Similarities and Differences in the Cultures of Germany, France, and the Netherlands

Yeats and The Symbolism of Poetry

Yeats and 'The Symbolism of Poetry' One of the greatest poets of the 20th century and a recipient of the Nobel Prize, William Butler Yeats spent his early childhood in Dublin and Sligo before moving with his parents to London. His first volumes of poetry, influenced by the symbolism of William Blake and Irish folklore and myth, are more romantic and dreamlike than his later work, which is generally more highly regarded. Composed in 1900, Yeatss influential essay The Symbolism of Poetry offers an extended definition of symbolism and a meditation on the nature of poetry in general. The Symbolism of Poetry    Symbolism, as seen in the writers of our day, would have no value if it were not seen also, under one disguise or another, in every great imaginative writer, writes Mr. Arthur Symons in The Symbolist Movement in Literature, a subtle book which I cannot praise as I would, because it has been dedicated to me; and he goes on to show how many profound writers have in the last few years sought for a philosophy of poetry in the doctrine of symbolism, and how even in countries where it is almost scandalous to seek for any philosophy of poetry, new writers are following them in their search. We do not know what the writers of ancient times talked of among themselves, and one bull is all that remains of Shakespeares talk, who was on the edge of modern times; and the journalist is convinced, it seems, that they talked of wine and women and politics, but never about their art, or never quite seriously about their art. He is certain that no one who had a philosophy of his art, or a theory of ho w he should write, has ever made a work of art, that people have no imagination who do not write without forethought and afterthought as he writes his own articles. He says this with enthusiasm, because he has heard it at so many comfortable dinner-tables, where some one had mentioned through carelessness, or foolish zeal, a book whose difficulty had offended indolence, or a man who had not forgotten that beauty is an accusation. Those formulas and generalisations, in which a hidden sergeant has drilled the ideas of journalists and through them the ideas of all but all the modern world, have created in their turn a forgetfulness like that of soldiers in battle, so that journalists and their readers have forgotten, among many like events, that Wagner spent seven years arranging and explaining his ideas before he began his most characteristic music; that opera, and with it modern music, arose from certain talks at the house of one Giovanni Bardi of Florence; and that the Plà ©iade laid the foundations of modern French literature with a pamphlet. Goethe has said, a poet needs all philosophy, but he must keep it out of his work, though that is not always necessary; and almost certainly no great art, outside England, where journalists are more powerful and ideas less plentiful than elsewhere, has arisen without a great criticism, for its herald or its interpreter and protector, and it may be for this reason that great art, now that vulgarity has armed itself and multiplied itself, is perhaps dead in England. All writers, all artists of any kind, in so far as they have had any philosophical or critical power, perhaps just in so far as they have been deliberate artists at all, have had some philosophy, some criticism of their art; and it has often been this philosophy, or this criticism, that has evoked their most startling inspiration calling into outer life some portion of the divine life, or of the buried reality, which could alone extinguish in the emotions what their philosophy or their criticism would extinguish in the intellect. They have sought for no new thing, it may be, but only to understand and to copy the pure inspiration of early times, but because the divine life wars upon our outer life, and must needs change its weapons and its movements as we change ours, inspiration has come to them in beautiful startling shapes. The scientific movement brought with it a literature, which was always tending to lose itself in externalities of all kinds, in opinion, in declamation, in pic turesque writing, in word-painting, or in what Mr. Symons has called an attempt to build in brick and mortar inside the covers of a book; and new writers have begun to dwell upon the element of evocation, of suggestion, upon what we call the symbolism in great writers. II In Symbolism in Painting, I tried to describe the element of symbolism that is in pictures and sculpture, and described a little the symbolism in poetry, but did not describe at all the continuous indefinable symbolism which is the substance of all style. There are no lines with more melancholy beauty than these by Burns: The white moon is setting behind the white wave,And Time is setting with me, O! and these lines are perfectly symbolical. Take from them the whiteness of the moon and of the wave, whose relation to the setting of Time is too subtle for the intellect, and you take from them their