Railroads and the American Expansion into the West Essay Example for Free

Railroads and the American Expansion into the West Essay The transcontinental railroad construction began on the West Coast in 1863. The Chinese comprised a major part of the work force that built the Central Pacific railroad eastward, over the high Sierras, and across the deserts of the West — to Promontory, Utah, where on May 1869, it linked up with the Union Pacific whose workers, of Irish, Scottish, German and Italian descent, started in Omaha, Nebraska. The railroad reduced the cross-country trip, from Boston to San Francisco, from six months to one week. When the rails from the opposite sides were almost a the point of meeting, the whole country listened in for news of Promontory. And then a cannon faced over the Pacific and one over the Atlantic went off simultaneously flashing a signal across the United States. Crowds cheered. There was a frenzy of celebration. It was an enormous event for the country. The famous Golden Spike ceremony on May 10, 1869 at Promontory, Utah, commemorated the completion of Americas first transcontinental railroad. The event marked the uniting of the country that had only recently fought the Civil War, and therefore had most special significance. The transcontinental nation became a reality (Williams 4) During the nineteenth century in America, the railroad represented civilization moving into the wilderness. As early as 1835 the U. S Senate discussed surveying the west to build a Transcontinental railroad. However, railroad technology had not yet developed strong enough motive power to cross the mountainous west. That great feat was left to the next generation of railroaders. During the 1840’s the phrase â€Å"Manifest Destiny† was coined to explain the growth of the United States. It was argued that the country had a right, a God-given destiny, to expand from the Atlantic to the Pacific Oceans and to govern all the land in between. However, the nation’s fulfillment of its Manifest Destiny or expansion had to wait until after the Civil War. In the meantime, the railroads increased the population of the United States east of the Mississippi and created a bustling economy with its rapid transporting of goods to and from the larger east-coast cities. Following the Civil War, the railroads made it possible for expansion into the Trans-Mississippi West to the Pacific Ocean. People in the area were assured there was a way to get their products to market, and to receive information and manufactured goods to make their work and lives easier. In the second half of the nineteenth century, the railroads merged vast territories into one nation by creating dependable economic, social and communications unity. The railroads linked California with states in the east, even as they helped the interior regions become quickly populated. Towns sprang up along the track around water and coaling stations for the locomotives. Many times, the men who laid the tracks purchased property and settled down on farms. Prospectors for gold, silver, iron and oil continued to push west to dig mines, pan streams and drill fields in Colorado, Montana, Nevada, and California. At the same time, growing cities back in the east needed more workers for heavy industries, textile mills, machine shops and garment factories and the need was met by migrating Blacks, French Canadians, and a new surge of immigrants from throughout Europe. The first Transcontinental Railroad has been called the engineering marvel of the 19th century, it opened new economies in the American west, while consuming vast quantities of its natural resources; it birthed one way of life on the Great Plains, and destroyed another. In the process of relentless American expansion into the West, the Indian tribes were largely seen as obstacles. For their part, the Indians regarded the white settlers began streaming across the plains toward gold in California and then nearby Colorado, Indians as a new force of nature — mostly a dangerous one. The white travelers spread smallpox and typhoid. The Indians faced it increasingly difficult to find game. Elk and buffalo, antelope was becoming more difficult to pursue because the people who came on the trains were also after them, either for food or sport. Even by the time Pacific Railroad construction began, starvation and disease had already wracked the Cheyenne, the Sioux and the Arapaho. Over the decades, the Indian tribes was severely affected by the encroachment of white settlers and the imposition of federal policies. The United States adopted a policy of relocating tribes farther west or isolating them on reservations. As many see it now, the federal Indian policy was characterized by one primary goal: pushing aside Indian tribes to facilitate the exploitation of the Wests bountiful natural resources. The U. S. Government began to make treaties with the Plains Indians during the 1850s to 1871. Treaties remained as the legal means to snatch Indian homelands away from them, though they created Indian reservations throughout the West. However, federal Indian policy during the period from 1870 through 1900 shifted the focus from creating reservations to gradually assimilating the Indians into the regular population. While the railroads were a symbol of the relentless march of progress, this progress exacted a heavy toll on many traditional peoples and their centuries-old cultures which were alien to its ways. Reference: Williams, John Hoyt. A Great Shining Road: The Epic Story of the Transcontinental Railroad. Lincoln : University of Nebraska Press. 1988.

