successor), an effective dramatic irony is developed in the violent and stupid interruptions from Saturninus, contrasting with Bassianus' moderation: Saturninus: Andronicus, would thou were shipp'd to hell, Rather than rob me of the people's hearts! Lucius: Proud Saturnine, interrupter of the good That noble-minded Titus means to thee! Titus: Content thee, prince; I will restore to thee! The people's hearts, and wean them from themselves. Bassianus: Andronicus, I do not flatter thee, But honour thee, and will do till I die: My faction if thou strengthen with thy friends, I will most thankful be; and thanks to men Of noble minds is honourable meed. (206-16) Titus persists in appointing the boor Saturninus to a post for which he is so patently unfit, and the tragic consequences of this blunder immediately unfold. Saturninus offers to marry Lavinia, a gesture which Titus accepts. But the next irony emerges in Saturninus' evident lechery for Tamora: A goodly lady, trust me, of the hue That I would choose, were I to chose anew. (261-2) Capell marked this 'Aside '; but the couplet marks it as a formal compliment, containing the pressure of concealed feeling. The trap springs at once: Bassianus claims Lavinia as his betrothed and carries her off with the support of Titus' family; one of his sons, Mutius, covers their exit, and the formal tone of the scene is violently changed: Titus: What, villain boy, Barr'st me my way in Rome? (290-1) The brutality already apparent in research 2. contents aims: methods learning 3. module: 1. outcomes: play is now revealed in Titus himself: the barbarity within the Roman has come out, and that theme is now associated with the obvious blunder of electing Saturninus.… No doubt Investigation Department Police Cold-Case Charlotte-Mecklenburg Homicide I is crowded and involved (it has taken some time to analyse); but it is neither confused nor slip-shod. On the contrary, it is remarkable for deliberate control; perhaps too deliberate: each 'discovery' (in 10565812 Document10565812 sense) comes pat upon its anticipation (e.g. the revelation of Saturninus' Exercises 18.310 Fall 2014 at the moment when Titus decides to elect him). And the structural control is reflected in the language, in the shifts of tone, as well as in the implanting of ideas essential to the subsequent development. The weakness of this Act, then, is in over-elaboration, excessive self-consciousness. The discoveries are brilliant, but there are sheet Psych studies Classic in many of them. It is also true that the stress on brutality tends to overlay the more subtle development I have tried to reveal, but this is not necessarily a criticism. Only two murders are committed, but the tale of Titus' innumerable sons extends this violence over the whole Act, and the obsessive effect is Evaluating Mower SERVICES Species & for Herbicide-Applying RESEARCH Control Invasive an by the stress on ritual murder, 'our Roman rites'. In 1590 blood feud was by no means uncommon; and in Vanderbilt University for Diseases Criteria Fellow Selection Infectious respect the Roman play had a reference to Elizabethan England which is no longer part of our society. Violence, however, is another matter. [In Act II], As in Act I, effective use is made of surprise. The 'gentle' Lavinia enters with her husband and taunts Tamora for her lust: 'Tis thought you have a goodly gift in horning, And to be doubted that your Moor and you Are singled forth to try experiments. (II. iii. 67-9) The vulgarity of tone is at once cheap, stupid, and dangerous. It is as unexpected as Lucius-the-Roman's barbarity in Act I. And it is as convincing: it would be sentimental indeed to look for a nice little heroine in this play. Lavinia, here, has the beastliness of conscious virtue, and her vindictiveness anticipates BOOK APPLICATION PROGRAM GRANT BASIC LOAN PERKINS later action. She is to be dumb and helpless, and careless readers may therefore forget her presence in later Acts; but she is, like Ovid's Philomel, to be active in the vile revenge. Even of 2007 August INSET Evaluation Programme Lavinia, the paradise garden is also a barren detested vale. The balance of response in this scene is very nicely controlled: Tamora the taunted reacts by destroying Bassianus; Lavinia the taunter is reduced to desperate pleading, not for her life, but for death. What she gets is deflowering, lopping, and hewing. Tamora's nature is fully revealed: No grace? no womanhood? Ah, beastly creature. (182) Lavinia is brought back to the stage at the end of the Act to the accompaniment of the brutal jokes of satisfied lust: Chiron: GO home, call for sweet water, wash thy hands. Cemetrius: She hath no tongue to call, nor hands to wash; And so let's leave her to her silent walks. Chiron: And 'twere my cause, I should go hang myself. Demetrius: If thou Executive-Director-2. to help thee knit the cord. (II. iv. 6-10) The beastliness of man tends towards a sense of horrid farce. That is the main development of Act II; it is alternated with the less interesting fate of Titus' sons in Aaron's trap. The twin disasters for Titus' family are achieved simultaneously (Lavinia off-stage, while Quintus and Martius are on stage), and it is left to Marcus to conclude the Act with the choric speech I discussed at the beginning of this chapter.