Losing Faith Young Goodman Brown Essay - 1017 Words

Losing Faith Young Goodman Brown Throughout the short story Young Goodman Brown, written by Nathaniel Hawthorne the main character is searching for Faith in what appears to be an increasingly corrupt world. Faith takes on a double meaning in this story, for Faith is used both as the name of Young Goodman Browns pretty young wife and the spiritual devotion of Young Goodman Brown to the Puritan Faith. The dual usage of Faith in this short story, along with its theme of devil worship amongst Puritan society draws the reader in, and leaves the story imprinted on his brain for a long time to come. As the story opens, Young Goodman Brown is about to enter the forest to partake upon an evil purpose. He leaves behind his sweet, pretty,†¦show more content†¦103). To this Young Goodman Brown replies it is too far, and that his father never went on such an errand (p. 103). In reality, Young Goodman Browns father has walked the very same path, beside the man carrying the serpent. In fact, all of the highly moral people of the town walk in the forest at night. Among the devil worshippers are faces that would be seen the next day at the council board of the province, and others which, Sabbath after Sabbath, looked devoutly heavenward (p. 109). Deacon Gookin, who preaches from the pulpit about righteousness, is the leader of the Devil worship, and Goody Cloyse who teaches the catechism too walks the dark path. It seems that in this town of fraudulent Puritans, no one is immune to the power of the dark one. No one, that is but Young Goodman Brown, for he alone has his Faith. As Young Goodman Brown continues down the dark path, he is continually searching for his lost Faith. His Faith would not allow him to enter such a dark forest where the Devil reigns as king. He screams for Faith in agony and desperation, but the echoes of the forest mock him, and something flutters lightly down through the air and caught on the branch of a tree (p. 107). It is a pink ribbon; the last remnant of Young Goodman Browns lost Faith. The pink ribbon in a literal sense proves that Young Goodman Browns wife is lost in the forest, for her hair is always adorned withShow MoreRelated Losing Faith in Young Goodman Brown Essay759 Words   |  4 PagesLosing Faith in Young Goodman Brown In â€Å"Young Goodman Brown,† by Nathaniel Hawthorne, Goodman Brown is tempted by the evil that surrounds him and he must keep his faith in order to resist it. The use of the events, characters, and symbols throughout the story show that evil is present in the people of the town in which Goodman Brown lives and how Goodman Brown’s faith in them is lost. Humanity is basically flawed and people struggle with making the choice between good and evil. ThroughoutRead MoreYoung Goodman Brown Essay(Symbolism)1543 Words   |  7 PagesIBEnglish III 13 September 2011 â€Å"Young Goodman Brown† Analysis One of the factors that shaped the New World was religion; it was a pillar in the fledgling society and a reason for migration for so many Europeans. Puritanism was a major belief system that held strongly throughout the seventeenth, eighteenth, and nineteenth centuries. Nathaniel Hawthorne, a nineteenth century American novelist and short story writer, composed the story of â€Å"Young Goodman Brown† which takes place in Salem. AllRead MoreCritical Analysis Of Young Goodman Brown1393 Words   |  6 Pagesstory â€Å"Young Goodman Brown† is a fight between Evil and Good of both the mind and soul of Young Goodman Brown. Tries Retaining his faith but fails and sees those around him to be evil except himself. Evil is the nature of humankind it hides in the shadows of our inner thoughts. It is the temptation we face on a daily basis. We have the choice whether to give into it or merely overcome it. During his journey through the dark woods Young Goodman Brown sought out his inner evil. Young Goodman Brown, theRead MoreLosing Faith By Nathaniel Hawthorne848 Words   |  4 PagesLosing Faith The theme of losing faith has been a favorite subject of many writers throughout history. In the bible, Moses was forbidden from entering the promise land because of the sins he had committed and ultimately losing his faith. In â€Å"Young Goodman Brown,† Nathaniel Hawthorne writes about a young man who goes on a mysterious journey through the forest, which forever changes him and his faith. Hawthorne introduces us to Goodman Brown, a recently married young Puritan, who decides to leaveRead MoreFaith Is The Most Significant Symbol Of Brown s Personal Faith933 Words   |  4 Pages However, he still had Faith. Faith is the most significant symbol of Brown’s personal faith. From her name to her pink ribbons, Faith is goodness, virtue, and purity personified. From the beginning of the story, Hawthorne makes it clear how heavily Young Goodman Brown relies on his young wife. Brown referred to her as â€Å"’a blessed angel on earth,’† and to rationalize his journey he told himself that â€Å"’after this one night, I’ll cling to her skirts and follow her to Heaven’† (Hawthorne 261). WhenRead MoreYoung Goodman Brown Analysis876 Words   |  4 PagesHawthorne’s story, â€Å"Young Goodman Brown,† appears to be a story about original sin with a lot of symbolism tied in to make it an allegory. An allegory is a story that can be interpreted in different ways to find the hidden meaning behind the symbolism in the story. The three things focused on throughout the short story is Faith, the forest that Goodman Brown takes his journey through, and the staff, which the old man who leads Goodman Brown on his way carries. The short story, â€Å"Young Goodman Brown,† uses severalRead More Faith in Hawthornes Young Goodman Brown Essay1105 Words   |  5 Pagesstory â€Å"Young Goodman Brown† is set in Salem, Massachusetts during the late sixteen hundreds in a time of religious hysteria and only a few generations after the infamous witch trials. Although Young Goodman Brown is a fictional tale, it is based on the cynical environment of Salem during this time period. The short story is filled with many literary elements, leading you to question what did exactly happen to the main character at the conclusion. When analyzing a story like Young Goodman Brown, oneRead MoreNathaniel Hawth orne s Young Goodman Brown847 Words   |  4 PagesFaith is a word often used to describe the trust that one has in God; as expressed in a novel written by Nathaniel Hawthorne, â€Å"Young Goodman Brown.† In Young Goodman Brown, one of Hawthorne’s biggest themes is faith. Hawthorne wrote this story to illustrations how temptation and the views of others can influence the way an individual lives. â€Å"Young Goodman Brown† takes place in the 1800s during the time of the Salem Witch Trials; where emphasis was positioned on the strict moral rules and the searchRead MoreNathaniel Hawthorne s Young Goodman Brown1695 Words   |  7 PagesShort story, Young Goodman Brown, by Nathaniel Hawthorne is set in Puritan New England. Hawthorne uses symbolism, description, scenery, and Goodman’s journey to illustrate and symbolize the battle of good versus evil. In the first scene, we see how Young Goodman Brown leaves his wife, Faith, to start on his â€Å"evil† journey through the woods. Though Faith asks him to stay with her, he chooses to continue on even though he knows the evilness lies ahead. As the story continues, we see how HawthorneRead MoreThe Curse Of A Vivid Dream915 Words   |  4 Pagesand shadow. In the story Young Goodman Brown was once a great man. Now he sees everyone as a sinful and bitter person, how did this come to be? It all began one night when Young Goodman Brown had a dream that changed his life forever. In his dream he saw his wife and the good people of his town attend a Witches’ Sabbath. This changes Young Goodman Brown`s perception of reality and how he perceives everyone around him to be devil worshippers. The changes Young Goodman Brown goes through mentally, affect

