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INSERT INTO `wp_posts` VALUES (1,1,'2011-02-01 22:13:45','2011-02-02 03:13:45','Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!','Hello world!','','publish','open','open','','hello-world','','','2011-02-08 21:01:37','2011-02-09 03:01:37','',0,'http://jeanatacc.com/2011/?p=1',0,'post','',3),(2,1,'2011-02-01 22:13:45','2011-02-02 03:13:45','This is a site for student blog articles, i.e. the Time Capsule Proposals and Final Projects, for Jean Anne Lauer\'s sections of HUMA at ACC.\r\n\r\nSite admin: admin@jeanatacc.com','About','','publish','open','open','','about','','','2011-02-08 21:47:31','2011-02-09 03:47:31','',0,'http://jeanatacc.com/2011/?page_id=2',0,'page','',0),(34,1,'2011-02-08 21:45:17','2011-02-09 03:45:17','This is Jean Lauer\'s ACC HUMA site for student blog articles about the Time Capsule Proposals.\r\n\r\nSite admin: admin@jeanatacc.com','About','','inherit','open','open','','2-revision-2','','','2011-02-08 21:45:17','2011-02-09 03:45:17','',2,'http://jeanatacc.com/2011/?p=34',0,'revision','',0),(7,1,'2011-02-08 21:03:24','2011-02-09 03:03:24','Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!','Hello world!','','inherit','open','open','','1-autosave','','','2011-02-08 21:03:24','2011-02-09 03:03:24','',1,'http://jeanatacc.com/2011/?p=7',0,'revision','',0),(8,1,'2011-02-01 22:13:45','2011-02-02 03:13:45','Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!','Hello world!','','inherit','open','open','','1-revision','','','2011-02-01 22:13:45','2011-02-02 03:13:45','',1,'http://jeanatacc.com/2011/?p=8',0,'revision','',0),(9,1,'2011-02-06 15:55:31','2011-02-06 21:55:31','This is a test, so there.<!--more-->\r\n\r\nAnd there is more here so I don\'t bore you up front.','Hello Geeks','','publish','open','open','','hellow-geeks','','','2011-02-08 21:01:22','2011-02-09 03:01:22','',0,'http://jeanatacc.com/2011/?p=9',0,'post','',0),(10,1,'2011-02-06 15:55:17','2011-02-06 21:55:17','','Hellow Geeks','','inherit','open','open','','9-revision','','','2011-02-06 15:55:17','2011-02-06 21:55:17','',9,'http://jeanatacc.com/2011/?p=10',0,'revision','',0),(11,1,'2011-02-06 15:55:31','2011-02-06 21:55:31','This is a test, so there.','Hellow Geeks','','inherit','open','open','','9-revision-2','','','2011-02-06 15:55:31','2011-02-06 21:55:31','',9,'http://jeanatacc.com/2011/?p=11',0,'revision','',0),(12,1,'2011-02-06 15:56:18','2011-02-06 21:56:18','This is a test, so there.<!--more-->And there is more here so I don\'t bore you up front.','Hellow Geeks','','inherit','open','open','','9-revision-3','','','2011-02-06 15:56:18','2011-02-06 21:56:18','',9,'http://jeanatacc.com/2011/?p=12',0,'revision','',0),(13,1,'2011-02-06 15:56:58','2011-02-06 21:56:58','This is a test, so there.<!--more-->\r\n\r\nAnd there is more here so I don\'t bore you up front.','Hellow Geeks','','inherit','open','open','','9-revision-4','','','2011-02-06 15:56:58','2011-02-06 21:56:58','',9,'http://jeanatacc.com/2011/?p=13',0,'revision','',0),(14,1,'2011-02-06 15:57:09','2011-02-06 21:57:09','This is a test, so there.<!--more-->\r\n\r\nAnd there is more here so I don\'t bore you up front.','Hello Geeks','','inherit','open','open','','9-revision-5','','','2011-02-06 15:57:09','2011-02-06 21:57:09','',9,'http://jeanatacc.com/2011/?p=14',0,'revision','',0),(15,1,'2011-02-06 15:57:28','2011-02-06 21:57:28','This is a test, so there.<!--more-->\r\n\r\nAnd there is more here so I don\'t bore you up front.','Hello Geeks','','inherit','open','open','','9-revision-6','','','2011-02-06 15:57:28','2011-02-06 21:57:28','',9,'http://jeanatacc.com/2011/?p=15',0,'revision','',0),(16,3,'2011-02-06 15:58:50','2011-02-06 21:58:50','Testing this out as a student.\r\n\r\n<!--more-->Testing the \"more\" tag.\r\n\r\nYay!','Jean Lauer rules!','','publish','open','open','','jean-lauer-rules','','','2013-09-15 16:00:00','2013-09-15 22:00:00','',0,'http://jeanatacc.com/2011/?p=16',0,'post','',5),(17,3,'2011-02-06 15:58:01','2011-02-06 21:58:01','','Jean Lauer rules!','','inherit','open','open','','16-revision-v1','','','2011-02-06 15:58:01','2011-02-06 21:58:01','',16,'http://jeanatacc.com/2011/?p=17',0,'revision','',0),(18,3,'2011-02-06 15:58:13','2011-02-06 21:58:13','Testing this out as a student.\r\n\r\nYay!','Jean Lauer rules!','','inherit','open','open','','16-revision-v1','','','2011-02-06 15:58:13','2011-02-06 21:58:13','',16,'http://jeanatacc.com/2011/?p=18',0,'revision','',0),(51,7,'2011-02-14 11:24:31','2011-02-14 17:24:31','Testing ','Helen Testing','','inherit','open','open','','50-revision','','','2011-02-14 11:24:31','2011-02-14 17:24:31','',50,'http://jeanatacc.com/2011/?p=51',0,'revision','',0),(50,7,'2011-02-14 11:25:04','2011-02-14 17:25:04','Testing ','Helen Testing','','publish','open','open','','helen-testing','','','2011-02-14 11:25:04','2011-02-14 17:25:04','',0,'http://jeanatacc.com/2011/?p=50',0,'post','',0),(27,3,'2011-02-06 15:58:50','2011-02-06 21:58:50','Testing this out as a student.\r\n\r\nYay!','Jean Lauer rules!','','inherit','open','open','','16-revision-v1','','','2011-02-06 15:58:50','2011-02-06 21:58:50','',16,'http://jeanatacc.com/2011/?p=27',0,'revision','',0),(28,1,'2011-02-08 21:00:27','2011-02-09 03:00:27','Testing this out as a student.\r\n\r\n<!--more-->Testing the \"more\" tag.\r\n\r\nYay!','Jean Lauer rules!','','inherit','open','open','','16-revision-v1','','','2011-02-08 21:00:27','2011-02-09 03:00:27','',16,'http://jeanatacc.com/2011/?p=28',0,'revision','',0),(3596,1,'2013-11-04 22:14:04','2013-11-05 04:14:04','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover.jpg\"><img class=\"aligncenter size-medium wp-image-3592\" alt=\"chopincover\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover-300x300.jpg\" width=\"300\" height=\"300\" /></a>\r\n<p style=\"text-align: center;\">thttp://www.aznapia.com/music/chopincover.jpg</p>\r\n<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358.jpg\"><img class=\"aligncenter size-medium wp-image-3594\" alt=\"79304140_131960966358\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358-215x300.jpg\" width=\"215\" height=\"300\" /></a>\r\nhttp://image2.findagrave.com/photos250/photos/2011/297/79304140_131960966358.jpg</p>\r\n\r\nThe Nocturne Op.9 No.2 by Frederic Chopin pertaining to “Music Nocturne in E-flat major, Op. 9, No. 2 Chopin Nocturnes, Opus 9 Written 1830-1832 as a dedication to Madame Camille Pleyel” ( Prezi.com) Madame Camille Pleyel shown in the picture above. “Thanks to the more direct contact between the hammer and the string, the simple escapement action, constantly improved by Camille Pleyel and Kalkbrenner, assured a more exact control than the “double escapement” invented and patented (1822) by Erard” (Eigeldinger). Chopin created over 200 works of art in his life time. “The Nocturne in E flat major, though certainly not the most beautiful of Chopin’s nocturnes, is perhaps the most popular, ‘this charming bagatelle did more for the popularity of Chopin than all his other works”(Information center). Chopin’s work especially Nocturne Op.9 No.2 should be preserved for future generations because Chopin is without a doubt, one of a kind, and still to this day his music will move you.<!--more-->\r\n\r\n“Improvisational effects from piano figurations in the nocturnes; and episodic, vigorous writing in the larger works such as the scherzos, ballades, impromptus, and the Fantasy. Thus, in an era when the piano was becoming the preeminent solo instrument in both the home and the concert hall, Chopin devised new figurations, delicate traceries, and elaborate quasivocal fioriture and fashioned them for use at the keyboard. He wrote no symphonies, no operas, no string quartets, and only one trio (piano, violin, and cello).” (Encyclopedia)\r\nChopin’s work “If the nineteenth century was the age of Romantic individualism, it was also the age of the virtuoso: composers wrote music that might be performed gracefully and accurately only by individuals with extraordinary technical skills. The quintessential example of this phenomenon is the Polish-born composer Frédéric Chopin (1810–1849). At the age of seven, Chopin gave his first piano concert in Warsaw. Slight in build even as an adult, Chopin had small hands that nevertheless could reach across the keys of the piano like “the jaws of a snake”(Fiero, ch. 29)\r\nChopin’s work was received as a musical genius of the time. “In his brief lifetime—he died of tuberculosis at the age of thirty-nine—Chopin created an entirely personal musical idiom linked to the expressive potential of the modern piano. For the piano, Chopin wrote over 200 pieces, most of which were short keyboard works, such as dances, préludes, nocturnes (slow, songlike pieces), impromptus (pieces that sound improvised), and études (instrumental studies designed to improve a player\'s technique). His Etude in G-flat Major, Opus 10, No. 5, is a breathtaking piece that challenges the performer to play very rapidly on the black keys, which are less than half the width of the white ones.”(Fiero, ch. 29)\r\nPeople today still play his master pieces. Chopin is as well received today as he was during his time. “Of his dance forms, the polonaise and the mazurka preserve the robustness of the folk tunes of his native Poland, while the waltz mirrors the Romantic taste for a new type of dance, more sensuous and physically expressive than the courtly and formal minuet. Considered vulgar and lewd when it was introduced in the late eighteenth century, the waltz, with its freedom of movement and intoxicating rhythms, became the most popular of all nineteenth-century dances.”(Fiero, ch. 29)\r\nMy personal reaction to his work is that it is phenomenal. I personally have his collection that I listen to frequently. I find his work to be soothing; Chopin’s work is great to listen to while studying, for it has no words so you do not get distracted by catching yourself singing to the lyrics. His music I would say almost puts you in a calm trance.\r\nThe “Revolution of 1830 acted like a catalyst on French creative thought. Writers, painters, musicians and social reformers converged on Paris, which teemed with artistic and intellectual activity. Among the writers and poets were Sainte-Beuve, Victor Hugo, Balzac, George Sand and Heine. The painters included Delacroix, Devéria and Ary Scheffer”(Walker).\r\n“Much like Delacroix, Chopin was given to violent mood swings. And, as with Delacroix\'s paintings, which though carefully contrived give the impression of spontaneity, much of Chopin\'s music seems improvised—the impetuous record of fleeting feeling, rather than the studied product of diligent construction.”(Fiero, ch. 29) “The most engaging of his compositions are marked by fresh turns of harmony and free tempos and rhythms. Chopin might embellish a melodic line with unusual and flamboyant devices, such as a rolling arpeggio (the sounding of the notes of a chord in rapid succession).”(Fiero, ch. 29) Chopin was a genius.\r\nChopin’s life works should be remembered for the amazing ability that he had and the way he broke boundaries of his time. This is why; I strongly believe Chopin’s work should be preserved for future generations. Chopin is without a doubt, one of a kind, and still to this day his music will move you.\r\n\r\nWork Cited\r\nEigeldinger, Jean-Jacques. \"Chopin And Pleyel.\" Clavier Companion 2.3 (2010): 10-12. Academic Search Complete. Web. 4 Nov. 2013.\r\n\r\nFiero, Gloria K. The Humanistic Tradition. Sixth Edition ed. : McGraw-Hill, . . &lt;&gt;.\r\n\r\nFryderyk Chopin - Information Centre - Nocturne in E Flat Major, Op. 9 No. 2 - Compositions. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frederic Chopin: Nocturnes, Op. 9: No. 2 in E-Flat Major.\" Prezi.com. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frédéric François Chopin.\" Encyclopedia of World Biography. Detroit: Gale, 1998. Biography In Context. Web. 20 Oct. 2013.\r\nWalker, Alan. \"CHOPIN: The Voice Of The Piano.\" American Music Teacher 59.6 (2010): 19-26. Academic Search Complete. Web. 4 Nov. 2013.','Nocturne Op.9 No.2','','inherit','open','open','','3576-revision-v1','','','2013-11-04 22:14:04','2013-11-05 04:14:04','',3576,'http://jeanatacc.com/2011/?p=3596',0,'revision','',0),(30,1,'2011-02-06 15:57:44','2011-02-06 21:57:44','This is a test, so there.<!--more-->\r\n\r\nAnd there is more here so I don\'t bore you up front.','Hello Geeks','','inherit','open','open','','9-revision-7','','','2011-02-06 15:57:44','2011-02-06 21:57:44','',9,'http://jeanatacc.com/2011/?p=30',0,'revision','',0),(31,1,'2011-02-06 15:54:36','2011-02-06 21:54:36','Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!','Hello world!','','inherit','open','open','','1-revision-2','','','2011-02-06 15:54:36','2011-02-06 21:54:36','',1,'http://jeanatacc.com/2011/?p=31',0,'revision','',0),(32,1,'2011-02-08 21:45:15','2011-02-09 03:45:15','This is Jean Lauer\'s ACC HUMA site for student blog articles about the Time Capsule Proposals.\n\nSite admin: admin@jeanatacc.com','About','','inherit','open','open','','2-autosave','','','2011-02-08 21:45:15','2011-02-09 03:45:15','',2,'http://jeanatacc.com/2011/?p=32',0,'revision','',0),(33,1,'2011-02-01 22:13:45','2011-02-02 03:13:45','This is an example of a WordPress page, you could edit this to put information about yourself or your site so readers know where you are coming from. You can create as many pages like this one or sub-pages as you like and manage all of your content inside of WordPress.','About','','inherit','open','open','','2-revision','','','2011-02-01 22:13:45','2011-02-02 03:13:45','',2,'http://jeanatacc.com/2011/?p=33',0,'revision','',0),(35,1,'2011-02-08 21:46:41','2011-02-09 03:46:41','This is Jean Lauer\'s ACC HUMA site for student blog articles, i.e. the Time Capsule Proposals and Final Projects.\r\n\r\nSite admin: admin@jeanatacc.com','About','','inherit','open','open','','2-revision-3','','','2011-02-08 21:46:41','2011-02-09 03:46:41','',2,'http://jeanatacc.com/2011/?p=35',0,'revision','',0),(36,1,'2011-02-08 21:46:52','2011-02-09 03:46:52','This is Jean Anne Lauer\'s ACC HUMA site for student blog articles, i.e. the Time Capsule Proposals and Final Projects.\r\n\r\nSite admin: admin@jeanatacc.com','About','','inherit','open','open','','2-revision-4','','','2011-02-08 21:46:52','2011-02-09 03:46:52','',2,'http://jeanatacc.com/2011/?p=36',0,'revision','',0),(39,3,'2011-02-08 22:32:47','2011-02-09 04:32:47','Testing - article content posted from Word.\r\n\r\n<!--more-->\r\n\r\np.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }div.Section1 { page: Section1; }\r\n\r\n<strong>Course Rationale: </strong>The study of the humanities from a comparative and interdisciplinary perspective affords the student the opportunity not only to acquire a deeper appreciation of particular works of art but also to gain a larger perspective on the work of art as an expression of the human spirit in a particular time and place.\r\n\r\n<strong>Discipline Course Objectives:</strong>\r\n\r\n1. Students will be able to identify a variety of significant works of art from various times and places in human history, from prehistory to the Renaissance.\r\n\r\n2. Students will demonstrate the ability to associate works of art with their cultural context.\r\n\r\n3. Students will be able to discuss the relationship between the arts and human nature and values.','Testing as Student','','publish','open','open','','testing-as-student','','','2013-09-15 15:59:39','2013-09-15 21:59:39','',0,'http://jeanatacc.com/2011/?p=39',0,'post','',1),(40,3,'2011-02-08 22:22:10','2011-02-09 04:22:10','Testing - article content posted from Word.\n\n<!--more-->\n\np.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }div.Section1 { page: Section1; }\n\n<strong>Course Rationale: </strong>The study of the humanities from a comparative and interdisciplinary perspective affords the student the opportunity not only to acquire a deeper appreciation of particular works of art but also to gain a larger perspective on the work of art as an expression of the human spirit in a particular time and place.\n\n<strong>Discipline Course Objectives:</strong>\n\n1. Students will be able to identify a variety of significant works of art from various times and places in human history, from prehistory to the Renaissance.\n\n2. Students will demonstrate the ability to associate works of art with their cultural context.\n\n3. Students will be able to discuss the relationship between the arts and human nature and values.','Testing as Student','','inherit','open','open','','39-revision-v1','','','2011-02-08 22:22:10','2011-02-09 04:22:10','',39,'http://jeanatacc.com/2011/?p=40',0,'revision','',0),(42,3,'2011-02-08 22:23:10','2011-02-09 04:23:10','Testing - article content posted from Word.\n\n<!--more-->\n\n<strong>Course Rationale: </strong>The study of the humanities from a comparative and interdisciplinary perspective affords the student the opportunity not only to acquire a deeper appreciation of particular works of art but also to gain a larger perspective on the work of art as an expression of the human spirit in a particular time and place.\n\n<strong>Discipline Course Objectives:</strong>\n\n1. Students will be able to identify a variety of significant works of art from various times and places in human history, from prehistory to the Renaissance.\n\n2. Students will demonstrate the ability to associate works of art with their cultural context.\n\n3. Students will be able to discuss the relationship between the arts and human nature and values.','Testing as Student','','inherit','open','open','','39-revision-v1','','','2011-02-08 22:23:10','2011-02-09 04:23:10','',39,'http://jeanatacc.com/2011/?p=42',0,'revision','',0),(41,3,'2011-02-08 22:22:12','2011-02-09 04:22:12','Testing - article content posted from Word.\r\n\r\n<!--more-->\r\n\r\np.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }div.Section1 { page: Section1; }\r\n\r\n<strong>Course Rationale: </strong>The study of the humanities from a comparative and interdisciplinary perspective affords the student the opportunity not only to acquire a deeper appreciation of particular works of art but also to gain a larger perspective on the work of art as an expression of the human spirit in a particular time and place.\r\n\r\n<strong>Discipline Course Objectives:</strong>\r\n\r\n1. Students will be able to identify a variety of significant works of art from various times and places in human history, from prehistory to the Renaissance.\r\n\r\n2. Students will demonstrate the ability to associate works of art with their cultural context.\r\n\r\n3. Students will be able to discuss the relationship between the arts and human nature and values.','Testing as Student','','inherit','open','open','','39-revision-v1','','','2011-02-08 22:22:12','2011-02-09 04:22:12','',39,'http://jeanatacc.com/2011/?p=41',0,'revision','',0),(356,28,'2011-02-20 23:17:47','2011-02-21 05:17:47','The Oldest Book In History Still Beneficial\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/hebrew_bible1.jpg1.jpg\"><img class=\"aligncenter size-thumbnail wp-image-367\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/hebrew_bible1.jpg1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></a>\r\n<p style=\"text-align: center;\">http://bible-hebrew.net/?p=198</p>\r\nThe Hebrew Bible is not one book, but rather an ancient collection of writings, comprised of 66 separate books, written over approximately 1,600 years ago.  