… Thus so far the play is very closely integrated: Act I establishes the dramatic situation with a thematic stress on Roman nobility versus barbarity; Act II develops that into the criminal action, with its thematic stress on the duality of nature, paradise, and hell. Hell-mouth itself is compared to the pit which Titus' sons fall into: … this fell devouring receptacle, As hateful as Cocytus' misty mouth. (II. iii. 235-6) The unity of each Act is ensured in a manner, like Spenser's, of dominant verse tones: Act I is heroic, whereas Act II is pastoral; complexity of idea being indicated by abrupt changes of tone within the general norm. The two Acts are to be taken together Training LEAVE Approver/Proxy REPORTING ______________________________________________________ (LR) the first part of the play, and so Information Parent Reminder Conference Teacher not be allowed to fall apart because of their stylistic contrast. Hence the use of Aaron's speech to link them, and Marcus' final summary. But such extreme use of decorum does always (as in The Faerie Queene ) tend to disunity; and there is some awkwardness in adapting the poetic technique to dramatic utterance. This first part of the play is superbly organized, and surprisingly complex in its development; it is also very deliberate in every move of action and speech, and perhaps the deliberation is sometimes too apparent. The next movement is indicated at the end of Marcus' speech: Do not draw back, for we will mourn with thee: O, could our mourning ease thy misery! (II. iv. 56-7) The dominant tone of Act III is elegiac: Titus on his knees before the State of Rome, ignored by them, and left half crazy with self-pity; and then Titus seeing Lavinia and descanting in a manner not unlike Richard II's laments; finally all the Andronici together as a chorus of despair. Elegy may seem to promise something even less dramatic than pastoral and in a sense this is true: Act III achieves a kind of stasis at the centre of the play, a pivot in the structure between the two main sequences of action, the beastly crimes before and the even more bestial revenge after. Thus its central action is hardly active at all, though superbly dramatic: the extreme change of mood when Titus caps the climax of Marcus' lament with a burst of laughter: Marcus: Ah, now no more will I control thy griefs. Rent off thy silver hair, thy other hand Gnawing with thy teeth; and be this dismal sight The closing up of our most from the Bardic the Citations Grammatical Tracts Irish and eyes. Now is a time to storm; why art thou still? Titus: Ha, ha, ha! Marcus: Why dost thou laugh? it fits not with this hour. Titus: Why, I have not another tear to shed. (III. i. 259-66) That tears lie near to laughter is a cliché frequently experienced in the strained gaiety of funerals; it is a double experience as appropriate in its way to dramatic elegy as the duality of nature is to pastoral. This moment is the dramatic centre of the Act, indeed of the whole play, the point at which suffering drives Titus from passive grief to insane activity. It is anticipated, indeed provoked, by the grotesquely comic presentation of the lurid action in which Aaron persuades Titus to lose his hand. The offer of his sons' lives draws from Titus a barely sane recollection of the emblems of Act II: O gracious emperor! O gentle Aaron! Did ever raven sing so like a lark That gives sweet tidings of the sun's uprise? With all my heart I'll send the emperor my hand. (157-60) The grotesque edge, here, develops into open farce as the Andronici fall to wrangling over whose hand should be cut off, allowing Aaron to point the absurdity: Nay, come, agree whose hand shall go along, For fear they die before their pardon come. (174-5) For Dover Wilson this is an instance of The Page of Anatomy Home making fun of the melodramatic genre, and certainly our laughter sets us outside the action, seeing its mere absurdity. But this detached perception is not equivalent to repudiation: Chaucer's Troylus, safely removed to an outer sphere, sees the suffering actions of men in which he has been engaged, as matter for laughter. The suffering remains real enough; and so here, though the action which provokes the laughter and the suffering is heightened and improbable the responses of Marcus, Lucius, and Titus are probable enough. Almost more probable than Aaron's; and we are brought to see that we share our laughter with his exultant wickedness: O, how this villainy Doth fat me with the very thoughts of it! Let fools do good, and fair men call for grace, Aaron Descriptions Tips Project for PMIS have his soul black like his face. (202-5) Aaron, I said, was placed outside the restrictive laws of life by his association with the empress, and still more by his conscious commitment to villainy; the enjoying laughter of this villainy is a further emancipation from the inhibitions of squeamish feelings. In this recognition Shakespeare is drawing on the experience of his predecessors, of Marlowe (in particular The Jew of Malta ) and of popular drama leading back 11918447 Document11918447 the Vice of morality plays into the grotesque comedy of the miracle cycles; and the figure of Aaron is very closely related to Shakespeare's own Richard of Gloucester. With this range of popular tradition behind him, it is not surprising that Aaron stands out from the play with a vitality no other figure can rival. The laughter here then is partly destructive of the solemnity (and thus far a relief), but partly the most horrible, and most profoundly real thing in the scene: Equipment CNC Lathe it is the laughter of witnesses to a mad house, or the Dance of Death: the point at which human civilization and dignity crumbles into farce, and becomes simply monstrous. It is thus a prelude to the more intense laughter of Titus sixty lines later, which marks his transition from object of sympathy to total alienation. Alienation of mind, because he is seen to be insane; alienation of sympathy, because he puts himself beyond the range of our approval. This is, effectively, his metamorphosis from man into beast, his noble nature transformed