beauty. But, when all are together, moon and wave and whiteness and setting Time and the last melancholy cry, they evoke an emotion which cannot be evoked by any other arrangement of colours and sounds and forms. We may call this metaphorical writing, but it is better to call it symbolical writing, because metaphors are not profound enough to be moving, when they are not symbols, and when they are symbols they are the most perfect of all, because the most subtle, outside of pure sound, and through them one can the best find out what symbols are. If one begins the  reverie  with any beautiful lines that one can remember, one finds they are like those by Burns. Begin with this line by Blake: The gay fishes on the wave when the moon sucks up the dew or these lines by Nash: Brightness falls from the air,Queens have died young and fair,Dust hath closed Helens eye or these lines by Shakespeare: Timon hath made his everlasting mansionUpon the beached verge of the salt flood;Who once a day with his embossed frothThe turbulent surge shall cover or take some line that is quite simple, that gets its beauty from its place in a story, and see how it flickers with the light of the many symbols that have given the story its beauty, as a sword-blade may flicker with the light of burning towers. All sounds, all colours, all forms, either because of their preordained energies or because of long association, evoke indefinable and yet precise emotions, or, as I prefer to think, call down among us certain disembodied powers, whose footsteps over our hearts we call emotions; and when sound, and colour, and form are in a musical relation, a beautiful relation to one another, they become, as it were, one sound, one colour, one form, and evoke an emotion that is made out of their distinct evocations and yet is one emotion. The same relation exists between all portions of every work of art, whether it be an epic or a song, and the more perfect it is, and the more various and numerous the elements that have flowed into its perfection, the more powerful will be the emotion, the power, the god it calls  among  us. Because an emotion does not exist, or does not become perceptible and active among us, till it has found its expression, in colour or in sound or in form, or in all of the se, and because no two modulations or arrangements of these evoke the same emotion, poets and painters and musicians, and in a less degree because their effects are momentary, day and night and cloud and shadow, are continually making and unmaking mankind. It is indeed only those things which seem useless or very feeble that have any power, and all those things that seem useful or strong, armies, moving wheels, modes of architecture, modes of government, speculations of the reason, would have been a little different if some mind long ago had not given itself to some emotion, as a woman gives herself to her lover, and shaped sounds or colours or forms, or all of these, into a musical relation, that their emotion might live in other minds. A little lyric evokes an emotion, and this emotion gathers others about it and melts into their being in the making of some great epic; and at last, needing an always less delicate body, or symbol, as it grows more powerful, it flows out, with all it has gathered, among the blind instincts of daily life, where it moves a power within powers, as one sees ring within ring in the stem of an old tree. This is maybe what Arthur OShaughnessy meant when he made his poets say they had built Nineveh with their sighing; and I am certainly never certain, when I hear of some war, or of some religious excitement or of some new manufacture, or of anything else that fills the ear of the world, that it has not all happened because of something that a boy piped in Thessaly. I remember once telling a seer to ask one among the gods who, as she believed, were standing about her in their symbolic bodies, what would come of a charming but seeming trivial  labour  of a friend, and the form answering, the devastation of peoples and the overwhelming of cities. I doubt indeed if the crude circumstance of the world, which seems to create all our emotions, does more than reflect, as in multiplying mirrors, the emotions that have come to solitary men in moments of poetical contemplation; or that love itself would be more than an animal hunger but for the poet and his shadow the priest, for unless we believe that outer things are the reality, we must believe that the gross is the shadow of the subtle, that things are wise before they become foolish, and secret before they cry out in the  market-place. Solitary men in moments of contemplation receive, as I think, the creative impulse from the lowest of the Nine Hierarchies, and so make and unmake mankind, and even the world itself, for does not the eye altering alter all? Our towns are copied fragments from our breast;And all mans Babylons strive but to impartThe grandeurs of his Babylonian heart. III The purpose of rhythm, it has always seemed to me, is to prolong the moment of contemplation, the moment when we are both asleep and awake, which