The Witches In Macbeth Essay Example For Students

The Witches In Macbeth Essay 1The witches in Macbeth serve to advance the story, reveal human weakness, heighten the tension and give the audience a hint of things to come, but they do not control Macbeth or anyone else in the play. The only power they have over Macbeth is their ability to reinforce an idea that was already in his head. Their role is made clear when Hecate speaks to them,? And which is worse, all you have doneHath been but for a wayward son.? ( act 3 scene 5 )She suggests that they do not have the power to make him do the evil and mischief that they want. Nor do they need that power. Macbeth is fully capable of doing all the mischief and evil on his own. We will write a custom essay on The Witches In Macbeth specifically for you for only $16.38 $13.9/page Order now How do individuals control others? How would the witches control Macbeth? This can usually be done by physical and/or emotional force. Fear and threats, rewards and praise work to control others. These tools work to different degrees on different people. So much of what is called control depends on the person that is being controlled. The promise of a throne may send some people to their knees while others will take to their heels. When the witches hold out their promises to Macbeth the only surety they have is a knowledge of his ambition and his need for power. In the end this was all they needed to be sure of. They may try to manipulate, but they do not need to control. The character flaws that Macbeth has will be enough to fill their needs. It is interesting to note that the witches do not ask for anything in 2return for their prophecies. Macbeth does not have to promise his soul in exchange for any information. His soul was already in trouble before he met the witches. He was their logical choice. At the start of the play, Macbeth and Banquo are returning from the battlefield when they meet the witches. At this time they predict that Macbeth will become Thane of Cawdor and king of Scotland. It is an interesting thought and the start of an idea. He has fought bravely for king and country, but when the first prophecy comes true, and he is made Thane of Cawdor , he says to himself,? The first step toward the ultimate goal, the throne.? ( act 1 scene 3)If he calls the ultimate goal, a throne, then he has been entertaining this idea before. In his life he has prioritized his ambitions, and the title of king is what he considers the highest step. As a brave an honorable leader of the kings army, shouldnt his highest goal be to serve? As an honorable man with strong morals shouldnt his ultimate goal be a decent life and a heavenly reward?Ambition drives Macbeth. He only needs the suggestions of things that might be his to push him on. There is no sense of moral right to keep him from murder. He hesitates only because he fears the earthly consequences not because it would be sinful. ?- If the assassination could trummel up the consequences.- But in these cases we still have judgment here.? ( act 1scene 7)He does not realize that his struggle is not against evil but for good. The witches do not command Macbeth to kill Duncan or anyone else. The3murder of his king is his decision. This is the only way that he can see to reach his ?Ultimate Goal?. One murder leads to another. Macbeth has spun a web that has trapped him in a paranoid mess. Soon he believes that everyone is out to get him. Traitors are behind every stone in his castle. He has no trusted friends left, and even his wife has fallen into a pit of madness. The only way to deal with this is to kill and kill again. He must know what the future holds for him, and again he turns to the witches. Maybe they can reassure him. .u376a881c2019930fa796b968214522a2 , .u376a881c2019930fa796b968214522a2 .postImageUrl , .u376a881c2019930fa796b968214522a2 .centered-text-area { min-height: 80px; position: relative; } .u376a881c2019930fa796b968214522a2 , .u376a881c2019930fa796b968214522a2:hover , .u376a881c2019930fa796b968214522a2:visited , .u376a881c2019930fa796b968214522a2:active { border:0!important; } .u376a881c2019930fa796b968214522a2 .clearfix:after { content: ""; display: table; clear: both; } .u376a881c2019930fa796b968214522a2 { 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; } .u376a881c2019930fa796b968214522a2:active , .u376a881c2019930fa796b968214522a2:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u376a881c2019930fa796b968214522a2 .centered-text-area { width: 100%; position: relative ; } .u376a881c2019930fa796b968214522a2 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u376a881c2019930fa796b968214522a2 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u376a881c2019930fa796b968214522a2 .