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GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, “G.K. Chesterton Criticism: A Midsummer Night’s Dream” and share your ideas about the criticism in a discussion post (you MUST quote the passage). The post is meant to be a response specifically to THIS CRITICISM. So write at least three full paragraphs [or more if you wish] on this criticism [in relation to the play] for the full 20 points.GradingClick on the rubric to see how the discussion will be graded.A Midsummer Night’s Dreamhttps://www.chesterton.org/midsummer-nights-dream/ (Links to an external site.)The greatest of Shakespeare’s comedies, in Chesterton’s opinionThe greatest of Shakespeare’s comedies is also, from a certain point of view, the greatest of his plays. No one would maintain that it occupied this position in the matter of psychological study if by psychological study we mean the study of individual characters in a play. No one would maintain that Puck was a character in the sense that Falstaff is a character, or that the critic stood awed before the psychology of Peaseblossom. But there is a sense in which the play is perhaps a greater triumph of psychology than Hamlet itself. It may well be questioned whether in any other literary work in the world is so vividly rendered a social and spiritual atmosphere. There is an atmosphere in Hamlet, for instance, a somewhat murky and even melodramatic one, but it is subordinate to the great character, and morally inferior to him; the darkness is only a background for the isolated star of intellect. But A Midsummer Night’s Dream is a psychological study, not of a solitary man, but of a spirit that unites mankind. The six men may sit talking in an inn; they may not know each other’s names or see each other’s faces before or after, but night or wine or great stories, or some rich and branching discussion may make them all at one, if not absolutely with each other, at least with that invisible seventh man who is the harmony of all of them. That seventh man is the hero of A Midsummer Night’s Dream.A study of the play from a literary or philosophical point of view must therefore be founded upon some serious realisation of what this atmosphere is. In a lecture upon As You Like It, Mr. Bernard Shaw made a suggestion which is an admirable example of his amazing ingenuity and of his one most interesting limitation. In maintaining that the light sentiment and optimism of the comedy were regarded by Shakespeare merely as the characteristics of a more or less cynical pot-boiler, he actually suggested that the title “As You Like It” was a taunting address to the public in disparagement of their taste and the dramatist’s own work. If Mr. Bernard Shaw had conceived of Shakespeare as insisting that Ben Jonson should wear Jaeger underclothing or join the Blue Ribbon Army, or distribute little pamphlets for the non-payment of rates, he could scarcely have conceived anything more violently opposed to the whole spirit of Elizabethan comedy than the spiteful and priggish modernism of such a taunt. Shakespeare might make the fastidious and cultivated Hamlet, moving in his own melancholy and purely mental world, warn players against an over-indulgence towards the rabble. But the very soul and meaning of the great comedies is that of an uproarious communion between the public and the play, a communion so chaotic that whole scenes of silliness and violence lead us almost to think that some of the “rowdies” from the pit have climbed over the footlights. The title “As you Like It”, is, of course, an expression of utter carelessness, but it is not the bitter carelessness which Mr. Bernard Shaw fantastically reads into it; it is the god-like and inexhaustible carelessness of a happy man. And the simple proof of this is that there are scores of these genially taunting titles scattered through the whole of Elizabethan comedy. Is “As You Like It” a title demanding a dark and ironic explanation in a school of comedy which called its plays “What You Will”, “A Mad World, My Masters”, “If It Be Not Good, the Devil Is In It”, “The Devil is an Ass”, “An Humorous Day’s Mirth”, and “A Midsummer Night’s Dream”? Every one of these titles is flung at the head of the public as a drunken lord might fling a purse at his footman. Would Mr. Shaw maintain that “If It Be Not Good, the Devil Is In It”, was the opposite of “As You Like It”, and was a solemn invocation of the supernatural powers to testify to the care and perfection of the literary workmanship? The one explanation is as Elizabethan as the other.Now in the reason for this modern and pedantic error lies the whole secret and difficulty of such plays as A Midsummer Night’s Dream. The sentiment of such a play, so far as it can be summed up at all, can be summed up in one sentence. It is the mysticism of happiness. That is to say, it is the conception that as man lives upon a borderland he may find himself in the spiritual or supernatural atmosphere, not only through being profoundly sad or meditative, but by being extravagantly happy. The soul might be rapt out of the body in an agony of sorrow, or a trance of ecstasy; but it might also be rapt out of the body in a paroxysm of laughter. Sorrow we know can go beyond itself; so, according to Shakespeare, can pleasure go beyond itself and become something dangerous and unknown. And the reason that the logical and destructive modern school, of which Mr. Bernard Shaw is an example, does not grasp this purely exuberant nature of the comedies is simply that their logical and destructive attitude have rendered impossible the very experience of this preternatural exuberance. We cannot realise As You Like It if we are always considering it as we understand it. We cannot have A Midsummer Night’s Dream if our one object