is the one moment of creation, by hushing us with an alluring monotony, while it holds us  waking  by variety, to keep us in that state of perhaps real trance, in which the mind liberated from the pressure of the will is unfolded in symbols. If certain sensitive persons listen persistently to the ticking of a  watch,  or gaze persistently on the monotonous flashing of a light, they fall into the hypnotic trance; and rhythm is but the ticking of a watch made softer, that one must  needs  listen, and various, that one may not be swept beyond memory or grow weary of listening; while the patterns of the artist are but the monotonous flash woven to take the eyes in a  subtler  enchantment. I have heard in meditation voices that were forgotten the moment they had  spoken; and  I have been swept, when in more profound meditatio n, beyond all memory but of those things that came from beyond the threshold of waking life. I was writing once at a very symbolical and abstract poem, when my pen fell on the ground; and as I stooped to pick it up, I remembered some  phantastic  adventure that yet did not seem  phantastic, and then another like adventure, and when I asked myself when these things had happened, I found, that I was remembering my dreams for many nights. I tried to remember what I had done the day before, and then what I had done that morning; but all my waking life had perished from me, and it was only after a struggle that I came to remember it again, and as I did so that more powerful and startling life perished in its turn. Had my pen not fallen on the ground and so made me turn from the images that I was weaving into verse, I would never have known that meditation had become trance, for I would have been like one who does not know that he is passing through a wood because his eyes are on the pathway. So I think that in the making and in the understanding of a work of art, and the mo re easily if it is full of patterns and symbols and music, we are lured to the threshold of sleep, and it may be far beyond it, without knowing that we have ever set our feet upon the steps of horn or of ivory. IV Besides emotional symbols, symbols that evoke emotions alone,and in this sense all alluring or hateful things are symbols, although their relations with one another are too subtle to delight us fully, away from rhythm and pattern,there are intellectual symbols, symbols that evoke ideas alone, or ideas mingled with emotions; and outside the very definite traditions of mysticism and the less definite criticism of certain modern poets, these alone are called symbols. Most things belong to one or another kind, according to the way we speak of them and the companions we give them, for symbols, associated with ideas that are more than fragments of the shadows thrown upon the intellect by the emotions they evoke, are the playthings of the allegorist or the pedant, and soon pass away. If I say white or purple in an ordinary line of poetry, they evoke emotions so exclusively that I cannot say why they move me; but if I bring them into the same sentence with such obvious intellectual symbols a s a cross or a crown of thorns, I think of purity and sovereignty. Furthermore, innumerable meanings, which are held to white or to purple by bonds of subtle suggestion, and alike in the emotions and in the intellect, move visibly through my mind, and move invisibly beyond the threshold of sleep, casting lights and shadows of an indefinable wisdom on what had seemed before, it may be, but sterility and noisy violence. It is the intellect that decides where the reader shall ponder over the procession of the symbols, and if the symbols are merely emotional, he gazes from amid the accidents and destinies of the world; but if the symbols are intellectual too, he becomes himself a part of pure intellect, and he is himself mingled with the procession. If I watch a rushy pool in the moonlight, my emotion at its beauty is mixed with memories of the man that I have seen ploughing by its margin, or of the lovers I saw there a night ago; but if I look at the moon herself and remember any of her ancient names and meanings, I move among divine people, and thing s that have shaken off our mortality, the tower of ivory, the queen of waters, the shining  stag  among enchanted woods, the white  hare  sitting upon the hilltop, the fool of  faery  with his shining cup full of dreams, and it may be make a friend of one of these images of wonder, and meet the Lord in the air. So, too, if one is moved by Shakespeare, who is content with emotional symbols that he may come the nearer to our sympathy, one is mixed with the whole spectacle of the world; while if one is moved by Dante, or by the myth of Demeter, one is mixed into the shadow of God or of a goddess. So too one is furthest from symbols when one is busy doing this or that, but the soul moves among symbols and unfolds in symbols when trance, or madness, or deep meditation has withdrawn it from every impulse but its own. I then saw, wrote Gà ©rard de Nerval of his madness, vaguely drifting into form, plastic images of antiquity, which