Driving On An Open Road - 996 Words

There’s something incredible about driving on an open road and watching the scenery change while listening to your favorite song or boarding an airplane and getting that sinking feeling in your stomach while taking off, flying into a new adventure. These are some of my favorite things about traveling; enjoying the journey not just the destination. Growing up my family didn’t do much traveling. Our travels consisted of short road trips, lots of laughter, fun and adventure. We weren’t a privileged family; we were quite the opposite. Although we lacked in the financial department, I don’t recall ever feeling like we did. This could’ve been because my head was always in the clouds but it probably had a lot to do with how much love there is in our family. As I grew older I started to take notice of where my friends were going to spend their summer or winter vacations. While mine, were going to be spent mostly home. These were the times I spent dreaming about where I would travel to if I only had the money. Fast forward to the first time I spontaneously planned a road trip one summer. I didn’t intend to go on a trip but I had recently seen pictures of a place called Horseshoe Bend and I was utterly captivated by its beauty. Not only was it remarkable but a few hours away. I was determined to visi t Horseshoe Bend that summer and began preparing my trip. While planning, I had so many questions: Where do I start? How do I get there? Where do I stay? How long is my trip going toShow MoreRelatedDriving On An Open Road916 Words   |  4 PagesThere is something extraordinary about driving on an open road. While listening to your favorite song and watching the scenery change, voyaging into a new adventure. These are my favorite things about traveling; enjoying the journey, not just the destination. Growing up, my family did little traveling. As for our travels comprised of short road trips, lots of laughter, fun and adventure. We were not a privileged family, on the contrary, we were quite the opposite. Although we lacked in the financialRead MoreThe Dangers Of Texting While Driving1561 Words   |  7 Pageswhich this powerful object can be dangerous. Texting while driving is one danger many do not realize until something drastic happens. Texting while driving is not only a threat to us, but as well as other drivers, passengers, and pedestrians. However, with the lack of enforcement on the laws and punishments, the use of cell phones while driving does not come as a threat to drivers, which needs to change. Using a cell phone while driving causes an overwhelming amount of accidents, injuries, and deathsRead MoreThe Concept Of Autonomous Vehicles Essay1336 Words   |  6 Pagesautonomous, or self-driving, vehicles dates back nearly a century. It was first introduced in the 1930s when it graced the pages of science fiction and has continued to be a hot topic ever since (Weber, 2014). Autonomous vehicles, or AVs, are â€Å"those in which operation of the vehicle occurs without direct driver input to control the steering, acceleration, and braking and are designed so that the driver is not expected to constantly monitor the roadway while operating in self-driving mode† (NHTSA, 2013)Read MorePersuassive Essay on Texting and Driving994 Words   |  4 Pagesblamed on distracted driving and most of the distractions are caused by cell phone usage.† Many drivers today have such busy lives and never have time to get the things they need to do complete in one day’s time. This leaves them to get things done while on the road. Checking emails is a top priority for Americans and since many have Smartphone’s, they will do it on the road as well as send text messages. There are many laws being established to try to prevent distracted driving from happening, althoughRead MoreThe Feeling Of Exasperation While Waiting On Traffic Is A Sensation Known By Many Drivers Essay980 Words   |  4 Pagesthose people could have been more cautious on the road, the whole situation could have been avoided Not only would they have been spared from dealing with such an awful situation, but the people caught in the aftermath in the form of traffic would have been spared also. Now imagine a vehicle that could have prevented the situation described above. A car that could solve the problems of automobile accidents, traffic, and the time lost when driving. An automobile with the ability to operate withoutRead MoreTexting While Driving Is A Problem904 Words   |  4 Pagesmessaging while driving has a severe the negative effect on drivers ability to maintain a central lane position, or more serious those cause can death on the road. Texting while driving can be compared to driving while being drunk. The author asserts that 30.2 million persons aged 21 years or older had driven under the influence of alcohol at least once during the past year. (Dubois, et al). As a result, many accidents have taken place by the most of teenagers and adults people who are driving while beingRead MoreTexting While Driving Argumentative Essay773 Words   |  4 PagesEssay Many accidents are blamed