in life is to keep ourselves awake with the black coffee of criticism. The whole question which is balanced, and balanced nobly and fairly, in A Midsummer Night’s Dream, is whether the life of waking, or the life of the vision, is the real life, the sine qua non of man. But it is difficult to see what superiority for the purpose of judging is possessed by people whose pride it is not to live the life of vision at all. At least it is questionable whether the Elizabethan did not know more about both worlds than the modern intellectual; it is not altogether improbable that Shakespeare would not only have had a clearer vision of the fairies, but would have shot very much straighter at a deer and netted much more money for his performances than a member of the Stage Society.In pure poetry and the intoxication of words, Shakespeare never rose higher than he rises in this play. But in spite of this fact, the supreme literary merit of A Midsummer Night’s Dream is a merit of design. The amazing symmetry, the amazing artistic and moral beauty of that design, can be stated very briefly. The story opens in the sane and common world with the pleasant seriousness of very young lovers and very young friends. Then, as the figures advance into the tangled wood of young troubles and stolen happiness, a change and bewilderment begins to fall on them. They lose their way and their wits for they are in the heart of fairyland. Their words, their hungers, their very figures grow more and more dim and fantastic, like dreams within dreams, in the supernatural mist of Puck. Then the dream-fumes begin to clear, and characters and spectators begin to awaken together to the noise of horns and dogs and the clean and bracing morning. Theseus, the incarnation of a happy and generous rationalism, expounds in hackneyed and superb lines the sane view of such psychic experiences, pointing out with a reverent and sympathetic scepticism that all these fairies and spells are themselves but the emanations, the unconscious masterpieces, of man himself. The whole company falls back into a splendid human laughter. There is a rush for banqueting and private theatricals, and over all these things ripples one of those frivolous and inspired conversations in which every good saying seems to die in giving birth to another. If ever the son of a man in his wanderings was at home and drinking by the fireside, he is at home in the house of Theseus. All the dreams have been forgotten, as a melancholy dream remembered throughout the morning might be forgotten in the human certainty of any other triumphant evening party; and so the play seems naturally ended. It began on the earth and it ends on the earth. Thus to round off the whole midsummer night’s dream in an eclipse of daylight is an effect of genius. But of this comedy, as I have said, the mark is that genius goes beyond itself; and one touch is added which makes the play colossal. Theseus and his train retire with a crashing finale, full of humour and wisdom and things set right, and silence falls on the house. Then there comes a faint sound of little feet, and for a moment, as it were, the elves look into the house, asking which is the reality. “Suppose we are the realities and they the shadows.” If that ending were acted properly any modern man would feel shaken to his marrow if he had to walk home from the theatre through a country lane.It is a trite matter, of course, though in a general criticism a more or less indispensable one to comment upon another point of artistic perfection, the extraordinarily human and accurate manner in which the play catches the atmosphere of a dream. The chase and tangle and frustration of the incidents and personalities are well known to every one who has dreamt of perpetually falling over precipices or perpetually missing trains. While following out clearly and legally the necessary narrative of the drama, the author contrives to include every one of the main peculiarities of the exasperating dream. Here is the pursuit of the man we cannot catch, the flight from the man we cannot see; here is the perpetual returning to the same place, here is the crazy alteration in the very objects of our desire, the substitution of one face for another face, the putting of the wrong souls in the wrong bodies, the fantastic disloyalties of the night, all this is as obvious as it is important. It is perhaps somewhat more -worth remarking that there is about this confusion of comedy yet another essential characteristic of dreams. A dream can commonly be described as possessing an utter discordance of incident combined with a curious unity of mood; everything changes but the dreamer. It may begin with anything and end with anything, but if the dreamer is sad at the end he will be sad as if by prescience at the beginning; if he is cheerful at the beginning he will be cheerful if the stars fall. A Midsummer Night’s Dream has in a most singular degree effected this difficult, this almost desperate subtlety. The events in the wandering wood are in themselves, and regarded as in broad daylight, not merely melancholy but bitterly cruel and ignominious. But yet by the spreading of an atmosphere as magic as the fog of Puck, Shakespeare contrives to make the whole matter mysteriously hilarious while it is palpably tragic, and mysteriously charitable, while it is in itself cynical. He contrives somehow to rob tragedy and treachery of their full sharpness, just as a toothache or a deadly danger from a tiger, or a precipice, is robbed of its sharpness in a pleasant dream. The creation of a brooding sentiment like this, a sentiment not merely independent of but actually opposed to the events, is a much greater triumph of art than the creation of the character of Othello.It is difficult to approach critically so great a figure as