History and Types of Regiment Units

History and Types of Regiment Units At first, there is the MOD (Ministry of Defence) which is a British department in the government that is responsible the defence policy set by the majesty government and the British armed forces. The Ministry of Defence mainly objectives are to defend the UK of Great Britain and North Ireland and to strengthen them with stability and peace. The MOD also protects independence security of interest of the United Kingdom whether is in the UK or out of the UK. Michael Fallon is currently the minister that is responsible of the Ministry of Defence. Then seconded in line is the 1st Division which is a large military unit with normally around 15-20 thousand soldiers. In most armies, a division is usually separated between brigades or regiments. The division is big, but they also can be small a combined armed unit that can do independent operations. The 1st Division is at the top of the armed divisions in the United Kingdom and are 7th in the world, which are also in charge of the roles they give to the soldiers to set out their authority. The division is a defensive army that serves for Britain resilience and fights with a few brigades and other armies from other countries. Of course, a major-general is in charge of the 1st Division but is also aided by three other Brigades such as the 4th Mechanized Brigade (The Black Rats), the 20th Armoured Brigade (The Iron Fist), and the 7th Armoured Brigade (Desert Rats). Brigades are major tactical military units that are usually made up of 3-6 battalions. Brigades are equal to a large unit of regiments, with 2 more brigades it would then make up a division. Brigades are normally in infantries or armoured units. The 4th Mechanized Brigade is based in Yorkshire and does mostly operational missions within the north-east of England. They have 2 forces under its command which are the Army Cadet Force and the Combined Cadet Force. The 4th Mechanized Brigade is basically under the command of the 1st Division to train the 18 forces they have under their command but the one who is in charge of the Black rats is Brigadier Charlie Hebert who is a one-star officer. Sir Herbert is then responsible to retain the conduct and discipline of his armoured military sized unit. However as for the 20th Armoured brigade is different from the black rats, for starters even though they are a British army they are based in Germany but are looking to relocate their headquarters back to the United Kingdom in a few years to come. This brigade had its most recent operation in Iraq, and is not back in Germany but is aiding the Afghanistan army as for now. From this The Iron Fist is an army that is not only part of the 1st Division but also from the 3rd Division who are also titled The Iron Division. This Division only has 3 separate brigades, Infantry Brigade and only one Logistic Brigade; all of the 3 brigades are based in the United Kingdom. The Brigadier who is responsible for the black rats is Brigadier Mike Elviss. The 7th Armoured Brigade also called the Desert Rats and are quite similar with The Iron Fist even though the 7th Armoured Brigade were renamed into the 7th Infantry Brigade but still have the name the Desert Rats as its a nickname for the Brigade. For some reason their motto/shout out is Floreat jerboa which means in English; in the English translation Let the Desert Rats flourish. Again they have brigadier that is in command of this brigade and the other 49 brigades that has been combined with the original o be named the 7th Infantry Brigade. Regiments are a military unit that varies their role and size depending on their country and their armed service who have a smaller size of units that are then called a battalion. A battalion is also a military unit that consist of 300-800 soldiers. Battalions are mostly commanded by a lieutenant colonel. Even though a battalion is one small military organization they are still capable of independent operations that are limited. The lowest level someone could get in a battalion unit is either an executive officer or the support and service unit. The term company in the armed forces is used only when a private military made out of 4-10 soldiers are providing armed combat. Private Military Companys like to call their staff as security contractors or private contractors. Private military companies also like to call their business generally as the Circuit which hires mostly mercenaries and bodyguards.