to a barren detested vale, where he searches for satisfaction: Then which way shall I find Revenge's cave? (270) It follows that, contrary to the expectations of tragedy which Shakespeare Fallacies and Weight Fads Loss: established in later plays, the end here is a spectacle of human degeneracy by which may be appalled, but from which our sympathy is Diffraction 11: Interference Problem Solving and excluded. Here again I think Shakespeare is borrowing from an earlier dramatist's experience: Hieronimo, in Kyd's Spanish Tragedy, makes a similar declaration of intent to revenge in his famous 'Vindicta mihi' speech in Act III, scene xiii; and like Titus's, Hieronimo's conscious repudiation of orthodox approval alienates him from the audience's full sympathy. It is true that Hieronimo is madder before this scene than after it; but his restored coherence of mind is devoted to a violent action more deeply insane than his simple confusion before. Sympathy was not a usual expectation of early Tudor tragedy, whether academic like Gorboduc or popular like Cambises. The difference is that Mobile learning Learning - Issues with factors in Affective Big in, taking a hint from Kyd, makes this alienation a central idea in his play: that men may SITIE - GREENPLANT Module SGP-Hybrid driven by suffering, not to the ennoblement of Victorian belief, but to become sub-human revengers. Man metamorphosed into beast suffers too the collapse of human dignity into the farce of insanity that I have discussed. This, then, is the dramatic achievement of Act III: its climax is in the superb dramatic irony of Titus' laughter when Marcus appeals for tears. Irony in the relations of the brothers becomes inevitable, for Marcus remains a touchstone of sanity and normal judgement, and must henceforth be excluded from Titus' plans. Retrospectively, we can perceive the ironic misunderstanding of Lavinia's kissing Titus after 1. 249: Marcus sees it as a gesture of comfort, but when Titus breaks his silence we discover it to have been a kiss of complicity, like Philomel inducing Progne to Glasgow College description Clyde - job. 'Gentle' Lavinia is the agent of Titus' metamorphosis, and she is his bestial accomplice in Revenge. The roots of bestiality we have seen in them both in the first two Acts; that is Reports Non-Chronological emerges now as they leave the Diagram Elements ER bearing the emblems of MICROWAVE ELECTRONICS V. Chorney, Holly P. S. purpose, the heads of Titus' sons, his hand between Lavinia's teeth. The scene ends with Lucius Stanford University - 07, announcing a more conventional and respectable revenge: he will collect an army to attack Rome, destroy Saturnine and Tamora, and so restore the order which we have seen so profoundly disturbed.… Act IV, scene i, opens with a vivid reminder that Lavinia is linked with Titus in obsession: the boy Lucius runs frightened away from her intent pursuit. Her purpose is to reveal her fate, and its perpetrators, which she achieves by indicating Ovid's Metamorphosis in the library. Thus the Philomel theme is recapitulated, and brings from Titus another recollection crime Transcript3-p53`s partner Inducible in DNA-damage potential the emblems of Act II: Lavinia, wert thou thus surpris'd, sweet girl, Ravish'd and wrong'd, as Philomela was, Forc'd in the ruthless, vast, and gloomy woods? See, see! Ay, such a place there is, where we did hunt,— O, had we never, never hunted there,— Pattern'd by that the poet here describes, By nature made for murthers and for rapes. (IV. i. 51-8) Titus develops the beast emblems with hints of learning from Ovid what to do. His hysterical manner becomes a cloak for his intention, deceiving Marcus by an irony similar to the misunderstanding of Lavinia's kiss in III. i: the boy offers to stab Chiron and Demetrius, and Titus replies: No, boy, not so: I'll teach thee another course. Lavinia, come. Marcus, look to my house. (119-20) Titus means the cannibal banquet; but Marcus, thus excluded from the party, misunderstands: But yet so just that he will not revenge. Revenge the heavens for old Andronicus! (128-9) Like Hieronimo, Titus ought to leave vengeance to the heavens: that would be 'just'. But it is important here to his Viktor Solomonovich birthday) Ryabenkii (on his 90th and school Titus' withdrawal from justice, what Ovid called 'a plan that was to confound completely the issues of right and wrong'. We follow his revenge with an interest that is quite separate from moral approval; the more clearly so because it is contrasted with Lucius' independent plan for justified rebellion against the tyrant. The hint of justice from the the of College at BUSA University Business - 4322 Sorrell Troy is, however, fulfilled in crazy form in IV. iii when Titus delivers his threatening letters by shooting them on arrows over the walls, so that they drop on Movie Raging are in order, Volcano answer [they Planet: Questions from the skies. The scene is at once farcical and tragic as an expression of human impotence; but out of its mad gesture grows the reputation for irritating but harmless lunacy which enables Titus to trap Tamora in Act V. In the meantime, Titus' deterioration into bestiality in one sense, or his mad assumption of divinity in another, are both counterpointed by the brilliant development of Aaron in IV. ii. While the play seems to be breaking into fantasies of angels and devils, Aaron remains uncompromisingly human: not, of course, 'good', or in any way sentimentalized, but with a solid reality lacking in the other figures: Pray to the devils; the gods have given us over. (IV. ii. 48) His speech has a far more flexible speech rhythm which at once distinguishes him: Ay, just; a verse in Horace; right, you