that of Bottom the Weaver. He is greater and more mysterious than Hamlet, because the interest of such men as Bottom consists of a rich subconsciousness, and that of Hamlet in the comparatively superficial matter of a rich consciousness. And it is especially difficult in the present age which has become hag-ridden with the mere intellect. We are the victims of a curious confusion whereby being great is supposed to have something to do with being clever, as if there were the smallest reason to suppose that Achilles was clever, as if there were not on the contrary a great deal of internal evidence to indicate that he was next door to a fool. Greatness is a certain indescribable but perfectly familiar and palpable quality of size in the personality, of steadfastness, of strong flavour, of easy and natural self-expression. Such a man is as firm as a tree and as unique as a rhinoceros, and he might quite easily be as stupid as either of them. Fully as much as the great poet towers above the small poet the great fool towers above the small fool. We have all of us known rustics like Bottom the Weaver, men whose faces would be blank with idiocy if we tried for -ten days to explain the meaning of the National Debt, but who are yet great men, akin to Sigurd and Hercules, heroes of the morning of the earth, because their words were their own words, their memories their own memories, and their vanity as large and simple as a great hill. We have all of us known friends in our own circle, men whom the intellectuals might justly describe as brainless, but whose presence in a room was like a fire roaring in the grate changing everything, lights and shadows and the air, whose entrances and exits were in some strange fashion events, whose point of view once expressed haunts and persuades the mind and almost intimidates it, whose manifest absurdity clings to the fancy like the beauty of first-love, and whose follies are recounted like the legends of a paladin. These ate great men, there are millions of them in the world, though very few perhaps in the House of Commons. It is not in the cold halls of cleverness where celebrities seem to be important that we should look for the great. An intellectual salon is merely a training-ground for one faculty, and is akin to a fencing class or a rifle corps. It is in our own homes and environments, from Croydon to St. John’s Wood, in old nurses, and gentlemen with hobbies, and talkative spinisters and vast incomparable butlers, that we may feel the presence of that blood of the gods. And this creature so hard to describe, so easy to remember, the august and memorable fool, has never been so sumptuously painted as in the Bottom of A Midsummer Night’s Dream.Bottom has the supreme mark of this real greatness in that like the true saint or the true hero he only differs from humanity in being as it were more human than humanity. It is not true, as the idle materialists of today suggest, that compared to the majority of men the hero appears cold and dehumanised; it is the majority who appear cold and dehumanised in the presence of greatness. Bottom, like Don Quixote and Uncle Toby and Mr. Richard Swiveller and the rest of the Titans, has a huge and unfathomable weakness, his silliness is on a great scale, and when he blows his own trumpet it is like the trumpet of the Resurrection. The other rustics in the play accept his leadership not merely naturally but exuberantly; they have to the full that primary and savage unselfishness, that uproarious abnegation which makes simple men take pleasure in falling short of a hero, that unquestionable element of basic human nature which has never been expressed, outside this play, so perfectly as in the incomparable chapter at the beginning of Evan Harrington in which the praises of The Great Mel are sung with a lyric energy by the tradesmen whom he has cheated. Twopenny sceptics write of the egoism of primal human nature; it is reserved for great men like Shakespeare and Meredith to detect and make vivid this rude and subconscious unselfishness which is older than self. They alone with their insatiable tolerance can perceive all the spiritual devotion in the soul of a snob.And it is this natural play between the rich simplicity of Bottom and the simple simplicity of his comrades which constitutes the unapproachable excellence of the farcical scenes in this play. Bottom’s sensibility to literature is perfectly fiery and genuine, a great deal more genuine than that of a great many cultivated critics of literature – “the raging rocks, and shivering shocks shall break the locks of prison gates, and Phibbus’ car shall shine from far, and make and mar the foolish fates”, is exceedingly good poetical diction with a real throb and swell in it, and if it is slightly and almost imperceptibly deficient in the matter of sense, it is certainly every bit as sensible as a good many other rhetorical speeches in Shakespeare put into the mouths of kings and lovers and even the spirits of the dead. If Bottom liked cant for its own sake the fact only constitutes another point of sympathy between him and his literary creator. But the style of the thing, though deliberately bombastic and ludicrous, is quite literary, the alliteration falls like wave upon wave, and the whole verse, like a billow mounts higher and higher before it crashes. There is nothing mean about this folly; nor is there in the whole realm of literature a figure so free from vulgarity. The man vitally base and foolish sings “The Honeysuckle and the Bee”; he does not rant about “raging rocks” and “the car of Phibbus”. Dickens, who more perhaps than any modern man had the mental hospitality and the thoughtless wisdom of Shakespeare, perceived and expressed admirably the same truth. He perceived, that is to say, that quite indefensible idiots