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; } .u376a881c2019930fa796b968214522a2:hover .ctaButton { background-color: #34495E!important; } .u376a881c2019930fa796b968214522a2 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u376a881c2019930fa796b968214522a2 .u376a881c2019930fa796b968214522a2-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u376a881c2019930fa796b968214522a2:after { content: ""; display: block; clear: both; } READ: Civil war 7 EssayAt this stage of the play, Macbeth is in desperate need of some measure of security. The witches are only too happy to oblige. Theyll give him just what he wants almost. Hecate has forecasted Macbeths weakness when she tells the three witches:? And you all know securityIs mortals chiefest enemy.? ( act 3 scene 5 )Now they tell him to beware Macduff, that no man born of woman will harm him, and that he will not be beaten until Birnum Woods marches on his castle. Macbeth is reassured. How can a man not be born of woman, and woods do not walk. He has heard just what he wanted to hear. The last two warnings are what he thinks about and he all but dismisses the first:? Macbeth, Macbeth, Macbeth! BewareMacduff. Beware the Thane of Fife!? ( act 4 scene 1 )Had he listened carefully to the first warning, he undoubtably would have found a way to kill Macduff. But, again the witches have given Macbeth what4 he thought he needed. Time and again, the witches appear in the play. They warn, predict and tempt, but they do not control Macbeth. There is no spell cast over him, no deals are struck or bargains made. He is the master of his own fate. He controls his own life. The decisions are his as well as the sins of his deeds. He is the master of his own fate no matter how gruesome that turned out to be. The witches laid out before Macbeth many of the temptations that await mankind. How these temptations are delt with depends on mans character and moral strength. While the witches tempted, and Lady Macbeth connived, it was ultimately up to Macbeth to say, ? No ? and put away the knife. The Witches In Macbeth Essay Example For Students The Witches In Macbeth Essay THE WITCHES IN MACBETHThe Witches or Weird Sisters play a major role in the brilliant tragedy Macbeth by William Shakespeare. The role of the Weird Sisters represents that equivocal evil in the nature of things which helps to deceive the human will. They are not mere witches although they have some of the powers of witches. Even though they were produced by nature, they share with angels a freedom from limitation of space and time, a power to perceive the causes of things, and to see some distance into human minds (Kermode 1309). The Witches have malicious intentions and prophetic powers that entice Macbeth and captivate his mind. Although they have no power to compel Macbeth, the Witches appeal to Macbeths desires, eventually leading him to his tragic end. We will write a custom essay on The Witches In Macbeth specifically for you for only $16.38 $13.9/page Order now The most obvious interpretation of the Witches is to see them as manifestations of evil in the world. They exist to tempt and torment people, to challenge their faith in themselves and their society. The Weird Sisters work on Macbeth by equivocation, that is, by ambiguous promises of some future state. These promises come true, but not in the way that the victim originally believed. The Witches have no power to compel belief, but they can obviously appeal strongly to an already existing inclination to force a persons will onto events to shape the future to fit deepest desires (Corson 224-229). At the beginning of Macbeth, there is no interpretation of the meaning of the storm. Dimly the audience is aware of the ongoing war, but Hecate creates an infernal trinity. Lightning, thunder, and rain all whirl into existence the three hideous curses upon humanity, the three Weird Sisters (Walker 146). 1Witch: When shall we three meet again?In thunder, lightning, or in rain?2Witch: When the hurly-burlys done,When the battles lost and won. 3Witch: That will be ere the set of sun. 1Witch: Where the place?2Witch: Upon the heath. 3Witch: There to meet with Macbeth. 1Witch: I come, Graymalkin2Witch: Paddock calls3Witch: Anon!All: Fair is foul, and foul is fair. Hover through the fog and filthy air.(I.i.1-10). These creepers of darkness that guide the Witches invoke the evil that eventually destroys Macbeth. Graymalkin, the night-seeing cat, the nameless toad under the cold stone, whisper to the Weird Sisters perversion of natural order: fair is foul, destroy it; foul is fair, nurture it (Walker 148). Only seconds later an echo of what the Witches said is merely repeated by the words of Macbeth: So foul and fair a day I have not seen(I.iii.38). The same epithets are used as in the last line of the Witches in scene one. It is intended that an unseen relationship has been established between the Witches and Macbeths soul (Corson 231). Macbeth and Banquo notice the Witches simultaneously. The Witches inflame Macbeth, but Banquo shows no magnetic connection. Foul as the Witches are, Macbeth is still fascinated with them; Banquo, however, sees foul as foul (Walker 149). Macbeth: Speak, if you can: what are you?1Witch:All hail, Macbeth! Hail to thee, Thane of Glamis!2Witch:All hail, Macbeth! Hail to thee, Thane of Cawdor!3Witch:All hail, Macbeth, that shalt be King hereafter! (I.iii.47-50). The All hail of the Third Witch shows that the Sisters have had a look into Macbeths minds construction and have discovered there what they can stimulate into regicide and moral destruction (Corson 231). The speech of Banquo indicates the effect of this All hail upon Macbeths mind, and the no affect upon his own: Good sir, why do you start, and seem to fear/ Things that do sound so fair?