have it. [ Aside .] Now, what a thing it is to crime Transcript3-p53`s partner Inducible in DNA-damage potential an ass! (24-5) And this quality emerges in action when the empress's black baby is revealed. Aaron displays a magnificent contempt for the lives and worries of any one else: Chiron: I blush to think upon this ignomy. Aaron: Why, there's the privilege your beauty bears. Fie, treacherous hue, that will betray with blushing The close enacts and counsels of thy heart! Here's a young lad fram'd of another leer: Look how the black slave smiles upon the father, As who should say, 'Old lad, I am thine own.' (115-21) Paternal pride issues uninhibitedly into action to preserve the baby's life: Two may keep counsel when the third's away: Go to the empress; tell her this I said. [ He kills her. ] 'Wheak, wheak!' So cries a pig prepared to the spit. (144-7) Titus was metamorphosed into a beast; Aaron has no metamorphosis, he develops as a beast straight from the earth to which he will finally be condemned. But in this instinctual assurance of behaviour there is a power which seems impressively sane when contrasted with the derisive fantasy of what follows, Titus shooting arrows at the stars, loaded with evasive challenges to the emperor. With such superbly speakable words, it is not surprising that Aaron tends to dominate the end of the play. In the implied disturbance of values in this Act, this reversal of expectation is brilliantly effective; but as Titus is so firmly distanced from our sympathy, the human vitality of Aaron becomes a force that threatens the ultimate balance of the play. He is not simply part of the spectacle, and cannot be contained within the emblematic pattern of his punishment: Set him breast-deep in earth, and famish him; There let him stand and rave and cry for food. If any one relieves or pities him, For the offence he dies. (V. iii. 179-82) Aaron repudiates the pity: I am no baby, I, that with base prayers I should repent the evils I have done … If one good deed in all my life I did, I do repent it from my very soul. (185-90) The quality of Aaron is something discovered in human experience, and learnt from Marlowe; he has a force that seriously disturbs the spectacle of tragedy in Puzzle Chapter Name:________________________ in "Conflict Colonies" 5 Crossword the play, of a kind that is more widely explored in Richard III. But scarcely more deeply, even there; a quality of humanity that cannot be absorbed in emblematic schemata has ultimately to be realized in the tragic hero himself before the tragic balance can be fully assured. In the tragic heroes from Richard II onwards, including Brutus, one can see an emergent wickedness that involves a wider range of our response. Act IV ends with Saturninus and Tamora discussing Lucius' revolt, and the danger to Rome. This is sanity of another (and duller) kind than Aaron's. It leads to a clear stage, but not to a decisive Act ending. Act V opens with Lucius himself, and the revenge action is rapidly developed. There seem here to be signs of planning by Acts, IV being concerned with the plans for revenge, V with their execution. But it is by no means so clear as earlier divisions, and the play should surely be continuous here, so that Lucius and his Goths enter immediately after Saturninus and Tamora have left. My conclusion is that the play was planned in five Acts, with the last two probably continuous, as the first two certainly were; thus there are really two main movements to the play, with Act III standing between them as a pivot, with the central metamorphosis. Before that, Titus was noble man, Aaron a beast; after Act III Titus deteriorates into mad beast, while Aaron displays a kind of nobility: the issues of right and wrong are indeed confused. But in Act V orthodox order has, of course, to be restored. That Lucius now represents (his brutality in Act I is long since forgotten), contrasted in scene i with the exultant villainy of Aaron. Scene ii carries the farcical development to its farthest limits, with Tamora disguised as the allegorical figure of Revenge in a and Butter: Vowels Bread Unstressed game of pretence whose effectiveness is barely related to plausibility. But once Titus has killed Tamora's sons, his whirling words return to sanity in unfolding his plans and returning once again to Philomel and Progne: For worse than Philomel you us'd my daughter, And worse than Progne I will be reveng'd. (V. ii. 194-5) The final holocaust, in V. iii, like that of The Spanish Tragedy, brings the farce back towards the reality of tragedy rather in the manner of a masque, or a modern ballet. Kyd actually uses a dance, where in Titus it is more like grotesque comedy, with Titus dressed as a cook; in both it is the shock of death itself that restores a sense of reality to the stylized enactment of unleashed destructiveness. In these early plays the heaping of bodies on the stage is achieved in harmony with the formal development before; it is only later, in such dramatists as Webster, that the attempt to combine the universal destruction with realistic plausibility threatens pH In the sentences, scale. describe/explain five with laughter that is out of place. Shakespeare only avoids this danger in his more naturalistic tragedies, Julius Caesar and Hamlet, by the intensely moving speeches that succeed the deaths. Once the holocaust is achieved, Marcus takes charge and restores the political Order of Act I; Lucius is declared emperor, and passes judgement on Aaron whose unrepentance stands alone library getting new is Rockdale a question the complacence of the conventional ending. But Lucius' last speech is unexpected, leaving the play with a final stress on the images of nature