have very often a real sense of, and enthusiasm for letters. Mr. Micawber loved eloquence and poetry with his whole immortal soul; words and visionary pictures kept him alive in the absence of food and money, as they might have kept a saint fasting in a desert. Dick Swiveller did not make his inimitable quotations from Moore and Byron merely as flippant digressions. He made them because he loved a great school of poetry. The sincere love of books has nothing to do with cleverness or stupidity any more than any other sincere love. It is a quality of character, a freshness, a power of pleasure, a power of faith. A silly person may delight in reading masterpieces just as a silly person may delight in picking flowers. A fool may be in love with a poet as he may be in love with a woman. And the triumph of Bottom is that he loves rhetoric and his own taste in the arts, and this is all that can be achieved by Theseus, or for the matter of that by Cosimo di Medici. It is worth remarking as an extremely fine touch in the picture of Bottom that his literary taste is almost everywhere concerned with sound rather than sense. He begins the rehearsal with a boisterous readiness, “Thisby, the flowers of odious savours sweete.” “Odours, odours,” says Quince, in remonstrance, and the word is accepted in accordance with the cold and heavy rules which require an element of meaning in a poetical passage. But “Thisby, the flowers of odious savours sweete”, Bottom’s version, is an immeasurably finer and more resonant line. The “i” which he inserts is an inspiration of metricism.There is another aspect of this great play which ought to be kept familiarly in the mind. Extravagant as is the masquerade of the story, it is a very perfect aesthetic harmony down to such <coup-de-maître> as the name of Bottom, or the flower called Love in Idleness. In the whole matter it may be said that there is one accidental discord; that is in the name of Theseus, and the whole city of Athens in which the events take place. Shakespeare’s description of Athens in A Midsummer Night’s Dream is the best description of England that he or any one else ever wrote. Theseus is quite obviously only an English squire, fond of hunting, kindly to his tenants, hospitable with a certain flamboyant vanity. The mechanics are English mechanics, talking to each other with the queer formality of the poor. Above all, the fairies are English; to compare them with the beautiful patrician spirits of Irish legend, for instance, is suddenly to discover that we have, after all, a folk-lore and a mythology, or had it at least in Shakespeare’s day. Robin Goodfellow, upsetting the old women’s ale, or pulling the stool from under them, has nothing of the poignant Celtic beauty; his is the horse-play of the invisible world. Perhaps it is some debased inheritance of English life which makes American ghosts so fond of quite undignified practical jokes. But this union of mystery with farce is a note of the medieval English. The play is the last glimpse of Merrie England, that distant but shining and quite indubitable country. It would be difficult indeed to define wherein lay the peculiar truth of the phrase “merrie England”, though some conception of it is quite necessary to the comprehension of A Midsummer Night’s Dream. In some cases at least, it may be said to lie in this, that the English of the Middle Ages and the Renaissance, unlike the England of today, could conceive of the idea of a merry supernaturalism. Amid all the great work of Puritanism the damning indictment of it consists in one fact, that there was one only of the fables of Christendom that it retained and renewed, and that was the belief in witchcraft. It cast away the generous and wholesome superstition, it approved only of the morbid and the dangerous. In their treatment of the great national fairy-tale of good and evil, the Puritans killed St. George but carefully preserved the Dragon, And this seventeenth-century tradition of dealing with the psychic life still lies like a great shadow over England and America, so that if we glance at a novel about occultism we may be perfectly certain that it deals with sad or evil destiny. Whatever else we expect we certainly should never expect to find in it spirits such as those in <Aylwin> as inspirers of a tale of tomfoolery like the Wrong Box or The Londoners. That impossibility is the disappearance of “merrie England” and Robin Goodfellow. It was a land to us incredible, the land of a jolly occultism where the peasant cracked jokes with his patron saint, and only cursed the fairies good-humouredly, as he might curse a lazy servant. Shakespeare is English in everything, above all in his weaknesses. just as London, one of the greatest cities in the world, shows more slums and hides more beauties than any other, so Shakespeare alone among the four giants of poetry is a careless writer, and lets us come upon his splendours by accident, as we come upon an old City church in the twist of a city street. He is English in nothing so much as in that noble cosmopolitan unconsciousness which makes him look eastward with the eyes of a child towards Athens or Verona. He loved to talk of the glory of foreign lands, but he talked of them with the tongue and unquenchable spirit of England. It is too much the custom of a later patriotism to reverse this method and talk of England from morning till night, but to talk of her in a manner totally un-English. Casualness, incongruities, and a certain fine absence of mind are in the temper of England; the unconscious man with the ass’s head is no bad type of the people. Materialistic philosophers and mechanical politicians have certainly succeeded in some cases in giving him a greater unity. The only question is, to which animal has he been thus successfully conformed?