With at least 40 different writers, the actual author of the bible is Jehovah God.  The bible provides the history of God\'s dealings with a variety of people in a variety of situations, giving us insight as to who God is, how he reacts and interacts with us. More importantly, it provides the account of human creation and our purpose on earth, which certainly needs to continue being passed on to generations.<!--more-->\r\n\r\nAlthough the bible has sold more copies than any other publication, many feel that the work of the bible is outdated and does not apply to our day and time.  That is untrue.  There are several biblical prophecies that apply to our day and age.  As taken from Mark 13:8, “For nation will rise up against nation, and kingdom against kingdom; there will be earthquakes in various places; there will also be famines. These things are merely the beginning of birth pangs.”  Clearly this scripture forewarned of disasters throughout our day and time, the most recent, Hurricane Katrina, Haiti, and many wars in the Middle East to name a few.\r\n\r\nAccording to Richard Joseph Krejcir, the bible “has been more influential than the U.S. Constitution, the Magna Carta or any philosophical or political idea. The Bible is so important it has influenced much that we take for granted in the world from science, technology, and even our political system!”  If we consider the US Constitution, it has been amended over 27 times.  Texas’ Constitution has been amended over 350 times.  Yes, the Bible has been translated from its original languages, but it has not been changed, interpreted or interpolated along the way.  Today\'s Bibles are not translations of texts translated from other interpretations, they go right back to the ancient source manuscripts. The primary differences between today\'s Bible translations are merely related to how translators interpret a word or sentence from the original language (Hebrew, Aramaic and Greek).\r\n\r\nAccording to the Hebrew Scriptures in Malachi 3:6, God told the nation of Israel: “I am Jehovah; I have not changed.” Some 500 years later, the Bible writer James wrote of God in James 1:17, “With him there is not a variation of the turning of the shadow.” Why, then, does it seem to some that the God revealed in the Hebrew Scriptures is different from the God of the Christian Greek Scriptures?  The answer is that different aspects of God’s personality are revealed in different parts of the Bible. In the book of Genesis alone, God is described as feeling “hurt at his heart,” as the “Producer of heaven and earth,” and as “the Judge of all the earth.” Do these differing descriptions refer to the same God? They certainly do.  To illustrate: A local judge may be best known by those who have faced him in court as a firm enforcer of the law. His children, on the other hand, may view him as the loving, generous father that he is. His close friends may find that he is an approachable man with a good sense of humor. The judge, the father, and the friend are all the same person. It is just that various aspects of his personality become apparent under different circumstances.\r\n\r\nDevotion to the Word of God continued to live in the hearts of many pilgrims who sailed to colonize North America. In early America, \"reading and religion were inextricably intertwined, defining a culture based entirely on familiarity with the Bible,\" says the book A History of Private Life—Passions of the Renaissance.  The Author of the Bible, Jehovah God, is familiar with all our ways. He knows more about our physical, emotional, and spiritual needs than even we do. Thoughtfully, he sets clear limits for human behavior.  It makes sense to seek to understand those limits and directions and learn to live by them. Happy is the man whose \"delight is in the law of Jehovah,\" says the psalmist, \"Everything he does will succeed.\" as taken from Psalm 1:1-3.  Such a prospect surely merits our close examination.\r\n\r\nWORKS CITED\r\n\r\n<em>\"Why Study The Bible?\" Into Thy Word Ministries. 2004. Web. 20 Feb. 2011. </em> &lt;http://www.intothyword.org/pages.asp?pageid=53487&gt;.\r\n\r\n<em>Jehovah\'s Witnesses: Watchtower Society Official Web Site</em>. Web. 20 Feb. 2011.      &lt;http://www.watchtower.org/&gt;.\r\n\r\n<em>New World Translation of the Holy Scriptures: Rendered from the Original Languages</em>. Brooklyn, <em>NY:</em> Watchtower Bible and Tract Society of New York, 1984. Print.\r\n\r\n<em>Church Leadership</em>. Web. 20 Feb. 2011. &lt;http://www.churchleadership.org/&gt;.\r\n\r\n\"Online Hebrew Interlinear Bible.\" <em>Scripture4All - Greek/Hebrew Interlinear Bible Software</em>. Web. 20 Feb. 2011.                                                             &lt;http://www.scripture4all.org/OnlineInterlinear/Hebrew_Index.htm&gt;.','The Oldest Book In History Still Beneficial','','publish','open','closed','','the-oldest-book-in-history-still-beneficial','','','2011-02-21 16:42:22','2011-02-21 22:42:22','',0,'http://jeanatacc.com/2011/?p=356',0,'post','',1),(521,18,'2011-02-27 23:45:09','2011-02-28 05:45:09','<em>“The excellence of Aristophanes has never been questioned. Critics have argued about this or that detail in his work; but there has never been any doubt that he is a dramatist of the front rank, a comic artist of the highest order. His plays have survived not by accident or by the light they shed on other matters, but for their intrinsic quality. They are a unique, and uniquely important, part of the heritage of Western literature; they offer the reader or spectator an engrossing, enriching experience”</em> (McLeish, Kenneth. <em>The Theatre of Aristophanes</em>. 2nd ed. Great Britain: Taplinger Publishing, 1980. 13. Print.). <!--more--><strong> </strong>\r\n<p style=\"text-align: center\"><strong>Lysistrata</strong></p>\r\nLysistrata (411 B.C.) is a Greek comedy by Aristophanes.   Aristophanes uses the comedy of Lysistrata to reveal “his inventive wit, sharply directed against Athenian politics and current affairs” (Fiero, Gloria. <em>The Humanistic Tradition</em>. Vol. 1. N.p.: McGraw Hill Higher Education, 2011. N. pag. Web.).\r\n\r\n&nbsp;\r\n\r\nThe plot of Lysistrata is structured on the discontent of the women of Athens.  They have been neglected by their husbands who are constantly at war.  Lysistrata calls upon the women of Greece to unite. Her plan is twofold.  First they must forbid their husbands of sexual pleasure until they reach an agreement of peace.  The women are at first appalled by such a proposal and begin to leave in protest. The second part of Lysistrata’s plan requires the older women of Athens to seize the Acropolis and establish control of the city’s money.  Lysistrata explains “If Eros of the sweet soul and Cyprian Aphrodite imbue our thighs and breasts with desire, and infect the men with sensuous rigidity and club-cock, Then I believe that all Greece will one day call us Disbanders of Battles (Henderson, Jeffrey. <em>3 Plays by Aristophanes: Staging Women</em>. 2ndnd ed. New York: Routledge, 2010. 64. Print). With persuasion the women vow an oath of loyalty to the plan.  The plan proves fruitful and the sexual weakness of man brings the end of war.\r\n\r\n&nbsp;\r\n\r\nLysistrata is definitely a work that has survived the ages and it’s preservation for future generations should be recognized and protected.  Its themes are universal and applicable to a wide audience.  Its plot has been applied to current time by women of different cultures.  Right now in 2011, there is a sex strike in Belgium to implement a faster founding of their government. In 2009 thousands of Kenyan women withheld sex “to try to protest their country\'s bickering leadership, which they say threatens to revive the bloody chaos that convulsed the African country last year” (Odula, Tom. \"Kenyan women, tired of fighting, vow sex strike.\" <em>The Huffington Post</em>. N.p., 29 Apr. 2009. Web. 27 Feb. 2011. <a href=\"http://www.huffingtonpost.com/2009/04/29/kenyan-women-tired-of-fig_n_192909.html\">http://www.huffingtonpost.com/2009/04/29/kenyan-women-tired-of-fig_n_192909.html</a>). In 2008, hundreds of women in Neapolitan tried to convince their husbands from playing with dangerous, illegal fireworks by refusing to perform their domestic duties.  Authorities in Neapolitan supported the cause by sending “out text messages urging the men to ‘make love, not explosions’ (\"Naples Sex Strike over Fireworks.\" <em>BBC News</em>. BBC, 31 Dec. 2008. Web.17 Feb. 2011. http://news.bbc.co.uk/2/hi/europe/7806367.stm).   Most likely history will continue to repeat itself and future women will have to take peace into their hands and hypnotize their men with out of reach pleasures. Lysistrata must be preserved to tell the original tale of women bringing peace to a battle zone.\r\n\r\n&nbsp;\r\n\r\nThe historical context that Lysistrata was written in is reflected politically in the play itself. “Athens and Sparta and their respective allies had been at war for twenty years, since 431. A peace, negotiated in 421, ended when the Athenians undertook an expedition to Sicily in 415. There they suffered a major defeat in 413, and the Spartans took possession of the town of Deceleia, on the northern boundary of Athens\' territory, less than ten miles from Athens itself, from which they freely raided the agricultural land of Athens. Some of Athens\' allies, whose loyalties were maintained with threats, had begun to revolt. The <em>Lysistrata</em> was performed in the midst of these grim circumstances and alludes directly to them” (Hook, Brian S. <em>The Tragic Comedy of Sex in Aristophanes\' Lysistrata and Plato\'s Symposium</em>. New York: Chelsea House, 2009. In Bloom, Harold, Ed. Human Sexuality, Bloom\'s Literary Themes. <em>Bloom\'s Literary Reference Online</em>. Web. 20 Feb. 2011).\r\n\r\n&nbsp;\r\n\r\nThe women of Lysistrata banded together and created a power that would not have been feasible in ancient Athens. Off the stage women were seldom a visible member of the city. Women were expected to stay home and tend to household obligations. Women were not to be identified by name in public unless necessary, let alone seen in public. They were not allowed to participate in politics, let alone discuss them. The men of Lysistrata were also a bit fantastical, as the audience is asked to dismiss the fact that men had many opportunities for sex and that this was an accepted part of Athens society.  Men could easily seek and demand sex with slaves, younger men, mistresses, or even with one another. Instead we are to believe that sex is reserved for husbands and wives in Athens.\r\n\r\n&nbsp;\r\n\r\nLysistrata was typical of its time because it is one of the only surviving works of Old Comedy and its author was the sole creator of most these works. The comedies of Aristophanes provide almost an exclusive representation of Greek comedy.  Aristophanes’ comedies are political in nature, take place in the center of the city, and tackle current issues; Lysistrata abides by this description.  Furthermore the political background of these comedies is focused on the Peloponnesian war, which at the time of Lysistratas premiere had been going on for twenty years.\r\n\r\n&nbsp;\r\n\r\n“In <em>Lysistrata</em>, Aristophanes created a play that contains material that has provoked the ire of censors in different time periods. In the playwright\'s time the political implications of the play drew greater negative attention than the sexual situations and innuendo”(Sova, Dawn B. <em>Lysistrata</em>. New York: Facts on File, 2004. Banned Plays: Censorship History of 125 Stage Dramas. <em>Bloom\'s Literary Reference Online</em>. Web. 20 Feb. 2011).   Kleon, an Athenian politician, had Aristophanes brought to court because he did not appreciate Aristophanes mockery of the government and himself.  Aristophanes avoided serious punishment due his great public popularity.\r\n\r\n<span style=\"text-decoration: underline\"> </span>\r\n\r\n“<em>Lysistrata</em> is Aristophanes\' most popular play with modern audiences, and its appeal is easily understood from the universality of its sexual content” (Thorburn, Jr., John E. <em>Lysistrata</em>. New York: Facts on File, 2005. Facts on File Companion to Classical Drama. <em>Bloom\'s Literary Reference Online</em>. Web. 20 Feb. 2011).  Sex in Athens in 411 BCE was an accepted and celebrated aspect of society.  Sex was nowhere near as taboo then as it is today; it was an excepted and expected part of society. The play has been censored over the years, either politically or sexually. There are many versions and interpretations of the play.  Several interpreters have chosen to leave out some of the explicit nature dialogue of the play and or the extreme phallic leather pieces to be worn by the Athenian men.\r\n\r\n&nbsp;\r\n\r\nAt first I was excited about the material of the play and the unusual ownership of power by women in this play.  The heroine’s name, Lysistrata, literally means disbander of wars. She rises against society’s assigned role of a woman and delegates an army of lower class citizens to take charge of the political scene. Once I read past the feminist allure of the plot I realized that the only way such an outcome would have been accepted in Greece is as a fantastical comedy.  “However possible such a \"sex strike\" and occupation of the Acropolis as depicted in the fictional <em>Lysistrata</em> may be now, they most certainly were not then” (Hook, Brian S <em>The Tragic Comedy of Sex in Aristophanes\' Lysistrata and Plato\'s Symposium</em>. New York: Chelsea House, 2009. In Bloom, Harold, Ed. Human Sexuality, Bloom\'s Literary Themes. <em>Bloom\'s Literary Reference Online</em>. Web. 20 Feb. 2011). It is important to know that “Aristophanes uses a female-controlled government and a peace treaty engineered by women to show the foolishness and stubbornness of the men in his society, rather than highlight the plight of women in his society” (Thorburn, Jr., John E. <em>Lysistrata</em>. New York: Facts on File, 2005. Facts on File Companion to Classical Drama. <em>Bloom\'s Literary Reference Online</em>. Web. 20 Feb. 2011).\r\n\r\n&nbsp;\r\n\r\nThe pressing themes of Lysistrata will be ever pressing to generations to come. The carnal urges of sex and war will always be present, as will the power of money. Domestic affairs will continue to somehow be in the center of many issues and the power of physical love will prevail triumphant in both men and women.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\nMcLeish, Kenneth. <em>The Theatre of Aristophanes</em>. 2nd ed. Great Britain: Taplinger Publishing, 1980. 13. Print.\r\n\r\nFiero, Gloria. <em>The Humanistic Tradition</em>. Vol. 1. N.p.: McGraw Hill Higher Education, 2011. N. pag. Web.\r\n\r\nHenderson, Jeffrey. <em>3 Plays by Aristophanes: Staging Women</em>. 2ndnd ed. New York: Routledge, 2010. 64. Print\r\n\r\nOdula, Tom. “Kenyan women, tired of fighting, vow sex strike.” <em>The Huffington Post</em>. N.p., 29 Apr. 2009. Web. 27 Feb. 2011.\r\n<a href=\"http://www.huffingtonpost.com/2009/04/29/kenyan-women-tired-of-fig_n_192909.html\">http://www.huffingtonpost.com/2009/04/29/kenyan-women-tired-of-fig_n_192909.html</a>\r\n\r\nNaples Sex Strike over Fireworks.” <em>BBC News</em>. BBC, 31 Dec. 2008. Web.17 Feb. 2011. http://news.bbc.co.uk/2/hi/europe/7806367.stm\r\n\r\nHook, Brian S. <em>The Tragic Comedy of Sex in Aristophanes’ Lysistrata and Plato’s Symposium</em>. New York: Chelsea House, 2009. In Bloom, Harold, Ed. Human Sexuality, Bloom’s Literary Themes. <em>Bloom’s Literary Reference Online</em>. Web. 20 Feb. 2011\r\n\r\nSova, Dawn B. <em>Lysistrata</em>. New York: Facts on File, 2004. Banned Plays: Censorship History of 125 Stage Dramas. <em>Bloom’s Literary Reference Online</em>. Web. 20 Feb. 2011\r\n\r\nThorburn, Jr., John E. <em>Lysistrata</em>. New York: Facts on File, 2005. Facts on File Companion to Classical Drama. <em>Bloom’s Literary Reference Online</em>. Web. 20 Feb. 2011\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Lysistrata','','publish','open','open','','lysistrata-2','','','2011-03-06 17:30:22','2011-03-06 23:30:22','',0,'http://jeanatacc.com/2011/?p=521',0,'post','',4),(59,11,'2011-02-14 14:01:56','2011-02-14 20:01:56','Under construction...\r\n\r\n<!--more-->Passengers Speak Out in Taxi Survey\r\n\r\n<a href=\"http://cityroom.blogs.nytimes.com/2011/02/14/passengers-speak-out-in-taxi-survey/?ref=nyregion\">http://cityroom.blogs.nytimes.com/2011/02/14/passengers-speak-out-in-taxi-survey/?ref=nyregion</a>\r\n\r\n\"Passengers in New York City taxicabs like to pay by credit card. They take cabs because they are late, tired or weighted down by unwieldy bags, and they are most likely to hail a taxi once a week. Cabs should be easier to get in and out of, they say, and those backseat televisions ought to be banned entirely.\r\n\r\nThe peeves and habits of riders who frequent one of New York’s more famous modes of mass transit emerged last week with the release of a large-scale survey (pdf) by the city’s Taxi and Limousine Commission, which quizzed riders on their experiences in the city’s iconic yellow fleet.\r\n\r\nThe revelations are slightly less titillating than an episode of, say, “Taxicab Confessions,” and no questions about backseat make-out sessions appeared on the survey form. But the results sketch out a fairly granular portrait of the urban taxi-goer, who, it turns out, is a harried, well-to-do individual who prefers environmentally friendly vehicles and would not mind being able to charge a cellphone while enjoying the ride, if that can be arranged.\r\n\r\nIt should be noted that this was not the most precise survey sample ever assembled. The city received self-selected responses from about 22,000 people, and while taxi ridership can be difficult to measure, 240 million cab rides occur each year.\"','Danger High Voltage!','under construction...\r\n','publish','open','open','','danger-high-voltage','','','2011-02-14 14:13:04','2011-02-14 20:13:04','',0,'http://jeanatacc.com/2011/?p=59',0,'post','',1),(60,10,'2011-02-14 14:00:57','2011-02-14 20:00:57','This is a test post.<!--more-->Redneck words of the day: \"Homer\" Odyssey\"\r\n\r\n\"Ay Homer, come \'er, you Odyssey this!\"','Test post. ','','publish','open','open','','test-post','','','2011-02-14 14:06:59','2011-02-14 20:06:59','',0,'http://jeanatacc.com/2011/?p=60',0,'post','',1),(65,10,'2011-02-14 14:00:47','2011-02-14 20:00:47','','Test post. ','','inherit','open','open','','60-revision','','','2011-02-14 14:00:47','2011-02-14 20:00:47','',60,'http://jeanatacc.com/2011/?p=65',0,'revision','',0),(66,13,'2011-02-14 14:01:15','2011-02-14 20:01:15','Testing 123!!!!!\r\n\r\nI did it!<!--more-->\r\n\r\nhello! comment please haha','Testing!','','publish','open','open','','testing','','','2011-02-14 14:08:00','2011-02-14 20:08:00','',0,'http://jeanatacc.com/2011/?p=66',0,'post','',1),(67,9,'2011-02-14 14:05:51','2011-02-14 20:05:51','draft draft draft draft....<!--more-->draft..............................\r\n\r\nlara lara lara laralsdjfalsdjkf lkj\r\n\r\nlsdkjfal;sdjkfal;dfjkl;sdjkfl;asjkdf\r\n\r\na;sldkfjal;dfjka\r\n\r\nasdlkfjal;jkdfdjkfaj;sdlfkj;akd\r\n\r\na;lsdkjf; hi :)',':)','','publish','open','open','','67','','','2011-02-14 14:06:37','2011-02-14 20:06:37','',0,'http://jeanatacc.com/2011/?p=67',0,'post','',2),(68,13,'2011-02-14 14:00:58','2011-02-14 20:00:58','','Auto Draft','','inherit','open','open','','66-revision','','','2011-02-14 14:00:58','2011-02-14 20:00:58','',66,'http://jeanatacc.com/2011/?p=68',0,'revision','',0),(69,14,'2011-02-14 14:06:11','2011-02-14 20:06:11','testing<!