on distracted driving and most of the distractions are caused by cell phone usage. However, some opponents feel that creating a law against cell phone use infringes their personal rights. Others think that banning someone from using their cell phones is equivalent to telling someone that they cant adjust their radio or chat with someone else in their car. However, using a cell phone, whether talking or texting, while driving can be extremely dangerous; it should be madeRead MoreDriving While Texting : Distracted Driving992 Words   |  4 PagesDuring 2012-2015, more than 13,000 traffic deaths nationwide were due to distracted driving. It is believed that distracted drivers are 23 times more likely to get into a traffic accident as compared to those who are completely focused on the road. The Ohio State Highway Patrol reports that there were 302,307 motor vehicle crashes in Ohio in 2015. These crashes resulted in 1,110 fatalities. 22 of these fatalities were attributed to drivers who were distracted by their phones, texting, emailing orRead MoreEssay on Self Driving Automobiles. Is it reality?1040 Words   |  5 Pagesriding in your driverless car heading to the moutains for a weekend away. This is the future of the automobile in the 21st century and this technology driven by artificial intelleigence is just around the corner. Don’t freak out if driving in Nevada, and you see a car driving by iteself, the state issued the first licence for a self driven car. The vehicle is identified by a red licence plate along with an infinity symbol. Other states including Florida and California have also passed laws to run theRead MoreA Report On The Housing Of Silverwater827 Words   |  4 PagesSilverwater Park (Clyde Street) - A fun park with a kids’ playground, water views. picnic areas, plenty of open space, a gazebo, and lots to do. Many local gatherings, events, and festivals are held at Silverwater Park. Silverwater Park also butts up against the Blaxland Riverside Park, which features Sydney s largest playground and walking/cycling/jogging trails. †¢ Hume Park (Carnarvon Street) - A great open space for walking or jogging. †¢ Newington Reserve (Slough Avenue) - A nice, green/grassy area with

We Have Become Untrue to Ourselves Free Essays

With all the force and vigor at my command, I contend that we have relaxed our vigilance, that we have allowed ourselves to deteriorate. I contend that we have lost our pride in the Philippines, that we no longer consider it a privilege and an honor to be born a Filipino. To the Filipino youth, nothing Filipino is good enough any more. We will write a custom essay sample on We Have Become Untrue to Ourselves or any similar topic only for you Order Now Even their Filipino names no longer suit them. A boy named Juan does not care to be called Juanito anymore. No, he must be Johnny. A girl named Virginia would get sore if she was nicknamed Viring or Binang. No, she must be Virgie or Ginny. Roberto has become Bobbie; Maria, Mary or Marie. And because they have become so Americanized, because they look down on everything Filipino, they now regard with contempt all the things that our fathers and our fathers’ fathers held dear. They frown on kissing the hands of their elders, saying that it is unsanitary. They don’t care for the Angelus, saying that it is old-fashioned. They belittle the kundiman, because it is so drippingly sentinmental. They are what they are today because their elders – their parents and their teachers – have allowed them to be such. They are incongruities because they cannot be anything else! And they cannot be anything else because their elders did not know enough, or did not care enough to fashion them and to mold them into the Filipino pattern. This easing of the barriers that would have protected our Filipinism, this has resulted in something more serious, I refer to the de-Filipinization of our economic life. Let us face it. Economically speaking, we Filipinos have become strangers in our own country. And so, today, we are witnesses to the spectacle of a Philippines inhabited by Filipinos who do not act and talk like Filipinos. We are witnesses to the pathetic sight of a Philippines controlled and dominated and run by non-Filipinos. We have become untrue to ourselves, we have become traitors to the brave Filipinos who fought and died so that liberty might live in the Philippines. We have betrayed the trust that Rizal reposed on us, we are not true to the faith that energized Bonifacio, the faith that made Gregorio del Pilar cheerfully lay down his life at Tirad Pass. How to cite We Have Become Untrue to Ourselves, Essay examples

Ode on a Grecian Urn Essay Example For Students