The Franciscan Order; A Victim of its own Success Essay -- essays rese

The Franciscan movement was a religious order that arose out of one man’s ideologies and beliefs. St. Francis of Assisi’s ideals of absolute poverty, obedience, humility, and simplicity were uncomplicated and basic, but during his life and even shortly after his death these ideologies were gradually shifting and causing a great amount of debate. The immense size of the Franciscan Order combined with the mass amount of popularity that the Order gained made changes in the ideology and objectives of Francis’ messages and teaching almost an inevitable necessity. Some could argue that in many ways the Franciscan Order’s original ideologies were a victim of the movement’s success. This is evident in the main rules of the Order, what the rules were initially like during the life of Francis, and what they became after his death.   Ã‚  Ã‚  Ã‚  Ã‚  Saint Francis of Assisi was born in 1182 into a wealth family. His father was Peter Bernardone, a wealthy cloth merchant. Throughout Francis’ childhood he experienced many of the physical pleasures in life; however, gradually he began to have visions from the divine. The first vision appeared when he was fighting with knights against Assisi’s enemies, the second during a night of merriment and celebration, and a third when he was praying at the ruined Church of San Damiano. During the latter vision, Francis heard a voice coming from the crucifix telling him to rebuild the Church. Francis sold many of his father’s assets and gave the money to San Damiano, but his father was unimpressed. Francis publicly denounced his father, striping naked and throwing his clothes at his father, saying that his only father from that point on was the divine. For a time Francis wandered unsure of what to do, until he had his fourth divine vision on February 28, 1206. He realized that his true mission in life was the imitation of the life of Christ. Francis took to begging, and wandering from town to town, caring for those less fortunate than himself, and taking only what was necessary for his survival. After a time, Francis accumulated a small number of followers and soon realized that some rules would have to be formulated to govern his order. On April 6th 1209 the order began when Francis said, â€Å"He that will come after me, let him deny himself†¦This, my brothers, is our life and rule and that of all those who shall wish to join... ... and also made the Order increasingly difficult to govern. This difficulty in governance often forced the Order to turn to the Pope for guidance, thus creating a dangerous reliance on the Pope and making the order submissive to a potentially oppressive and dogmatic power. Likewise, the popularity of the movement contributed to its size. The more popular the Order was the more people joined it. The popularity also contributed to the relaxing of the standards of poverty, humility and simplicity. Money and gifts were given to the Order, jobs with a degree of power and prestige were offered to members of the Order by the Pope, and many other circumstances. The Order itself had become a worldly institution rather than a wandering group of poor friars as Francis had intended. With such undermining of the original ideals and objectives of St. Francis, a split in the Order seems almost inevitable. Final Word Count: 2971  Ã‚  Ã‚  Ã‚  Ã‚   Sources/ Works Cited Burr, D. Olivi and Franciscan Poverty: The Usus Pauper Controversy. Philadelphia; University of Pennsylvania Press, 1989. Moorman, J. A History of the Franciscan Order. UK; Oxford University Press, 1968.

Compare the signal man by Charles Dickens and if she bends, she :: English Literature