History of Jazz and Classical Music Essay Example For Students

History of Jazz and Classical Music Essay Upon entering a modern record store, one is confronted with a wide variety of choices in recorded music. These choices not only include a multitude of artists, but also a wide diversity of music categories. These categories run the gamut from easy listening dance music to more complex art music. On the complex side of the scale are the categories known as Jazz and Classical music. Some of the most accomplished musicians of our time have devoted themselves to a lifelong study of Jazz or Classical music, and a few exceptional musicians have actually mastered both. A comparison of classical and Jazz music will yield some interesting results and could also lead to an appreciation of the abilities needed to perform or compose these kinds of music. Lets begin with a look at the histories of the two. The music called classical, found in stores and performed regularly bysymphonies around the world, spans a length of time from 1600 up to the present. This time frame includes the Renaissance, Baroque, Classical, Romantic and Contemporary periods. The classical period of music actually spans a time from of 1750 to 1800; thus, the term Classical is a misnomer and could more correctly be changed to Western Art Music or European Art Music. European because most of the major composers up till the 20th century were European. Vivaldi was Italian, Bach was German, Mozart and Beethoven were Austrian; they are some of the more prominent composers. Not until the twentieth century with Gershwin and a few others do we find American composers writing this kind of art music. For the sake of convention, we can refer to Western Art Music as Classical music. Jazz is a distinctively American form of music, and its history occupies a much smaller span of time. Its origins are found in theearly 1900s as some dance band leaders in the southern U.S. began playing music that combined ragtime and blues. Early exponents of this dance music were Jelly Roll Martin (a blues player) and Scott Joplin (ragtime). The terms Jazz and Jazz Band first surfaced in the year 1900. Some say this occurred in New Orleans, although similar music was played at the same time in other places. The most prominent exponents of this early music, called Dixieland Jazz, included Louis Armstrong and Sidney Bechet. After World War I, Jazz music had evolved and was aided by the development of the recording industry. Thesmall dance band ensemble grew into the larger orchestra known as the Big Band. The music of the Big Bands became known as Swing. Two of the more famous Swing band leaders were Tommy Dorsey and Harry James. In the late 40s and through the 50s, a different kind of Jazz became popular. This music, played by a very small ensemble, was much moresophisticated and complex . Its rich harmonic changes and melodic counterpoint were not conducive to dance. It became known as Bop, with Charlie Parker and Dizzie Gillespie being the early proponents. In the last twenty years there has been a combination of Jazz with popular music of the US and Latin America. This modern Jazz music has been called Fusion. Present day exponents include Pat Metheny and Chic Corea. There has also been a return to the sound of Bop in the last ten years by such musicians as trumpeter Winton Marsalis and his brother Branford, a saxophonist. Lets focus on the instrumentation of the two kinds of music. In Classical music, both large orchestras and small ensembles are used. But generally, the greatest and most prominent compositions are for the larger symphony orchestra. The largest part of the orchestra is the string section consisting of violins, violas, cellos and string basses. These instruments were invented very early in medieval times but really matured into their present form during the late 18th century. The wind instruments, comprised of brass and woodwinds, took longer to mature. The brass section in particular did not posses the ability to play chromatically (in all keys) until the advent of valves which allowed the length of the instrument to be changed while playing. This occurred around the middle to late 19th century. Consequently, the brass instruments are less prominent in the music of Bach, Mozart and Beethoven along with their contemporaries. Late 19th and early 20th century composers make use of a very large orchestra with all the fully developed wind instruments. Some of the master orchestrator/composers of this time were: Wagner, Rimskey-Korsakov, Ravel and Stravinsky. Currently, composers also make use of the full orchestra but with the addition of increasingly larger percussion sections which add many unique and unheard of sounds than in earlier music. My Long March EssayIn Classical music, modern listeners are mostly unaware of the fact that many of the great composers of the past were not onlyexcellent performers but also great improvisers. Starting with J.S. Bach (1685-1750), the greatest composer of the Baroque era, he in fact made his living through his great skill as an improvisor. It was common for the Lutheran Church organist of his day be able to improvise on choral melodies and Bach was considered one of the greatest at this. There are written accounts of other composers improvisational abilities including Mozart (1756-1791), Beethoven (1770-1829), and Franz Liszt (1811-1886). Yet, as time went on, improvising gave way to the composers desire to exert complete control over his music. By the late 19th century, improvising was rare and not used at all in public performances of classical music. In summation, we can say that Jazz and Classical music represent two approaches to Art Music. The Classical composer or performer has a long and rich body of music in written form that he uses to learn from while the Jazz musician uses a body of recorded music to learn. Because of its small size, the modern Jazz ensemble allows loose interaction while the symphony orchestras large size and diversity of instruments provides many different sounds and wide dynamic range. In classical music the composer strives for control; he uses printed music to guide and direct the musicians through the conductor. In Jazz music, the songs are loosely composed, thus forming a basis for individual expression within an ensemble. When you go to hear asymphony, you hear an orchestra conducted by the conductor playing a composition. When you go to a Jazz club you hear a small jazz ensemble interacting and improvising a song. Both of these kinds of music provide rich expression and detail to the serious lis tener. They take different paths to reach their final form but give a person equal opportunities to appreciate the creative output of each.