(I.iii.51-52). There is not anything within the heart of Banquo to cause him to start; and he continues with words that show he has kept his heart with all diligence. He serves admirably as the foil to Macbeth. Banquo:In the name of the truth,/Are ye fantastical, or that indeed/Which outwardly ye show? My noble partner/ You greet with present grace and great prediction/ Of noble having and of royal hope,/ That he seems wrapt withal: to me you speak not./ If you can look into the seeds of time,/ And say which grain will grow and which will not,/ Speak then to me, who neither beg nor fear/ Your favors n or your hate.(I.iii.52-61). .u57ed9d17c34f1ded3e964c611486a79e , .u57ed9d17c34f1ded3e964c611486a79e .postImageUrl , .u57ed9d17c34f1ded3e964c611486a79e .centered-text-area { min-height: 80px; position: relative; } .u57ed9d17c34f1ded3e964c611486a79e , .u57ed9d17c34f1ded3e964c611486a79e:hover , .u57ed9d17c34f1ded3e964c611486a79e:visited , .u57ed9d17c34f1ded3e964c611486a79e:active { border:0!important; } .u57ed9d17c34f1ded3e964c611486a79e .clearfix:after { content: ""; display: table; clear: both; } .u57ed9d17c34f1ded3e964c611486a79e { 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; } .u57ed9d17c34f1ded3e964c611486a79e:active , .u57ed9d17c34f1ded3e964c611486a79e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u57ed9d17c34f1ded3e964c611486a79e .centered-text-area { width: 100%; position: relative ; } .u57ed9d17c34f1ded3e964c611486a79e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u57ed9d17c34f1ded3e964c611486a79e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u57ed9d17c34f1ded3e964c611486a79e .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; } .u57ed9d17c34f1ded3e964c611486a79e:hover .ctaButton { background-color: #34495E!important; } .u57ed9d17c34f1ded3e964c611486a79e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u57ed9d17c34f1ded3e964c611486a79e .u57ed9d17c34f1ded3e964c611486a79e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u57ed9d17c34f1ded3e964c611486a79e:after { content: ""; display: block; clear: both; } READ: Single parenting and Raising Healthy Children EssayBanquo is not frightened nor enchanted by these witches. He sees foul as foul, but Macbeth is still paralyzed by what the witches predicted and can not see the evil before him. In reply to Banquos command to speak to him, the Witches answer:1Witch:Lesser than Macbeth, and greater. 2Witch:Not so happy, yet much happier. 3Witch: Thou shalt get kings, though thou be none. So all hail, Macbeth and Banquo!1Witch:Banquo and Macbeth, all hail!Macbeth:Stay, you imperfect speakers, tell me more:By Sinels death I know I am Thane of Glamis, But how of Cawdor?Speak I charge you. Witches vanish (I.iii.65-72,78). It is plainly indicated that Macbeth wants to know more. Without knowing anything of the nature or trustworthiness of the strange beings before him, he is ready to gulp all he can draw from them. Macbeth is wholly absorbed and inflamed by what he has heard and begs of the Sisters to stay. The Witches have set about stimulating and arousing what has originated within his heart already, subjecting him to the temptations he is least able to withstand (Kermode 1309). Upon Ross and Angus arrival the prophecies of the Witches keep repeating in Macbeths mind. The thane of Cawdor? He is stunned, and king hereafter? Macbeth knows not what to think. Ross and Angus announce Macbeth as Thane of Cawdor and immediately excitement flows throughout Macbeths veins by the fulfillment of one of the salutations of the witches. Macbeth, baffled by what has just happened, excitedly asks Banquo: Do you not hope your children shall be kings,/ when those that gave the thane of Cawdor to me,/ promised no less to them?(I.iii.117). According to Corson (234), The reply of Banquo, under the circumstances, makes him appear as the very spokesman of Macbeths good angels. Banquos response: That trusted home/ Might yet enkindle you unto the crown,/ Besides the thane of Cawdor. But tis strange:/ And oftentimes to win us to our harm,/ The instruments of darkness tell us truths,/ Win us with honest trifles, to betray/ Us in deepest consequence.(I.iii.120-126). The entire moral of the tragedy is expressed through this speech. Banquo appears to have been specially designed by Shakespeare, as a counter-agency to the agency of the Weird Sisters. Macbeth could choose to listen to Banquo, but his own evil thoughts bind him to the Witches (Corson 235). The next scene, in which the Witches appear, Hecate enters, scolding them for not inviting her to play along with the destrution of Macbeth. She commands that the three sisters meet her in the morning by the pit of Acheron where Macbeth will come to know his destiny. Macbeth is now in the firm grip of fate. His self-determination is lost, and he is now given over to the powers of evil. All: Double, double toil and trouble;Fire burn, and cauldron bubble. 