--more-->:)','Test','','publish','open','open','','test','','','2011-02-14 14:07:56','2011-02-14 20:07:56','',0,'http://jeanatacc.com/2011/?p=69',0,'post','',0),(70,12,'2011-02-21 15:23:28','2011-02-21 21:23:28','<p style=\"text-align: center\">Temple of Athena Nike</p>\r\nDaughter of Pallas (titan god of war craft) and Styx (Goddess of the underworld river), Athena Nike is the most valuable goddess you will ever have on your side.\r\n\r\n<!--more--> Unlike her siblings: Zelos (Rivalry), Bia (Force) and Kratos (Strength), Athena Nike stands for victory, and is the only element truly desired. Yes you need a rival in which to play games and fight, yes you need to be able to display your strength and intimidate your opponent with force, but what is the purpose of contests, games, and battles without victory? Victory is the most important aspect of any trial we will ever encounter, and its symbol needs to be preserved.\r\n\r\nAthens has been occupied since 3,000 B.C., but really began to flourish once the Mycenaean rule hit its peak from 1,400 B.C to 1,200 B.C. It was then that the solid walls and foundations of the Acropolis were laid; a plot of land that towers 300 ft. over Athens, Greece. “With its many shallow caves, the abundant percolating water springs and steep slopes, the Acropolis was a prime location for habitation and worship location for Neolithic man (Acropolis History).”And that is exactly what they did.\r\n\r\nBuilding after building eventually began to rise on the Acropolis: the Parthenon, the Propylaea, the Erechtheum, the Chalcothece<strong>, </strong>the Pandroseion<strong>, </strong>and many more magnificent works of architectural art. Some of the buildings were so magnificent that Athens even gained fame for their architecture. People from all countries would come visit just to see what marvels the Acropolis had to offer, as they still do to this day.  Although, it wasn’t always peaceful for Athens, Many wars and city-state quarrels often left the buildings in ruins. Most if not all of the temples had to be rebuilt time and time again, resulting in a variety of styles and cultures mixed together.\r\n\r\nWhile certain buildings were constructed as temples in order to better worship certain gods in hopes of desired blessings, one was fashioned for a more meaningful purpose. Around 424 B.C., amidst the 28 year war with Sparta, civilians were termoiled with the thought of losing the long battle against one of the fiercest empires ever to exist in their era. As an expression of Athens\' ambitions to defeat Sparta and become a world power, and bring confidence back to their cause, the Temple of Athena Nike was built (Nosotro, Rit).\r\n\r\nDesigned by Killikrates (who also helped to design the world renowned Parthenon), it stands 23 feet tall, 18 1/2 feet wide, and 27 feet long,  upon the southwest corner of the Acropolis, facing east. Even though it is considerably smaller than its neighbors—being a 7:1 column ratio instead if the usual 9:1—its  importance is of the greatest for it is a symbol of Athens’ political and military prowess, and is the first thing anyone sees when entering from the Propylaia—a monumental gateway into the Acropolis (Temple of Athena Nike).\r\n\r\nThe temple was built mostly of Pentelic marble (Fiero, Gloria K), and is the very first structure in the Acropolis that was designed with Ionic architecture. This was extremely unique due to the fact all the other temples were Doric (Schulman, Bruce). Another unique attraction is that it was built with tetra style columns, meaning it has 4 columns on both the east and west sides that also created shallow porches. Other temples on the Acropolis had plethras of columns that were only presented at the front entrance. In order to keep people from falling off the sides of the cliff while trying to circle the temple, a guardrail called a parapet was later built. Since the parapet was also one of the first things visitors saw while going up the ramp towards Propylaia, it was decorated with depictions of Nike in various fighting poses (Temple of Athena Nike).\r\n\r\nBecause the structure isn’t very large it only had one room, and in the center of that room was a cult statue of Athena Nike herself. Made of wood, she holds a helmet in her left hand and a pomegranate in her right. Statues of Athena Nike around the world all have her gifted with wings, except this statue does not. Now known as Nike Apteros—meaning wing-less victory, it is speculated that Athena Nike meant so much to their culture that the statue was deprived of her wings so that she could never leave the city (Temple of Athena Nike - Athens, Greece).\r\n\r\nThroughout history the Temple of Athena Nike has been sought after time and time again. It isn’t so much the building itself that brings its precise value, it’s the symbol it represents: Victory. Reconstructed from 1835 to 1838 and from 1935 to 1940, we still hold onto this iconic structure even though millennia’s have past (Mallouchou-Tufano, Fani). Every being from every culture will have challenges where victory is needed. Some people draw their courage from friends or family, others from various forms of faith, the Greeks, however, got their courage from Athena Nike; Therefor, I believe the tradition of keeping this classic temple alive should not cease.\r\n<p style=\"text-align: center\">Works Cited</p>\r\n\"Acropolis History.\" <em>Ancient Greece</em>. Web. 15 Feb. 2011. &lt;http://www.ancient-greece.org/history/acropolis.html&gt;.\r\n\r\nFiero, Gloria K. \"Ch.5 The Classical Style Ca. 700–30 B.C.E.\" <em>The Humanistic Tradition</em>. 6th ed. Boston: McGraw-Hill, 2011. B1.123+. Print.\r\n\r\nMallouchou-Tufano, Fani. \"The Restoration of the Athenian Acropolis.\" <em>Http://www.lsa.umich.edu</em>. LSA, 18 Jan. 2006. Web. 19 Feb. 2011. &lt;http://www.lsa.umich.edu/UMICH/modgreek/Home/_TOPNAV_WTGC/Lectures%20at%20U-M/MallouchouLectureJan18-06.pdf&gt;.\r\n\r\nNosotro, Rit. \"Athens and Sparta.\" <em>HyperHistory.net</em>. Web. 17 Feb. 2011. &lt;http://www.hyperhistory.net/apwh/essays/comp/cw4athensspartap2dz.htm&gt;.\r\n\r\n\"Temple of Athena Nike.\" <em>Ancient Greece</em>. Web. 16 Feb. 2011. &lt;http://www.ancient-greece.org/architecture/athena-nike.html&gt;.\r\n\r\n\"Temple of Athena Nike - Athens, Greece.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. Web. 20 Feb. 2011. &lt;http://www.sacred-destinations.com/greece/athens-temple-of-athena-nike&gt;.','Temple of Athena Nike','','publish','open','open','','test-bloggage','','','2011-02-21 15:25:55','2011-02-21 21:25:55','',0,'http://jeanatacc.com/2011/?p=70',0,'post','',13),(71,11,'2011-02-14 14:00:18','2011-02-14 20:00:18','','Auto Draft','','inherit','open','open','','59-revision','','','2011-02-14 14:00:18','2011-02-14 20:00:18','',59,'http://jeanatacc.com/2011/?p=71',0,'revision','',0),(74,16,'2011-02-14 14:04:42','2011-02-14 20:04:42','<!--more-->\r\n\r\nThe Epic of Gilgamesh was typical for it’s time in that it included early mythology and early religion. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, or the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and worship of the gods and is considered as sacred writing. The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE. The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE. The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on clay tablets with a stylus made out of bone or reed material to engrave characters or ideographs on wet clay. Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time. History and legends were recorded in cuneiform. Another example would the Babylonian Creation Myth, which depicts the transitions from the Matriarchy to Patriarchy.','testing blog gilgamesh','','publish','open','open','','test-draft','','','2011-02-14 14:18:37','2011-02-14 20:18:37','',0,'http://jeanatacc.com/2011/?p=74',0,'post','',0),(75,13,'2011-02-14 14:11:54','2011-02-14 20:11:54','Testing 123!!!!!\r\n\r\nI did it!<!--more-->\r\n\r\nhello! comment please haha','Testing!','','inherit','open','open','','66-autosave','','','2011-02-14 14:11:54','2011-02-14 20:11:54','',66,'http://jeanatacc.com/2011/?p=75',0,'revision','',0),(79,12,'2011-02-14 14:02:43','2011-02-14 20:02:43','I R TEST','Test bloggage','Excerpt test','inherit','open','open','','70-revision','','','2011-02-14 14:02:43','2011-02-14 20:02:43','',70,'http://jeanatacc.com/2011/?p=79',0,'revision','',0),(80,19,'2011-02-14 14:21:22','2011-02-14 20:21:22','Marcus Aurelius: The Meditations\r\n\r\nIn year 167 CE, Roman Emperor Marcus Aurelius wrote <em>The Mediation\'s. </em>A philosophic writing about self-discipline, virtue, and inner tranquillity. <!--more-->The emperor was also did a large part for social reform, working with the poor, slaves and convicted criminals.','Time Capsule Proposal Blog','','publish','open','open','','time-capsule-proposal-blog','','','2013-09-16 13:02:01','2013-09-16 19:02:01','',0,'http://jeanatacc.com/2011/?p=80',0,'post','',3),(81,16,'2011-02-14 14:04:38','2011-02-14 20:04:38','The Epic of Gilgamesh was typical for it’s time in that it included early mythology and early religion. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, or the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and worship of the gods and is considered as sacred writing. The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE. The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE. The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on clay tablets with a stylus made out of bone or reed material to engrave characters or ideographs on wet clay. Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time. History and legends were recorded in cuneiform. Another example would the Babylonian Creation Myth, which depicts the transitions from the Matriarchy to Patriarchy.','test draft','','inherit','open','open','','74-revision','','','2011-02-14 14:04:38','2011-02-14 20:04:38','',74,'http://jeanatacc.com/2011/?p=81',0,'revision','',0),(84,16,'2011-02-21 16:08:45','2011-02-21 22:08:45','<!--more-->\r\n\r\nThe Epic of Gilgamesh was typical for it’s time in that it included early mythology and early religion. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, or the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and worship of the gods and is considered as sacred writing. The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE. The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE. The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on clay tablets with a stylus made out of bone or reed material to engrave characters or ideographs on wet clay. Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time. History and legends were recorded in cuneiform. Another example would the Babylonian Creation Myth, which depicts the transitions from the Matriarchy to Patriarchy.','testing blog gilgamesh','','inherit','open','open','','74-autosave','','','2011-02-21 16:08:45','2011-02-21 22:08:45','',74,'http://jeanatacc.com/2011/?p=84',0,'revision','',0),(102,14,'2011-02-14 14:06:11','2011-02-14 20:06:11','testing<!--more-->kaslfjsdkl;j','Test','','inherit','open','open','','69-revision-2','','','2011-02-14 14:06:11','2011-02-14 20:06:11','',69,'http://jeanatacc.com/2011/?p=102',0,'revision','',0),(103,11,'2011-02-14 14:12:55','2011-02-14 20:12:55','Under construction...\r\n\r\n<!--more-->Passengers Speak Out in Taxi Survey\r\n\r\n<a href=\"http://cityroom.blogs.nytimes.com/2011/02/14/passengers-speak-out-in-taxi-survey/?ref=nyregion\">http://cityroom.blogs.nytimes.com/2011/02/14/passengers-speak-out-in-taxi-survey/?ref=nyregion</a>\r\n\r\n\"Passengers in New York City taxicabs like to pay by credit card. They take cabs because they are late, tired or weighted down by unwieldy bags, and they are most likely to hail a taxi once a week. Cabs should be easier to get in and out of, they say, and those backseat televisions ought to be banned entirely.\r\n\r\nThe peeves and habits of riders who frequent one of New York’s more famous modes of mass transit emerged last week with the release of a large-scale survey (pdf) by the city’s Taxi and Limousine Commission, which quizzed riders on their experiences in the city’s iconic yellow fleet.\r\n\r\nThe revelations are slightly less titillating than an episode of, say, “Taxicab Confessions,” and no questions about backseat make-out sessions appeared on the survey form. But the results sketch out a fairly granular portrait of the urban taxi-goer, who, it turns out, is a harried, well-to-do individual who prefers environmentally friendly vehicles and would not mind being able to charge a cellphone while enjoying the ride, if that can be arranged.\r\n\r\nIt should be noted that this was not the most precise survey sample ever assembled. The city received self-selected responses from about 22,000 people, and while taxi ridership can be difficult to measure, 240 million cab rides occur each year.\"','Danger High Voltage!','under construction...\r\n','inherit','open','open','','59-autosave','','','2011-02-14 14:12:55','2011-02-14 20:12:55','',59,'http://jeanatacc.com/2011/?p=103',0,'revision','',0),(104,14,'2011-02-14 14:07:48','2011-02-14 20:07:48','testing<!--more-->:)','Test','','inherit','open','open','','69-revision-3','','','2011-02-14 14:07:48','2011-02-14 20:07:48','',69,'http://jeanatacc.com/2011/?p=104',0,'revision','',0),(85,9,'2011-02-14 14:04:13','2011-02-14 20:04:13','draft draft draft draft....<!--more-->draft..............................',':)','','inherit','open','open','','67-revision','','','2011-02-14 14:04:13','2011-02-14 20:04:13','',67,'http://jeanatacc.com/2011/?p=85',0,'revision','',0),(111,17,'2011-02-14 14:10:46','2011-02-14 20:10:46','The Pantheon<!--more-->\r\n\r\nThe Pantheon is a Roman temple built in 27 B.C.E. It is a rectangular temple with a huge concrete dome and portico.  Located in Rome it was saved from sacking and burning during the crusades by the , it was converted into a Catholic church.  .  The Greeks worshipped many gods and the Pantheon meaning “All the Gods” was meant as a place where they could all be worshipped at once.  It is the world’s second largest dome to this day.','TCP 1 Draft','','publish','open','open','','tcp-1-draft','','','2011-02-14 14:10:46','2011-02-14 20:10:46','',0,'http://jeanatacc.com/2011/?p=111',0,'post','',1),(86,12,'2011-02-14 14:03:28','2011-02-14 20:03:28','I R TEST','Test bloggage','Excerpt test','inherit','open','open','','70-revision-2','','','2011-02-14 14:03:28','2011-02-14 20:03:28','',70,'http://jeanatacc.com/2011/?p=86',0,'revision','',0),(87,14,'2011-02-14 14:03:38','2011-02-14 20:03:38','testing','Test','','inherit','open','open','','69-revision','','','2011-02-14 14:03:38','2011-02-14 20:03:38','',69,'http://jeanatacc.com/2011/?p=87',0,'revision','',0),(88,16,'2011-02-14 14:04:42','2011-02-14 20:04:42','The Epic of Gilgamesh was typical for it’s time in that it included early mythology and early religion. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, or the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and worship of the gods and is considered as sacred writing. The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE. The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE. The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on clay tablets with a stylus made out of bone or reed material to engrave characters or ideographs on wet clay. Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time. History and legends were recorded in cuneiform. Another example would the Babylonian Creation Myth, which depicts the transitions from the Matriarchy to Patriarchy.','test draft','','inherit','open','open','','74-revision-2','','','2011-02-14 14:04:42','2011-02-14 20:04:42','',74,'http://jeanatacc.com/2011/?p=88',0,'revision','',0),(90,10,'2011-02-14 14:06:29','2011-02-14 20:06:29','This is a test post.<!--more-->Redneck words of the day: \"','Test post. ','','inherit','open','open','','60-autosave','','','2011-02-14 14:06:29','2011-02-14 20:06:29','',60,'http://jeanatacc.com/2011/?p=90',0,'revision','',0),(91,13,'2011-02-14 14:01:15','2011-02-14 20:01:15','Testing!!','Testing!','','inherit','open','open','','66-revision-2','','','2011-02-14 14:01:15','2011-02-14 20:01:15','',66,'http://jeanatacc.com/2011/?p=91',0,'revision','',0),(92,9,'2011-02-14 14:05:51','2011-02-14 20:05:51','draft draft draft draft....<!--more-->draft..............................\r\n\r\na;lsdkjf; hi :)',':)','','inherit','open','open','','67-revision-2','','','2011-02-14 14:05:51','2011-02-14 20:05:51','',67,'http://jeanatacc.com/2011/?p=92',0,'revision','',0),(93,10,'2011-02-14 14:00:57','2011-02-14 20:00:57','This is a test post.','Test post. ','','inherit','open','open','','60-revision-2','','','2011-02-14 14:00:57','2011-02-14 20:00:57','',60,'http://jeanatacc.com/2011/?p=93',0,'revision','',0),(96,16,'2011-02-14 14:06:14','2011-02-14 20:06:14','<!--more-->The Epic of Gilgamesh was typical for it’s time in that it included early mythology and early religion. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, or the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and worship of the gods and is considered as sacred writing. The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE. The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE. The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on clay tablets with a stylus made out of bone or reed material to engrave characters or ideographs on wet clay. Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time. History and legends were recorded in cuneiform. Another example would the Babylonian Creation Myth, which depicts the transitions from the Matriarchy to Patriarchy.','','','inherit','open','open','','74-revision-3','','','2011-02-14 14:06:14','2011-02-14 20:06:14','',74,'http://jeanatacc.com/2011/?p=96',0,'revision','',0),(105,13,'2011-02-14 14:06:30','2011-02-14 20:06:30','Testing 123!!!!!\r\n\r\nI did it!<!--more-->','Testing!','','inherit','open','open','','66-revision-3','','','2011-02-14 14:06:30','2011-02-14 20:06:30','',66,'http://jeanatacc.com/2011/?p=105',0,'revision','',0),(106,16,'2011-02-14 14:07:07','2011-02-14 20:07:07','<!--more-->The Epic of Gilgamesh was typical for it’s time in that it included early mythology and early religion. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, or the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and worship of the gods and is considered as sacred writing. The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE. The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE. The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on clay tablets with a stylus made out of bone or reed material to engrave characters or ideographs on wet clay. Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time. History and legends were recorded in cuneiform. Another example would the Babylonian Creation Myth, which depicts the transitions from the Matriarchy to Patriarchy.','testing blog','','inherit','open','open','','74-revision-4','','','2011-02-14 14:07:07','2011-02-14 20:07:07','',74,'http://jeanatacc.com/2011/?p=106',0,'revision','',0),(3720,1,'2013-11-30 18:36:07','2013-12-01 00:36:07','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover.jpg\"><img class=\"aligncenter size-medium wp-image-3592\" alt=\"chopincover\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover-300x300.jpg\" width=\"300\" height=\"300\" /></a>http://www.aznapia.com/music/chopincover.jpg</p>\r\n<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358.jpg\"><img class=\"aligncenter size-medium wp-image-3594\" alt=\"79304140_131960966358\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358-215x300.jpg\" width=\"215\" height=\"300\" /></a>http://image2.findagrave.com/photos250/photos/2011/297/79304140_131960966358.jpg</p>\r\nThe Nocturne Op.9 No.2 by Frederic Chopin pertaining to “Music Nocturne in E-flat major, Op. 9, No. 2 Chopin Nocturnes, Opus 9 Written 1830-1832 as a dedication to Madame Camille Pleyel” ( Prezi.com) Madame Camille Pleyel shown in the picture above. “Thanks to the more direct contact between the hammer and the string, the simple escapement action, constantly improved by Camille Pleyel and Kalkbrenner, assured a more exact control than the “double escapement” invented and patented (1822) by Erard” (Eigeldinger). Chopin created over 200 works of art in his life time. “The Nocturne in E flat major, though certainly not the most beautiful of Chopin’s nocturnes, is perhaps the most popular, ‘this charming bagatelle did more for the popularity of Chopin than all his other works”(Information center). Chopin’s work especially Nocturne Op.9 No.2 should be preserved for future generations because Chopin is without a doubt, one of a kind, and still to this day his music will move you.<!--more-->\r\n\r\n“Improvisational effects from piano figurations in the nocturnes; and episodic, vigorous writing in the larger works such as the scherzos, ballades, impromptus, and the Fantasy. Thus, in an era when the piano was becoming the preeminent solo instrument in both the home and the concert hall, Chopin devised new figurations, delicate traceries, and elaborate quasivocal fioriture and fashioned them for use at the keyboard. He wrote no symphonies, no operas, no string quartets, and only one trio (piano, violin, and cello).” (Encyclopedia)\r\n\r\nChopin’s work “If the nineteenth century was the age of Romantic individualism, it was also the age of the virtuoso: composers wrote music that might be performed gracefully and accurately only by individuals with extraordinary technical skills. The quintessential example of this phenomenon is the Polish-born composer Frédéric Chopin (1810–1849). At the age of seven, Chopin gave his first piano concert in Warsaw. Slight in build even as an adult, Chopin had small hands that nevertheless could reach across the keys of the piano like “the jaws of a snake”(Fiero, ch. 29)\r\n\r\nChopin’s work was received as a musical genius of the time. “In his brief lifetime—he died of tuberculosis at the age of thirty-nine—Chopin created an entirely personal musical idiom linked to the expressive potential of the modern piano. For the piano, Chopin wrote over 200 pieces, most of which were short keyboard works, such as dances, préludes, nocturnes (slow, songlike pieces), impromptus (pieces that sound improvised), and études (instrumental studies designed to improve a player\'s technique). His Etude in G-flat Major, Opus 10, No. 5, is a breathtaking piece that challenges the performer to play very rapidly on the black keys, which are less than half the width of the white ones.”(Fiero, ch. 29)\r\n\r\nPeople today still play his master pieces. Chopin is as well received today as he was during his time. “Of his dance forms, the polonaise and the mazurka preserve the robustness of the folk tunes of his native Poland, while the waltz mirrors the Romantic taste for a new type of dance, more sensuous and physically expressive than the courtly and formal minuet. Considered vulgar and lewd when it was introduced in the late eighteenth century, the waltz, with its freedom of movement and intoxicating rhythms, became the most popular of all nineteenth-century dances.”(Fiero, ch. 29)\r\n\r\nMy personal reaction to his work is that it is phenomenal. I personally have his collection that I listen to frequently. I find his work to be soothing; Chopin’s work is great to listen to while studying, for it has no words so you do not get distracted by catching yourself singing to the lyrics. His music I would say almost puts you in a calm trance.\r\n\r\nThe “Revolution of 1830 acted like a catalyst on French creative thought. Writers, painters, musicians and social reformers converged on Paris, which teemed with artistic and intellectual activity. Among the writers and poets were Sainte-Beuve, Victor Hugo, Balzac, George Sand and Heine. The painters included Delacroix, Devéria and Ary Scheffer”(Walker).\r\n\r\n“Much like Delacroix, Chopin was given to violent mood swings. And, as with Delacroix\'s paintings, which though carefully contrived give the impression of spontaneity, much of Chopin\'s music seems improvised—the impetuous record of fleeting feeling, rather than the studied product of diligent construction.”(Fiero, ch. 29) “The most engaging of his compositions are marked by fresh turns of harmony and free tempos and rhythms. Chopin might embellish a melodic line with unusual and flamboyant devices, such as a rolling arpeggio (the sounding of the notes of a chord in rapid succession).”(Fiero, ch. 29) Chopin was a genius.\r\n\r\nChopin’s life works should be remembered for the amazing ability that he had and the way he broke boundaries of his time. This is why; I strongly believe Chopin’s work should be preserved for future generations. Chopin is without a doubt, one of a kind, and still to this day his music will move you.\r\n\r\nWork Cited\r\nEigeldinger, Jean-Jacques. \"Chopin And Pleyel.\" Clavier Companion 2.3 (2010): 10-12. Academic Search Complete. Web. 4 Nov. 2013.\r\n\r\nFiero, Gloria K. The Humanistic Tradition. Sixth Edition ed. : McGraw-Hill, . . &lt;&gt;.\r\n\r\nFryderyk Chopin - Information Centre - Nocturne in E Flat Major, Op. 9 No. 2 - Compositions. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frederic Chopin: Nocturnes, Op. 9: No. 2 in E-Flat Major.\" Prezi.com. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frédéric François Chopin.\" Encyclopedia of World Biography. Detroit: Gale, 1998. Biography In Context. Web. 20 Oct. 2013.\r\nWalker, Alan. \"CHOPIN: The Voice Of The Piano.\" American Music Teacher 59.6 (2010): 19-26. Academic Search Complete. Web. 4 Nov. 2013.','Nocturne Op.9 No.2','','inherit','open','open','','3576-revision-v1','','','2013-11-30 18:36:07','2013-12-01 00:36:07','',3576,'http://jeanatacc.com/2011/?p=3720',0,'revision','',0),(3597,1,'2013-11-04 22:15:03','2013-11-05 04:15:03','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover.jpg\"><img class=\"aligncenter size-medium wp-image-3592\" alt=\"chopincover\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover-300x300.jpg\" width=\"300\" height=\"300\" /></a>\r\n<p style=\"text-align: center;\">thttp://www.aznapia.com/music/chopincover.jpg</p>\r\n<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358.jpg\"><img class=\"aligncenter size-medium wp-image-3594\" alt=\"79304140_131960966358\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358-215x300.jpg\" width=\"215\" height=\"300\" /></a>\r\nhttp://image2.findagrave.com/photos250/photos/2011/297/79304140_131960966358.jpg</p>\r\nThe Nocturne Op.9 No.2 by Frederic Chopin pertaining to “Music Nocturne in E-flat major, Op. 9, No. 2 Chopin Nocturnes, Opus 9 Written 1830-1832 as a dedication to Madame Camille Pleyel” ( Prezi.com) Madame Camille Pleyel shown in the picture above. “Thanks to the more direct contact between the hammer and the string, the simple escapement action, constantly improved by Camille Pleyel and Kalkbrenner, assured a more exact control than the “double escapement” invented and patented (1822) by Erard” (Eigeldinger). Chopin created over 200 works of art in his life time. “The Nocturne in E flat major, though certainly not the most beautiful of Chopin’s nocturnes, is perhaps the most popular, ‘this charming bagatelle did more for the popularity of Chopin than all his other works”(Information center). Chopin’s work especially Nocturne Op.9 No.2 should be preserved for future generations because Chopin is without a doubt, one of a kind, and still to this day his music will move you.<!--more-->\r\n\r\n“Improvisational effects from piano figurations in the nocturnes; and episodic, vigorous writing in the larger works such as the scherzos, ballades, impromptus, and the Fantasy. Thus, in an era when the piano was becoming the preeminent solo instrument in both the home and the concert hall, Chopin devised new figurations, delicate traceries, and elaborate quasivocal fioriture and fashioned them for use at the keyboard. He wrote no symphonies, no operas, no string quartets, and only one trio (piano, violin, and cello).” (Encyclopedia)\r\nChopin’s work “If the nineteenth century was the age of Romantic individualism, it was also the age of the virtuoso: composers wrote music that might be performed gracefully and accurately only by individuals with extraordinary technical skills. The quintessential example of this phenomenon is the Polish-born composer Frédéric Chopin (1810–1849). At the age of seven, Chopin gave his first piano concert in Warsaw. Slight in build even as an adult, Chopin had small hands that nevertheless could reach across the keys of the piano like “the jaws of a snake”(Fiero, ch. 29)<br><br>\r\nChopin’s work was received as a musical genius of the time. “In his brief lifetime—he died of tuberculosis at the age of thirty-nine—Chopin created an entirely personal musical idiom linked to the expressive potential of the modern piano. For the piano, Chopin wrote over 200 pieces, most of which were short keyboard works, such as dances, préludes, nocturnes (slow, songlike pieces), impromptus (pieces that sound improvised), and études (instrumental studies designed to improve a player\'s technique). His Etude in G-flat Major, Opus 10, No. 5, is a breathtaking piece that challenges the performer to play very rapidly on the black keys, which are less than half the width of the white ones.”(Fiero, ch. 29)<br><br>\r\nPeople today still play his master pieces. Chopin is as well received today as he was during his time. “Of his dance forms, the polonaise and the mazurka preserve the robustness of the folk tunes of his native Poland, while the waltz mirrors the Romantic taste for a new type of dance, more sensuous and physically expressive than the courtly and formal minuet. Considered vulgar and lewd when it was introduced in the late eighteenth century, the waltz, with its freedom of movement and intoxicating rhythms, became the most popular of all nineteenth-century dances.”(Fiero, ch. 29)<br><br>\r\nMy personal reaction to his work is that it is phenomenal. I personally have his collection that I listen to frequently. I find his work to be soothing; Chopin’s work is great to listen to while studying, for it has no words so you do not get distracted by catching yourself singing to the lyrics. His music I would say almost puts you in a calm trance.<br><br>\r\nThe “Revolution of 1830 acted like a catalyst on French creative thought. Writers, painters, musicians and social reformers converged on Paris, which teemed with artistic and intellectual activity. Among the writers and poets were Sainte-Beuve, Victor Hugo, Balzac, George Sand and Heine. The painters included Delacroix, Devéria and Ary Scheffer”(Walker).<br><br>\r\n“Much like Delacroix, Chopin was given to violent mood swings. And, as with Delacroix\'s paintings, which though carefully contrived give the impression of spontaneity, much of Chopin\'s music seems improvised—the impetuous record of fleeting feeling, rather than the studied product of diligent construction.”(Fiero, ch. 29) “The most engaging of his compositions are marked by fresh turns of harmony and free tempos and rhythms. Chopin might embellish a melodic line with unusual and flamboyant devices, such as a rolling arpeggio (the sounding of the notes of a chord in rapid succession).”(Fiero, ch. 29) Chopin was a genius.\r\nChopin’s life works should be remembered for the amazing ability that he had and the way he broke boundaries of his time. This is why; I strongly believe Chopin’s work should be preserved for future generations. Chopin is without a doubt, one of a kind, and still to this day his music will move you.\r\n\r\nWork Cited\r\nEigeldinger, Jean-Jacques. \"Chopin And Pleyel.\" Clavier Companion 2.3 (2010): 10-12. Academic Search Complete. Web. 4 Nov. 2013.\r\n\r\nFiero, Gloria K. The Humanistic Tradition. Sixth Edition ed. : McGraw-Hill, . . &lt;&gt;.\r\n\r\nFryderyk Chopin - Information Centre - Nocturne in E Flat Major, Op. 9 No. 2 - Compositions. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frederic Chopin: Nocturnes, Op. 9: No. 2 in E-Flat Major.\" Prezi.com. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frédéric François Chopin.\" Encyclopedia of World Biography. Detroit: Gale, 1998. Biography In Context. Web. 20 Oct. 2013.\r\nWalker, Alan. \"CHOPIN: The Voice Of The Piano.\" American Music Teacher 59.6 (2010): 19-26. Academic Search Complete. Web. 4 Nov. 2013.','Nocturne Op.9 No.2','','inherit','open','open','','3576-revision-v1','','','2013-11-04 22:15:03','2013-11-05 04:15:03','',3576,'http://jeanatacc.com/2011/?p=3597',0,'revision','',0),(112,17,'2011-02-14 14:10:22','2011-02-14 20:10:22','','TCP 1 Draft','','inherit','open','open','','111-revision','','','2011-02-14 14:10:22','2011-02-14 20:10:22','',111,'http://jeanatacc.com/2011/?p=112',0,'revision','',0),(3719,1,'2013-11-30 18:35:54','2013-12-01 00:35:54','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover.jpg\"><img class=\"aligncenter size-medium wp-image-3592\" alt=\"chopincover\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover-300x300.jpg\" width=\"300\" height=\"300\" /></a>\r\n<p style=\"text-align: center;\">thttp://www.aznapia.com/music/chopincover.jpg</p>\r\n<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358.jpg\"><img class=\"aligncenter size-medium wp-image-3594\" alt=\"79304140_131960966358\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358-215x300.jpg\" width=\"215\" height=\"300\" /></a>http://image2.findagrave.com/photos250/photos/2011/297/79304140_131960966358.jpg</p>\r\nThe Nocturne Op.9 No.2 by Frederic Chopin pertaining to “Music Nocturne in E-flat major, Op. 9, No. 2 Chopin Nocturnes, Opus 9 Written 1830-1832 as a dedication to Madame Camille Pleyel” ( Prezi.com) Madame Camille Pleyel shown in the picture above. “Thanks to the more direct contact between the hammer and the string, the simple escapement action, constantly improved by Camille Pleyel and Kalkbrenner, assured a more exact control than the “double escapement” invented and patented (1822) by Erard” (Eigeldinger). Chopin created over 200 works of art in his life time. “The Nocturne in E flat major, though certainly not the most beautiful of Chopin’s nocturnes, is perhaps the most popular, ‘this charming bagatelle did more for the popularity of Chopin than all his other works”(Information center). Chopin’s work especially Nocturne Op.9 No.2 should be preserved for future generations because Chopin is without a doubt, one of a kind, and still to this day his music will move you.<!--more-->\r\n\r\n“Improvisational effects from piano figurations in the nocturnes; and episodic, vigorous writing in the larger works such as the scherzos, ballades, impromptus, and the Fantasy. Thus, in an era when the piano was becoming the preeminent solo instrument in both the home and the concert hall, Chopin devised new figurations, delicate traceries, and elaborate quasivocal fioriture and fashioned them for use at the keyboard. He wrote no symphonies, no operas, no string quartets, and only one trio (piano, violin, and cello).” (Encyclopedia)\r\n\r\nChopin’s work “If the nineteenth century was the age of Romantic individualism, it was also the age of the virtuoso: composers wrote music that might be performed gracefully and accurately only by individuals with extraordinary technical skills. The quintessential example of this phenomenon is the Polish-born composer Frédéric Chopin (1810–1849). At the age of seven, Chopin gave his first piano concert in Warsaw. Slight in build even as an adult, Chopin had small hands that nevertheless could reach across the keys of the piano like “the jaws of a snake”(Fiero, ch. 29)\r\n\r\nChopin’s work was received as a musical genius of the time. “In his brief lifetime—he died of tuberculosis at the age of thirty-nine—Chopin created an entirely personal musical idiom linked to the expressive potential of the modern piano. For the piano, Chopin wrote over 200 pieces, most of which were short keyboard works, such as dances, préludes, nocturnes (slow, songlike pieces), impromptus (pieces that sound improvised), and études (instrumental studies designed to improve a player\'s technique). His Etude in G-flat Major, Opus 10, No. 5, is a breathtaking piece that challenges the performer to play very rapidly on the black keys, which are less than half the width of the white ones.”(Fiero, ch. 29)\r\n\r\nPeople today still play his master pieces. Chopin is as well received today as he was during his time. “Of his dance forms, the polonaise and the mazurka preserve the robustness of the folk tunes of his native Poland, while the waltz mirrors the Romantic taste for a new type of dance, more sensuous and physically expressive than the courtly and formal minuet. Considered vulgar and lewd when it was introduced in the late eighteenth century, the waltz, with its freedom of movement and intoxicating rhythms, became the most popular of all nineteenth-century dances.”(Fiero, ch. 29)\r\n\r\nMy personal reaction to his work is that it is phenomenal. I personally have his collection that I listen to frequently. I find his work to be soothing; Chopin’s work is great to listen to while studying, for it has no words so you do not get distracted by catching yourself singing to the lyrics. His music I would say almost puts you in a calm trance.\r\n\r\nThe “Revolution of 1830 acted like a catalyst on French creative thought. Writers, painters, musicians and social reformers converged on Paris, which teemed with artistic and intellectual activity. Among the writers and poets were Sainte-Beuve, Victor Hugo, Balzac, George Sand and Heine. The painters included Delacroix, Devéria and Ary Scheffer”(Walker).\r\n\r\n“Much like Delacroix, Chopin was given to violent mood swings. And, as with Delacroix\'s paintings, which though carefully contrived give the impression of spontaneity, much of Chopin\'s music seems improvised—the impetuous record of fleeting feeling, rather than the studied product of diligent construction.”(Fiero, ch. 29) “The most engaging of his compositions are marked by fresh turns of harmony and free tempos and rhythms. Chopin might embellish a melodic line with unusual and flamboyant devices, such as a rolling arpeggio (the sounding of the notes of a chord in rapid succession).”(Fiero, ch. 29) Chopin was a genius.\r\n\r\nChopin’s life works should be remembered for the amazing ability that he had and the way he broke boundaries of his time. This is why; I strongly believe Chopin’s work should be preserved for future generations. Chopin is without a doubt, one of a kind, and still to this day his music will move you.\r\n\r\nWork Cited\r\nEigeldinger, Jean-Jacques. \"Chopin And Pleyel.\" Clavier Companion 2.3 (2010): 10-12. Academic Search Complete. Web. 4 Nov. 2013.\r\n\r\nFiero, Gloria K. The Humanistic Tradition. Sixth Edition ed. : McGraw-Hill, . . &lt;&gt;.