SMC G K Chesterton Criticism of Shakespeare A Midsummer Night Dream Discussion
The Heroes Of Olympus English Literature Essay
This book, The Lost Hero, is the first installment in the three book series, The Heroes of Olympus. This series is a fantasy-adventure series, aimed towards teens. In short, a boy appears on a field trip and doesn’t remember who he is, where he comes from, or even his own name. The people who think they remember him, Piper McLean and Leo Valdez, think he is named Jason, and they think they have known him for months. These three teens develop a very tight bond throughout the book. This book has received multiple awards, as has the author Rick Riordan. Personally, I love both series, Percy Jackson and the Olympians, as well as The Heroes of Olympus. This story was told from a third person point of view, alternating from Piper to Leo to Jason’s points of view. Jason Grace, who nobody knows his last name or where he comes from until later in the book, is a child of the Roman god Jupiter, who is Zeus in Greece. He later finds he is able to control the winds so he can ‘fly’ and he can call down lighting from his father to protect him and his friends. Leo Valdez is an orphan. He never knew his father as he left before he was born, and his mother died in a fire at the machine shop where she worked. He later finds out his father is the Greek god Hephaestus, god of fire and metalworking. Piper McLean is the daughter of the famous actor Tristan McLean, and her mother left just after she was born and left her father to care for her alone. She is able to just ask for something and people are almost forced to give it to her. She later finds this is a power of her Greek goddess mother, Aphrodite, called charm speaking. She once just asked a car dealer if she could have a brand new Mercedes and he let her drive it off the lot. She does these things to try to get her fathers attention because he never has time for her. This causes her to be shipped off to another boarding school her father’s helpful secretary picks out across the country. Gleeson Hedge is the chaperone and gym teacher at their boarding school, the Wilderness School for bad kids. He is really their protector as he knows that they are really demigods, children of gods and mortals, and he protects them from monsters trying to kill them. He is a satyr, half man, half goat. Dylan is a fellow student at the Wilderness school, but ends up being a venti, or storm spirit, in disguise trying to kill them. They meet Annabeth Chase, a daughter of Athena, and Butch, a son of Iris. Annabeth is looking for her boyfriend Percy Jackson, who is missing. Percy is the son of Poseidon, the Greek god of the sea. Drew is another daughter of Aphrodite at Camp Half-Blood. She is a bossy head counselor for her cabin. Rachel Elizabeth Dare is a mortal at Camp Half-Blood and their Oracle. Hera is the wife of Zeus and the god of women and marriage, and her Roman counterpart is Juno. Gaea is the Mother of everything, including the gods, the giants, the Cyclopes, the Titans, and many other things. Chiron is the head counselor at Camp Half-Blood and also a centaur, or half horse, half human. Clovis is a child of the minor god Hypnos, god of sleep. Thalia Grace is another child of Zeus, but what is special is that very rarely do gods grace a mortal with two children, making two demigods biological siblings. But this happened with Thalia and Jason’s mother. Festus is a giant Celestial Bronze dragon built by the Hephaestus cabin years earlier to protect the camp but has gone haywire. Boreas is the North Wind, also known as his Roman form Aquilon. Aeolus is the master of all winds, including north, south, east, west, and all the storm spirits. Khione is the goddess of snow, daughter of Boreas. Helios is the Sun in Greece. King Midas can turn anything into gold, including living things, and his curse can only be reversed by running water. The Hunters of Artemis are led by Thalia, Jason’s sister. Mellie is an aura and assistant to Aelous. Enceladus, one of the giants, was created to destroy the Greek goddess Athena. Porphyrion is the king of giants, born to destroy Zeus. This story was set in current time, around October 2011, not long after the last book in the Percy Jackson and the Olympians series, The Last Olympian, ended, in the United States and Canada. In the book, Jason wakes up on the bus with amnesia and doesn’t even remember how old he is or his own name. Piper says that she’s his girlfriend, and Leo claims to be his best friend. Dylan, a classmate at the Wilderness school for delinquent kids, turns into a venti on a field trip to the Grand Canyon. Jason pulls a coin out of his pocket, flips it, and it turns into an Imperial Gold sword. He fights off the venti, but it takes Coach Hedge ransom. Piper falls over the rail trying to fight, and Jason jumps after her and is able to save both of them by controlling the winds and ‘flying’. Annabeth and Butch come looking for Percy Jackson, who has been missing three days now, pick them up and take them back to Camp Half-Blood. They crash in the lake, and not long after Leo is “claimed” by Hephaestus. On the tour of the camp, in Hera’s cabin, the Oracle Rachel is possessed by Hera herself and reveals herself to Piper and asks her to free the goddess. Piper blacks out. While this is happening, Leo is at the Hephaestus cabin and learns that his capability to control fire is both rare and a curse. It is dangerous to the user and anyone else near him because it normally brings destruction to the area. He is shocked to hear this because as a young child, Gaea provoked him to use his powers and he ended up killing his mother as a result. Drew takes Jason to Chiron and he is puzzled when Chiron says “You should be dead.” He has a vision of Juno asking for his assistance, and he learns from Clovis that his memories were stolen by Juno. He walks into his father’s cabin, Zeus, and finds a few photos of who ends up being his sister Thalia. This sparks enough memories for him to