outlined themselves, became definite, and seemed to represent symbols of which I only seized the idea with difficulty. In an earlier  time  he would have been of that multitude, whose souls austerity withdrew, even more perfectly than madness could withdraw his soul, from hope and memory, from desire and regret, that they might reveal those processions of symbols that men bow to before altars, and  woo  with incense and offerings. But being of our time, he has been like Maeterlinck, like Villiers de IIsle-Adam in  Axà «l, like all who are preoccupied with intellectual symbols in our time, a foreshadower of the new sacred book, of which all the arts, as somebody has said, are beginning to dream. How can the arts overcome the slow dying of mens hearts that we call the progress of the world, and lay their hands upon mens heartstrings again, without becoming the garment of religion as in old times? V If people were to accept the theory that poetry moves us because of its symbolism, what change should one look for in the manner of our poetry? A return to the way of our fathers, a casting out of descriptions of nature for the sake of nature, of the moral law for the sake of the moral law, a casting out of all anecdotes and of that brooding over scientific opinion that so often extinguished the central flame in Tennyson, and of that vehemence that would make us do or not do certain things; or, in other words, we should come to understand that the beryl stone was enchanted by our fathers that it might unfold the pictures in its heart, and  not to  mirror our own excited faces, or the boughs waving outside the window. With this change of substance, this return to imagination, this understanding that the laws of art, which are the hidden laws of the world, can alone bind the imagination, would come a change of style, and we would cast out of serious poetry those energetic rhythms, as of a man running, which are the invention of the will with its eyes always on something to be done or undone; and we would seek out those wavering, meditative, organic rhythms, which are the embodiment of the imagination, that neither desires nor hates, because it has done with time, and only wishes to gaze upon some reality, some beauty; nor would it be any longer possible for anybody to deny the importance of form, in all its kinds, for although you can expound an opinion, or describe a thing, when your words are not quite well chosen, you cannot give a body to something that moves beyond the senses, unless your words are as subtle, as complex, as full of mysterious life, as the body of a flower or of a woman. The form of sincere poetry, unlike the form of the popular poetry, may indeed be sometimes obscure, or ungrammatical as in some of the best of the Songs of Innocence and Experience, but it must have the perfections that escape analysis, the subtleties that have a new meaning every day, and it must have all this whether it be but a little song made out of a moment of dreamy  indolence,  or some great epic made out of the dreams of one poet and of a hundred generations whose hands were never weary of the sword. The Symbolism of Poetry by William Butler Yeats first appeared in  The Dome in April 1900 and was reprinted in Yeats Ideas of Good and Evil, 1903.

Protected Meal Time Essay Example | Topics and Well Written Essays - 1500 words

Protected Meal Time - Essay Example Since the professionals are to be included in the initiative, for example, the doctors, nurses, physicians, and the cooks are the two major professionals whose contribution to the initiative is very important and would facilitate the implementation. Application of Gibbs’ Model and PDCA Cycle In this analysis, the Gibbs reflective model has been use to describe the problem, the feel about the problem, an evaluation of the experience, analyzing the situation whether it makes sense, concise conclusion, finally taking the most appropriate action. It is important that in reflecting about the practice, one is expected to relate the situation at hand to the future of the career and its value. In fact, this becomes an evidence based approach that might to yield the intended results. In addition to the Gibbs model, the initiative would employ the use of the PDCA cycle in terms of service improvement, where the plan-do-check-action is adhered to, throughout the implementation. As would be depicted in the subsequent chapters, the project would be planned, done according to the required procedures, checked consistently and appropriate actions taken to make sure that the implementation becomes successful. ... The intention of the protected meal time program is to give the patient adequate time to relax as they have their meals (Council of Europe Resolution, 2003, p.8). In this approach, the major event that makes me support the launch of this noble initiative is that it helps to solve the great problem that is witnessed among some doctors. There is a group of doctors who do not carry out their routine ward checks in time. Therefore, they end up carrying out the same duty during inappropriate times, which are meant for