Volcano Essay Example For Students

Volcano Essay This paper will define and discuss the Volcano Essay to include: types of volcanoes, formation of a volcano, and elements of a volcano; such as, lava, rock fragments, and gas. This paper also tells a little bit about volcanic activity in different parts of the world. We will write a custom essay on Volcano specifically for you for only $16.38 $13.9/page Order now What is a volcano? A volcano is a vent in the earth from which molten rock and gas erupt. The molten rock that erupts from the volcano forms a hill or mountain around the vent. The lava may flow out as a viscous liquid or it may explode from the vent as solid or liquid particles. Kinds of Volcanic Materials Three basic materials that may erupt from a volcano are; 1. lava, 2. rock fragments, and 3. gas. Lava Lava is the name for magma that has been released onto the Earths surface. When lava comes to the Earths surface, it is red hot and may have temperatures of more than 2012 degrees Fahrenheit. Fluid lava flows swiftly down a volcanos slopes. Sticky lava flows more slowly. As the lava cools, it may harden into many different formations. Highly fluid lava hardens into smooth, folded sheets of rock called pahoehoe. Stickier lava cools into rough, jagged sheets of rock called aa. Pahoehoe and aa cover large areas of Hawaii, where the terms originated. The stickiest lava forms flows of boulders and rubble called block flows. It may also form mounds of lava called domes. Other lava formations are spatter cones and lava tubes. Spatter cones are steep hills that can get up to 100 feet high. They build up from the spatter of geyser-like eruptions of thick lava. Lava tubes are tunnels formed from fluid lava. As the lava flows, its exterior covering cools and hardens. But the lava below continues to flow. After the flowing lava drains away, it leaves a tunnel. Rock Fragments Rock fragment are usually called tephra and are formed from sticky magma. This magma is so sticky that its gas can not easily escape when the magma approaches the surface or central vent. Finally, the trapped gas builds up so much pressure that it blasts the magma into fragments. Tephra consists of volcanic dust, volcanic ash, and volcanic bombs, (from smallest to largest size particle). Volcanic dust consists of particles less than one one-hundredth inch in diameter. Volcanic dust can be carried for great distances. In 1883, the eruption of Krakatau in Indonesia shot dust 17 miles into the air. The dust was carried around the Earth several times and produced brilliant red sunsets in many parts of the world. Some scientists assume large quantities of volcanic dust can affect the climate by reducing the amount of sunlight that reaches the Earth. Volcanic ash is made up of fragments less than one fifth inch in diameter. Nearly all volcanic ash falls to the surface and becomes welded together as rock called volcanic tuff. Sometimes, volcanic ash combines with water in a stream and forms a boiling mudflow. Mudflows may speeds up to 60 miles per hour and can be remarkably shattering. Volcanic bombs are large fragments. Most of them range from the size of a baseball to the size of a basketball. The largest bombs can measure up to more than four feet across and weigh up to 100 short tons. Small volcanic bombs are generally called cinders. Gas Gas pours out of volcanoes in large quantities during almost all eruptions. The gas is made up particularly of steam, but may also include carbon dioxide, nitrogen, sulfur dioxide, and other gases. Most of the steam comes from a volcanos magma, but some .uda74959f486ec7421c3c526594012a3c , .uda74959f486ec7421c3c526594012a3c .postImageUrl , .uda74959f486ec7421c3c526594012a3c .centered-text-area { min-height: 80px; position: relative; } .uda74959f486ec7421c3c526594012a3c , .uda74959f486ec7421c3c526594012a3c:hover , .uda74959f486ec7421c3c526594012a3c:visited , .uda74959f486ec7421c3c526594012a3c:active { border:0!important; } .uda74959f486ec7421c3c526594012a3c .clearfix:after { content: ""; display: table; clear: both; } .uda74959f486ec7421c3c526594012a3c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uda74959f486ec7421c3c526594012a3c:active , .uda74959f486ec7421c3c526594012a3c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uda74959f486ec7421c3c526594012a3c .centered-text-area { width: 100%; position: relative ; } .uda74959f486ec7421c3c526594012a3c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uda74959f486ec7421c3c526594012a3c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uda74959f486ec7421c3c526594012a3c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uda74959f486ec7421c3c526594012a3c:hover .ctaButton { background-color: #34495E!important; } .uda74959f486ec7421c3c526594012a3c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uda74959f486ec7421c3c526594012a3c .uda74959f486ec7421c3c526594012a3c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uda74959f486ec7421c3c526594012a3c:after { content: ""; display: block; clear: both; } READ: The Problems of Women's Labor Essaysteam may also be produced when rising magma heats water in the ground. Volcanic gas carries a large sum of volcanic dust. This alliance of gas and dust looks like black smoke Types of Volcanoes The magmas that are the most liquefied erupt quietly and flow from the vent to form sloping shield volcanoes, a name that is conceived because they look like the shields of ancient German warriors. The lava that flows from shield volcanoes is usually only one to ten meters thick, but the lava may extend for great distances away from the vent. The volcanoes of Hawaii and Iceland are typical shield volcanoes. Magma with high gas contents .

Full Text of Oslo Accords Definition of Principles

Full Text of Oslo Accords Definition of Principles Following is the full text of the Declaration of Principles on Palestinians interim self-government. The accord was signed on Sept. 13, 1993, on the White House lawn. Declaration of PrinciplesOn Interim Self-Government Arrangements(September 13, 1993) The Government of the State of Israel and the P.L.O. team (in the Jordanian-Palestinian delegation to the Middle East Peace Conference) (the Palestinian Delegation), representing the Palestinian people, agree that it is time to put an end to decades of confrontation and conflict, recognize their mutual legitimate and political rights, and strive to live in peaceful coexistence and mutual dignity and security and achieve a just, lasting and comprehensive peace settlement and historic reconciliation through the agreed political process. Accordingly, the, two sides agree to the following principles: ARTICLE IAIM OF THE NEGOTIATIONS The aim of the Israeli-Palestinian negotiations within the current Middle East peace process is, among other things, to establish a Palestinian Interim Self-Government Authority, the elected Council (the Council), for the Palestinian people in the West Bank and the Gaza Strip, for a transitional period not exceeding five years, leading to a permanent settlement based on Security Council Resolutions 242 and 338. It is understood that the interim arrangements are an integral part of the whole peace process and that the negotiations on the permanent status will lead to the implementation of Security Council Resolutions 242 and 338. ARTICLE IIFRAMEWORK FOR THE INTERIM PERIOD The agreed framework for the interim period is set forth in this Declaration of Principles. ARTICLE IIIELECTIONS These elections will constitute a significant interim preparatory step toward the realization of the legitimate rights of the Palestinian people and their just requirements. ARTICLE IVJURISDICTION Jurisdiction of the Council will cover West Bank and Gaza Strip territory, except for issues that will be negotiated in the permanent status negotiations. The two sides view the West Bank and the Gaza Strip as a single territorial unit, whose integrity will be preserved during the interim period. ARTICLE VTRANSITIONAL PERIOD AND PERMANENT STATUS NEGOTIATIONS The five-year transitional period will begin upon the withdrawal from the Gaza Strip and Jericho area. Permanent status negotiations will commence as soon as possible, but not later than the beginning of the third year of the interim period, between the Government of Israel and the Palestinian people representatives. It is understood that these negotiations shall cover remaining issues, including: Jerusalem, refugees, settlements, security arrangements, borders, relations