realize his last name is Grace. At the bonfire later that night, he proves he is a son of Zeus by flipping his coin into a lance and shooting a bolt of lightning from it. He then accepts a quest to save Hera by the winter solstice, which is in four days. Rachel issued a prophecy that needs a child of Hephaestus and a child of Aphrodite to free Hera. Leo volunteers and shortly after is able to get them air transportation in the form of a messed up mechanical dragon he names Festus. He attaches a set of wings he finds in an abandoned workshop called Bunker 9 that Festus shows him. Drew volunteers, and Piper tries to stop her from going but she can’t because a child of Aphrodite has to go. She is then claimed by her mom proving that she can go on this quest. The next day the three friends leave for Quebec to see Boreas, the North Wind in hopes of trying to find where Aeolus, the master of winds, is. Leo develops a crush on Boreas’ daughter, Khione, the goddess of snow. Leo has to stay by himself and can’t go in the throne room since it is all ice and he can summon fire. Jason and Piper go on to meet Boreas, and when Boreas sees Jason’s tattoo, he transforms into his Roman form of Aquilon. They leave for Chicago, and are detoured when their dragon falls out of the sky and into what they think is an abandoned car factory in Detroit. They encounter three Hyperborean Cyclopes, and Jason and Piper are captured. Leo is able to save them after Gaea contacts him. They recover from this holdup and continue on their way. They decide to follow a group of wind spirits who go down a sewer drain. Leo sends off Festus and tells him to not BBQ people and to listen for a safety whistle, which he summons from his magic tool belt he found in Bunker 9. They camp in the sewers and Leo tells Jason and Piper about his ability to manipulate fire. Leo argues that it is a curse, but Jason insists that it is a gift. After sleeping, they continue to follow the sewer and come to an elevator. They use the elevator and discover themselves in a mall owned by the Princess of Colchis, who turns out to be an evil witch named Medea. She tries to persuade Jason and Leo into killing each other by using charmspeaking, and Piper saved them by countering Medea’s power with her own, more powerful, charmspeak. Medea, in a desperate effort, releases two sun dragons, which are easily beaten by their own dragon Festus. They narrowly escape after rescuing Coach Hedge from her. Festus again malfunctions, and then, when he gets too close to a rich person’s house, is shot out of the sky by lasers, which after this all that survives is his head. They crash land on the lawn of the mansion belonging to King Midas, and when King Midas turns Leo and Piper into gold Jason is left to fight and defeat the king without being touched and turning into gold himself. After fixing Piper and Leo’s gold problem, the trio meets Thalia and her Hunters for the first time in a cave on a mountainside. She explains that their mother birthed two of Zeus’ children, and that she gave Jason up to Hera at only two years old. He also finds out that Thalia ran away and shortly after their mother died while drinking and driving. Thalia takes them to Aeolus’ palace, which happens to float and is docked on the same mountain they are resting on. They get separated when Leo gets nervous and starts to melt the ice bridge that connects the palace to the mountain, and Thalia tells Jason that the Hunters will go ahead to the Wolf House and that he knows where it is and how to get there. He is puzzled because he doesn’t remember ever hearing anything about a Wolf House. They go up the mountain and are escorted by Mellie, Aeolus’ newest assistant. When they finally meet Aeolus, they are surprised to see that he is a weather reporter. They find out that he had issued an order to kill all demigods, but then repeals this order and says that he was just cranky when he issued it. He gets a call from an anonymous source telling him to reveal the location of Enceladus at Mount Diablo. Between Jason and Mellie they are just able to get the group off the floating palace safely. Aphrodite transports them to San Francisco and tells Piper who their true enemy is in a dream. When they get to Mount Diablo, Jason, Leo, and Coach Hedge try to distract the giant Enceladus while Piper attempts to rescue her father. The giant releases Earthborn, but Leo and Piper kill them. Jason fights the giant himself and breaks his lance in the process, creating a huge crater. He prays to his father, and Zeus unleashes a lightning bolt that rips through Jason’s body as he is standing on top of the giant, and it kills the giant since the only way to kill one is for a demigod and a god to work together. The group gets a helicopter and a pilot from the park service thanks to Piper’s ability to charmspeak, and this pilot flies them to the Wolf House, what they find out is really Jack London’s home, a demigod himself, minus Hedge and Piper’s father. The trio crash lands and joins the Hunters, who are already neck deep in fighting. They find Hera in a cage made of earthen tendrils and stone, with Porphyrion using her power to remake himself. Khione reveals herself as Gaea’s helper, as she manipulated the gods’ thoughts. She freezes Thalia, and Leo goes head to head with her. Jason battles his second giant of the day, as Piper uses charmspeak to try to lull the cage into a sleep so Leo can make headway of getting the goddess out. Jason distracts Porphyrion enough for Hera to be released and to show her divine form, which Jason looks into. He is knocked unconscious and it appears he dies like every other person to ever look at a god’s divine form, but Piper is able to bring him back from the dead using charmspeak and Hera transports them all magically to Camp Half-Blood. After the quest, Piper goes back to her cabin and challenges Drew to a duel for head counselor, but Drew surrenders the title to Piper. Leo reveals Bunker 9 and his fire manipulating ability to Piper, Jason, Chiron, and