meals. This happens because the doctors start their routine late, and lunch time find them still moving around the wards. They do not stop to provide the patients with sufficient time to enjoy their meals. Moreover, what used to happen in the hospitals were shocking since these doctors are fond of continuing with their work even without considerations that the patients have the right to eat, that is, they need ample time to enjoy their meals. The meal time has to be specific to minimize confusion and some patients going without food. The food must be properly chewed since the sick people have weak digestive system. The impact of the doctors’ actions is not alien, that is, the food would automatically get cold and since they are not allowed to reheat the food at the end of the exercise, it becomes extremely difficult for the patients to enjoy the meals and this is not a good thing since it poses a serious threat of the patient’s starvation. Therefore, it is necessary to have an action plan that is geared towards establishing the protected meals time. In fact, the protected meals time program has also been supported by various health professionals across the globe (NHS Estates in

Is it inevitable that an organisation must become bureaucratic Essay

Is it inevitable that an organisation must become bureaucratic - Essay Example The paper tells that the main responsibility of preindustrial government was to protect their territories from any possible attacks by external enemies. The defense was usually regarded as an expensive factor and the empire was highly dependent on the extent of bureaucracy in order to collect taxes. Preindustrial bureaucracies were not only restricted to collecting taxes or maintaining order, but it was even inclined towards economic activities. Bureaucratic structures were not only witnessed in context of imperial governments but also in the realm of religion. The growth of bureaucratic organizations was initiated from religious and political domains. This eventually got incorporated into private enterprises with the growth of complex and larger economies. During the 19th century, it was observed that scope of manager became wider. The reason behind this trend was the employment of large-scale workers. Occupational specialists were also growing during this time period because of tec hnological advancement. Increasing complexity of organizational structure also facilitated territorial expansion. This, in turn, gave rise to the wide array of administrative difficulties. Bureaucratic organizations emerged due to changes in scope and scale of firms. A range of firms from retail stores to steel mills required hundreds or thousands of employees, who can accomplish set tasks within a specified time frame. Organizations started to recruit wide scale of employees so as to divide tasks amongst various worker groups. Social and economic changes were initiating problems for enterprises but it was even outlining mechanisms to address these issues. Automobiles and railroads enabled managers to travel across organizational units to supervise team members. Communication technologies helped managers to allocate tasks and monitor the performance of various geographical sub-divisions. These modern technologies were a way to organize workforce and enhance the level of employee pro ductivity. The organizational revolution had been started in the 20th century. The approach of bureaucratization had led to well-transformed work culture.

Definition of Dismissal Literature review Example | Topics and Well Written Essays - 750 words

Definition of Dismissal - Literature review Example This method, however, is not included in the contract laws but it is a discovery of the judges, it is based on the principle that employees are paid wages for the work that they do therefore if they do not work they should not be paid. When the employee accepts not to work for the employer even though he has the will and potential to work, it is deemed that he has accepted the repudiation, otherwise he would have stayed at home and sued the employer for payment of wages since the contract would still be valid (Akin, 2004, p569). The provisions in the dismissal of an individual explain that an employee should only be dismissed without notice under three situations, the first one is if the employee has not completed one month since he started to work for the employer. Second is if the terms of the contract have the provisions for dismissal without notice, and the third is when an employee act in a manner that acts to betray the confidence and trust that the employer had placed in him. The notice period before a dismissal is usually written down in the contract should be a minimum of a week and in case the contract does not state the notice period the common law is applied. Common law requires that the employer should give the employee a notice of at least one week for employment period lasting from one month to two years and then one extra week for an additional year above 2 years that the employee works up to a maximum of 12weeks. However, common law can give an employee