Ode on a Grecian Urn Essay Ode on a Grecian Urn Summary, In the first stanza, the speaker, standing before an ancient Grecian urn, addresses the urn, preoccupied with its depiction of pictures frozen in time. It is the â€Å"still unravish’d bride of quietness,† the â€Å"foster-child of silence and slow time.† He also describes the urn as a â€Å"historian,† which can tell a story. He wonders about the figures on the side of the urn, and asks what legend they depict, and where they are from. He looks at a picture that seems to depict a group of men pursuing a group of women, and wonders what their story could be: â€Å"What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy?† In the second stanza, the speaker looks at another picture on the urn, this time of a young man playing a pipe, lying with his lover beneath a glade of trees. The speaker says that the piper’s â€Å"unheard† melody’s are sweeter than mortal melodies, because they are unaffected by time. He tells the youth that, though he can never kiss his lover because he is frozen in time, he should not grieve, because her beauty will never fade. In the third stanza, he looks at the trees surrounding the lovers, and feels happy that they will never shed their leaves; he is happy for the piper because his songs will be â€Å"for ever new,† and happy that the love of the boy and the girl will last forever, unlike mortal love, which lapses into â€Å"breathing human passion,† and eventually vanishes, leaving behind only a â€Å"burning forehead, and a parching tongue.† In the fourth stanza, the speaker examines another picture on the urn, this one of a group of villagers leading a heifer to be sacrificed. He wonders where they are going (†To what green altar, O mysterious priest†¦Ã¢â‚¬ ), and where they have come from. He imagines their little town, empty of all its citizens, and tells it that its streets will â€Å"for evermore† be silent, for those who have left it, frozen on the urn, will never return. In the final stanza, the speaker again addresses the urn itself, saying that it, like Eternity, â€Å"doth tease us out of thought.† He thinks that when his generation is long dead, the urn will remain, telling future generations its enigmatic lesson: â€Å"Beauty is truth, truth beauty. † The speaker says that that is the only thing the urn knows, and the only thing it needs to know. Form â€Å"Ode on a Grecian Urn† follows the same Ode-stanza structure as the â€Å"Ode on Melancholy,† though it varies more the rhyme scheme of the last three lines of each stanza. Each of â€Å"Grecian Urn†Ã¢â‚¬â„¢s five stanzas is ten lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable. The first seven lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as in stanza one. As in other odes (especially â€Å"Autumn† and â€Å"Melancholy†), the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others; stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all. .u5b5fe3e96c82235c684c5ed15eec196f , .u5b5fe3e96c82235c684c5ed15eec196f .postImageUrl , .u5b5fe3e96c82235c684c5ed15eec196f .centered-text-area { min-height: 80px; position: relative; } .u5b5fe3e96c82235c684c5ed15eec196f , .u5b5fe3e96c82235c684c5ed15eec196f:hover , .u5b5fe3e96c82235c684c5ed15eec196f:visited , .u5b5fe3e96c82235c684c5ed15eec196f:active { border:0!important; } .u5b5fe3e96c82235c684c5ed15eec196f .clearfix:after { content: ""; display: table; clear: both; } .u5b5fe3e96c82235c684c5ed15eec196f { 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; } .u5b5fe3e96c82235c684c5ed15eec196f:active , .u5b5fe3e96c82235c684c5ed15eec196f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5b5fe3e96c82235c684c5ed15eec196f .centered-text-area { width: 100%; position: relative ; } .u5b5fe3e96c82235c684c5ed15eec196f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5b5fe3e96c82235c684c5ed15eec196f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5b5fe3e96c82235c684c5ed15eec196f .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; } .u5b5fe3e96c82235c684c5ed15eec196f:hover .ctaButton { background-color: #34495E!important; } .u5b5fe3e96c82235c684c5ed15eec196f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5b5fe3e96c82235c684c5ed15eec196f .u5b5fe3e96c82235c684c5ed15eec196f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5b5fe3e96c82235c684c5ed15eec196f:after { content: ""; display: block; clear: both; } READ: African Elephant Essay) Themes If the â€Å"Ode to a Nightingale† portrays Keats’s speaker’s engagement with the fluid expressiveness of music, the â€Å"Ode on a Grecian Urn† portrays his attempt to engage with the static immobility of sculpture. The Grecian urn, passed down through countless centuries to the time of the speaker’s viewing of it, exists outside of time in the human sense–it does not age, it does not die, and indeed it is alien to all such concepts. In the speaker’s meditation, this creates an intriguing paradox for the human figures carved into the side of the urn: they are free from time, but they are simul taneously frozen in time. They do not have to confront aging and death (their love is â€Å"for ever young†), but neither can they have experience (the youth can never kiss the maiden; the figures in the procession can never return to their homes). The speaker attempts three times to engage with scenes carved into the urn; each time he asks different questions of it. In the first stanza, he examines the picture of the â€Å"mad pursuit,† and wonders what actual story lies behind the picture: â€Å"What men or gods are these? What maidens loth?