and cooperation with other neighbors, and other issues of common interest. The two parties agree that the outcome of the permanent status negotiations should not be prejudiced or preempted by agreements reached for the interim period. ARTICLE VIPREPARATORY TRANSFER OF POWERS AND RESPONSIBILITIES Upon the entry into force of this Declaration of Principles and the withdrawal from the Gaza Strip and the Jericho area, a transfer of authority from the Israeli military government and its Civil Administration to the authorised Palestinians for this task, as detailed herein, will commence. This transfer of authority will be of a preparatory nature until the inauguration of the Council. Immediately after the entry into force of this Declaration of Principles and the withdrawal from the Gaza Strip and Jericho area, with the view to promoting economic development in the West Bank and Gaza Strip, authority will be transferred to the Palestinians on the following spheres: education and culture, health, social welfare, direct taxation, and tourism. The Palestinian side will commence in building the Palestinian police force, as agreed upon. Pending the inauguration of the Council, the two parties may negotiate the transfer of additional powers and responsibilities, as agreed upon. ARTICLE VIIINTERIM AGREEMENT The Israeli and Palestinian delegations will negotiate an agreement on the interim period (the Interim Agreement) The Interim Agreement shall specify, among other things, the structure of the Council, the number of its members, and the transfer of powers and responsibilities from the Israeli military government and its Civil Administration to the Council. The Interim Agreement shall also specify the Councils executive authority, legislative authority in accordance with Article IX below, and the independent Palestinian judicial organs. The Interim Agreement shall include arrangements, to be implemented upon the inauguration of the Council, for the assumption by the Council of all of the powers and responsibilities transferred previously in accordance with Article VI above. In order to enable the Council to promote economic growth, upon its inauguration, the Council will establish, among other things, a Palestinian Electricity Authority, a Gaza Sea Port Authority, a Palestinian Development Bank, a Palestinian Export Promotion Board, a Palestinian Environmental Authority, a Palestinian Land Authority and a Palestinian Water Administration Authority, and any other Authorities agreed upon, in accordance with the Interim Agreement that will specify their powers and responsibilities. After the inauguration of the Council, the Civil Administration will be dissolved, and the Israeli military government will be withdrawn. ARTICLE VIIIPUBLIC ORDER AND SECURITY In order to guarantee public order and internal security for the Palestinians of the West Bank and the Gaza Strip, the Council will establish a strong police force, while Israel will continue to carry the responsibility for defending against external threats, as well as the responsibility for overall security of Israelis for the purpose of safeguarding their internal security and public order. ARTICLE IXLAWS AND MILITARY ORDERS The Council will be empowered to legislate, in accordance with the Interim Agreement, within all authorities transferred to it. Both parties will review jointly laws and military orders presently in force in remaining spheres. ARTICLE XJOINT ISRAELI-PALESTINIAN LIAISON COMMITTEE In order to provide for a smooth implementation of this Declaration of Principles and any subsequent agreements pertaining to the interim period, upon the entry into force of this Declaration of Principles, a Joint Israeli-Palestinian Liaison Committee will be established in order to deal with issues requiring coordination, other issues of common interest, and disputes. ARTICLE XIISRAELI-PALESTINIAN COOPERATION IN ECONOMIC FIELDS Recognizing the mutual benefit of cooperation in promoting the development of the West Bank, the Gaza Strip and Israel, upon the entry into force of this Declaration of Principles, an Israeli-Palestinian Economic Cooperation Committee will be established in order to develop and implement in a cooperative manner the programs identified in the protocols attached as Annex III and Annex IV . ARTICLE XIILIAISON AND COOPERATION WITH JORDAN AND EGYPT The two parties will invite the Governments of Jordan and Egypt to participate in establishing further liaison and cooperation arrangements between the Government of Israel and the Palestinian representatives, on the one hand, and the Governments of Jordan and Egypt, on the other hand, to promote cooperation between them. These arrangements will include the constitution of a Continuing Committee that will decide by agreement on the modalities of admission of persons displaced from the West Bank and Gaza Strip in 1967, together with necessary measures to prevent disruption and disorder. Other matters of common concern will be dealt with by this Committee. ARTICLE XIIIREDEPLOYMENT OF ISRAELI FORCES After the entry into force of this Declaration of Principles, and not later than the eve of elections for the Council, a redeployment of Israeli military forces in the West Bank and the Gaza Strip will take place, in addition to withdrawal of Israeli forces carried out in accordance with Article XIV. In redeploying its military forces, Israel will be guided by the principle that its military forces should be redeployed outside populated areas. Further redeployments to specified locations will be gradually implemented commensurate with the assumption of responsibility for public order and internal security by the Palestinian police force pursuant to Article VIII above. ARTICLE XIVISRAELI WITHDRAWAL FROM THE GAZA STRIP AND JERICHO AREA Israel will withdraw from the Gaza Strip and Jericho area, as detailed in the protocol attached as Annex II. ARTICLE XVRESOLUTION OF DISPUTES Disputes arising out of the application or interpretation of this Declaration of Principles. or any subsequent agreements pertaining to the interim period, shall be resolved by negotiations through the Joint Liaison Committee to be established pursuant to Article X above. Disputes which cannot be settled by negotiations may be resolved by a mechanism of conciliation to be agreed upon by the parties. The parties may agree to submit to arbitration disputes relating to the interim period, which cannot be settled through conciliation. To this end, upon the agreement of both parties, the parties will establish an Arbitration Committee. ARTICLE XVIISRAELI-PALESTINIAN COOPERATION CONCERNING REGIONAL PROGRAMS Both parties view the multilateral working groups as an appropriate instrument for promoting a Marshall Plan, the regional programs and other programs, including special programs for the West Bank and Gaza Strip, as indicated in the protocol attached as Annex IV . ARTICLE XVIIMISCELLANEOUS PROVISIONS This Declaration of Principles will enter into force one month after its signing. All protocols annexed to this Declaration of Principles and Agreed Minutes pertaining thereto shall be regarded as an integral part hereof. Done at Washington, D.C., this thirteenth day of September, 1993. For the Government of IsraelFor the P.L.O. Witnessed By: The United States of AmericaThe Russian Federation ANNEX IPROTOCOL ON THE MODE AND CONDITIONS OF ELECTIONS Palestinians of Jerusalem who live there will have the right to participate in the election process, according to an agreement between the two sides. In addition, the election agreement should cover, among other things, the following issues: the system of elections; the mode of the agreed supervision and international observation and their personal composition; and rules and regulations regarding election campaign, including agreed arrangements for the organizing of mass media, and the possibility of licensing a broadcasting and TV station. The future status of displaced Palestinians who were registered on 4th June 1967 will not be prejudiced because they are unable to participate in the election process due to practical reasons. ANNEX IIPROTOCOL ON WITHDRAWAL OF ISRAELI FORCES FROM THE GAZA STRIP AND JERICHO AREA The two sides will conclude and sign within two months from the date of entry into force of this Declaration of Principles, an agreement on the withdrawal of Israeli military forces from the Gaza Strip and Jericho area. This agreement will include comprehensive