Compare the signal man by Charles Dickens and if she bends, she breaks by John Gordon Introduction ============ In my essay I intend to compare the similarities and differences of many aspects of 2 short stories. "The signal man" a pre 20th century story by Charles Dickens and "If she bends she breaks" a post 20th century story. By John Gordon. They are naturally different because of their age. The signal man is pre20th century and is typical of the style of story from that era. If she bends she breaks is post 20th century so it has more modern words and is aimed at a younger audience. The stories themselves are similar in that they are both macarbre ghost stories. Titles ------ The title to every story gives the first impression and can give clues as to what the topic of the story is or what will happen.The signal man is a plain boring title thay does not make people wish to read it.If she bends she breaks on the other hand is an unusual title , it is mysterious and makes you want to read on. But a good title does not necessarily mean a good story. I found the signal man was a much better short story where as if she bends she breaks seemed a better title but it is aimed at young children, is a pretty boring story and the plot is easy to pick up, early in the story. The signal man is a boring title but it lets you know what the story is about without giving away the plot. If she bends she breaks is a very intersting title and you only know what it means when you've read the story so it is very effective. But "if she bends has an unusual title, it makes you want to read it, and only when you read it do you find out what, "if she bends she breakss" mean. "if she bends" title, was very good, the story was not as good, in contrast it was the opposite for "the signal man", it had a plain title, but a good story. Beginings and settings ---------------------- The beginning of the signal man, creates an atmoshpere of the supernatural by, its settings. The settings in the signal man, are descibe by dickens as very dark, solitary, and dismal place, "his post was in as solitary and dismal place", meaing that the signal was all alone, in a very dark, and boring place, which is a typical setting for a ghost story He discribes it as being "a great dungeon" dark, cold, scary, and horrible this gives the reader the sense of pain and torture.

Consumerism and Materialism in America Essay -- possesive, arrogant, s

The economy is a very fragile thing; however it can have an enormous impact on people. Americans especially are affected because they are so greedy, they always want more. Because Americans are very materialistic, they can become overly arrogant and possessive since they are used to getting their way, on account of having money. Some people are never satisfied with what they have; they are always on the lookout for more money and more possessions. Man requires food, shelter, clothing and fuel everything else is superfluous. Luxuries lead to things like materialism and greed. People need to realize that everyone is the same on the inside. Our ancestors didn’t have technology or a ton of money and they somehow survived. â€Å"For the improvement of ages have had but little influence on the essential laws of man’s existence; as our skeletons, probably, are not to be distinguished from those of our ancestors†. (Thoreau) Thoreau knew what most people today don’t, that we are all the same no matter how much money we have. Greediness can lead to negative characteristics such as gluttony and wastefulness. Our time on Earth is very limited; we do not have time to waste on materialism and greediness. We must focus on improving ourselves and our country. In Thoreau’s Economy, he compares greedy humans to being cooked because they are heated by their unnecessary materials. â€Å"The luxuriously rich are not simply kept comfortably warm, but unnaturally hot; as I implied before, they are cooked, of course à   la mode.† (Thoreau). People are constantly striving to have more than what they have. â€Å"...the need to ‘keep up’ have long been part of American culture.† (Schor) The need to have the newest and latest gadgets is very strong in Americans. Produc... ...position. Bedford/St. Martin's, 1991. 421-430. Gailbraith, John Kenneth. "The Dependence Effect." Renee H. Shea, Lawrence Scanlon, Robin Dissin Aufses. The Language of Composition. Bedford/St.Martin's, 1958. 478-481. Rose, Phyllis. "Shopping and Other Spiritual Adventures in America Today." Renee H. Shea, Lawrence Scanlon, Robin Dissin Aufses. The Language of Composition. Bedford/St. Martin's, 1984. 482-484. Schor, Juliet. "The New Consumerism." Renee H. Shea, Lawrence Scanlon, Robin Dissin Aufses. The Language of Compositon. Bedford/St. Martin's, 1999. 487-489. Smith, Joan. "Shop-Happy." Renee H. Shea, Lawrence Scanlon, Robin Dissin Aufses. The Language of Composition. Bedford/St. Martin's, 2000. 490-494. Thoreau, Henry David. "Economy." Renee H. Shea, Lawrence Scanlon, Robin Dissin Aufses. The Language of Composition. Bedford/St. Martin's, 1854. 474-477.