2Witch: Fillet of a fenny snake,In the cauldron boil and bake: Eye of newt and toe of frog, Wool of bat, and tongue of dog, Adders fork, and blind-worms sting, Lizards leg, and owlets wing. For a charm of powerful trouble;Like a hell-broth boil and bubble.(IV.i.10-19). The disgusting ingredients of the hell-broth the Witches are brewing symbolize the relationship of these demons with the night side of nature. These additives add fuel to the sin-inflamed soul of Macbeth to draw him on to his destruction. With the powers of darkness; poisoned entrails, the toads sweltered venom, fillet of a fenny snake and other revolting things, nature becomes tormented by these hags (Corson 240). Upon the entry of Macbeth, the second witch upturns her nostril into the murky air and exclaims: By the pricking of my thumb, something wicked this way comes. Open locks, whoever knocks.(IV.i.43-45). .u77afb967b7c312e77affb193328feca8 , .u77afb967b7c312e77affb193328feca8 .postImageUrl , .u77afb967b7c312e77affb193328feca8 .centered-text-area { min-height: 80px; position: relative; } .u77afb967b7c312e77affb193328feca8 , .u77afb967b7c312e77affb193328feca8:hover , .u77afb967b7c312e77affb193328feca8:visited , .u77afb967b7c312e77affb193328feca8:active { border:0!important; } .u77afb967b7c312e77affb193328feca8 .clearfix:after { content: ""; display: table; clear: both; } .u77afb967b7c312e77affb193328feca8 { 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; } .u77afb967b7c312e77affb193328feca8:active , .u77afb967b7c312e77affb193328feca8:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u77afb967b7c312e77affb193328feca8 .centered-text-area { width: 100%; position: relative ; } .u77afb967b7c312e77affb193328feca8 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u77afb967b7c312e77affb193328feca8 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u77afb967b7c312e77affb193328feca8 .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; } .u77afb967b7c312e77affb193328feca8:hover .ctaButton { background-color: #34495E!important; } .u77afb967b7c312e77affb193328feca8 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u77afb967b7c312e77affb193328feca8 .u77afb967b7c312e77affb193328feca8-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u77afb967b7c312e77affb193328feca8:after { content: ""; display: block; clear: both; } READ: Corporate FinanceA speech of deep significance reveals the nature of these horrible sisters. They have a magnetic sensitiveness to whatever is akin to their own evil nature. Their readiness is open to every one who knocks. The fated career, towards which Macbeth has drifted through the irresistible current of evil forces, now awaits him. The several apparitions which are summoned to address him, are the artificial sprites which Hecate says by the strength of their illusion/shall draw him on to his confusion.(III.v.27-28). The first apparition: an armed head, is generally understood as prefiguring Macbeths head, cut off and brought to Malcolm by Macduff. Macbeth begins to address the apparition with the words: Tell me, thou unknown power, but is interrupted by the First Witch: He knows thy thought:/Hear his speech, but say thou nought.(IV.i.66-68). Here, it is again indicated that everything originates in Macbeths mind. The Witches caution him: Beware Macduff!(IV.i.69). Macbeth replies that he is grateful for this caution, and it fulfills his already established fear of Macduff (Corson 240). It spurs him to kill Macduffs family and followers. The second apparition: a bloody child, represents Macduff untimely ripped from his mothers womb. The powr of man, for none of woman born/Shall harm Macbeth.(IV.i.79). The Witches vanish, and Macbeth learns from Lennox that Macduff has fled to England. The Witches give Macbeth a gratuitous warning against Macduff, and secure for themselves his faith in their guardianship of him. Their warning is not for his safety but for his destruction (Corson 241). The third apparition: a child crowned, with a tree in his hand, prefigures the Kings son, Malcolm, who, as he advances against Macbeth, will order every soldier to take wood from Dunsinane Forest for camouflage. Macbeth shall never vanquished be until/Great Birnam Wood to high Dunsinane Hill/Shall come against him. (IV.i.90-92). Macbeths confidence in the Witches protecting power has been strengthened by the predictions of the first and second apparitions. The prediction of the third apparition clinches his confidence; Macbeth is positive that moving Dunsinane Forest is impossible, and he now believes his end shall never come. That will never be,(IV.i.93), he replies, as the Witches listen and laugh in silence knowing they have defeated Macbeth by encouraging equivocations. The Witches are gleeful over their victim whose eyeballs have been seared by what has been shown to him. The First Witch says: Come, sisters, cheer we up his sprites,/And show the best of our delights:/ Ill charm the air to give a sound,/While you perform your antic round,/That this great king may kindly say/Our duties did his welcome pay.(IV.i.125-130). This expresses implicitly all that has been set forth in regard to the relations of the Witches to Macbeth. He is the first to welcome them as guest to his bosom, and they do their duty by him as agents of the devil (Corson 242). Although the witches have no power to compel Macbeth, they appealed to what he has previously desired, eventually leading him to his tragic end. They have originated nothing within him. They have but harped upon what was already evil and stimulated these thoughts into acts (Corson 242). In his last scene, the Witches urge him on by more flattering equivocations, each turning false, luring Macbeth to an evil end. Work Cited CorsonWords/ Pages : 1,932 / 24