the rest of Hephaestus cabin. The Hephaestus cabin unanimously votes Leo head counselor and breaks their curse. Chiron tells them that a map in the Bunker is from the Civil War, which had two sides to it. There was the human side which everyone knows about, and there was the demigod side. This battle forced the gods to keep the two groups of demigods as far apart as possible. Leo shows everyone a set of blueprints and a drawing of an aerial warship he made as a child with Festus’ head as the masthead. He names the ship Argo II. They make plans to build the warship and travel to the original Mount Olympus in Greece in the summer to protect the gods “roots” and to stop Gaea from rising any further. Juno comes to Jason and reveals herself as his patron and says she is watching over him. She gives him a gladius to replace his lance/sword. Jason is taken to a meeting of all the cabin leaders and reveals that the Greek and Roman camps were never aware of the other because they both hated but respected each other. He says he was a leader of his camp and helped in the second Titan war by destroying Mount Othrys and defeating the Titan Krios. They all decide to find the Roman camp in San Francisco and Annabeth wants to come with them as they realize that Percy Jackson was probably traded to the Roman camp and has no idea who he is. The conflict was that Jason didn’t have a clue who he was, so this hindered some of his abilities. This was partially an external conflict in the respect that everyone could see he couldn’t remember anything, but part of it was internal because he couldn’t remember anything from his past, not even his mom or sister. The conflict hasn’t been resolved yet, but there is still more books in the series so it may be solved later on. Jason, Leo and Piper all learned that teamwork is everything because multiple times if it wasn’t for one member of the team none of them would have survived. While some people say the author was overly detailed, I like stories with a lot of detail so you can really get a sense of what’s happening. You are in suspense for almost the entire book, believe me. You get to a part in a good fight and you can’t even put the book down. The Lost Hero was written because Rick Riordan wrote the Percy Jackson
Sociology 15 Essay test
online dissertation writing Sociology 15 Essay test.
Essay TestAnswer the following questions. For the first question, your answer should be written in a 5-paragraph essay or similar format. Questions 2 and 3 can be answered using a full paragraph. Why do anti-Malthusians believe that people should be worried about a drop in population rather than uncontrolled growth? Do you share this view?Why did many individuals react counter to how the “bystander effect” predicts they might have reacted during the September 11 attack on the World Trade Center in New York City?Summarize the changes urban areas in the United States experienced in the years after World War II.
Sociology 15 Essay test
Capella University Characteristics of Effective Team Members Essay
Capella University Characteristics of Effective Team Members Essay.
ResourcesFunctional AreasUse the following resources to research functional areas for your assessment:Kirova, V. (2017). Exploring the role of strategic marketing department. Journal of Marketing Development and Competitiveness, 11(2), 27–38.Heathfield, S. M. (2019). What does a human resources manager, generalist, or director do? Retrieved from https://www.thebalancecareers.com/what-does-a-huma…Wilson, J. M. (2018). Deconstructing the reinvention of operations management. Journal of Management History, 24(2), 128–155.Hagel, J. (2013). The global finance function: Five focal points. Journal of Accountancy, 216(3), 20–21.Moore, M. (2017, May 8). Who will be replaced by a robot? Ottawa Business Journal, 20(14), AFF314–AFF315.Millburn, N. (n.d.). Roles & responsibilities of effective teamwork. Houston Chronicle. Retrieved from https://work.chron.com/roles-responsibilities-effeTeamworkFostering emotional intelligence is key in achieving team unity and success. You may read more in the following article:Cole, M. L., Cox, J. D., & Stavros, J. M. (2019). Building collaboration in teams through emotional intelligence: Mediation by SOAR (strengths, opportunities, aspirations, and results). Journal of Management and Organization, 25(2), 263–283.CommunicationToday’s team may or may not be based physically onsite. Explore how to improve communication in this suggested article:Hill, N. S., & Bartol, K. M. (2018). Five ways to improve communication in virtual teams. MIT Sloan Management Review, 60(1), 1–5.DelegationLeaders must know how to delegate well in order to benefit the team’s objectives. For more information on delegation, read this article:Bloom, E. (2019). Better delegation = better leadership. Nonprofit World, 33(7), 20–21.Conflict ResolutionIs conflict always negative? Learn more in this suggested article:Fowler, A., Field, E., & McMahon, J. (2019). The upside of conflict. Stanford Social Innovation Review, 17(1), 34–41.Measuring SuccessIn business, your team may consist of varying roles with differing objectives. Learn how to bring everyone together in this suggested article:Lepsinger, R. (2018). Better together: Building effective cross-functional teams. Industrial Management, 60(5), 26–30.Check Your Understanding: The Problem StatementThe following brief self-assessment will assess your ability to identify the qualities of a good problem statement:Choosing a Problem Statement.Research ResourcesYou may use resources of your choice to prepare for this assessment; however, you will need to ensure that they are appropriate, credible, and valid. The BUS-FP3007 – Developing a Business Perspective Library Guide can help direct your research. The Supplemental Resources and Research Resources, both linked from the navigation menu in your courseroom, provide additional resources to help support you.Millburn, N. (n.d.). Roles & responsibilities of effective teamwork. Houston Chronicle. Retrieved