† Of course, the urn can never tell him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this line of questioning. In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality, and attracted to the eternal newness of the piper’s unheard song, and to the eternally unchanging beauty of his lover. He thinks that their love is â€Å"far above† all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensity–when passion is satisfied, all that remains is a wearied physicality: a sorrowful heart, a â€Å"burning forehead,† and a â€Å"parching tongue.† His recollection of these conditions seems to remind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn. In the fourth stanza, the speaker attempts to think about the figures on the urn as though they were experiencing human time, imagining that their procession has an origin (the â€Å"little town†) and a destination (the â€Å"green altar†). But all he can think is that the town will forever be deserted: if these people have left their origin, they will never return to it. In this sense he confronts head-on the limits of static art; if it is impossible to learn from the urn the whos and wheres of the â€Å"real story† in the first stanza, it is impossible ever to know the origin and the destination of the figures on the urn in the fourth. It is true that the speaker shows a certain kind of progress in his successive attempts to engage with the urn. His idle curiosity in the first attempt gives way to a more deeply felt identification in the second, and in the third, the speaker leaves his own concerns behind and thinks of the processional purely on its own terms, thinking of the â€Å"little town† with a real and generous feeling. But each attempt ultimately ends in failure. The third attempt fails simply because there is nothing more to say–once the speaker confronts the silence and eternal emptiness of the little town, he has reached the limit of static art; on this subject, at least, there is nothing more the urn can tell him. In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. He is overwhelmed by its existence outside of temporal change, with its ability to â€Å"tease† him â€Å"out of thought / As doth eternity. .u17781d941a4a89971f0ab3736598f64b , .u17781d941a4a89971f0ab3736598f64b .postImageUrl , .u17781d941a4a89971f0ab3736598f64b .centered-text-area { min-height: 80px; position: relative; } .u17781d941a4a89971f0ab3736598f64b , .u17781d941a4a89971f0ab3736598f64b:hover , .u17781d941a4a89971f0ab3736598f64b:visited , .u17781d941a4a89971f0ab3736598f64b:active { border:0!important; } .u17781d941a4a89971f0ab3736598f64b .clearfix:after { content: ""; display: table; clear: both; } .u17781d941a4a89971f0ab3736598f64b { 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; } .u17781d941a4a89971f0ab3736598f64b:active , .u17781d941a4a89971f0ab3736598f64b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u17781d941a4a89971f0ab3736598f64b .centered-text-area { width: 100%; position: relative ; } .u17781d941a4a89971f0ab3736598f64b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u17781d941a4a89971f0ab3736598f64b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u17781d941a4a89971f0ab3736598f64b .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; } .u17781d941a4a89971f0ab3736598f64b:hover .ctaButton { background-color: #34495E!important; } .u17781d941a4a89971f0ab3736598f64b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u17781d941a4a89971f0ab3736598f64b .u17781d941a4a89971f0ab3736598f64b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u17781d941a4a89971f0ab3736598f64b:after { content: ""; display: block; clear: both; } READ: Causes Of World War I Essay† If human life is a succession of â€Å"hungry generations,† as the speaker suggests in â€Å"Nightingale,† the urn is a separate and self-contained world. It can be a â€Å"friend to man,† as the speaker says, but it cannot be mortal; the kind of aesthetic connection the speaker experiences with the urn is ultimately insufficient to human life. The final two lines–in which the speaker imagines the urn speaking its message to mankind–†Beauty is truth, truth beauty†Ã¢â‚¬â€œhave proved among the most difficult to interpret in the Keats canon. After the urn utters the enigmatic phrase â€Å"Beau ty is truth, truth beauty,† no one can say for sure who â€Å"speaks† the conclusion, â€Å"that is all / Ye know on earth, and all ye need to know†; it could be the speaker addressing the urn, and it could be the urn addressing mankind. If it is the speaker addressing the urn, then it would seem to indicate his awareness of its limitations: the urn may not need to know anything beyond the equation of beauty and truth, but the complications of human life make it impossible for such a simple and self-contained phrase to express sufficiently anything about necessary human knowledge. If it is the urn addressing mankind, then the phrase has rather the weight of an important lesson, as though beyond all the complications of human life, all human beings need to know on earth is that beauty and truth are one and the same. Which reading to accept is largely a matter of personal interpretation.