Dance Captain

The Dance Captain is a member of the company who maintains the artistic standards of all Choreography and/or musical staging in a production. The Dance Captain shall always work in tandem with the Stage Manager in conveying and maintaining the creative intentions of the production. The Dance Captain is a member of the company who maintains the artistic standards of all choreography and/or musical staging in a production. The Dance Captain shall always work in tandem with the Stage Manager in conveying and maintaining the creative intentions of the Artistic Staff. The Advisory Committee on Chorus Affairs (ACCA), in conjunction with the Dance Captain Subcommittee, is issuing these suggested guidelines to assist the Dance Captains in their assigned position. 1. Maintaining Artistic Standards and Technique of Original Production a. Review musical staging and choreography, give notes and/or schedule brush-up rehearsals (in coordination with the Stage Manager). Maintain all musical staging and choreography in the original style, intent, technique and energy level. (Note: All rehearsals are called by the Stage Manager as per allotted hours set forth in the contract). . Maintain original spacing and positions in musical numbers. c. Make sure condition of stage, rehearsal and/or audition space is safe and suitable for musical staging and/or choreography for rehearsals and performances. d. Within a reasonable period of time after show is set, the Dance Captain shall learn all choreography and musical staging. e. In cases of complaints or differences of opinion between cast members concerning choreography and/or musical staging, the Dance Captain shall make the decision. f. The Dance Captain may not be required to block non-musical scenes. . Responsibilities to Understudies and Swings a. assist the Stage Manager and choreographer, or their assistants, in the assignment of understudies and swings for numbers and important bits of business in musical staging and/or choreography. b. See that understudies and swings are prepared to perform assignments in musical numbers. 3. Responsibilities for Replacements a. Audition replacement Actors in regards to musical staging and/or choreography when required. b. Teach chorus or principal replacements choreography and staging of musical numbers. . Rehearse replacement with cast members involved in musical numbers prior to their first performance. d. Apprise Actors of possible technical problems they may encounter, such as quick change set-ups, involvement with set 1changes or use of props in c oordination and cooperation with Stage Manager. Work environment. Dance is exhausting. In fact, dancers have one of the highest rates of nonfatal on-the-job injury. Many dancers, as a result, stop performing by their late thirties because of the physical demands on the body. Nevertheless, some continue to work in the field as choreographers, artistic directors, and dance teachers and coaches, while a small number may move into administrative positions, such as company managers. A few celebrated dancers, however, continue performing most of their lives. Many dance companies’ tour for part of the year to supplement a limited performance schedule at home. Dancers who perform in musical productions and other family entertainment spend much of their time on the road; others work in nightclubs or on cruise ships. Most dance performances are in the evening, whereas rehearsals and practice usually take place during the day. As a result, dancers often work very long and late hours. Generally, dancers and choreographers work in modern and temperature-controlled facilities; however, some studios may be older and less comfortable. Dancers generally need long-term on-the-job training to be successful. Most dancers begin formal training at an early age—between 5 and 15—and many have their first professional audition by age 17 or 18. Some earn a bachelor's degree or attend dance school, although neither is required. Becoming a choreographer usually requires years of experience. Education and training; Training varies with the type of dance and is a continuous part of all dancers' careers. Many believe that dancers should start with a good foundation in classical technique before selecting a particular style. Ballet training for girls usually begins between the ages of 5 to 8 with a private teacher or through an independent ballet school, with more serious training beginning between the ages of 10 and 12. Boys often begin their ballet training between the ages of 10 and 15. Students who demonstrate potential in their early teens may seek out more intensive and advanced professional training. At about this time, students should begin to focus their training on a particular style and decide whether to pursue additional training through a dance company's school or a college dance program. Leading dance school companies often have summer training programs from which they select candidates for admission to their regular full-time training programs. Formal training for modern and culturally specific dances often begins later than training in ballet; however, many folk dance forms are taught to very young children. As a result, a good number of dancers have their first professional auditions by age 17 or 18. A college education is not essential for employment as a professional dancer; however, many dancers obtain degrees in unrelated fields to prepare themselves for careers after dance. The completion of a college program in dance and education is usually essential to qualify to teach