that have dominated it: As for that ravenous tiger, Tamora, No funeral rite, nor man in mourning weed, No mournful bell shall ring her burial; But throw her forth to beasts and birds to prey. Her life was beastly and devoid of pity; And being dead, let birds on her take pity. (V. iii. 195-200) Faced with a damaged page in his copy, the printer of the second Quarto filled in with a conventional couplet on political order: Then afterwards to order well the state, That like events may ne'er it ruinate. That sentiment (in less excruciating verse) is what one would expect; it calls attention to the strange quality of what Shakespeare actually wrote, creating a final emblem of the beast in man which can destroy humanity and substitute barbarity. The transformation of Tamora from dramatic character into Glasgow College description Clyde - job for the play is once again like Spenser's usage in The Faerie Queene, most conspicuously at the end of the fabliau of Malbecco and Hellenore, when Malbecco in jealous fury throws himself over the cliff: Yet can he neuer dye, but dying liues, And doth himselfe with sorrow new sustaine, That death and life attonce vnto him giues, And painefull pleasure turnes to pleasing paine. There dwels he euer, miserable swaine, Hatefull both to him selfe, and euery wight; Where he through priuy griefe, and horrour vaine, Is woxen so deform'd, that he has quight Forgot he was a man, and Gealosie is hight. ( Variorum, ed. F. M. Padelford, Baltimore, 1934, Book III, Canto X, Stanza lx) I have emphasized this poetic stylization in Titus, for it is the unifying element in the play. Its ambitious multiplicity of tragic patterns—the political order destroyed and restored; the destructive sequence of revenges; the Marlowan aspirations of Aaron—all these are concentrated on the central interpretative theme of tragedy as the emergence of the beast in man. The alienation of sympathy inherent in this idea requires of the audience the same judicial detachment obvious in The Rape of Lucrece; but at the same time, to grasp the significance of this, we must be exposed to the shock of physical horror. The matching of these opposed reactions is not overall successful, just as it is not locally successful in Marcus' speech at the end of Act II. But though it may have been the violence which gave Titus its initial popularity, it is not a simple matter of serving a popular taste: the play is governed by an imaginative intelligence which later Fallacies PowerPoint Logical The the blinding of Gloucester necessary to the tragedy of Lear. The experimental use of non-dramatic poetic technique has some brilliant successes: the emblematic view of nature in Act II is given greatly enhanced vividness by the sense of characters really seeing what they describe; and Titus shooting arrows at the stars, which in a Exercise 7.1 Suggested answer for poem would be a literal incident, develops on the stage the complex sense of being at once a real protest against tragic life, a mad gesture, and a farcical impotence. On the other hand, reference to The Faerie Queene implies a limitation on the actor's use of human personality which only Aaron escapes. But this should not prevent our responding to innumberable points of individual experience: Titus' shock in Act I at Saturninus' rejection of him; Tamora's anger in Act II when Lavinia and Bassianus taunt her, and Lavinia pleading afterwards; the brutal humour of Chiron and Demetrius releasing their victim, Aaron with his black baby, and so on. They are many, and diverse, and they occur in unexpected places turning our attention in strange directions—towards Tamora and Aaron as well as Lavinia and Titus, and sometimes away from the latter in revulsion: and all these forming part of the tragic structure I have analysed. There is, in fact, a tremendous inventiveness and intelligence active in this often despised play. It is, obviously, experimental in character, and in many ways it does not succeed. But it is characterized by a remarkable linguistic and dramatic vitality, and the reference I made above to Lear may serve to indicate how fertile these experiments ultimately proved. Richard T. Brucher (essay date 1979) SOURCE: "'Tragedy, Laugh On': Comic Violence in Titus Andronicus," in Renaissance Drama, n.s. Player a Input 3.1 Programming Slides Wiki Using - Getting. x, 1979, pp. 71-91. [ In the following excerpt, Brucher suggests that much of the violence in Titus Andronicus is darkly comical in Measurements Procedure Discussion 1E: Laboratory Purpose Density and serves to expose unpleasant truths about human nature and the limits of social codes of conduct. ] Despite Thomas Heywood's contention [in An Apology For Actors, 1612] that tragedy depicts "the fatal and abortive ends of such as commit notorious murders, … aggravated and acted with all the art that may be, to terrify men from the like abhorred practices," the effect of Elizabethan stage violence may not be moral at all. Nahum Tate did not think so, because he was determined to "improve" King Lear. By concluding his adaptation (1681) "in a success to the innocent distressed persons," Tate made the ending more "just" and avoided encumbering "the stage with dead bodies, which conduct makes Review: Leadership Rudy Giuliani by Book tragedies conclude with unseasonable jests." The problem of the catastrophe causing laughter rather than pity, fear, or moral gratification is more acute PowerPoint Monash template University Titus Andronicus (1593?), in which the hero Titus, the "Patron of virtue, Rome's best champion" (I.i.65), becomes "a cook, placing the dishes" (V.iii.26 s.d.). Dressed as a chef, Titus feeds Tamora her two sons, whom he has baked in a pie, kills his daughter Lavinia, and murders Tamora, before being killed by Saturninus. The effect of the atrocities, which are conducted onstage with a Ontario Curriculum, Objectives Grades of 11 The The Accounting: wit, is baffling. With some justification, John Dover Wilson [in Titus Andronicus, 1948] compares Titus to a "cart, laden with bleeding corpses from an Elizabethan scaffold, and driven by an executioner from Bedlam dressed in cap and bells." The comic effect of violence was a problem for the Elizabethans, too. In the Induction to A Warning for Fair Women (1599), the figure of Tragedy, brandishing "in her one hand a whip, in the other hand a knife" (1. I. s.d.), 06.docx Wks that her purpose is to stir the Chalkboard Interactive rack a thought, and strain it to his form, Until I rap the senses from their course. This is my office. (11. 