\r\n\r\nFryderyk Chopin - Information Centre - Nocturne in E Flat Major, Op. 9 No. 2 - Compositions. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frederic Chopin: Nocturnes, Op. 9: No. 2 in E-Flat Major.\" Prezi.com. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frédéric François Chopin.\" Encyclopedia of World Biography. Detroit: Gale, 1998. Biography In Context. Web. 20 Oct. 2013.\r\nWalker, Alan. \"CHOPIN: The Voice Of The Piano.\" American Music Teacher 59.6 (2010): 19-26. Academic Search Complete. Web. 4 Nov. 2013.','Nocturne Op.9 No.2','','inherit','open','open','','3576-revision-v1','','','2013-11-30 18:35:54','2013-12-01 00:35:54','',3576,'http://jeanatacc.com/2011/?p=3719',0,'revision','',0),(3598,1,'2013-11-04 22:15:44','2013-11-05 04:15:44','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover.jpg\"><img class=\"aligncenter size-medium wp-image-3592\" alt=\"chopincover\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover-300x300.jpg\" width=\"300\" height=\"300\" /></a>\r\n<p style=\"text-align: center;\">thttp://www.aznapia.com/music/chopincover.jpg</p>\r\n<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358.jpg\"><img class=\"aligncenter size-medium wp-image-3594\" alt=\"79304140_131960966358\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358-215x300.jpg\" width=\"215\" height=\"300\" /></a>\r\nhttp://image2.findagrave.com/photos250/photos/2011/297/79304140_131960966358.jpg</p>\r\nThe Nocturne Op.9 No.2 by Frederic Chopin pertaining to “Music Nocturne in E-flat major, Op. 9, No. 2 Chopin Nocturnes, Opus 9 Written 1830-1832 as a dedication to Madame Camille Pleyel” ( Prezi.com) Madame Camille Pleyel shown in the picture above. “Thanks to the more direct contact between the hammer and the string, the simple escapement action, constantly improved by Camille Pleyel and Kalkbrenner, assured a more exact control than the “double escapement” invented and patented (1822) by Erard” (Eigeldinger). Chopin created over 200 works of art in his life time. “The Nocturne in E flat major, though certainly not the most beautiful of Chopin’s nocturnes, is perhaps the most popular, ‘this charming bagatelle did more for the popularity of Chopin than all his other works”(Information center). Chopin’s work especially Nocturne Op.9 No.2 should be preserved for future generations because Chopin is without a doubt, one of a kind, and still to this day his music will move you.<!--more-->\r\n<br><br>\r\n“Improvisational effects from piano figurations in the nocturnes; and episodic, vigorous writing in the larger works such as the scherzos, ballades, impromptus, and the Fantasy. Thus, in an era when the piano was becoming the preeminent solo instrument in both the home and the concert hall, Chopin devised new figurations, delicate traceries, and elaborate quasivocal fioriture and fashioned them for use at the keyboard. He wrote no symphonies, no operas, no string quartets, and only one trio (piano, violin, and cello).” (Encyclopedia)<br><br>\r\nChopin’s work “If the nineteenth century was the age of Romantic individualism, it was also the age of the virtuoso: composers wrote music that might be performed gracefully and accurately only by individuals with extraordinary technical skills. The quintessential example of this phenomenon is the Polish-born composer Frédéric Chopin (1810–1849). At the age of seven, Chopin gave his first piano concert in Warsaw. Slight in build even as an adult, Chopin had small hands that nevertheless could reach across the keys of the piano like “the jaws of a snake”(Fiero, ch. 29)<br><br>\r\nChopin’s work was received as a musical genius of the time. “In his brief lifetime—he died of tuberculosis at the age of thirty-nine—Chopin created an entirely personal musical idiom linked to the expressive potential of the modern piano. For the piano, Chopin wrote over 200 pieces, most of which were short keyboard works, such as dances, préludes, nocturnes (slow, songlike pieces), impromptus (pieces that sound improvised), and études (instrumental studies designed to improve a player\'s technique). His Etude in G-flat Major, Opus 10, No. 5, is a breathtaking piece that challenges the performer to play very rapidly on the black keys, which are less than half the width of the white ones.”(Fiero, ch. 29)<br><br>\r\nPeople today still play his master pieces. Chopin is as well received today as he was during his time. “Of his dance forms, the polonaise and the mazurka preserve the robustness of the folk tunes of his native Poland, while the waltz mirrors the Romantic taste for a new type of dance, more sensuous and physically expressive than the courtly and formal minuet. Considered vulgar and lewd when it was introduced in the late eighteenth century, the waltz, with its freedom of movement and intoxicating rhythms, became the most popular of all nineteenth-century dances.”(Fiero, ch. 29)<br><br>\r\nMy personal reaction to his work is that it is phenomenal. I personally have his collection that I listen to frequently. I find his work to be soothing; Chopin’s work is great to listen to while studying, for it has no words so you do not get distracted by catching yourself singing to the lyrics. His music I would say almost puts you in a calm trance.<br><br>\r\nThe “Revolution of 1830 acted like a catalyst on French creative thought. Writers, painters, musicians and social reformers converged on Paris, which teemed with artistic and intellectual activity. Among the writers and poets were Sainte-Beuve, Victor Hugo, Balzac, George Sand and Heine. The painters included Delacroix, Devéria and Ary Scheffer”(Walker).<br><br>\r\n“Much like Delacroix, Chopin was given to violent mood swings. And, as with Delacroix\'s paintings, which though carefully contrived give the impression of spontaneity, much of Chopin\'s music seems improvised—the impetuous record of fleeting feeling, rather than the studied product of diligent construction.”(Fiero, ch. 29) “The most engaging of his compositions are marked by fresh turns of harmony and free tempos and rhythms. Chopin might embellish a melodic line with unusual and flamboyant devices, such as a rolling arpeggio (the sounding of the notes of a chord in rapid succession).”(Fiero, ch. 29) Chopin was a genius.<br><br>\r\nChopin’s life works should be remembered for the amazing ability that he had and the way he broke boundaries of his time. This is why; I strongly believe Chopin’s work should be preserved for future generations. Chopin is without a doubt, one of a kind, and still to this day his music will move you.\r\n\r\nWork Cited\r\nEigeldinger, Jean-Jacques. \"Chopin And Pleyel.\" Clavier Companion 2.3 (2010): 10-12. Academic Search Complete. Web. 4 Nov. 2013.\r\n\r\nFiero, Gloria K. The Humanistic Tradition. Sixth Edition ed. : McGraw-Hill, . . &lt;&gt;.\r\n\r\nFryderyk Chopin - Information Centre - Nocturne in E Flat Major, Op. 9 No. 2 - Compositions. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frederic Chopin: Nocturnes, Op. 9: No. 2 in E-Flat Major.\" Prezi.com. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frédéric François Chopin.\" Encyclopedia of World Biography. Detroit: Gale, 1998. Biography In Context. Web. 20 Oct. 2013.\r\nWalker, Alan. \"CHOPIN: The Voice Of The Piano.\" American Music Teacher 59.6 (2010): 19-26. Academic Search Complete. Web. 4 Nov. 2013.','Nocturne Op.9 No.2','','inherit','open','open','','3576-revision-v1','','','2013-11-04 22:15:44','2013-11-05 04:15:44','',3576,'http://jeanatacc.com/2011/?p=3598',0,'revision','',0),(121,11,'2011-02-14 14:01:56','2011-02-14 20:01:56','under construction...','Danger High Voltage!','','inherit','open','open','','59-revision-2','','','2011-02-14 14:01:56','2011-02-14 20:01:56','',59,'http://jeanatacc.com/2011/?p=121',0,'revision','',0),(122,14,'2011-02-21 22:02:07','2011-02-22 04:02:07','Circus Maximus\r\n\r\nThe Circus Maximus was an ancient racing stadium and mass entertainment venue in Rome.    It was mainly used for chariot racing, but was also used for other entertainment as well. It was the biggest stadium in Rome and measured 621 m in length and 118 m in width (Wikipedia).  It was built sometime in the 6<sup>th</sup> century and was said to be designed by the fifth king of Rome, Tarquinius Priscus. He created the first track for chariot racing in between the Palatine and Aventine hills (Circus Maximus). <!--more-->The Circus Maximus was rebuilt a couple of times during the Republic. Then Trajan remodeled and added onto it which left it being able to hold as many as 250,000 people (Boatwright 383).\r\n\r\nThe Romans learned how to do urban planning, chariot racing and many other things from the Etruscan kings. During the time the Circus Maximus was built the Etruscan kings ruled the Latin population. That is until 509 B.C.E. when the Latins overthrew the kings and slowly the monarchy turned into a government. There was a lot of class division at this time as well. There were the large land owners, the patricians, a lot of farmers and small landowners called plebeians. These were the groups that made up the agricultural population. The people were fighting the kings at first until they overthrew them. Then they were fighting among themselves to get power in the government (Fiero B1.139).\r\n\r\nThe Circus Maximus is typical of it era because there were many racing and entertainment stadiums all over Rome. It was the most popular form of entertainment at the time mostly because it was free. It was also typical because they would have a procession honoring the gods before the games began. They did this a lot back then in many different events to show their appreciation to the gods (Boatwright 73).\r\n\r\nThe Circus Maximus was a very innovative thing at the time because it gave free entertainment to the people of Rome. Even women could attend and sit with the men which was not common for this time. Also the poor were allowed to attend as well (The Circus Maximus). Also chariot racing allowed the lesser magistrates to be acknowledged by the public. Another uncommon thing that took place at the Circus Maximus was gladiator and beast fights, but not as often as most think (Boatwright 383 -386).\r\n\r\nBack then people loved going to the Circus Maximus. It was the most popular form of entertainment and was even looked at as a great place to meet a mate. There were not many things that poor people could do back then and this gave them a free source of entertainment where they could be themselves and have a good time. When Augustus took over the Circus Maximus was called the place to go if you wanted to meet other singles (Boatwright 383).\r\n\r\nAll of the recent articles published that I read just described the Circus Maximus in lengthy detail. I did find that what is left of the Circus Maximus is still being used for entertainment today in Rome. It is sometimes used for concerts and meetings since it is a large public park now. The 2006 Italian World Cup celebration was held there and over 700,000 people attended. It was also used in 2007 for a free concert put on by the British rock band Genesis (Wikipedia).\r\n\r\nI think that his work is meaningful because it shows how ancient Roman people lived their lives and spent their free time. The Circus Maximus was an amazing architectural structure that provided great entertainment for so many people at that time. Also, even though it is not still all here it is still being used for free entertainment, which I think is pretty amazing.\r\n\r\nThe Circus Maximus compares to many other amphitheaters and stadiums at that time, but the one it compares the most to is the Colosseum. The Colosseum covered six acres and could hold 50,000 spectators. The same kind of games were held at both, but chariot racing was the most popular game at both of them. The Circus Maximus was more popular because it was more well known and could hold more people (Fiero B1.154).\r\n\r\nI think that one of the most significant things bout this piece of work is that it brought together people that were in different social classes and forced them to communicate. It gave people opportunities that they would normally not have had. I also think it was important because it was the biggest and most popular stadium in Rome from its time. This piece of work sheds light on ancient Roman civilization and was firmly linked to Roman tradition.\r\n\r\n<span style=\"font-size: medium;\">Work Cited Page</span>\r\n\r\n<span style=\"font-size: medium;\"> </span>Circus Maximus. <em>http://www.aviewoncities.com/rome/circusmaximus.htm</em>. N.p., n.d. Web. 15 Feb. 2011.\r\n\r\nBoatwright, Mary T., Daniel J. Gargola, and Richard J. A. Talbert. <em>The Romans: From Village to Empire</em>. New York: Oxford University Press, 2004. 72-409. Print.\r\n\r\n<em>The Circus Maximus</em>. http://rome.mrdonn.org/circus.html, n.d. Web. 21 Feb. 2011.\r\n\r\n<em>Circus Maximus</em>. http://en.wikipedia.org/wiki/Circus_Maximus, n.d. <em>Wikipedia</em>. Web. 15 Feb. 2011.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6thth ed. New York: McGraw Hill, 2011. B1.137-65. <em>McGraw Hill Connect</em>. Web. 10 Feb. 2011.','Circus Maximus','','publish','open','open','','circus-maximus','','','2011-02-21 22:33:42','2011-02-22 04:33:42','',0,'http://jeanatacc.com/2011/?p=122',0,'post','',9),(126,18,'2011-02-14 14:16:26','2011-02-14 20:16:26','Lysistrata <!--more-->\r\n\r\nTest','Lysistrata ','','publish','open','open','','lysistrata','','','2011-03-11 14:24:05','2011-03-11 20:24:05','',0,'http://jeanatacc.com/2011/?p=126',0,'post','',3),(131,18,'2011-02-14 14:15:48','2011-02-14 20:15:48','Lysistrata\n\nTest','Lysistrata ','','inherit','open','open','','126-revision','','','2011-02-14 14:15:48','2011-02-14 20:15:48','',126,'http://jeanatacc.com/2011/?p=131',0,'revision','',0),(381,8,'2011-02-21 13:21:42','2011-02-21 19:21:42','','Auto Draft','','inherit','open','open','','379-revision','','','2011-02-21 13:21:42','2011-02-21 19:21:42','',379,'http://jeanatacc.com/2011/?p=381',0,'revision','',0),(3599,1,'2013-11-04 22:16:47','2013-11-05 04:16:47','[caption id=\"\" align=\"alignnone\" width=\"460\"]<img alt=\"\" src=\"http://i.telegraph.co.uk/multimedia/archive/01373/swan-lake_1373804c.jpg\" width=\"460\" height=\"288\" /> Swans in formation, http://i.telegraph.co.uk/multimedia/archive/01373/swan-lake_1373804c.jpg[/caption]\r\n\r\n&nbsp;\r\n\r\n<em>Swan Lake</em> is a ballet originally composed by Pyotr Ilyich Tchaikovsky in 1877. It\'s legacy continues in modern performances and reinterpretations of the piece and it should be preserved because of both it\'s persistence and the way it transcended the nationalist dogma of the time.<!--more-->\r\n\r\nThe story features Prince Siegfried as a passionate man forced by the Queen to find a bride. He encounters Odette while out hunting, who has been cursed to turn into a swan during the day by the sorcerer Von Rothbart. Odette and Siegfried fall in love, and it\'s explained that this will break the curse. Later at a palace ball, Von Rothbart appears with his daughter Odile. Siegfried is deceived and believes Odile to be Odette so he pledges his love to Odile. He realizes his error and finds Odette. The two commit suicide, breaking the curse for the other swans and killing Von Rothbart.\r\n\r\nWhen <em>Swan Lake</em> was released Russia was in a period of social change brought about the Industrial Revolution. Trailing behind the other European powers in this adoption, it held onto the hierarchy of the Aristocratic system. France served as an inspiration for arts and there was a growing desire for a Russian voice in the arts. Nationalism was ubiquitous across Europe and foreshadowed World War 1 in 1914. Tchaikovsky attended two newly formed schools meant to foster this creativity, The Russian Music Society and the St. Petersburg Conservatoire. He was also influenced by a group of operatic and orchestral composers known as the five: Nikolay Rimsky-Korsakov, Modeste Petrovich Moussorgsky, Milli Alexievich Balakirev, Alexander Borodin, and Cesar Antonovitch Cui. \"These  men were undoubtedly gifted musicians and they had done much to establish music in Russian life but they were in Tchaikovsky\'s eyes, talented amateurs with other professions which the world took more seriously\" (Hossick). Also of importance was the fact that Tchaikovsky was a closeted homosexual in a religious country that was openly hostile to homosexuality. His marriage to a former student, Antonina Miliukova, was incredibly taxing on him but was seen to be a part of his responsibility as a man.\r\n\r\nSwan Lake is typical of other ballets such as <em>La Sylphide</em> and <em>Giselle</em> because it draws from fairy tales for narrative. All sound comes from music which is meant to convey the mood of the scene, and choreography utilized the <em>arabesque </em>style of dancing popularized by French ballet.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"437\"]<img class=\"   \" alt=\"\" src=\"http://balletnews.co.uk/wp-content/uploads/2011/03/SwanLake024.jpg\" width=\"437\" height=\"312\" /> Arabesque pose from Swan Lake, http://balletnews.co.uk/wp-content/uploads/2011/03/SwanLake024.jpg[/caption]\r\n\r\nOdette and Odile perpetuate Romantic stereotypes of women. \"Romantic writers inherited the dual view of womankind that had prevailed since the Middle Ages: like Eve, woman was the <i>femme fatale</i>, the seducer and destroyer of mankind; like Mary, however, woman was the source of salvation and the symbol of all that was pure and true\" (Fiero). Tchaikovsky was strongly influenced by the work of Beethoven and Wagner, using nuance during the repetition of themes to create different moods. In the theme of the opera a solo oboe plays a set of notes and concludes with a low note. This sequence is then played back with the entire orchestra to emphasize the build-up of emotion. In the introduction this is done with strings and has a slow somber mood.\r\n\r\n[youtube]<a href=\"http://www.youtube.com/watch?v=q-yvvTy7aBc\">http://www.youtube.com/watch?v=q-yvvTy7aBc</a>[/youtube]\r\n\r\nLater when Siegfried meets Odette this theme is repeated but replaced with a concluding high note, and the orchestra features a horn accompaniment that makes the piece feels more passionate and spontaneous.\r\n\r\n[youtube]<a href=\"http://www.youtube.com/watch?v=GzpqM4THqZ8\">http://www.youtube.com/watch?v=GzpqM4THqZ8</a>[/youtube]\r\n\r\nThis musical complexity is what sets it apart from other ballets of the time. Also important are the cultural boundaries it crossed. <em>Swan Lake</em>\'s characters have Germanic rather than Slavic names. In Scene 3 different nationalities are represented through dance in the Palace Courtyard with their appropriate music. These differences led to poor reviews during the initial run of the ballet in the Bolshoi Theater. Because of this poor reception the original work was modified by choreographers Marius Petipa and Lev Ivanov and composer Ludwig Minkus. In 1895 this new <em>Swan Lake</em> was performed at a commemoration ballet for Tchaikovsky, and most productions now use the 1895 <em>Swan Lake</em> as their template. This flexibility also makes<em> Swan Lake</em> unique, because preparing it is an interpretive job. This has allowed choreographers such as Matthew Bourne to experiment: \"I didn\'t want that three-way relationship - Prince, Swan, Rothbart - in the Swan scenes. I just wanted the simplicity of the Prince and the swans without something else controlling it. After all, it\'s in his mind. So it didn\'t seem appropriate to have anyone else involved\" (Bourne qtd. in Carter). In Bourne\'s interpretation the swans are also played by men creating a subtext not present before. The 2010 movie <em>Black Swan</em> highlights <em>Swan Lake</em>\'s elevated status in ballet and modern culture. It also offers an interpretation of <em>Swan Lake</em> through the perspective of Odette, showing her<em> </em>transformation and inner struggle between dual personalities.