The History of Mr. Potato Head

The History of Mr. Potato Head Did you know that the original Mr. Potato Head was missing a head? The original model didnt come with the familiar brown plastic potato. Inventing Mr. Potato Head In 1949, Brooklyn inventor and designer George Lerner (1922–1995) came up with a revolutionary idea: a toy that children could design themselves. His toy came bundled as a set of plastic body parts- noses, mouths, eyes- and accessories- hats, eyeglasses, a pipe- that were attached to pins. Children would then decorate a potato or other vegetable with the pieces, inventing as they went along.   Lerner shopped his toy idea around for a year but met with resistance. During World War II, the U.S. had suffered through food rationing and somehow using a potato as a toy seemed like a waste. So, instead, Lerner sold his idea to a cereal company for US$5,000, who would distribute his plastic parts as prizes in cereal.   Mr. Potato Head Meets Hasbro In 1951, the Rhode Island Hassenfeld Brothers company was primarily a toy manufacturing and distributing company, making modeling clay and doctor and nurse kits. When they met George Lerner, they saw great potential and paid the cereal company to stop production, buying the rights to Mr. Potato Head for $7,000. They gave Lerner $500 in advance and 5 percent royalties for every set sold.   Girl playing with Mr. Potato Head in 1953. Picture Post / Getty Images Those first sets had hands, feet, ears, two mouths, two pairs of eyes, and four noses; three hats, eyeglasses, a pipe, and eight pieces of felt suitable for beards and mustaches. They came with a styrofoam head that children could use, but instructions suggested a potato or other vegetable would do as well.   In 2002, Mr. Potato Head celebrated his 50th birthday, with these retro examples of the old spud. Spencer Platt / Getty Images The First TV Ad for Children The first television advertisement directed to children, rather than adults, was by the Hassenfeld Brothers for Mr. Potato Head, with the toy riding in a wagon and playing with kids; it premiered on April 30, 1952. The kits sold like hotcakes: the Hassenfelds earned more than $1 million in the first year; in 1968, they changed their name to Hasbro, and today they are the third largest toy company in the world.  Ã‚   Mrs. Potato Head and the Kids By 1953, it became clear that Mr. Potato Head needed a family. Mrs. Potato Head, their children Yam and Spud, and the childrens friends Kate the Carrot, Pete the Pepper, Oscar the Orange, and Cookie Cucumber soon joined the family. A Mr. Potato Head car, boat, and kitchen were soon marketed, and eventually, the brand expanded into puzzles, creative play sets, and electronic hand-held board and video games.   Hasbros later successes include Monopoly, Scrabble, Play-Doh, Tonka trucks, G.I. Joe, Tinker Toys, and Lincoln Logs; but the first and most influential was the famous spud.   Safety Issues The United States was changing rapidly in the 1950s and 1960s, and by the late sixties, the first child safety laws were passed, the Child Protection Act of 1966, and the 1969 Child Protection and Toy Safety Act. The gave the Federal Drug and Safety administration the ability to ban unsafe toys: the Consumer Product Safety Administration wasnt  formed until 1973.   Mr. Potato Heads small pieces of plastic with sharp pins on them were considered unsafe for small children. At the same time, parents complained that they kept finding moldy potatoes under their kids beds. In 1964, Hasbro began making hard plastic bodies, and eventually larger body and part sizes for its plastic potato.   Kylo Ren Mr. Potato Head. Hasbro The Modern Mr. Potato Head Hasbro has developed a reputation for responding to cultural changes, or perhaps taking advantage of them. In 1986, Mr. Potato Head became the official spokespud of the Great American Smokeout, surrendering his pipe to then-surgeon general C. Everett Koop. In 1992, Mr. Potato Head starred in an early Public Service Announcement for the Presidents Council for Physical Fitness, renouncing his role as couch potato.  In 1996, Mr. and Mrs. Potato Head joined the League of Women Voters in an advertising campaign to get out the vote, and in 2002 when he turned 50, he joined the AARP.   Mr. Potato Head has become a staple of American culture over the years. In 1985, he received four write-in votes in the mayoral election in the potato hotbed of Boise, Idaho. He also had a starring role in all three Toy Story  movies, where he was voiced by veteran character actor Don Rickles.  Today, Hasbro, Inc. still manufactures Mr. Potato Head, still responding to cultural changes with special Mr. Potato Head kits for Optimash Prime, Tony Starch, Luke Frywalker, Darth Tater, and Taters of the Lost Ark. Sources Everhart, Michelle. Even at 50, Mr. Potato Head still all smiles. Quad City Times. August 22, 2002.   Miller, G. Wayne. Toy Wars: The Epic Struggle between G.I. Joe, Barbie, and the Companies That Make Them. New York: Times Books 1998.   Mr. Potato Head. Western Pennsylvania History Spring 2016:10.   Swann, John P. Clacker Balls and the Early Days of Federal Toy Safety. FDA Voice. U.S. Food and Drug Association 2016. Web.