arrangements to apply in the Gaza Strip and the Jericho area subsequent to the Israeli withdrawal. Israel will implement an accelerated and scheduled withdrawal of Israeli military forces from the Gaza Strip and Jericho area, beginning immediately with the signing of the agreement on the Gaza Strip and Jericho area and to be completed within a period not exceeding four months after the signing of this agreement. The above agreement will include, among other things: Arrangements for a smooth and peaceful transfer of authority from the Israeli military government and its Civil Administration to the Palestinian representatives. Structure, powers and responsibilities of the Palestinian authority in these areas, except: external security, settlements, Israelis, foreign relations, and other mutually agreed matters. Arrangements for the assumption of internal security and public order by the Palestinian police force consisting of police officers recruited locally and from abroad holding Jordanian passports and Palestinian documents issued by Egypt). Those who will participate in the Palestinian police force coming from abroad should be trained as police and police officers. A temporary international or foreign presence, as agreed upon. Establishment of a joint Palestinian-Israeli Coordination and Cooperation Committee for mutual security purposes. An economic development and stabilization program, including the establishment of an Emergency Fund, to encourage foreign investment, and financial and economic support. Both sides will coordinate and cooperate jointly and unilaterally with regional and international parties to support these aims. Arrangements for a safe passage for persons and transportation between the Gaza Strip and Jericho area. The above agreement will include arrangements for coordination between both parties regarding passages: Gaza - Egypt; and Jericho - Jordan. The offices responsible for carrying out the powers and responsibilities of the Palestinian authority under this Annex II and Article VI of the Declaration of Principles will be located in the Gaza Strip and in the Jericho area pending the inauguration of the Council. Other than these agreed arrangements, the status of the Gaza Strip and Jericho area will continue to be an integral part of the West Bank and Gaza Strip, and will not be changed in the interim period. ANNEX IIIPROTOCOL ON ISRAELI-PALESTINIAN COOPERATION IN ECONOMIC AND DEVELOPMENT PROGRAMS The two sides agree to establish an Israeli-Palestinian continuing Committee for Economic Cooperation, focusing, among other things, on the following: Cooperation in the field of water, including a Water Development Program prepared by experts from both sides, which will also specify the mode of cooperation in the management of water resources in the West Bank and Gaza Strip, and will include proposals for studies and plans on water rights of each party, as well as on the equitable utilization of joint water resources for implementation in and beyond the interim period. Cooperation in the field of electricity, including an Electricity Development Program, which will also specify the mode of cooperation for the production, maintenance, purchase and sale of electricity resources. Cooperation in the field of energy, including an Energy Development Program, which will provide for the exploitation of oil and gas for industrial purposes, particularly in the Gaza Strip and in the Negev, and will encourage further joint exploitation of other energy resources. This Program may also provide for the construction of a Petrochemical industrial complex in the Gaza Strip and the construction of oil and gas pipelines. Cooperation in the field of finance, including a Financial Development and Action Program for the encouragement of international investment in the West Bank and the Gaza Strip, and in Israel, as well as the establishment of a Palestinian Development Bank. Cooperation in the field of transport and communications, including a Program, which will define guidelines for the establishment of a Gaza Sea Port Area, and will provide for the establishing of transport and communications lines to and from the West Bank and the Gaza Strip to Israel and to other countries. In addition, this Program will provide for carrying out the necessary construction of roads, railways, communications lines, etc. Cooperation in the field of trade, including studies, and Trade Promotion Programs, which will encourage local, regional and inter-regional trade, as well as a feasibility study of creating free trade zones in the Gaza Strip and in Israel, mutual access to these zones, and cooperation in other areas related to trade and commerce. Cooperation in the field of industry, including Industrial Development Programs, which will provide for the establishment of joint Israeli- Palestinian Industrial Research and Development Centers, will promote Palestinian-Israeli joint ventures, and provide guidelines for cooperation in the textile, food, pharmaceutical, electronics, diamonds, computer and science-based industries. A program for cooperation in, and regulation of, labor relations and cooperation in social welfare issues. A Human Resources Development and Cooperation Plan, providing for joint Israeli-Palestinian workshops and seminars, and for the establishment of joint vocational training centers, research institutes and data banks. An Environmental Protection Plan, providing for joint and/or coordinated measures in this sphere. A program for developing coordination and cooperation in the field of communication and media. Any other programs of mutual interest. ANNEX IVPROTOCOL ON ISRAELI-PALESTINIAN COOPERATION CONCERNING REGIONAL DEVELOPMENT PROGRAMS The two sides will cooperate in the context of the multilateral peace efforts in promoting a Development Program for the region, including the West Bank and the Gaza Strip, to be initiated by the G-7. The parties will request the G-7 to seek the participation in this program of other interested states, such as members of the Organisation for Economic Cooperation and Development, regional Arab states and institutions, as well as members of the private sector. The Development Program will consist of two elements: an Economic Development Program for the West Bank and the Gaza Strip. a Regional Economic Development Program. A Social Rehabilitation Program, including a Housing and Construction Program. A Small and Medium Business Development Plan. An Infrastructure Development Program (water, electricity, transportation and communications, etc.) A Human Resources Plan. Other programs. The establishment of a Middle East Development Fund, as a first step, and a Middle East Development Bank, as a second step. The development of a joint Israeli-Palestinian-Jordanian Plan for coordinated exploitation of the Dead Sea area. The Mediterranean Sea (Gaza) - Dead Sea Canal. Regional Desalinization and other water development projects. A regional plan for agricultural development, including a coordinated regional effort for the prevention of desertification. Interconnection of electricity grids. Regional cooperation for the transfer, distribution and industrial exploitation of gas, oil and other energy resources. A Regional Tourism, Transportation and Telecommunications Development Plan. Regional cooperation in other spheres. The two sides will encourage the multilateral working groups, and will coordinate towards their success. The two parties will encourage intersessional activities, as well as pre-feasibility and feasibility studies, within the various multilateral working groups. AGREED MINUTES TO THE DECLARATION OF PRINCIPLES ON INTERIM SELF-GOVERNMENT ARRANGEMENTS A. GENERAL UNDERSTANDINGS AND AGREEMENTS Any powers and responsibilities transferred to the Palestinians pursuant to the Declaration of Principles prior to the inauguration of the Council will be subject to the same principles pertaining to Article IV, as set out in these Agreed Minutes below. B. SPECIFIC UNDERSTANDINGS AND AGREEMENTS Article IV It is understood that: Jurisdiction of the Council will cover West Bank and Gaza Strip territory, except for issues that will be negotiated in the permanent status negotiations: Jerusalem, settlements, military locations, and Israelis. The Councils jurisdiction will apply with regard to the agreed powers, responsibilities, spheres and authorities transferred to it. Article VI (2) It is agreed that the transfer of authority will be as follows: The Palestinian side will inform the Israeli side of the names of the authorised Palestinians who will assume the powers, authorities and responsibilities that will be transferred to the Palestinians according to the Declaration of Principles in the following fields: education and culture, health, social welfare, direct taxation, tourism, and any other authorities agreed upon. It is understood that the rights and obligations of these offices will not be affected. Each of the spheres described above will continue to enjoy existing budgetary allocations in accordance with arrangements to be mutually agreed upon. These arrangements also will provide for the necessary adjustments required in order to take into account the taxes collected by the direct taxation office. Upon the execution of the Declaration of Principles, the Israeli and Palestinian delegations will immediately commence negotiations on a detailed plan for the transfer of authority on the above offices in accordance with the above understandings. Article VII (2) The Interim Agreement will also include arrangements for coordination and cooperation. Article VII (5) The withdrawal of the military government will not prevent Israel from exercising the powers and responsibilities not transferred to the Council. Article VIII It is understood that the Interim Agreement will include arrangements for cooperation and coordination between the two parties in this regard. It is also agreed that the transfer of powers and responsibilities to the Palestinian police will be accomplished in a phased manner, as agreed in the Interim Agreement. Article X It is agreed that, upon the entry into force of the Declaration of Principles, the Israeli and Palestinian delegations will exchange the names of the individuals designated by them as members of the Joint Israeli-Palestinian Liaison Committee. It is further agreed that each side will have an equal number of members in the Joint Committee. The Joint Committee will reach decisions by agreement. The Joint Committee may add other technicians and experts, as necessary. The Joint Committee will decide on the frequency and place or places of its meetings. Annex II It is understood that, subsequent to the Israeli withdrawal, Israel will continue to be responsible for external security, and for internal security and public order of settlements and Israelis. Israeli military forces and civilians may continue to use roads freely within the Gaza Strip and the Jericho area. Done at Washington, D.C., this thirteenth day of September, 1993. For the Government of IsraelFor the P.L.O. Witnessed By: The United States of AmericaThe Russian Federation

Confucius Essay Example | Topics and Well Written Essays - 500 words - 1

Confucius - Essay Example It is wrong to leave this path for instant since a path that you are free to leave can never be the true path (Waley & Allen, 2000). In this account, the superior man is cautious and careful with respect to where he focuses his attention and is regarded. Humankind must thus give their mind to what is worth listening to and is worth saying. That superior man should always be watchful even when alone (Wing-Tsit, 2005). He contends that, when there are no stirrings of pleasure, anger, sorrow, or joy, the mind is in a state of equilibrium. On the other hand, when these feelings are stirred, and act in their due degree, the resultant is the state of harmony. That equilibrium is the root where acts of humanity grow. On the other hand, harmony is the path that guides them, such that when equilibrium and harmony exists in perfection, a happy order prevails throughout heaven and earth, and all things are nourished (Waley & Allen, 2000). Confucius contends that, the path of learning is to illuminate the goodness in man, to bring out what is best in people and to achieve the highest excellence. That once the true point of departure on this path is found thoughts becomes clear. Calmness yields peace needed for deliberations and such deliberations yield desired goals. He proceeds on this line of thought that to exhibit goodness in kingdoms, first order well, the states, which are for rulers. That it will follow to families, then the person rectifies their hearts. To do this, they first sought to be sincere in their thoughts by first extending to the utmost of their knowledge, and this lay in investigation of things. With rounded knowledge, as he espouses, then sincere thoughts, and rectified hearts, persons rectified and cultivated, order is brought to their families, to states rightly governed, and the whole kingdom is tranquil and happy. Here, he contends that cultivation of

The Role of Magistrates Essay Example | Topics and Well Written Essays - 3000 words

The Role of Magistrates - Essay Example Thus, magistrates' assignments and the organization of their workloads can vary, sometimes dramatically, not only from district to district and courthouse to courthouse, but also among magistrates with offices along the same hallway in a single courthouse. (Carroll, 2003) Although they receive task assignments from district judges, magistrates, as judicial officers with their own legal and support staffs, retain at least some degree of autonomy in designing the organization of their workload. In fact, because they generally are not as involved with the time-consuming business of presiding over trials, events which require definitive scheduling in order to have parties, attorneys, witnesses, jurors, and other actors simultaneously present in one room, the subordinate judges frequently have significant autonomy in deciding when to address particular assigned tasks during their workdays. The magistrates generally are not responsible for prisoner cases. Habeas corpus and civil rights cases by prisoners are reviewed by two staff attorneys assigned to the district court. An experienced senior magistrate supervises these staff attorneys. Although this magistrate was laden with additional responsibilities, unlike in some other districts, he was not rewarded with the title "chief magistrate." After the initial screening by the staff attorneys, prisoner cases meeting procedural and legal requirements may be assigned by judges to their paired magistrates. A "duty magistrate" system developed for handling preliminary criminal matters. In the large court, magistrates are "on duty" for separate, rotating, one-week periods in which they have exclusive responsibility for processing the criminal cases. Thus, the magistrates normally handle criminal matters only once every five weeks. In the large court, criminal pre-trial matters, such as arraignments, bail reviews, detention hearings, initial appearances, search warrants, and arrest warrants, arise virtually every day. In addition, some of the judges have magistrates handle criminal pre-trial conferences to coordinate and settle evidentiary and other matters prior to trial. Magistrates in Action The following incident observed at the courthouse provides a picture of the magistrates at work as subordinate yet authoritative judicial officers. In the large courthouse, there is a daily "Duty Call" scheduled at one o'clock each afternoon to handle preliminary criminal matters. On this particular day, the district's magistrates held their regular monthly luncheon meeting, which did not conclude until 1:15. Afterwards, the duty magistrate talked with the author about the magistrates' roles for ten more minutes prior to entering the courtroom. Magistrates, like judges, recognize that lawyers and witnesses are frequently late in getting to court. Therefore, court proceedings generally do not begin and the magistrate or judge will not enter the courtroom until all other relevant actors are present. The magistrate's lack of concern about beginning precisely on time did not indicate

Beethoven Pastoral Symphony Essay Example for Free