\r\n\r\n[youtube]<a href=\"http://www.youtube.com/watch?v=CsvtIzebNcw\">http://www.youtube.com/watch?v=CsvtIzebNcw</a>[/youtube]\r\n\r\nWhen comparing <em>Swan Lake </em>to <em>La Sylphide </em> the differences in musical composition are very glaring. <em>La Sylphide </em>will have a continual mood for a piece of music, it doesn\'t feature the same dramatic shifts in tone present in <em>Swan Lake\'s </em>score. The music is also performed by a smaller orchestra, mostly stringed instruments. The oboe in <em>Swan Lake </em>and the cello in <em>La Sylphide </em>have prominent solo roles. The dance choreography of <em>Swan Lake </em>however is much more complex, using larger numbers of dancers on stage and having them weave in and out of each other in a synchronized fashion. Both stories come from fairy tale inspiration and are about young men falling in love with mythical woman figures and then tricked by an evil mystic. They are also appropriated from different countries. <em>La Sylphide </em>is set in Scotland but was first performed in France. One of the differences in plot is that the deaths of the two lovers in <em>La Sylphide </em>is tragic. The witch Old Madge convinces the protagonist James Ruben to kill his love by touching her, and James dies losing both the sylph and his bride-to-be to his best friend. In <em>Swan Lake</em> the mutual suicide of Siegfried and Odette defeats Von Rothbart and frees the other swans from their curse.\r\n\r\nI was very moved by the score of <em>Swan Lake</em>, especially by the main theme which does a fantastic job of starting simply and building up to an emotional crescendo. One of the things I have a hard time with in ballet is the fact that the performers are completely silent and express through dance, which I am not used to appreciating. However I feel like the music does such a good job of building moods and complexity that I had an easier time following the story. In closing I think that the beauty of the music makes the ballet worth preserving.\r\n\r\nBibliography:\r\n<p lang=\"en\"><span style=\"font-family: Calibri, sans-serif;\"><span><i>Pyotr Ilyich Tchaikovsky [Electronic Resource (Video)] : A Concise Biography / Hossick, Malcolm</i>. n.p.: New York, N.Y. : Films Media Group, [2011], c2006., 2006. <i>ACC Library Catalog</i>. Web. 20 Oct. 2013.</span></span></p>\r\n<p lang=\"en\">This source gave information on the creator as well as background information.</p>\r\n<p lang=\"en\"><span style=\"font-family: Calibri, sans-serif;\"><span><i>Swan Lake [Electronic Resource (Video)] : From The Royal Opera House / Electric Sky (Firm)</i>. n.p.: New York, N.Y. : Films Media Group, [2010], c2009., 2009. <i>ACC Library Catalog</i>. Web. 20 Oct. 2013.</span></span></p>\r\n<p lang=\"en\">This source helped form a personal reaction to the work.</p>\r\n<p lang=\"en\"><span style=\"font-family: Calibri, sans-serif;\"><span>Drummond, Kent G. \"The Queering Of Swan Lake: A New Male Gaze For The Performance Of Sexual Desire.\" <i>Journal Of Homosexuality</i> 45.2-4 (2003): 235-255. <i>Academic Search Complete</i>. Web. 20 Oct. 2013.</span></span></p>\r\n<p lang=\"en\">This source showed a comparison of the 1895 performance with the 1995 Matthew Bourne performance.</p>\r\n<p lang=\"en\"><span style=\"font-family: Calibri, sans-serif;\"><span>Cohen, Selma J. <i>Next Week, Swan Lake: Reflections on Dance and Dances</i>. Middletown: Wesleyan University Press, 2011. Print.</span></span></p>\r\n<p lang=\"en\">This source gave historical background on the production and what makes it unique.</p>\r\n<p lang=\"en\"><span style=\"font-family: Calibri, sans-serif;\"><span>Carter, Alexandra. <i>Rethinking Dance History: A Reader</i>. London: Routledge, 2004. Print.</span></span></p>\r\n<p lang=\"en\">This source had an interview with Matthew Bourne that created a context for the modern reception of the work</p>\r\n<p lang=\"en\"><span style=\"font-family: Calibri, sans-serif;\"><span>Plumley, Gavin. “Swan Lake: A beginner\'s guide – The Music (Royal Ballet).” Online video clip. <i>YouTube</i>. YouTube, 27 Feb 2013. 3 Nov 2013.</span></span></p>\r\n<p lang=\"en\">This source helped with understanding musical themes present in the work.</p>\r\n<p lang=\"en\">\"La Sylphide HD (Pas d\'Ombre).\" Online video clip. <em>YouTube.</em> Youtube, 20 Dec 2011. 4 Nov 2013.</p>\r\n<p lang=\"en\">This source helped when comparing Swan Lake to a similar work.</p>','Swan Lake - Pyotr Ilyich Tchaikovsky','','inherit','open','open','','3535-revision-v1','','','2013-11-04 22:16:47','2013-11-05 04:16:47','',3535,'http://jeanatacc.com/2011/?p=3599',0,'revision','',0),(379,8,'2011-02-21 14:03:14','2011-02-21 20:03:14','<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: center\">“Rig Veda – Rigvedic Period”</p>\r\nTo understand how an ancient Sanskrit text becomes sacred to followers of the Hindu religion we must first learn of a “band of foreigners that entered the Indian subcontinent and settled throughout the Indus Valley.” (32)  This group of nomadic and pastoral communities spoke Indo-European languages calling themselves “noble people.”(32). and they began their journey traveling the passes of Hindu Kush Mountains and established themselves in small agriculture villages in northern parts of India.<!--more-->\r\n\r\nWealthy individuals in early Aryan society owned extensive herds of cattle.  Horses were considered prize possessions for two reasons; the amount they paid for them and because they did not breed well in these hot and dry climates.  Innovative for their time their farming required artificial systems of irrigation\'s which in turn required cooperative efforts by many locally as well of those of a higher degree and in most instances these individuals held high religious place within their communities. A common business practice that’s similar with our own local government, state government, federal entities that work with many religious institutions like we see today and how they support one another.\r\nThese early “noble people.” (32). didn’t use writing but composed numerous poems and songs and preserved extensive collections of religious and literary works by memorizing them and then passing them orally from one generation to another in their own native sacred language.\r\nReligious scholars believe that the there are four Vedas which are collections of hymns, songs and prayers, and rituals honoring the various gods of the Aryans.  The earliest and most important from this collection is the “Rig Veda, a collection of 1,028 hymns addressed to various Hindu gods.”(65)  Many of these hymns were designed to be sung during specific religious rituals, especially sacrifices and they contain stories about the deed of the Hindu gods.  Hindus believe “that the Vedas were not composed by people, but rather directly revealed, mirroring Christian beliefs about the Bible.”(59)  There have been many translations published for people to read the Rigveda in their native languages.  But like all works of translation the concerns for retaining the original poetic content of the Rigveda continues to prove difficult no different than the various translations of King James Version for practicing Christians today.   These hymns are the major way in which the Aryan people praised their gods.  The subject of the hymns is the personification of the powers of nature; below is an example of hymn written in poetic form:\r\n\"This light hath come, of all the lights the fairest,\r\nThe brilliant brightness hath been born, far-shining,\r\nUrged on to prompt the sun-god\'s shining power.\r\nNight and Morning clash not, nor yet do linger.\" (Bloomfield 30).\r\nVery evident in our modern times is the practice of religion and how we sing hymns in Church, and recite certain religious rituals for weddings and funerals alike.  The creation of the Rig Veda like our Bible must have taken place over several centuries and respected by so many as well.\r\nDue to the nomadic nature of the society described it cannot be localized, and in its earliest phase describes tribes that were essentially on the move and historical records set in only after the end of the Vedic period with much of it remaining scarce throughout this time.  Their nomadic abilities to use tools available from their environment helped this group to adapt and cope with demands that came with such early life.\r\nEvident enough in our in society today am I ever again amazed on how this group sustained themselves, and lived from the land to survive.  There is much to be learn from these hard working travelers that were considered nomadic for their times.  If only they could see how we as a society have improved our means of travel for example; how astonished they would be to learn that they could travel in merely minute’s miles away from their villages.\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Photo of Rig Veda</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\"><img class=\"size-full wp-image-401 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\" alt=\"\" width=\"269\" height=\"187\" /></a>www.flickr.com/photos</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Works Cited:</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: left\">Doniger, Wendy. “The Hindus: an alternative history”</p>\r\nNew York: Penguin Press, 2009. Print\r\n<p style=\"text-align: left\">Fiero, Gloria. “The Humanistic Tradition”Vol 1 6e. Ed.</p>\r\n<p style=\"text-align: left\">New York: McGraw-Hill Press, 2011. E-Book</p>','“Rig Veda – Rigvedic Period”','','publish','open','open','','%e2%80%9crig-veda-%e2%80%93-rigvedic-period%e2%80%9d','','','2011-04-11 13:13:10','2011-04-11 19:13:10','',0,'http://jeanatacc.com/2011/?p=379',0,'post','',6),(137,16,'2011-02-14 14:08:07','2011-02-14 20:08:07','<!--more-->The Epic of Gilgamesh was typical for it’s time in that it included early mythology and early religion. Much of the history of Mesopotamia was heavily infused with religion such as the Babylonian Creation myth, or the Enuma Elish, the Epic of Gilgamesh is a long epic poem important to Mesopotamian culture and worship of the gods and is considered as sacred writing. The epic was written by Shin-eqi-unninni around 2750 to 2500 BCE. The is preserved on twelve clay tablets and had been transcribed from the ancient Sumerian language to Akkadian in a form of writing called cuneiform, which was developed around the 3000 BCE. The writing system first contain symbolic pictographs, which then became more abstract until the Sumerians began to partially rely on an alphabet system. Cuneiform documents were written on clay tablets with a stylus made out of bone or reed material to engrave characters or ideographs on wet clay. Many ancient sacred texts, such as the Epic of Gilgamesh, were transcribed over hundreds of years in cuneiform script, a writing style which was refined over time. History and legends were recorded in cuneiform. Another example would the Babylonian Creation Myth, which depicts the transitions from the Matriarchy to Patriarchy.','testing blog gilgamesh','','inherit','open','open','','74-revision-5','','','2011-02-14 14:08:07','2011-02-14 20:08:07','',74,'http://jeanatacc.com/2011/?p=137',0,'revision','',0),(138,15,'2011-02-14 14:20:55','2011-02-14 20:20:55','“Palaces are the the most distinct feature of the Minoan civilization” (<em>Approaching Monuments</em>).\r\n\r\n<!--more-->During the Neopalatial period of Crete,  or “the ‘Golden Age’ of   Minoan  Palaces” as Ellen Adams names it, the Palace of Minos fits   easily into  the architectural standard for the palaces of Crete. Each   structure was  built with the norm of “four wings surrounding a Central   Court, which is  roughly oriented north-south, with an additional West   Court,”  integrating the Minoan palaces, through many contexts, as one.   Thus the  architectural layouts of these Minoan palaces help in  placing  emphasis  on many similarities rather than differences. With  these  similarities  many aspects, such as about the towns where they  are built  and their  relationships with the structures or deductions  about the  social  networks, of one palace can greatly contribute to our  knowledge  of  another (<em>Power Relations</em>).\r\n\r\nToday,   people feel that this palace, indeed most architecture of the   Minoan   civilization, was completely irrational in light of the current    societal  circumstances as well as their scarce availability of land.    These  current beliefs and assumptions are largely brought about by  the   not yet  unveiled enigma of what their functions were, and the   reasoning  behind  the creation of such sumptuous exhibitions.<img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" /><img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" />','Palace of Minos at Knossos','','publish','open','open','','palace-of-minos-at-knossos-3','','','2011-02-14 14:23:06','2011-02-14 20:23:06','',0,'http://jeanatacc.com/2011/?p=138',0,'post','',3),(139,15,'2011-02-14 14:20:24','2011-02-14 20:20:24','','Palace of Minos at Knossos','','inherit','open','open','','138-revision','','','2011-02-14 14:20:24','2011-02-14 20:20:24','',138,'http://jeanatacc.com/2011/?p=139',0,'revision','',0),(144,15,'2011-02-14 14:21:41','2011-02-14 20:21:41','“Palaces are the the most distinct feature of the Minoan civilization” (<em>Approaching Monuments</em>).   During the Neopalatial period of Crete,  or “the ‘Golden Age’ of  Minoan  Palaces” as Ellen Adams names it, the Palace of Minos fits  easily into  the architectural standard for the palaces of Crete. Each  structure was  built with the norm of “four wings surrounding a Central  Court, which is  roughly oriented north-south, with an additional West  Court,”  integrating the Minoan palaces, through many contexts, as one.  Thus the  architectural layouts of these Minoan palaces help in placing  emphasis  on many similarities rather than differences. With these  similarities  many aspects, such as about the towns where they are built  and their  relationships with the structures or deductions about the  social  networks, of one palace can greatly contribute to our knowledge  of  another (<em>Power Relations</em>).\r\n\r\n<!--more-->Today,   people feel that this palace, indeed most architecture of the   Minoan   civilization, was completely irrational in light of the current    societal  circumstances as well as their scarce availability of land.    These  current beliefs and assumptions are largely brought about by  the   not yet  unveiled enigma of what their functions were, and the   reasoning  behind  the creation of such sumptuous exhibitions.<img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" /><img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" />','Palace of Minos at Knossos','','inherit','open','open','','138-revision-4','','','2011-02-14 14:21:41','2011-02-14 20:21:41','',138,'http://jeanatacc.com/2011/?p=144',0,'revision','',0),(140,15,'2011-02-14 14:20:51','2011-02-14 20:20:51','“Palaces are the the most distinct feature of the Minoan civilization” (<em>Approaching Monuments</em>).   During the Neopalatial period of Crete,  or “the ‘Golden Age’ of  Minoan  Palaces” as Ellen Adams names it, the Palace of Minos fits  easily into  the architectural standard for the palaces of Crete. Each  structure was  built with the norm of “four wings surrounding a Central  Court, which is  roughly oriented north-south, with an additional West  Court,”  integrating the Minoan palaces, through many contexts, as one.  Thus the  architectural layouts of these Minoan palaces help in placing  emphasis  on many similarities rather than differences. With these  similarities  many aspects, such as about the towns where they are built  and their  relationships with the structures or deductions about the  social  networks, of one palace can greatly contribute to our knowledge  of  another (<em>Power Relations<img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" /></em>).<img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" /><img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" /><img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" /><!--more-->Today,   people feel that this palace, indeed most architecture of the   Minoan   civilization, was completely irrational in light of the current    societal  circumstances as well as their scarce availability of land.    These  current beliefs and assumptions are largely brought about by  the   not yet  unveiled enigma of what their functions were, and the   reasoning  behind  the creation of such sumptuous exhibitions.<img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" /><img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\" />','Palace of Minos at Knossos','','inherit','open','open','','138-revision-2','','','2011-02-14 14:20:51','2011-02-14 20:20:51','',138,'http://jeanatacc.com/2011/?p=140',0,'revision','',0),(143,18,'2011-02-14 14:16:26','2011-02-14 20:16:26','Lysistrata <!--more-->\r\n\r\nTest','Lysistrata ','','inherit','open','open','','126-revision-2','','','2011-02-14 14:16:26','2011-02-14 20:16:26','',126,'http://jeanatacc.com/2011/?p=143',0,'revision','',0),(141,19,'2011-02-14 14:20:58','2011-02-14 20:20:58','Marcus Aurelius: The Meditations\n\nIn year 167 CE, Roman Emperor Marcus Aurelius wrote <em>The Mediation\'s. </em>A philosophic writing about self-discipline, virtue, and inner tranquillity. <!--more-->The emperor was also did a large part for social reform.','Time Capsule Proposal Blog','','inherit','open','open','','80-revision-v1','','','2011-02-14 14:20:58','2011-02-14 20:20:58','',80,'http://jeanatacc.com/2011/?p=141',0,'revision','',0),(142,15,'2011-02-14 14:20:55','2011-02-14 20:20:55','<p>“Palaces are the the most distinct feature of the Minoan civilization” (<em>Approaching Monuments</em>).   During the Neopalatial period of Crete, &nbsp;or “the ‘Golden Age’ of  Minoan  Palaces” as Ellen Adams names it, the Palace of Minos fits  easily into  the architectural standard for the palaces of Crete. Each  structure was  built with the norm of “four wings surrounding a Central  Court, which is  roughly oriented north-south, with an additional West  Court,”  integrating the Minoan palaces, through many contexts, as one.  Thus the  architectural layouts of these Minoan palaces help in placing  emphasis  on many similarities rather than differences. With these  similarities  many aspects, such as about the towns where they are built  and their  relationships with the structures or deductions about the  social  networks, of one palace can greatly contribute to our knowledge  of  another (<em>Power Relations<img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\"></em>).<img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\"><img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\"><img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\"><img src=\"http://jeanatacc.com/2011/wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" class=\"mceWPmore mceItemNoResize\">Today,   people feel that this palace, indeed most architecture of the   Minoan   civilization, was completely irrational in light of the current    societal  circumstances as well as their scarce availability of land.    