up to 12 months depending on the seniority, expertise and the length that the employee has been working for the employer. The remedies available for wrongful dismissal in of an employee include compensation in a tribunal and damages in a court of law, the employees will, however, be required to apply for the compensation within three months after they have been dismissed (Geare, 2007, p276). The employer is liable to pay the dismissed employee the loses that include his notice period including a ny benefits or pay rises that he was entitled, otherwise in the case of wrongful dismissal the employee can only sue for lost earnings and damages due to the spoiling of his reputation. For an employment relationship to be considered to exist there must be objective conditions, this means that the features that are existing in regard to the way the worker performs his duties and how he is remunerated by the employer must be put into consideration (Bird, and Charters, 2004 p212). The rights of employers and employees depend on the duration of contract where the employee performs the assigned duties by the employer in return for her wages, if the employee fails to perform the assigned duties, then he breaches the contract for employment and is therefore liable for dismissal. In Jordan, the workers are protected by the labor act that stipulates that a worker be employed either indefinitely or for a specific period, in the agreement for a specific period, the contract is deemed to have been terminated at the end of the period. However, if the employee continues to work after that period the law considers the contract to have been renewed and is considered to have been an indefinite contract from the beginning.  Ã‚  

Evolutionary Analysis of Culex Species

Evolutionary Analysis of Culex Species INTRODUCTION: Culex, a mosquito belongs to the phylum Arthopoda, is an important factor causing filariasis [1] St. Louis encephalitis [2]West Nile virus [3] Avion malaria (4). C.quinquefasciatus also called the Southern house mosquito is extensively studied as it transmits crucial diseases [5]. C. pipiens found in the urbans (6) is because of swift urbanization uncanny city growth which eventually resulted in the progression the disease transmittors (7,8,9). Lymphatic filariasis is spread worldwide, affecting 120 million people  [10]. They bite on the foot regions of humans  (11) causing skin allergy associated with irritation  (12).Since 1979 there are reports Japanese encephalitis in India, AP and was again reported in 2003  [13]. Known as a cosmopolitan mosquito, acts as vector for protozoan parasites (14 ),filarial worms (15), and for arboviruses(16 ,17). Cx. quinquefasciatus is the prime vector in India causing filariasis  (18) which involve 91% caused by Wuchereria bancroftiCobbold   [19] Hence, therefore, it is very important to eradicate this for the human welfare for which it is very essential to understand them at their molecular levels. The genome sequence of Culex quienquefasciatus  [20]triggered a new hope for the researchers. However, the researchers are still involved in identifying and characterization of these species causing diseases  (21). The objective of the present article is to access the evolutionary relationship among the culex species with the DNA barcoding and to assess the evolutionary relationship with Tamura 3 Parameter. To accomplish the objective, it is important to use the advanced techniques like the computerized data assessments (22) which could have an immense impact on the health care S. Morio, Computers in Biology and Medicine, 9: 295 (1989)(BOOK) (23) system as the data could be accurate (22). The use of DNA barcoding has been in practice over the conventional 16s ribosomal DNA (24) which is more advantageous and promising (25) by playing a pivotal role in identification between the species (26). 2. MATERIALS AND METHODS: 2.1 Larvae collection and Characterization: Culex larvae were sampelled from various parts of Hyderabad during the breeding season from different locations, say stagnant water, coconut shells, tires etc. Thus collected larvae were reared and were identified morphologically for Culex quienquefasciatus under the microscope. Microscopic analysis revealed the following characteristics, Short and stout head, yellow long mouth brushes. It was also observed that the abdomen has eight segments, the saddle and the siphon, which is four times longer that its width, securing the larvae to be Culex quinquefasciatus. The larvae were allowed to grow into an adult (27). Further study was performed from the F1 generation of the pure culture after they were identified morphologically for adult. 