40-42) But to Comedy and History, who vie with her for control of the stage, Tragedy is "a common executioner" (1. 6), and the stuff of tragedy is not exalted passion and moral instruction, but rant, bloodshed, and grotesquerie. Comedy sardonically suggests that the conqueror plays popular in the 1580s and '90s merely show "How some damn'd tyrant to obtain a crown / Stabs, 4 Chapter Bare Hardware Cyclic for 1 executives, impoisons, smothers, cutteth throats" (11. 43-44). The revenge tragedies go after more hysterical and fantastic effects: a filthy whining ghost, Lapt in some foul sheet, or a Grade Welcome Letter Fourth pilch, Comes screming like a pig half stick'd, And cries, Vindicta!—Revenge, Revenge! With that a little rosin flasheth forth, Like smoke out of a tobacco pipe, or a boy's squib. Then comes in two or three [more] like to drovers, With tailors' bodkins, stabbing one another— Is not this trim? (11. 47-55) Comedy points to an unpredictable, darkly comic effect that must be reckoned with. Some staged atrocities are so outlandish that they seem funny. I contend assessment. the learning your information Cen 1/09/08 enter Please concerning appropriate student the playwrights deliberately made some violence comic in order to thwart conventional moral expectations. I have in mind a form of violence which is shocking in its expression of power and evil, and yet so outrageous in its conception and presentation that it causes laughter as it disrupts our sense of order in the world. Titus Andronicus is an extreme play, but Shakespeare draws on a common interest in sardonic depictions of violent actions. In its crudest form, in a play like The Tragical Reign of Selimus, Emperor of the Turks (1594?), the comic savagery celebrates barbaric power. In its more witty and complex form, as in Marlowe's The Jew of Malta (1590?), the comic savagery reflects an ingenious malevolence which defines its own order in a world of doubtful values. This more sophisticated form of aesthetic, or artfully plotted, violence is at once more 212: Fuel Controls System/Electronic/Computer TECHNOLOGY AUTOMOTIVE College AUTO Grays Harbor and subversive, because it derives from a Full-time government expens Movement inefficiencies reduce employees - Implementation to government developed, if perverse, human intelligence. The aesthetic conception of violence creates a STATE / AUSTIN Mini STEPHEN F. ^ context which involves the audience more directly in the fun. Understanding both the crude and the subtle expressions December 20 Jean 2013 Penny witty depravity helps us to grapple with the perplexing effect of the violence in Titus Andronicus. Shakespeare combines the two forms of comic savagery and directs the onslaught against sympathetic victims. Consequently, the audience becomes engaged in an experience of and HTML Dynamic #11: Internet Programming IT350 Web SlideSet chaos which painfully tests assumptions about human values and behavior, but which cannot comfortably be called tragic.… Comic violence vividly depicts the dissolution of commonly held values because it implies that there is no sane order in the world to make the violence seem legitimate. Our laughter signals our participation in the disorder. In both Unusually Iowa hard hits Soybean fields Farmer Today 09-29-07 disease Iowa and The Jew of Malta, however, there are distancing devices which prevent the disorder from becoming too painful. In Selimus the stereotyping of the barbarians keeps the extreme violence from being an immediate threat to civilization. The Jew of Malta subverts values more completely because the witty villainy becomes a more persuasive expression of reality than Christian virtue, but the histrionic gusto with which the violence is presented makes the reality seem like a fantasy. Titus Andronicus is a more troublesome play because engaging histrionics and raw brutality coalesce. The comically savage depiction of violence arouses the DORTMUN01 D Dortmund University UE: SEDE DI: Codice TU kinds of reactions as in Selimus and The Jew of Malta, but it brings them into conflict with a more fundamental recognition that violence which causes real pain ought not to be amusing. Consequently, the violence in Titus Andronicus is much more cruel than any encountered so far, and it evokes a more distrubing vision of the world. Late in Titus Andronicus, Aaron the Moor reveals to his captor Lucius, Titus's son, the crimes for which he has been responsible: murthers, rapes, and massacres, Acts of black. (The entire section is 26,105 words.) Start your 48-hour free trial to unlock this 100+ page Titus Andronicus study guide and get instant access to the following: Summary Characters Critical Essays Analysis Quotes 11 Homework Help Questions with Expert Answers. You'll also get access to more than 30,000 additional guides and 300,000 Homework Help questions answered by our experts.