Motivation Essay Example | Topics and Well Written Essays - 3000 words

Motivation - Essay Example Secondly, human resources exist as a yet another representation of the interests and needs of the employer. Within this function, a human resource department necessarily seeks to minimize costs associated with the workforce, comply by relevant laws, maximize efficiency, and reduce losses. Accordingly, the study of human resources almost invariably centers upon these two core functions. In keeping with this particular dynamic which is been described, this brief study will focus a level of analysis upon the means by which human resources within a firm/entity/organization can and should seek to maximize the motivational factor that it engages with its stakeholders. Within this particular dynamic, it can readily be understood that seeking to maximize motivation necessarily increases efficiency, utility, profitability, and a host of other factors that would be viewed positively by the firm/entity in question. Moreover, the changing business dynamic in the current world, inclusive of risin g competition, hiring freezes, procurement policies, and a host of other factors, means that a higher level of pressure is now exhibited upon human resource departments around the globe to maximize the level of motivation of the few employees that they can continue to employ as a means of continuing to stay relevant within the current model. Ultimately, this can be reduced to a firm or entity seeking to do more with less. Within such a dynamic, this particular analysis will measure some of the most pertinent motivational theories that exist and seek not only to define them but to explain how they can be utilized within human resources as a means of affecting a greater level of motivation. The theories that will be discussed are as follows: Maslow’s hierarchy of needs, Hertzberg’s motivation hygiene theory, McClellan’s theory of needs, Vroom’s expectancy theory, and Kolb’s learning styles theory. As such, by analyzing each of these theories and rela ting it to the practice of motivation in human resources, it is the intent of this author to underline and highlight the means by which a greater level of motivation can be affected within the current leadership that exist within each and every firm/entity/organization. By seeking to define and understanding the clear and dinstict linkage that exists between leadership and motivation, and vice versa, it is the hope of this author that the reader can come to a more clear and actionable interpretation of how leadership and motivation can work in something of a symbiotic relationship to maximize utility and efficiency within the given firm/organization/or work place. Maslow’s Hierarchy of Needs Although Maslow’s hierarchy of needs has oftentimes been considered on a purely personal psychological level, the reality of the situation is that humans are by very nature social beings. By extension, the workplace is necessarily a realm within which individuals need to interact w ith one another as well as clients as a means of generating profit and income; both for themselves and for the entity in question. In such a way, Maslow’s hierarchy of needs is perfectly suited to defining and describing the means by which a given firm/organization can seek to maximize the overall level of motivation that is exhibited within its employees. Rather than viewing this as something of an undynamic approach, it must be understood,

Billing Costs and Rates Assignment Example | Topics and Well Written Essays - 1000 words

Billing Costs and Rates - Assignment Example †¦4 Key elements of Green Valley Medical Center’s strategy†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..4 Capital budgeting system needs a change†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦......4 Two projects†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..4 Acceptable project†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.......................6 Step three†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.6 Critiques of the methodology and findings of the benefit/cost analysis†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...6 Level of Funding†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...............6 Conclusion †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦......... The billing procedure involve: Enter patient details into an EHR software program; Entering ICD-9 and CPT codes from the main bill into the patient’s documentation; Automatically Transmit claims to cover providers; receive an audit statement, review and correct errors, resubmit discarded claims then post payment to patient account (Ferenc, 