2.2 DNA EXTRACTION: From the 4th instar larvae, the total DNA was extracted and was then finely ground in 50  µl of homogenate buffer (28). The homogenate was left in the thermo cycler for 30 minutes at 60oC with a quick addition of 7  µl of 8M CH3COOK. Incubate the tubes in ice for 30 minutes and centrigugate them for at a maximum speed for 15 minutes. Transfer the supernatant into fresh tubes. To precipitate the DNA, incubate the tubes for 15minutes after adding 100  µl of 95 % ethanol. DNA pellet was collected after a rapid centrifugation for 15 minutes at maximum speed and decay the supernatant. Air dry the pellet and suspend it in Tris buffer. Store it at 20oC till further experimental procedure is carried. COI Partial sequencing, amplification, Sequencing and Alignment: The isolated DNA was further amplified on PCR by mitochondrial Cytochrome c Oxidase I (COI) gene, which can differentiate between the diversity of taxa . The mitochondrial COI gene of ~ 500 bp was amplified by forward and reverse primers (28) which were developed on the spanning, ~700 bp of Aedes aegypti, Anapheles stepfheni and Cx. Quienquefasciatus. The reaction mixture, 25  µl, consisting of 10-50 ng of DNA template, 200 µM of dNTPS’ 1U of Taq DNA polymerase, 1X assay buffer and 5p mol of primer was then subjected to amplification for 2 minutes at 94o C initiation, denaturation of DNA template for 35 cycles for 30 seconds at 95 o C, followed by primer aliening -30 seconds at 55 o C, extension- 70 o C for 30 seconds and final extension at 70 o C for 10 minutes. The amplified sequence ,thus, was run on Agarose gel electrophoresis and then the sequencing was perfoemed by Bioserver Biotechnologies Pvt. Ltd. The sequence was submitted to NCBI. The accession number assigned was JX08870 (501bp). Further multiple sequence alignment was performed for partial COI gene sequence of 501bp with the default parameters. Sequence alignment studies elucidate the similarity and differences among different species in India along with other parts of the world. Further, the results of the DNA barcoding were made increasingly vivid with the phylogenetic analysis by the construction of phylogenetic tree. The analysis of the phylogeny was attained by maximium likelihood method (29) with the deletion of gaps and missing data. Bootstrap replication was used to validate the tree. RESULTS AND DISCUSSIONS: Known as the ‘Southern House Mosquito’, Cx. Quienquefasciatus a vector which played a prime role in filariasis and the incidences have seen in different parts of the world. Hence, there is an utmost need to address this problem with priority. In order to snub the prognosis of this vector, it is very essential to take certain control measures. To attain this, the mosquito larvae were collected and grown into an adult. The DNA was isolated and amplified and run on the agarose gel electrophoresis. The agarose wells comprised of sample from different locations along with 200bp marker DNA. The amplicons were seen between 400bp and 600bp of the DNA marker and were then subjected to sequencing. It was noted that the sequence was identified to be novel and was submitted to NCBI-gene bank nucleotide database and the accession number assigned was JX088701. Further, the multiple sequence alignment was performed to understand the evolutionary relationship among the species of the world.. Using the Maximum Likelihood Method, which creates a tree of highest Likelihood from the given data. The Maximum Likelihood tree elucidates that the Culex species of Hyderabad was closely related to the UK species and hence both emerged as out group in the phylogenetic tree. CONCLUSION: The medium sized brown mosquito, Culex quinquefasciatus, predominantly exists all through the tropics acts as a vector causing several parasitic diseases. Usually active at night, it is an opportunistic blood feeder which allows the parasites to use the humans as hosts. It is hence important to address their control with priority. The present article the DNA sequence was successfully isolated, sequenced and was submitted to NCBI-Gen Bank nucleotide database. Further, to understand its evolutionary relationship the phylogenetic analysis was performed. It was noticed that the DNA sequence of Hyderabad Culex quinquefasciatus was different from other species and can be used as DNA barcode to identify the organism REFERENCES: Deepak Kumar, Rakesh Chawla, P. Dhamodaram, and N. 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The Character of Tarquin in Macbeth and Cymbeline Essay -- comparison

The Character of Tarquin in Macbeth and Cymbeline Tarquin’s image as a man of dastardly action becomes part of both Shakespeare's Macbeth and Cymbeline. As Iachimo emerges from a box in Imogen's bedchamber he speaks, and his words reflect the feeling not only of himself but all trespassers in Shakespeare's plays. Iachimo likens his actions to that of Tarquin, a Roman Tyrant who rapes the matron Lucrece. His trespassing in Imogen's bed chamber while she is sleeping is to Iachimo like rape. He violates her space and privacy. Similarly in the play Macbeth, Macbeth before killing Duncan invokes the image of Tarquin, "With Tarquin's ravishing strides towards, his design Moves like a ghost. Thou sure and firm set earth hear not my steps" (2.1.55-58). Both plays use of the image of Tarquin reveals fascinating intricacies about the way in which Shakespeare takes traditional; images of rapists and murders and re-uses them to relate to the actions of the characters in the play. By invoking th...