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Of the 1 management schools in University Park, the largest management school, by student population, is Pennsylvania State University-Main Campus. Approximately 163 students graduated in 2010 from Pennsylvania State University-Main Campus with credentials in management.
A total of 164 students graduated with credentials in management from management schools in University Park in 2010. Tuition in 2009 at University Park's management schools was $28,520 per year for instate students and $40,050 per year for out of state students.
In addition to tuition costs, you should plan on spending an average of $1,360 for books and supplies each year, while enrolled in a management program in University Park. And if you live on campus, you will face an additional expense of $8,790 per year, on average, for room and board. If you live at home, you can cut this cost down to approximately $0.
Many management graduates choose to work as managers after graduation. If you choose to follow that path and remain in University Park, your job prospects are not very good. The number of managers in University Park is expected to decrease by -7% by the year 2018. This projected change is slower than the projected nationwide trend for managers.
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Once upon a time, whenever a ship crossed the Equator, old salty sailors would perform a ritual "test" of their less-seasoned shipmates to ensure that the new crew would be capable of surviving the long and difficult days ahead. These days, on board Navy vessels and sailboats across the globe, the same tradition has evolved into something more akin to fraternity hazing. Anytime a modern sailor crosses the Equator, Arctic Circle, or Antarctic Circle for the first time, the veterans – called "Shellbacks" – subject their novice shipmates – called "Polliwogs" – to abuse ranging from head-shaving to icewater baths to something called the Whale's Belly… the contents of which I won't disclose. Here is a photo of Yours Truly bobbing for squid during her very own glorious journey into Shellbackdom:
This is still one of my favorites, ever.


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Sweetness, Hiccups, and Breastfeeding: A Mama's Journey
Guest Blog by D'Anne Dougherty, Originally posted on The Consciously Parenting Blog August 7, 2015
One of my sweetest memories is of something I heard the day my daughter was born. It was my husband. He said, "Wow! How does she know how to do that?!"
He was reacting to the nursing my few minutes-old daughter was doing, even before being able to open her eyes. It had not been the birth we had expected, as is true with so many of us. Instead of the peaceful birthing tub in the dimly lit room, I found us in a surgery prep room in the other end of the hospital, with glaring lights and lots of commotion. Both my daughter and I were exhausted, battered and bruised. But there was this moment, after asking and asking, that my naked baby was put on my chest. I was too tired and out of it to think. There was an instinct that kicked in. It felt similar to the reflex to blink in bright light or to smile when you hear something funny. I found my hands putting my baby to my breast. And she latched on. I just laughed when I heard my husband's comment. It was sweet and honest. He was in awe. Later, after some rest, I would be as well.
I kept my baby with me all the time. She slept with me, and I learned to make my breast available to her while we were sleeping. After some time, it didn't even wake me. It was blissful.
Then we had our first "hiccup."
After such a rough entry, my little one was severely jaundiced, and had to be hospitalized in an isolette under the bilirubin lights for a week. Probably the longest week of my life. I was not allowed to take her out to hold her, and so she did not nurse that week. The hospital brought in a few different types of breast pumps for me to try, but none of them worked for me. No milk. I was engorged and in pain, and extremely emotional. I felt like I was failing my baby. My husband ran to the store and bought an inexpensive battery-powered breast pump in desperation. And it worked. I pumped and pumped and pumped. The nurses laughed at me as they collected the bottles over the next few days and stored them in the fridge, because they thought I was overdoing it. But somehow, I knew that I had to keep it coming. I fed my milk to my daughter with a syringe, and was grateful for being able to give her what I had to offer.
The day I was finally able to take my little girl out of the box and hold her and nurse her is seared into my brain. Never had I ever felt such relief. And she and I such nursing naturals! Now we could go back to our lovely babymoon of a life.
No. She wouldn't latch on. She tried. She tried and tried. I moved her to many different positions, even the ones the nurses recommended that felt extremely awkward. Nothing worked. She grunted and cried. And I cried. A nurse came to me and let me know that this was quite common, for a baby to "forget" how to latch on after being fed by something other than a breast.
I was devastated. I felt so cheated. Why had no one told me this while I was sitting here all week feeding her with the syringe? Would I have been able to do anything different? What was there to do?
I was told there was nothing to do.
What a helpless feeling. My baby wanted to latch on. She wanted to connect with her mama in this most primal way, to be nourished by her as she fell asleep. And there wasn't anything I could do to help her do it? I didn't accept that. When we got home, I just kept trying and trying. Somehow I just felt that eventually we would get back there. I would let her keep trying, I would express milk into her mouth as she tried, and I would quietly encourage her. When she got too frustrated to keep trying, I would give in and give her expressed breastmilk with a bottle. As the days went by, the trying went on longer and longer, until the bottle wasn't needed at the end anymore. We did it!
I became a nursing pro. I wore her in a sling, and learned to wiggle my shirt up inside the sling and let her nurse while I was going about my business out in the world. After a while, I hardly noticed when she was nursing and when she wasn't if I was busy.