Beethoven Pastoral Symphony Essay Beethoven was one of the pivotal composers that helped music evolve from the Classical period into the age of Romanticism. When discussing Beethoven’s success in classical compositions, his symphonies are at the forefront of most if not every conversation. However, even within the topic of his symphonies, some are naturally highlighted more than others. For example, one could reproduce the melody from either the opening movement of the Fifth or the finale of the Ninth and a majority of people would be able to recognize them. While these two works were revolutionary in the progression of symphonic music, they were not the only ones to have played important roles in this sense. Beethoven’s Pastoral Symphony is a pivotal work in the expansion of music with programmatic characteristics. However, this symphony is one that sways between the realms of absolute and program music, for it can be identified with both categories of symphonic music. While it is highly unlikely that Beethoven viewed this composition as a truly programmatic piece, the Sixth Symphony has played an important role in the development of the symphony as a genre and influenced future composers of program music as well. In order to discuss the significance of the Pastoral Symphony, one must first shed light on the difference of program music from that of absolute music. Author R. W. S. Mendl describes absolute music as being â€Å"that which gives us pleasure by the sheer delight in sound patterns without having any emotional, pictorial, or literary references† and claims that music with programmatic content â€Å"attempt[s] to represent scenes, objects, or events which exist apart from music.† It is hard to gauge the amount of programmatic works prior to the Pastoral Symphony, simply due to the fact that the term â€Å"program music† was not used as a defining category of music at the time of their release. An estimated eighth of all symphonic works that were presented before Beethoven’s Sixth Symphony were composed with the intent of conveying particular images or scenes. It would seem that with such a small percentage of varying works that were composed to contain prog rammatic ideas, labeling these works with a universal genre proved to be somewhat difficult. With the expansion of this style of writing, naturally the encompassing term â€Å"program music† would become associated with such pieces. Around the time of Beethoven’s composing, music was undergoing a shift from the Classical period into an age of Romanticism. Compositions were expanding in numerous ways regarding form, orchestration, and harmonies that were being implemented. Beethoven has been called â€Å"the innovator who broke through the limitations of Classicism without abandoning them.† This is truly evident through his symphonic writing. While on the cusp of the Romantic era, it became evident to him that the stature of absolute music was on the rise. Lewis Lockwood states that from a compositional aspect, Beethoven looked down upon ‘program music’ for its seemingly shallow representation of actual sounds and lack of originality. In response to this rising style of music, he composed the Pastoral Symphony with the intent of merging illus trative ideas of programmatic music with the structure of absolute music. Beethoven successfully achieved a blend of programmatic and absolute ideas with this symphony, in order to create an overall pastoral feeling of nature rather than depict any specific image. While the symphony and its five movements are labeled with titles that were created by Beethoven himself, he believed that the overall pastoral idea of this work could be perceived by the audience without a description that would usually be necessary with a complete program piece. It is this idea that helped Beethoven create the title as it can be viewed on early sketches, â€Å"Pastoral Symphony or Memories of Country Life: More the Expression of Feeling than Tone-Painting.† It would appear that Beethoven intended to create a general mood that expresses the idea of nature rather than rely on specific images or one precise story to achieve this. Despite Beethoven’s general feelings towards program music and his conscious efforts to claim that the Sixth Symphony was more a collection of overall feelings rather than an attempt at creating one specific image, this piece is neither absolute or programmatic music but a blend of the two styles. The first point in this argument would be the fact that Beethoven attached titles to each of the five movements within this symphony that depict certain scenes associated with pastoral ideas. The headings for the movements are as follow: ‘Pleasant feelings which are awakened in mankind on arrival in the country’, ‘Scene by the brook’, ‘Joyful fellowship of country folk’, ‘Thunder and Storm’, and ‘Beneficent feeling after the storm joined with thanks to the deity’. The mere fact that this symphony is the only one of his nine to contain subtitles attached to each movement that describe a scene of nature favors the thought of the symphony being more programmatic than absolute. However, if one were to look past the movement headings and take into consideration the content of the music, one would observe that the first two movements contain very little defined imagery. From an analytical perspective of the form, the first ha lf of the symphony is rather conventional and resembles the absolute approach to music. These movements hold true to the subheading for the symphony in regards to creating overall feelings rather than one precise painting or story. While there are compositional devices used to help convey the pastoral feeling within the first half of the symphony, it is not until the end of the second movement that Beethoven truly utilizes extra musical associations to convey imagery. This andante movement entitled ‘Scene by the brook’ ends with the flute, oboe, and clarinet engaged in a coda while imitating birdcalls. The composer himself labeled these three woodwind voices as a nightingale, a quail, and a cuckoo, respectively. These birdcalls have led to several debates, discussions, and even complete articles that attempt to analyze the true meaning of their existence in the piece. No matter how they are interpreted, one fact remains still. The birdcalls act as segues from the symphonic first half to the more programmatic portion of the piece. The second half of the Sixth Symphony ventures away from conventional symphonic composing techniques found in the first two movements and includes more programmatic material. A strong indication of programmatic material resides within the later half of the symphony, where Beethoven includes several pastoral elements to enhance the musical imagery. The third movement consists of excited melodies in a compound-meter stylized scherzo representing country-dances. There are several points within this movement that have a drone in the bass that has been viewed as a depiction of bagpipes, an instrument that was frequently associated with the representation of pastoral ideas. This jovial dance-like movement transitions into the fourth movement, which resembles a storm. The storm is â€Å"clearly an example of tone-painting† with its explosive minor chords that represent thunder and lightning and the constant patter of rain in the strings’ lines. Another significant feature added to the symphony that aids the pastoral image is the use of a ranz des vaches in the final movement. The ranz des vaches was an alpine horn call that herdsmen used to summon cattle. Author, David Wyn Jones notes in his book that â€Å"common features of ranz des vaches melodies are: triadic motion, dotted 6/8 meter†¦frequent use of grace notes, all harmonized mainly by the tonic triad.† While looking at the horn call that Beethoven uses within his symphony, one would notice that it meets all of the criteria that Jones listed. The imagery associated with the Pastoral Symphony depicts scenes from nature, which was a subject close to Beethoven’s heart. Through journal entries and letters, one can deduce Beethoven’s love for nature. The following is a letter to Austrian musician and friend, Therese Malfatti in 1810 that depicts his feelings about the outdoors: How fortunate you are to have been able to go to the country so early in the year! Not before the 8th shall I be able to enjoy this delight: I look forward to it with childish anticipation. How glad I shall be to wander about amidst shrubs, forests, trees, herbs and rocks! No man can love the country as I do. For it is forests, trees and rocks that provide men with the resonance they desire. Through this letter and several other firsthand records, one can clearly see Beethoven’s infatuation for the outdoors and the justifiable reason to compose a piece that commemorates this love. It makes sense that the first large-scale work that includes extensive amounts of imagery would reflect the thing that he admired most. Along with the simple beauty of nature, there were other factors that influenced Beethoven while writing his Sixth Symphony. The inclusion of