2013). Physicians must maintain correct and complete therapeutic records and documentation of the services they offer. They should ensure that the claims they present for payment are backed up with proper documentation. Physician relationship with patient, billing department and management would be reviewed. I think Bobcat Community Hospital is liable for poor billing practices and poor physician relationships. Actions recommended and corporate compliance plan The hospital has retained some physicians for more that 10 years thus compromising on services. The action that has been taken is to control the period a physician can stay within an i nstitution. Yes, corporate compliance plan is needed. Corporate compliance plan would detect and prevent violation of regulation by the physicians, agents, officers and director of the hospital. Physicians are under the same law no matter the location thus no breaks for rural hospital in dealing with physicians. Question 7 Medicare Initiatives on physician payments The two percent across-the-board cut to Medicare physician remuneration mandated by the centralized budget sequester has been an issue for a while; however implementation was to commence as from April. Physician would compromise service delivery in reaction to payments cut. Health-association infection and readmission payment Since 2009, it is true that Medicare stopped payment of medical

Fitzgerald the Misogynist Essay Example for Free

Fitzgerald the Misogynist Essay At first, the female characters in Fitzgeralds The Great Gatsby seemed to be rather dissimilar. Daisy was the angelic and innocent beauty, Jordan was the androgynous golfer, and Myrtle was the sensuous and vivacious seductress. One was from the holy heavens above, another from the sinful depths below, and the last from the neutral in between. Seems like a good balance, however, as the story progresses, we see more and more that the angle is a fallen one, and that the human is a demon in disguise. All three women in this novel use men in some form to get what they want. Looking at the depictions of the female sex in this novel, I believe that, yes, Fitzgerald was a misogynist. Daisy is a careless siren who uses everything given to her by birth to win what she loves, namely attention, adoration, and social status. The only thing that will give her the three is wealth, and the only thing that can give her wealth is Tom Buchanan. Despite having supposedly change her mine (Fitzgerald 74) just prior to their wedding, Daisy still married Tom Buchanan without so much as a shiver (75), and very eagerly uses her new-found money and power to buy her way to the top. It is evident that, from Daisys point of view, true love cannot compare to the money and adulation she craves. Upon her reunion with Gatsby, the first in five years, she breaks down into tears because shes never seen suchbeautiful shirts before (89). The beautiful shirts owned by Gatsby have proven to Daisy that he is even wealthier than Tom, and this fact sends Daisy into a deep lament. That is, if she had just stayed with Gatsby from the beginning, shed be receiving even more attention and adoration than the already considerable amount she possesses at present because Gatsby could have offered her even more than the immense fortune she already holds. Poor, poor girl. Jordan is the least female of the three females, and I believe this is the reason why Fitzgerald did not have her meet an untimely death, destroy familial relations, or come to any other end she could have at the mercy of a woman-hater. Jordan is representative of the wives and daughters who emerged from WWI as androgynous, self-esteemed, and slightly misandric new women. When Nick first meets Jordan, she was perceived as balancing something on it [her chin] which was quite likely to fall (14). Though it is  not directly stated, I think Jordan is balancing men on her chin. New women like Jordan dont need men, and thus they must use men to prove just that. Myrtle is the home wrecker of the novel. As a direct result of her affair with Tom, she gets herself killed, which leads Wilson into shooting Gatsby, which obviously puts an end to the Gatsby and Daisy affair, the result of which leaves Nick disgusted and breaks it off with Jordan. Besides ruining the lives of everyone around her, Myrtle also meets the most tragic end of all the females in the novel. She is killed on impact in a gruesome car accident, while both Daisy and Jordan are at least left with the prospect of a fresh start. I believe this is because Myrtle is the most feminine of the three. Nick describes her as sensuous, and despite possessing no facet or gleam of beauty, there was an immediate perceptible vitality about her as if the nerves of her body were continually smouldering (28). If Fitzgerald was not a misogynist, then how could someone whose vice is simply being too much of a woman deserve an end as graphic as a left breast hanging loose like a flap (131)?This nove l is certainly not one of happily ever afters, and I believe the fact that women are portrayed as the causes of all the tragedies within this novel is reason enough to proclaim Fitzgerald as a misogynist.