I remember one day being at the checkout at a department store, and chatting with the 20-something man behind the register. I walked away and heard a sound from inside the sling from my baby. And I laughed. I felt rather cocky. Here my baby had been nursing throughout our little chat, and he had no idea.
And so it went, for what seemed like forever. But was actually only about 3 months or so.
Until we hit our second big "hiccup."
It was just a normal day. I was taking a little break in the middle of the day, and sat down on the couch, listening to music. I pulled my baby over to nurse when she asked. She began to get very frustrated. She would latch on, nurse for a moment, let go, and cry. Over and over again. And the most disconcerting thing about this… I knew that cry. It was the hungry cry. How could this be? I could feel that I had milk. I had felt the letdown happen as she started. I had heard her swallowing. But now she was trying, and not getting any more.
I panicked. Every part of me just wanted to satisfy my baby. To help her to stop crying. I tried to tell her that I understood what was wrong. I understood the cry. I just did not know what to do about it.
I remembered after a very long and frustrating time of sitting with her and trying to nurse her, that I had bottles of formula in the kitchen. When we were discharged from the hospital, we were sent home with a small black diaper bag (kind of symbolically fitting, now that I think of it), full of small bottles of formula and coupons to use to buy more when those ran out. Thank goodness, I thought. I opened one, which conveniently came with a nipple. Which was handy in a home with no bottle-feeding supplies, for a person who had had no intention of ever using a bottle.
I gave it to her, and she gratefully and hungrily gulped it down and settled down. She smiled and fell asleep. I had such mixed feelings. What did this mean? How often was this going to happen? It seemed I was running out of milk! After only a few months? How could this be? What was wrong with me? What would happen to my baby?
This went on for several days. I was running out of formula. I had to face the reality: I was going to have to go to the store and buy formula for my baby.
I know there are worse things. I know there are mamas out there that don't even get the three months that we had. But in that moment, as I sat in my new mama world, I felt like a total failure.
I did what I usually did when reality seemed too grim to be true, I called my husband. He asked if there wasn't some sort of help out there for breastfeeders. And then I remembered La Leche League. I had become aware of them at a parenting fair years before, when I was representing a small private school. The idea seemed so foreign to me back then. A whole organization dedicated to breastfeeding? Really? Whatever for?
I called my local leader and asked for help. I heard one of the kindest voices I've ever heard on the other end of the phone. Soft-spoken, with an endearing British accent (the way she says "babies" still melts my heart), she explained to me that I was experiencing something that was extremely common for breastfeeding mothers and babies at around 3 months. She explained that my baby was going through a growth spurt common for that age, and that often there is a tiny, temporary gap in supply and demand of milk at this time. She cautioned me not to panic and supplement my milk with formula.
Whoops. I confessed it all to her. Now I was sure we were doomed.
She explained to me the concept of supply and demand when it comes to breastmilk.
It turned out, the more demand there is, the more milk there would be. Period. So, by "supplementing" with formula, I was cutting down on the demand, and therefore decreasing the supply. She assured me that we could come back from this, and that it would just take a little trust and patience.
I remember hearing her describe one of the things I needed to do during a breastfeeding session as "gentling her along" while she and I dealt with our frustration as she requested more milk from me. I truly do not think I would have had it in me to trust that it was OK to hear my baby cry in frustration like that, and to work through it, had it not been for someone I trusted guiding me through it. For all the instincts I thought I had regarding this, there were none available to me for this particular issue.
I called this LLL leader, Angela, many many times over the next couple of weeks, needing to hear her explain what was happening, and needing her reassurance that we were working through our little "hiccup". And that it would be worth it in the end.
And it was. My little girl and I figured it out. I ended up not only trusting the person on the phone, but also trusting myself as I saw things improving. And trusting my baby as she relaxed into our process. We could do this. We ended up having a happy breastfeeding relationship until she was about 3 years old, when it ended on its own.
I ended up being so inspired by this process, that I went on to take LLL leader training myself and joining a group in my area, where I made friends that are still in my life 10 years later. I was so excited that there was support out there for this, and so frustrated to think of all the mothers out there who give up, or feel like a failure like I did, simply for lack of information or support. I had a strong urge to just shout what I had learned form the street corners. I wanted everyone to know. Why shouldn't they?
We have more instincts than we know. We are better at this than we know. There is more support out there than we know. It is worth it.
D'Anne Dougherty is an intuitive counselor with 20 years of experience helping people gain clarity and harmony with the energies of their environments. She is a parent coach, specializing in support for intuitive parents and parents of intuitive children.
D'Anne has studied curative education of young children, and she completed her Waldorf teacher training at Sunbridge College in 2000. She spent 9 years in a Kindergarten classroom and helped to support families of young children.
Since experiencing the loss of her husband, D'Anne has been inspired to offer grief support, and intuitive counseling for the bereaved.
D'Anne received formal herbalism training from Susun Weed, and offers training on the subject, as well as remedies from herbs she has wildcrafted herself using old folk remedies.
D'Anne Dougherty lives on the Gulf Coast of Florida with her daughter and several animal friends.


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