nature and rustic ideas within music was not uncommon to composers prior to Beethoven. Pastoral subjects could be found in several theatrical presentations, operas, and intermezzo from the sixteenth through the eighteenth centuries. One notable work that inspired the development of the Pastoral Symphony was an oratorio written by Franz Joseph Haydn, his teacher and mentor early on in his composing career. Haydn’s oratorio, The Seasons, had an impact on Beethoven while he wrote his Sixth Symphony. Haydn incorporates arpeggiated horn calls in the aria â€Å"Der muntre Hirt† that begin â€Å"a sequence of summer scenes that will [eventually lead] to the storm† later in the oratorio. Similarly, Beethoven opens the fifth and final movement of his symphony with an arpeggiated melody in the French horns that subsequently signify the end of the storm that took place in the previous movement. Another example of musical quotation that Beethoven purposely incorporated is an oboe melody that â€Å"has long been understood as a quotation from Bach’s chorale ‘Birch an, o Schà ¶nes Morgenlicht,’ from the second part of the Christmas Oratorio†¦Ã¢â‚¬  It is worth mentioning that prior to Beethoven’s Pastoral Symphony, there had been other symphonic works to contain sections that resemble thunderstorms. Several commentaries on the Pastoral and its development discuss the 18th century German composer, Justin Heinrich Knecht and his piece entitled La Portrait musical de la nature. This work seems to contain similar programmatic ideas as that of Beethoven’s symphony, including a thunderstorm that interrupts the overall peaceful feeling of nature that resumes after the storm. In addition to preceding compositions that influenced Beethoven’s writings, there has been the suggestion for the possible influence from the literary writings of Scottish poet James Thomson, mostly that of his well known poems collectively titled â€Å"The Seasons†. While there is no concrete evidence that Beethoven took inspiration from this poem, some scholars feel that the poem possibly had an underlying effect on the outcome of the Pastoral Symphony. The text of the poem discusses nature, progressing through the four seasons starting with spring and ending with winter. The poem was translated to German in 1745 and served as a basis for Haydn’s oratorio that shares the same name. As discussed earlier, Beethoven drew inspiration from Haydn’s oratorio, so it would seem that he was indirectly influenced from the poetry of James Thomson for this reason even if he had no connection to the actual literature itself. So far there have been factors that support both sides of the argument in trying to define the Pastoral Symphony as either a work of absolute music, or one depicting tone painting. The mere fact that the piece contains an appropriate amount of material that justifies both categories, one should agree that this work could be viewed as the perfect synthesis of the two sides of the symphonic spectrum. The next step in understanding the influence that the Pastoral Symphony had on future composers of both absolute and programmatic works would naturally be to look at the general reception of the premiere of this piece. The Sixth Symphony received its first public performance on December 22nd, 1808 along with Beethoven’s Fifth Symphony. Beethoven worked on these two symphonies simultaneously in the years leading up to this concert. At this time however, the symphonies were labeled opposite of what they are viewed as today, which means that the Pastoral was written and performed as Beethoven’s fifth symphony, while the C-minor was viewed as his sixth. Over the course of time it would seem as though the Fifth Symphony has overpowered the Pastoral in the minds of audience members. While this may be true to some extent today, at the time, critics were singing praises to this wonderful portrayal of nature through melody and harmony. A review of the score in the musical journal of the time, Allgemeine musikalishce Zeitung, was typical in saying such things as â€Å"this work of Beethoven, wonderful, original, and full of life, which can be placed without hesitation besides his other masterworks†¦Ã¢â‚¬  When comparing it to other compositions that focused on imagery of programmatic material, one critic claimed that â€Å"none of the musical paintings known until now can withstand comparison†¦Ã¢â‚¬  Overall, the piece was welcomed positively and viewed as a representation for composers who desired to use programmatic features. Some of the compositional styles that would soon develop through the Romantic period can trace influence from Beethoven’s Sixth Symphony. When discussing compositions that drew inspiration from the Pastoral Symphony, one should mention Hector Berlioz’s programmatic work, Symphonie Fantastique. As a composer, Berlioz was an advocate for music with more programmatic tendencies and was viewed as a radical composer during his time. At one point in his career, Berlioz wrote critical reviews of Beethoven’s nine symphonies. When discussing the Sixth, he used descriptions such as, â€Å"delightful phrases [that] greet you, like the perfumed morning breeze† as well as â€Å"swarms of chattering birds in flight†¦Ã¢â‚¬  With such joyous descriptions that Berlioz gave, it comes as no surprise that he would find inspiration from this piece for his own writing. Author, Owen Jander views the second movement in Beethoven’s symphony entitled â€Å"Scene by t he Brook† as an obvious â€Å"point of departure for the ‘Scene in the Meadows’ in Berlioz’s Symphonie Fantastique†. As mentioned earlier, Beethoven’s second movement has been the topic of several discussions concerning the Sixth Symphony, specifically, the imitation of birdcalls that can be found at the close of the movement. Jander believes the calls to symbolize Beethoven’s acceptance of his growing deafness and his own fate. If one is to agree with this interpretation, then the connection to Berlioz’s Symphonie Fantastique becomes one that is easy to accept. Berlioz’s third movement, entitled â€Å"Scene in the Meadows† opens with the English horn and the oboe representing two shepherds that are calling to one another. At the end of the movement, one of the â€Å"shepherds† return once more but is not joined by the other, but is instead replaced by the distant roll of thunder heard in the timpani. Those familiar with the piece and its program know that the concluding two movements that follow represent a personal hell and damnation for the protagonist. The connection between both that of Beethoven’s and Berlioz’s works would be the idea that both composers are aware of their own fate and accept it through the illustration of music. Another composer that was potentially influenced by the Pastoral Symphony was that of the German opera composer, Richard Wagner. As just discussed, it would seem that the second movement of Beethoven’s work is to represent the â€Å"realization of one’s destiny through nature†. In Wagner’s opera, Siegfried, there are scenes within the second act that take place in the forest. In which, the main character, Siegfried learns of his destiny from the ability to understand a forest bird. This situation is the exact opposite from that of Beethoven’s, where the composer realizes his destiny through the discovery that he can no longer hear. Two compositions that were separated by nearly one hundred years, both contain similar imagery that represents a person’s realization and acceptance of their destiny through nature. The chances of this being a coincidence seem rather unlikely. To say that that Beethoven’s Pastoral inspired Wagner’s us e of nature within this opera would be a fair conclusion. When discussing Beethoven, the Sixth Symphony may not be a piece that comes to mind right away; one might rather recall themes from other symphonies by him. However, the importance of this piece in the evolution of the symphony as a genre is too important to go overlooked. The mere fact that out of the nine symphonies that Beethoven wrote, the Sixth was the only one to receive a programmatic title and descriptive scenes attached to the movements is an indication at the significance of this work. It may not have directly influenced several composers in the years that followed as far as content is concerned, but Beethoven’s ability to combine aspects of program music with the absoluteness of a symphony opened the door to possibilities for future composers on both sides of the spectrum.