gatcolor Symbols and Symbolism Essay - Symbolic Colors in Great Gatsby :: Great Gatsby Essays

Symbolic Colors in Great Gatsby Colors can accentuate the meanings of a story and explain certain actions of a character. In The Great Gatsby, Fitzgerald applies many important colors that allude to the personality of his characters. The colors given are repeated multiple times so that they can be established. To fully understand the characters of the story, one must recognize the associated colors that are given. Green is the color of "healing, money, prosperity, greed, luck, and fertility"(Nadia Davis). This color is closely associated with the green light at the end of the dock. "and distinguished nothing except a single green light/...might have been the end of a dock"(24), Fitzgerald symbolized the green light as the key to reaching Daisy. While on the beach, Gatsby is stretching out his arms to the light as if he will acquire it somehow. This green light represents money and prosperity, which Gatsby has obtained over the years in order to finally reunite with Daisy. Another important color in The Great Gatsby is the color black. Black symbolizes "Absorption of negativity and the destruction of negativity"(N. Davis). Gray is mostly related to the Valley of Ashes and Wilson. The black atmosphere surrounding it represents the hopelessness of their insolvent situation. "This is the valley of ashes.../where ashes take the forms of ashes and chimneys and rising smoke"(27), the ashes represent the black and how it puts a negative burden on Wilson and restricts him from future success. Gold also has an important meaning in the story. Gold symbolizes "God, healing, money power, and wildlife"(N. Davis). Tom is the most relevant character to gold. In relation with money, gold is represented as old wealth. Tom has always had this "old wealth" in his possession, and it is what attracted Daisy to him. In order to win back Daisy, Gatsby also tries to portray himself as having old wealth, even though he only has new money. These actions are shown through some of Gatsby's possessions, "here's my little golden pencil"(111).

Digital Fortress Chapter 49

Becker dragged himself off the floor of the bus and collapsed in an empty seat. â€Å"Nice move, dipshit.† The kid with the three spikes sneered. Becker squinted in the stark lighting. It was the kid he'd chased onto the bus. He glumly surveyed the sea of red, white, and blue coiffures. â€Å"What's with the hair?† Becker moaned, motioning to the others. â€Å"It's all†¦Ã¢â‚¬  â€Å"Red, white, and blue?† the kid offered. Becker nodded, trying not to stare at the infected perforation in the kid's upper lip. â€Å"Judas Taboo,† the kid said matter-of-factly. Becker looked bewildered. The punk spit in the aisle, obviously disgusted with Becker's ignorance. â€Å"Judas Taboo? Greatest punk since Sid Vicious? Blew his head off here a year ago today. It's his anniversary.† Becker nodded vaguely, obviously missing the connection. â€Å"Taboo did his hair this way the day he signed off.† The kid spit again. â€Å"Every fan worth his weight in piss has got red, white, and blue hair today.† For a long moment, Becker said nothing. Slowly, as if he had been shot with a tranquilizer, he turned and faced front. Becker surveyed the group on the bus. Every last one was a punk. Most were staring at him. Every fan has red, white, and blue hair today. Becker reached up and pulled the driver-alert cord on the wall. It was time to get off. He pulled again. Nothing happened. He pulled a third time, more frantically. Nothing. â€Å"They disconnect 'em on bus 27.† The kid spat again. â€Å"So we don't fuck with 'em.† Becker turned. â€Å"You mean, I can't get off?† The kid laughed. â€Å"Not till the end of the line.† Five minutes later, the bus was barreling along an unlit Spanish country road. Becker turned to the kid behind him. â€Å"Is this thing ever going to stop?† The kid nodded. â€Å"Few more miles.† â€Å"Where are we going?† He broke into a sudden wide grin. â€Å"You mean you don't know?† Becker shrugged. The kid started laughing hysterically. â€Å"Oh, shit. You're gonna love it.†