from https://work.chron.com/roles-responsibilities-effe…Millburn, N. (n.d.). Roles & responsibilities of effective teamwork. Houston Chronicle. Retrieved from https://work.chron.com/roles-responsibilities-effe…Assessment InstructionsPreparationUse the library and the Internet to research the characteristics of effective teams, as well as strategies for building and leading teams. Use at 3–7 reputable resources to support your writing in this assessment.ScenarioFor this assessment, consider you are a consultant hired by an established medium-sized manufacturing corporation with 250 employees. It directly markets one unique product. The corporation is run by a new CEO and 11 other executives who have been with the organization for varying lengths of time. The new CEO has an aggressive growth objective for the corporation of 100 percent over the next five years. The current business model will not support this objective and needs to be updated.Your task is to create a team that will work together over a 9-month time frame to develop a proposal for a new business model and growth strategies. Your responsibilities include convening the team, assigning roles and responsibilities, structuring the team, monitoring activities and production, and documenting outcomes. The team members must come from at least three different functional areas because the new CEO wants input from a variety of stakeholders. The challenge is that under the old business model, none of the personnel working in the functional areas communicated or collaborated. In addition, the former CEO never asked for new ideas and seemed oblivious to issues the corporation was facing.The following are key ideas for you to keep in mind as you write your plan, but this isn’t an outline for the plan. An outline and what you should include in your plan is defined in the Requirements section further below.The team will work together for a sustained period of time.The visible outcome of the teamwork should focus on the development of a new business model and growth strategies; however, the success of the team as an outcome is up to you and the team members.There should be a representative from each of the three functional areas to produce the model.A variety of perspectives is important.Communication and collaboration are new priorities for teamwork; these processes have not been considered as valuable in the past.Issues impacting the business model have not previously been identified by the business’ leadership.Innovation previously has not been prioritized as a factor in the business model.Develop a plan for building your team that you could present to the CEO. To facilitate evaluation of this assessment, format it according to APA guidelines.RequirementsThe purpose of this assessment is to create an overview of what should be considered when developing teams. It is not intended to be an in-depth analysis. Using the scenario described above for this assessment, write a plan with the following sections. You may use the Assessment 3 Template [DOCX] to create your plan if desired.Title page.Introduction.Briefly explain the goal of your plan and the high-level approach you took in developing it.Functional Area Team Member Selections.Select and describe team members from three of these functional areas: human resources, accounting/finance, marketing/sales, information technology, and operations.Reasons for Functional Area Team Member Selections.Explain the reasons for including each functional area and team member in an organizational team in terms of the advantages offered and the type of role an individual would fill.Characteristics of Effective Team Members.Describe the characteristics (knowledge, skills, and abilities) each team member brings to the project and explain how those characteristics support a team effort and will be crucial to its success.Communicating Team Objectives.Explain how you will effectively communicate team objectives, and consider the consequences of failing to do so. Will you draft a team charter? Will you write a mission statement?Strategies for Delegating Responsibility.Explain the types of strategies you will use to delegate responsibility within the team, how the strategies take into account individual strengths, and how responsibility is delegated fairly. Will you assign tasks or ask for volunteers?Strategies for Managing Conflict.Describe strategies that will be used to avoid and resolve conflicts between members of a team, and consider the consequences of not dealing with conflict.Success Measurement, Tools, and Process.Explain how the success of the team will be measured.Conclusion.Summarize how your plan will result in an effective team that will contribute to organizational success.References page.Example assessment: You may use the Assessment 3 Exemplar [PDF] to give you an idea of what a Proficient or higher rating on the scoring guide would look like.Additional RequirementsBased on the intended audience, your plan should be well organized and written in clear, succinct language.Target 4–5 double-spaced pages of content, in addition to a title page and references page.Include 3–7 reputable resources to support your ideas.Follow APA rules for attributing sources that support your analysis and conclusions.
Capella University Characteristics of Effective Team Members Essay
Multimedia activity: Business Organization Visit the Choose Your Business Structure (Links to an external site.) section of the U.S.
Multimedia activity: Business Organization Visit the Choose Your Business Structure (Links to an external site.) section of the U.S. Small Business Administration’s website. If you were to start your own business, which business entity structure would you choose? Justify why your chosen structure is the best organizational form. Explain the following business structures: sole proprietorship, partnership, LLC, and a corporation. In your analysis address the following for each business structure: Steps to form Personal liability for owners Taxation Advantages and disadvantages