dance in college, high school, or elementary school. Colleges and conservatories sometimes require graduate degrees but may accept performance experience. A college background is not necessary for teaching dance or choreography in local recreational programs. Studio schools prefer teachers to have experience as performers. Dancers generally need long-term on-the-job training to be successful. Most dancers begin formal training at an early age—between 5 and 15—and many have their first professional audition by age 17 or 18. Some earn a bachelor's degree or attend dance school, although neither is required. Becoming a choreographer usually requires years of experience. There are many advantages to being a dancer a dancer's life is no 9 to 5 job. Some days you may work just three or four hours, and others you will be dancing until the late hours. Your schedule will depend on the type of job you have booked. In between set gigs, you will also be working by attending auditions, as well as participating in workshops to continue learning new dances techniques. Staying In Shape In order to be a successful dancer, your body must be in superb shape. Alternate between different dance styles and stretching routines to tone muscles in all areas of the body. This will keep your body flexible to avoid pulling or spraining joints and muscles. Changing up your routine will also keep it from becoming monotonous, and open you up to new choreographic styles, as well. Being able to work out as a part of your profession will benefit your health even after you retire from the field. Travel Opportunities, Travel is one of the top perks of dance field. Travel allows you to see new places, experience new foods and cultures, and meet interesting new people. Many dance troupes get the chance to travel around the U. S. and even internationally if they are part of a company. Food and lodging are typically covered, so you won't need to cover these sorts of expenses. Working for Yourself; Being a dancer is largely a freelance job, since many dancers work for several companies on a part-time basis. This means that you work when you want to work, and you can take a break when you need to, provided you have the resources to do so. If you prefer to receive a steady paycheck, opening up your own dance studio may be the right path. You can choose the dance style you want to teach, be it ballet, tap, jazz, modern, or even ballroom or hip-hop. You will also be able to select the hours of operation and the method for enrolling students. Opening your own studio will also give you the chance to choreograph your own dance routines and pass the art form down to others to enjoy. In spite of these advantages there are also many challenges to working in the dance industry. Median hourly wages of dancers were $12. 22 in May 2008. The middle 50 percent earned between $8. 03 and $18. 82. The lowest 10 percent earned less than $7. 28, and the highest 10 percent earned more than $27. 26. Annual wage data for dancers were not available, because the wide variation in the number of hours worked by dancers and the short-term nature of many jobs—which may last for 1 day or 1 week—make it rare for dancers to have guaranteed employment that exceeds a few months. Median annual wages of salaried choreographers were $38,520 in May 2008. The middle 50 percent earned between $25,320 and $55,360. The lowest 10 percent earned less than $17,880, and the highest 10 percent earned more than $67,160. Median annual wages were $37,570 in â€Å"other schools and instruction,† the North American Industry Classification System category that includes dance studios and schools. Dancers who were on tour usually received an additional allowance for room and board, as well as extra compensation for overtime. Earnings from dancing are usually low because employment is irregular. Dancers often supplement their income by working as guest artists with other dance companies, teaching dance, or taking jobs unrelated to the field. Earnings of dancers at some of the largest companies and in commercial settings are governed by union contracts. Some dancers in major opera ballet, classical ballet, and modern dance corps belong to the American Guild of Musical Artists, Inc. of the AFL-CIO; those who appear on live or videotaped television programs belong to the American Federation of Television and Radio Artists; those who erform in films and on television belong to the Screen Actors Guild; and those in musical theater are members of the Actors' Equity Association. The unions and producers sign basic agreements specifying minimum salary rates, hours of work, benefits, and other conditions of employment. However, the contract each dancer signs with the producer of the show may be more favorable than the basic agreement. Most salaried dancers and choreographers covered by union contracts receive some paid sick leave and various health and pension benefits, including extended sick pay and family-leave benefits provided by their unions. Employers contribute toward these benefits. Dancers and choreographers not covered by union contracts usually do not enjoy such benefits. I selected this career because I believe that a career as a dance captain can be very challenging and I always ready for new challenges. I am also very concerned about being health and a career as a dancer will allow me to do what I love and keep my body healthy. I find this career to be very enjoyable because of the joy that dance can bring to others and myself and that is why I would like to be a dancer. Dance captain

Pygmalion Poetry Deconstruction

Poetry Deconstruction: The Story of Pygmalion and the Statue (1713 translation) The poem â€Å"The Story of Pygmalion and the Statue† was originally written in Greek by Ovid, and is found in Book Ten of his work, Metamorphoses. It was translated into English in 1713, and this translation employs techniques to appeal to the readers of the day, and reveals their views on a variety of topics, including obsession and narcissism. Pygmalion, a sculptor, shunned all women for their frivolity, instead turning to his art. He created a sculpture out of ivory of a woman so perfect that he grew to love her, and wished for his ‘ivory virgin’ to be real. The goddess granted his secret desire, and blessed the couple with a son. The readership of the poem would have consisted predominately of eighteenth century upper class males, so the poem is, in many parts, structured to interest this group of individuals. The eighteenth century gentleman would have identified with the line â€Å"Well pleas’d to want a consort of his bed†, as a mistress was the only thing that was not provided instantly for them. Pygmalion, a man who is able to function without this, would have been held in high esteem by the reader, and perhaps would have inspired them to follow his example in being independent. The line, â€Å"Yet fearing idleness, the nurse of ill†, shows the society of the time’s attitude towards inactivity, in that it is, or leads to, a sickness. This metaphor relates to the saying, ‘idle hands are the devil’s playthings’, which would have been the view of the community at the time of the translation. Another quote that shows the opinion of the people of the eighteenth century is â€Å"the pow’rful bribes of love†, indicating that love could be bought. In 1713, this would not have been an oxymoron, as many married someone to gain their wealth, making this statement ring true to the eighteenth century reader. The poet also refers to the birth of Pygmalion and the statue’s child, as a way that they â€Å"crown their bliss†. This metaphor signifies a very happy ending, especially to the gentleman reader, as procreation was a very important issue; an heir was necessary. Note also that the child is male. This engineers a perfect close to the story of Pygmalion. ‘Crown’ could also be a symbol of the patriarchal values present, as it was rare for a woman to rule (wear the crown). A question to pose it what the eighteenth century gentleman thought of Pygmalion’s obsessive nature and narcissism. The fact that he â€Å"Abhorr’d all womankind† makes it appear as if he thinks he is above women, as he has lumped them all into the same, generalised bracket, including those who do not follow the lifestyle choices he disapproves of. The alliteration used in â€Å"loathing their lascivious life† emphasises Pygmalion’s misogyny, and therefore his very high opinion of himself. His narcissistic nature is further explored through the use personification; â€Å"Nature could not with his art compare†. Here, he is praising his own amazing skill for creating something better than Nature, or God, could make. The line â€Å"Pleas’d with his idol†, reminds on of Genesis, where God is pleased with himself after he creates the world. Pygmalion is comparing himself to God, revealing his large ego. The poet delves into his obsessive nature with the caesura in the line, â€Å"he commends, admires, Adores;† forcing the readers to pause and examine the depth of Pygmalion’s obsession towards the statue of his creation, and by extension, himself. This is emphasised again in the repetition in the lines â€Å"And all the sparkling stones †¦ and od’rous green†. The word ‘and’ is repeated five times in these four lines, highlighting the excessiveness of his gift giving and his over the top behaviour. Due to the positive finish, where Pygmalion’s ‘bliss is crowned’ with the birth of a son, and the lack of consequences for his terribly high opinion of himself, one might conclude that over-extravagant pride was considered commonplace in the eighteenth century, and obsessiveness was not considered unhealthy, perhaps because it served to combat idleness. The various ideas in the poem support this. The translation of â€Å"The Story of Pygmalion and the Statue† effectively utilises techniques and devices in order to appeal to its readership, the upper class gentleman of 1713 and onward. 715 words