These  current beliefs and assumptions are largely brought about by  the   not yet  unveiled enigma of what their functions were, and the   reasoning  behind  the creation of such sumptuous exhibitions.<img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\"><img src=\"../wp-includes/js/tinymce/plugins/wordpress/img/trans.gif\" alt=\"\"></p>','Palace of Minos at Knossos','','inherit','open','open','','138-revision-3','','','2011-02-14 14:20:55','2011-02-14 20:20:55','',138,'http://jeanatacc.com/2011/?p=142',0,'revision','',0),(145,12,'2011-02-14 14:06:09','2011-02-14 20:06:09','I R TEST<!--more-->\r\n\r\nblah blah blah blah blah','Test bloggage','Excerpt test','inherit','open','open','','70-revision-3','','','2011-02-14 14:06:09','2011-02-14 20:06:09','',70,'http://jeanatacc.com/2011/?p=145',0,'revision','',0),(146,1,'2011-03-11 14:25:08','2011-03-11 20:25:08','Lysistrata <!--more-->\n\nTest','Lysistrata ','','inherit','open','open','','126-autosave','','','2011-03-11 14:25:08','2011-03-11 20:25:08','',126,'http://jeanatacc.com/2011/?p=146',0,'revision','',0),(147,12,'2011-02-28 14:28:41','2011-02-28 20:28:41','<p style=\"text-align: center\">Temple of Athena Nike</p>\nDaughter of Pallas (titan god of war craft) and Styx (Goddess of the underworld river), Athena Nike is the most valuable goddess you will ever have on your side.\n\n<!--more--> Unlike her siblings: Zelos (Rivalry), Bia (Force) and Kratos (Strength), Athena Nike stands for victory, and is the only element truly desired. Yes you need a rival in which to play games and fight, yes you need to be able to display your strength and intimidate your opponent with force, but what is the purpose of contests, games, and battles without victory? Victory is the most important aspect of any trial we will ever encounter, and its symbol needs to be preserved.\n\nAthens has been occupied since 3,000 B.C., but really began to flourish once the Mycenaean rule hit its peak from 1,400 B.C to 1,200 B.C. It was then that the solid walls and foundations of the Acropolis were laid; a plot of land that towers 300 ft. over Athens, Greece. “With its many shallow caves, the abundant percolating water springs and steep slopes, the Acropolis was a prime location for habitation and worship location for Neolithic man (Acropolis History).”And that is exactly what they did.\n\nBuilding after building eventually began to rise on the Acropolis: the Parthenon, the Propylaea, the Erechtheum, the Chalcothece<strong>, </strong>the Pandroseion<strong>, </strong>and many more magnificent works of architectural art. Some of the buildings were so magnificent that Athens even gained fame for their architecture. People from all countries would come visit just to see what marvels the Acropolis had to offer, as they still do to this day.  Although, it wasn’t always peaceful for Athens, Many wars and city-state quarrels often left the buildings in ruins. Most if not all of the temples had to be rebuilt time and time again, resulting in a variety of styles and cultures mixed together.\n\nWhile certain buildings were constructed as temples in order to better worship certain gods in hopes of desired blessings, one was fashioned for a more meaningful purpose. Around 424 B.C., amidst the 28 year war with Sparta, civilians were termoiled with the thought of losing the long battle against one of the fiercest empires ever to exist in their era. As an expression of Athens\' ambitions to defeat Sparta and become a world power, and bring confidence back to their cause, the Temple of Athena Nike was built (Nosotro, Rit).\n\nDesigned by Killikrates (who also helped to design the world renowned Parthenon), it stands 23 feet tall, 18 1/2 feet wide, and 27 feet long,  upon the southwest corner of the Acropolis, facing east. Even though it is considerably smaller than its neighbors—being a 7:1 column ratio instead if the usual 9:1—its  importance is of the greatest for it is a symbol of Athens’ political and military prowess, and is the first thing anyone sees when entering from the Propylaia—a monumental gateway into the Acropolis (Temple of Athena Nike).\n\nThe temple was built mostly of Pentelic marble (Fiero, Gloria K), and is the very first structure in the Acropolis that was designed with Ionic architecture. This was extremely unique due to the fact all the other temples were Doric (Schulman, Bruce). Another unique attraction is that it was built with tetra style columns, meaning it has 4 columns on both the east and west sides that also created shallow porches. Other temples on the Acropolis had plethras of columns that were only presented at the front entrance. In order to keep people from falling off the sides of the cliff while trying to circle the temple, a guardrail called a parapet was later built. Since the parapet was also one of the first things visitors saw while going up the ramp towards Propylaia, it was decorated with depictions of Nike in various fighting poses (Temple of Athena Nike).\n\nBecause the structure isn’t very large it only had one room, and in the center of that room was a cult statue of Athena Nike herself. Made of wood, she holds a helmet in her left hand and a pomegranate in her right. Statues of Athena Nike around the world all have her gifted with wings, except this statue does not. Now known as Nike Apteros—meaning wing-less victory, it is speculated that Athena Nike meant so much to their culture that the statue was deprived of her wings so that she could never leave the city (Temple of Athena Nike - Athens, Greece).\n\nThroughout history the Temple of Athena Nike has been sought after time and time again. It isn’t so much the building itself that brings its precise value, it’s the symbol it represents: Victory. Reconstructed from 1835 to 1838 and from 1935 to 1940, we still hold onto this iconic structure even though millennia’s have past (Mallouchou-Tufano, Fani). Every being from every culture will have challenges where victory is needed. Some people draw their courage from friends or family, others from various forms of faith, the Greeks, however, got their courage from Athena Nike; Therefor, I believe the tradition of keeping this classic temple alive should not cease.\n<p style=\"text-align: center\">Works Cited</p>\n\"Acropolis History.\" <em>Ancient Greece</em>. Web. 15 Feb. 2011. &lt;http://www.ancient-greece.org/history/acropolis.html&gt;.\n\nFiero, Gloria K. \"Ch.5 The Classical Style Ca. 700–30 B.C.E.\" <em>The Humanistic Tradition</em>. 6th ed. Boston: McGraw-Hill, 2011. B1.123+. Print.\n\nMallouchou-Tufano, Fani. \"The Restoration of the Athenian Acropolis.\" <em>Http://www.lsa.umich.edu</em>. LSA, 18 Jan. 2006. Web. 19 Feb. 2011. &lt;http://www.lsa.umich.edu/UMICH/modgreek/Home/_TOPNAV_WTGC/Lectures%20at%20U-M/MallouchouLectureJan18-06.pdf&gt;.\n\nNosotro, Rit. \"Athens and Sparta.\" <em>HyperHistory.net</em>. Web. 17 Feb. 2011. &lt;http://www.hyperhistory.net/apwh/essays/comp/cw4athensspartap2dz.htm&gt;.\n\n\"Temple of Athena Nike.\" <em>Ancient Greece</em>. Web. 16 Feb. 2011. &lt;http://www.ancient-greece.org/architecture/athena-nike.html&gt;.\n\n\"Temple of Athena Nike - Athens, Greece.\" <em>Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places</em>. Web. 20 Feb. 2011. &lt;http://www.sacred-destinations.com/greece/athens-temple-of-athena-nike&gt;.','Temple of Athena Nike','','inherit','open','open','','70-autosave','','','2011-02-28 14:28:41','2011-02-28 20:28:41','',70,'http://jeanatacc.com/2011/?p=147',0,'revision','',0),(149,21,'2011-02-14 14:35:46','2011-02-14 20:35:46','Test for today! <!--more-->America is beautiful!','Valentines Day!','','publish','open','open','','valentines-day','','','2013-09-16 13:02:20','2013-09-16 19:02:20','',0,'http://jeanatacc.com/2011/?p=149',0,'post','',0),(152,21,'2011-02-14 14:35:32','2011-02-14 20:35:32','Test for today! <!--more-->','Valentines Day!','','inherit','open','open','','149-revision-v1','','','2011-02-14 14:35:32','2011-02-14 20:35:32','',149,'http://jeanatacc.com/2011/?p=152',0,'revision','',0),(3234,3,'2012-09-24 12:13:40','2012-09-24 18:13:40','I\'m testing what this looks like.\r\n\r\nClick on \"Read More\" for Fiero\'s citation.\r\n\r\n<!--more-->\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. Vol 2. Books 3-6. 6<sup>th</sup> ed. New York: McGraw-Hill, 2011. eBook. McGraw-Hill\'s Connect. 2011. Web. Fall 2012.','Hi Everyone','','inherit','open','open','','2384-revision-v1','','','2012-09-24 12:13:40','2012-09-24 18:13:40','',2384,'http://jeanatacc.com/2011/?p=3234',0,'revision','',0),(156,23,'2011-02-15 11:22:28','2011-02-15 17:22:28','Oh , when the saints go marching in\r\nLord, how I want to be in that number\r\nWhen the saints go marching in','Oh, when the saints go marching in','','publish','open','open','','oh-when-the-saints-go-marching-in','','','2013-09-16 13:01:47','2013-09-16 19:01:47','',0,'http://jeanatacc.com/2011/?p=156',0,'post','',0),(157,23,'2011-02-15 11:01:49','2011-02-15 17:01:49','','Auto Draft','','inherit','open','open','','156-revision-v1','','','2011-02-15 11:01:49','2011-02-15 17:01:49','',156,'http://jeanatacc.com/2011/?p=157',0,'revision','',0),(162,25,'2011-02-16 18:07:24','2011-02-17 00:07:24','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\r\n\r\n<!--more-->\r\n\r\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\r\n\r\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside of the circles” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\r\n\r\n<img class=\"aligncenter\" src=\"http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif\" alt=\"\" width=\"416\" height=\"300\" />\r\n<p style=\"text-align: center\">http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif</p>\r\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, Young believes that it was highly likely the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation as to how the stones could have been brought to Stonehenge. Young felt that all the balls had been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\r\n\r\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them by. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\r\n\r\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\r\n\r\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his research over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\r\n\r\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\r\n\r\nA very informative and interesting video over Stonehenge, check it out. <a href=\"http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html\">Stonehenge</a>\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','publish','open','open','','discovering-stonehenge','','','2011-02-16 18:07:25','2011-02-17 00:07:25','',0,'http://jeanatacc.com/2011/?p=162',0,'post','',7),(163,25,'2011-02-15 21:07:03','2011-02-16 03:07:03','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (three). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->','Stonehenge','','inherit','open','open','','162-revision','','','2011-02-15 21:07:03','2011-02-16 03:07:03','',162,'http://jeanatacc.com/2011/?p=163',0,'revision','',0),(167,7,'2011-02-16 22:41:25','2011-02-17 04:41:25','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\r\n\r\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)   A cataclysmic event, the eruption of Mount Visuviu in 79 A.D., threatened to destroy all of the art work in the Pompeii and Herculaneum. Though the Villa was buried in ash, the frescoes survived, preserved under the ash and protected by the walls of the building. Herculaneum was rediscovered in 1738. (Web) In 1909-1910 the owner of the land where the Villa sits partially excavated but the government took over the official excavation in 1929. (Deem, James M.)  other frescoes were found in the 60 rooms of the Villa; however, it is not clear how many there are today. A review of the floor plan  found here offers information on the themes of each room in the Villa based on frescoes found there. The artists rendering aids in understanding the wealth and means of its owners though it is also noted, the Villa of the Mysteries was not the largest house; that honor is reserved for the Villa Urbana. Professor  Andrew Wallace-Hadrill classified structures (Grand, Public, Private and Humble) which help to underscoring the gap between the common<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/villa-of-mysteries-plan.jpg\"><img class=\"size-medium wp-image-486 alignleft\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/villa-of-mysteries-plan-300x195.jpg\" alt=\"\" width=\"300\" height=\"195\" /></a>er and the wealthy. The classification for a typical home features \"8 -13 rooms, most with an integrated workshop or shop, symmetrical plan &amp; common architectural features eg atrium &amp; gardens.\" (Wallace-Hadrill)\r\n\r\n<a href=\"http://www.umich.edu/%7Ekelseydb/Exhibits/villa/bibliography.html\">http://www.umich.edu/~kelseydb/Exhibits/villa/bibliography.html</a>\r\n\r\nThe Villa is placed on a hill, taking advantage of what seems to be a view of the sea. This must have been an impressive sight for those  approaching ships approaching the Bay of Naples.\r\n\r\n<img src=\"/Users/Helen/AppData/Local/Temp/moz-screenshot-3.png\" alt=\"\" />\r\n\r\n<a href=\"http://www.umich.edu/%7Ekelseydb/Exhibits/villa/bibliography.html\">\r\n</a>\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a> http://www.flickr.com/photos/30485517@N00/1416691484\r\n\r\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescoes. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\"><img class=\"alignnone size-full wp-image-272\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>\r\n\r\nhttp://www.corbisimages.com/Enlargement/MI001556.html\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.\r\n<p style=\"text-align: center\"><img class=\"aligncenter size-full wp-image-273\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Hurcules.jpg\" alt=\"\" width=\"136\" height=\"160\" />http://www.answers.com/topic/telephus</p>\r\nThe most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (above) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1.jpg\"><img class=\"aligncenter size-medium wp-image-281\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1-300x257.jpg\" alt=\"\" width=\"300\" height=\"257\" /></a>http://www.artknowledgenews.com/Birmingham_Museum_of_Art_Pompeii_Erupts.html\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo, also referred to as Nero as Apollo, in the image below to mythical fresco on the right depicting Silen and Satires </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\"><img class=\"aligncenter size-full wp-image-283\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\" alt=\"\" width=\"191\" height=\"263\" /></a>\r\n<p style=\"text-align: center\">http://www.fr-novaroma.com/E_cards/</p>\r\nBoth bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo, frescoes from a building just south of Pompeii, features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1.jpg\"><img class=\"alignright size-medium wp-image-289\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1-300x158.jpg\" alt=\"\" width=\"300\" height=\"158\" /></a>\r\n\r\nThematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times(see image below). The Apollo works (right) are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional\r\n\r\nimage source: http://www.nytimes.com/2008/10/24/arts/design/24pomp.html\r\n\r\nstructures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels.jpg\"><img class=\"alignright size-medium wp-image-310\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels-300x291.jpg\" alt=\"\" width=\"300\" height=\"291\" /></a>\r\n\r\nThe content of the imagery is quite risqué in the Villa of the Mysteries. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression.\r\n\r\nhttp://www.lessing-photo.com/dispimg.asp?i=03050342+&amp;cr=42&amp;cl=1\r\n\r\nFrom a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nA periodical piece from 2008 described an important exhibition at the National Museum in Washington D.C. described the theme of the exhibition as a “tension between modesty and extravagance.” (Rosenberg, Karen)  The frescoes at the Villa of Mysteries offer a unique opportunity; and opportunity to convey to the future a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history using the very same tension described in the periodical.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\nDeem, James M. <em>Bodies From the Ash: Life and Death in Ancient Pompeii</em>. Houghton Mifflin, N.Y., N.Y. 2005. Pg 10.\r\n\r\nWallace-Hardrill. Professor Andrew.  Houses and society in Pompeii and Herculaneum. Princeton University Press. Princeton, N.J. 1994. Page 17.\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall, New Jersey, 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nRosenberg, Karen. <em>Pompeii Style, B.C.E. (Before Catastrophic Eruption)</em>. October 23, 2008.  The New York Times, Art &amp; Design. Web. 2/16/2011\r\n\r\n<span>found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span>\r\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><img src=\"/Users/Helen/AppData/Local/Temp/moz-screenshot-4.png\" alt=\"\" /></div>','The Frescoes of the Villa of Mysteries','','publish','open','open','','the-frescoes-of-the-villa-of-mysteries-2','','','2011-02-22 12:19:39','2011-02-22 18:19:39','',0,'http://jeanatacc.com/2011/?p=167',0,'post','',5),(168,7,'2011-02-15 21:34:35','2011-02-16 03:34:35','The megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.</ins>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision','','','2011-02-15 21:34:35','2011-02-16 03:34:35','',167,'http://jeanatacc.com/2011/?p=168',0,'revision','',0),(171,26,'2011-02-16 14:29:09','2011-02-16 20:29:09','TCP PROPOSAL 1 - Kris Cooley\r\n\r\n<span style=\"text-decoration: underline;\">Hymn to Aphrodite</span>\r\n\r\nby Sappho\r\n\r\n630-580 B.C.E\r\n\r\n<span style=\"text-decoration: underline;\">Hymn to Aphrodite </span>is the piece of poetry written by Sappho . It is her only poem to make it through the ages in complete form, the rest of her work is fragmented or lost. This poem is a plea to Aphrodite to help with a broken heart and is seven stanzas long. It is believed that this peculiar poem was written to be performed for her cult to Aphrodite. (Graves)<!--more-->\r\n\r\nThis poem is typical of its era because it was written for the purpose of getting a god\'s attention or favor. During the time of its creation, gods were asked upon to intervene in common daily lives. This poem focuses on relieving the writer of grief of a lost love.\r\n\r\n<span style=\"text-decoration: underline;\">Hymn to Aphrodite</span> was written as a lyric poem, Sappho created her poems to be sung accompanied by a lyre. She has often been acknowledged as one of the earliest poets to create lyric poetry. It wasn\'t documented until Dionysus of Halicarnassus quoted it in it\'s entirety. (Newlyn)\r\n\r\nSappho was exalted by many scholars and artists as a great lyrical poet. Her works were written down on papyrus and studied for approximately 300 years before their disappearance. Plato was said to call her his \"tenth muse\". (Columbia Electronic Encyclopedia, 6th Edition)\r\n\r\nPlato is credited with saying: “Some say the muses are nine - how careless - behold, Sappho of Lesbos is the tenth”.  (Anthologia Palantia)\r\n\r\nDioscorides  “greetings to you lady, as to the gods; for we still have your immortal daughters, your songs”.\r\n\r\nSolon, a contemporary of Sappho, is said to have heard a boy singing one of her songs, and asked him to teach it to him, so that he might learn it and die.\r\n\r\nToday, poets all over the world take the time to render their own translations of Sappho\'s work. She continues to inspire poets even in this modern age, which is an incredible accomplishment considering that Sappho herself never wrote down any of her poems.\r\n\r\nToday, many translations have been made, each poet that has taken upon this feat, has remade her poetry in their perception .\r\n\r\n\"Sappho’s oeuvre can be entered from\r\n\r\nmany different portals, and the Sapphic\r\n\r\nrealm of gold will have different aspects for\r\n\r\ndifferent readers.\" (Hadas)\r\n\r\nThe other type of poetry during Sappho\'s time was the epic poem. Homer is famous for writing <span style=\"text-decoration: underline;\">The IIiad.</span> This was not a hymn meant to be sung for the gods, but instead a detailed description account of the gods, heroes, and war. This story was concieved on facts and didn\'t match the rhythmic feel of Sappho\'s <span style=\"text-decoration: underline;\">Hymn to Aphrodite.</span>\r\n\r\nAs I read Sappho\'s <span style=\"text-decoration: underline;\">Hymn to Aphrodite</span>, I was able to visualize emotion out of each line. It\'s not only a plea for help but also a statement of faith in her goddess, Aphrodite. The fragmented sentences causes a stop, pause, relate sensation to it. Yet I can feel the \'sway\' of each methodical syllable creating a natural tempo.\r\n\r\n\"Though Sappho\'s language is laden with color-adjectives and compound epithets typical of Greek lyric poetry, her syntax is simple and avoids rhetorical flourishes, creating the impression that we are directly witnessing her experience.\"  (Bloom)\r\n\r\nThis poem should be taken into the future, not only because of it’s extreme beauty, but as a testament of our breathe taking passion for this emotion called love. She embodied the essence that is love, by describing the pain of love not returned and a belief in her goddess’s mercy.\r\n\r\nBibliography\r\n\r\nNewlyn, Evelyn S. \"Sappho.\" Critical Survey of Poetry, Second Revised Edition (2003): 1-7. MagillOnLiterature Plus. EBSCO. Web\r\n\r\n\"Sappho.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. MasterFILE Premier. EBSCO.\r\n\r\nHadas, Rachel. \"The tenth muse.\" New Criterion 28.7 (2010): 67. MasterFILE Premier. EBSCO. Web\r\n\r\nBloom, Harold \"Human Sexuality\" Infobase Publishing, 2009 – 68\r\n\r\nGraves, Roy Neil. \"Sappho.\" Magill\'s Survey of World Literature, Revised Edition (2009): 1-5. MagillOnLiterature Plus. EBSCO. Web','Sappho-TCP1','','publish','open','open','','sappho-tcp1','','','2011-02-17 13:01:51','2011-02-17 19:01:51','',0,'http://jeanatacc.com/2011/?p=171',0,'post','',8),(172,26,'2011-02-16 07:48:45','2011-02-16 13:48:45','TCP PROPOSAL 1 - Kris Cooley\nHymn to Aphrodite\nby Sappho\n630-580 B.C.E\nHymn to Aphrodite is the piece of poetry written by Sappho . It is her only poem to make it through the ages in complete form. The rest of her work is fragmented or lost.  This poem is a plea to Aphrodite to help with a broken heart.  It is seven stanzas long. It is  believed that this peculiar poem was written to be performed for her cult to Aphrodite.\nThis poem is typical of era because it was written for the purpose of getting a god\'s attention or favor.  During the time of it\'s creation, gods were asked upon to intervene in common daily lives. This poem focuses on relieving the writer of grief of a lost love.\nHymn to Aphrodite was written as a lyric poem. Sappho created her poems to be sung accompanied by a lyre. She has often been acknowledged as one of the earliest poets to create lyric poetry. It wasn\'t documented until Dionysus of Halicarnassus quoted it in it\'s entirety.\nSappho was exalted by many scholars and artists as a great lyrical poet. Her works were written down on papyrus and studied for approximately 300 years before their disapperance. Plato was said to call her his \"tenth muse\".\nPlato is credited with saying: “Some say the muses are nine - how careless - behold, Sappho of Lesbos is the tenth”.  Anthologia Palantia\nDioscorides  “greetings to you lady, as to the gods; for we still have your immortal daughters, your songs”.\nSolon, a contemporary of Sappho, is said to have heard a boy singing one of her songs, and asked him to teach it to him, so that he might learn it and die.\n\nToday, poets all over the world take the time to render their own translations of Sappho\'s work. She continues to inspire poets even in this modern age. This is an incredible accomplishment considering that Sappho herself never wrote down any of her poems.\n\"Sappho’s oeuvre can be entered from\nmany different portals, and the Sapphic\nrealm of gold will have different aspects for\ndifferent readers.\"  Rachel Hadas\n\n\"Though Sappho\'s language is laden with color-adjectives and compound  epithets typical of Greek lyric poetry, her syntax is simple and avoids  rhetorical flourishes, creating the impression that we are directly  witnessing her experience.\" Harold Bloom \"Human Sexuality\" (68)\nThe other type of poetry during Sappho\'s time was the epic poem. Homer is famous for writing IIiad. This was not a hymn meant to be sung for the gods, but instead a detailed description account of the gods, heroes, and war. This story was concieved on facts and didn\'t match the rythmic feel of Sappho\'s Hymn to Aphrodite.\nAs I read Sappho\'s Hymn to Aphrodite, I was able to visualize emotion out of each line. It\'s not only a plea for  help but also a statement of faith in her goddess, Aphrodite. The fragmented sentences causes a stop, pause, relate sensation to it. Yet I can feel the \'sway\' of each methodical syllable creating a natural tempo.','Sappho-TCP1','','inherit','open','open','','171-revision','','','2011-02-16 07:48:45','2011-02-16 13:48:45','',171,'http://jeanatacc.com/2011/?p=172',0,'revision','',0),(174,27,'2011-02-16 17:53:24','2011-02-16 23:53:24','The acropolis shows an important development in greek culture, the athenian people were proud of their tall fortress. I find it meaningful in that its completion set the standard for athenian dominance and progress for hundreds of years. The acropolis has giant beautiful walls, and thoughtful design throughout. The building of; and the finished product that became the acropolis gave the people of athens a national symbol of strength and prosperity to put their faith and effort behind. (Hellenic Ministry)  To the athenian, the fortress would and could protect them from any danger they could conceive at the time.<!--more-->\r\n\r\nIt is important to note that athens is an early epicenter of greek history, the acropolis helped them become the only greek city-state that survived the doric invasions, which devastated most of the greek cities at the time. Athens\' existence allowed the greek people to have a permanent historical home throughout the centuries. The lion gate at Mycenae was also built at this time, it employed the same “post and lintel” construction type as the walls and main gate of athens. It made use of pressure distribution through the setting of triangular stones at the base of the structure. The athenian acropolis was typical of its era in that most every greek city-state at the time had an acropilis, but athens was set apart by location and economic oppurtunity . Their rich coffers allowed them to build high walls, dig deep wells, and make a highly defensible, and self sufficient city. They were capable of fending off attackers for longer periods of time due to interior wells, and large food stores. “According to legend, king Theseus united the towns into one administrative entity (known as synoikismos), and this synoikismos appears to have been instrumental in the city’s survival when most of the other Mycenaean centers were destroyed around 1200 BCE by invading hordes from mainland Greece, or due to a possible invasion of tribes from the North (what many refer to as the Doric invasion). While all other Mycenaean centers, including mighty Mycenae, were deserted during this period, Athens was the only town to remain inhabited and active”(Sakoulas). This partnership with the surrounding communities helped athens withstand the forces of time, and even their enemies.\r\n\r\nThe oldest buildings have large, but simple, round columns, whereas the increasingly more modern buildings have ornate design. For example the columns of the  newer buildings are fluted, and the even more modern and complicated buildings have acanthus leaves carved in along with vines.(Palmer)This progressive increase in elaborate adornment shows how the people became more comfortable in their city\'s ability to last, and their continued increase in income throughout the years.\r\n\r\nThe acropolis was received well in its time, the athenians being very spiritual, and community-oriented, enjoyed the ability to worship en masse, and celebrate in the town epicenter. Every 4 years in athens the people had a celebration called Panatheaea (all-athenia), in which a luxurious woolen robe would be draped over the statue of athena inside the parthenon( for purposes of sacrifice). The celebration was thought to be a deliberate attempt to contend with the olympics for popularity. The acropolis also gave the more wealthy people in athens a heightened sense of security, because they could now establish their homes inside the agora, or the marketplace area of the acropolis. This was the lowest area of the acropolis, but still within the walls. The agora could definitely be considered the city center, where celebrations and meetings would take place regularly. The greeks at the time were centered around worship of female goddesses as their primary deities, and the temples and caryatids (statues integrated as support beams) around the city represented that.\r\n\r\nThe athens acropolis in specific was  different than most of the others in its time because its walls were built almost twice as thick as most, and were built up to 30 feet high in some places. It was one of the few greek cities at the time to employ cyclopean architecture, which was mostly being utilized in rome and other parts of italy. The athenians had a strong relationship with the smaller cities surrounding them, which gave them a powerful economy, and a large group of allies in times of need. The acropolis was innovative in that it was built with the intention to last far into the future, as one of the first long-term permanent settlements for their culture. They built athens as a trade and religious center, in order to draw other greeks to the city and its surrounding areas. The People of athens love the acropolis to this day, festivals and celebrations have been hosted inside the walls for ages. In the time of its contruction, the acropolis was mainly a place of study for religion and science. Modern times have really turned the intention away from its original values, and to more celebratory, and anthropological research.\r\n\r\nIt is important for us to remember that the acropolis at athens hosts some of the most famous     and impressive historical buildings of all time. The Parthenon itself is still a modern marvel, the building is built around the golden ratio of mathematics, which has been found to be not only one of the most structurally sound, but aesthetically pleasing to people. This measurement ratio also makes the  structure stronger, as for some reason it distributes pressure more equally to the whole of the frame.   Some of the most famous relics in the world have been removed by looters and collectors throughout the ages, while some have been returned, a good many are still being recovered by the greek government to this day. The restoration processes have included adding titanium supports to the columns and roof frames, re-foundation of many buildings, and cleaning the stone and various material to the best of their abilities. In june, 2009, the greek government opened up a museum dedicated to the acropolis, with exhibits illustrating its rich history of war, art, philosophy, architecture, etc. (Athens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas)\r\n\r\nAthens Acropolis Museum.\" <em>Acropolis of Athens, Attiki (Hellas - GR)</em>. Web. 15 Feb. 2011. http://www.acropolisofathens.gr/. Provided a lot of information about the modern athens and restoration\r\n\r\nPalmer, Allison Lee. <em>A to Z of Architecture</em>. Lanham, Md. etc.: Scarecrow, 2009. Print.\r\n\r\nSakoulas, Thomas. \"Acropolis History.\" <em>Ancient Greece</em>. Web. 9 Feb. 2011. http://www.ancient-greece.org/history/acropolis.html.','The Acropolis in Athens','','publish','open','open','','the-acropolis-in-athens','','','2011-02-26 16:16:00','2011-02-26 22:16:00','',0,'http://jeanatacc.com/2011/?p=174',0,'post','',8),(176,23,'2011-02-16 11:36:15','2011-02-16 17:36:15','OK , i\'m at the RGC learning lab. I\'m trying to download my picture.\r\n\r\nI have it saved as a file.  The download function isn\'t working. What fun !!!','image download from learning lab','','publish','open','open','','image-download-from-learning-lab','','','2013-09-16 13:01:20','2013-09-16 19:01:20','',0,'http://jeanatacc.com/2011/?p=176',0,'post','',2),(177,23,'2011-02-16 11:35:17','2011-02-16 17:35:17','OK , i\'m at the RGC learning lab. I\'m trying to download my picture.\n\nI have it saved as a file.  The download','image download from learning lab','','inherit','open','open','','176-revision-v1','','','2011-02-16 11:35:17','2011-02-16 17:35:17','',176,'http://jeanatacc.com/2011/?p=177',0,'revision','',0),(178,23,'2011-02-16 11:43:40','2011-02-16 17:43:40','','UrZiggurat','','inherit','open','open','','urziggurat','','','2011-02-16 11:43:40','2011-02-16 17:43:40','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg',0,'attachment','image/jpeg',0),(179,23,'2011-02-16 22:58:49','2011-02-17 04:58:49','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg\"><img class=\"aligncenter size-medium wp-image-178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\r\n<p style=\"text-align: center;\">http://www.flickr.com/photos/jmcfall/46769923/</p>\r\nGood Morning all,<!--more-->\r\nMy name is Jay Dongieux.\r\n\r\nThe Earth has become uninhabitable as we all know.\r\n\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\n\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather than the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people. The work I have chosen is the Ziggurat of Ur.\r\n\r\nThe reason I have chosen this work is because of its architectural, historical and societal influence. The building of the Ziggurat of Ur showed that huge throngs of people could come together for long periods of time to accomplish a common goal for the good of the people as a whole.\r\n\r\nIt is architecturally significant in the fact that it was the first known structure of its kind anywhere in the world.  It showed the architectural awareness of its builders. It is historically significant because it was followed by many other ziggurats, 32 that we know of today.\r\n\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society of today where families and communities are splintered off and separated, thousands of people probably came together for years at a time to build this magnificent building.\r\n\r\nSociety should become more communal ,rather than individualistic. When we become so individualistic, we lose focus of the good of all mankind as a whole.\r\n\r\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The seven tiers represent the heavens.  It was erected by ancient Babylonians around 2100 B.C.   Ziggurat is the moderm term derived from the Akkadian word ziggurratu. They resembled pyramids, and are made of mud-brick and stone.  The structures were intended to be ladders to the gods. Building techniques were mastered by the third millenium. Ziggurats are similar to pyramids, because they have stair-stepped shape and temple tops.  Ziggurats had large stairways, or in some cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was known as Ur. It is along the Euphrates River. Water is essential to human survival, so the location of structures  is of the utmost importance. An ur is a \"tell\" , which is an artificial mound containing remains of accumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are monuments of their kings, as well as to the combined labor forces of the time. The Ziggurat of Ur was basically the center for many community activities such as religion,economy,education and government.\r\n\r\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It was constructed under the direction of King Ur-Nammu. Ur-Nammu directed the construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is the moon god, who was the patron deity and divine king of Ur.Knowledge of the peoples life, history, business and art is now fairly complete and detailed.\r\n\r\nBoth ziggurats and pyramids were viewed as symbolic representations of the first land to appear on earth.  Ziggurats remind us of the possibility of a higher power, being, god or divinity figure. It helps us focus on something other than ourselves. Taking the focus away from oneself allows us to grow.\r\n\r\nThe first serious excavations at Ur were made after World War I by H.R. Hall of the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\n\r\nUnlike Egyptian pyramids, ziggurats were never tomb buildings. So far , archaeologists have found the remains of thirty-two ziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well published excavations between 1922 and 1934. Woolley\'s excavations gave us information about Ur. The information from his work focused on walls, tombs, houses and a religious center. His  work was very important , because it greatly expanded our knowledge of  history. There is some evidence that the occupation of Ur ended with a flood, the  one described in Genesis in the Bible. Woolley\'s work showed that the builders were familiar with columns, arches, vaults and domes.  Excavations have revealed storerooms, courtyards,other buildings and a shrine. Excavations have also revealed massive treasures of gold, silver, bronze and semiprecious stones.\r\n\r\nThe ziggurat was an icon of the community at the time. It was the center of activity for its people. It was used very frequently and was the most significant structure in the area. Judging by the detail of what was found in the excavations of Woolley and Hall, it contained items relevant to all facets of life in the present, and up to and including present day year 2100 such as religion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how to accomplish a common goal over a long time period and among a  huge number of people. Society has become so splintered and multi-focused today that we have forgotten the common good for immediate gratification. Internet, cell phones, instant messages, everything is disposable and nothing is made to last or carry any meaning behind it.  Nothing these days has any lasting value, permanence or significance. Columns, canals, perfumes and glass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf','DONGIEUXJAY-TCP1','','publish','open','open','','dongieuxjay-tcp1','','','2011-02-27 14:43:20','2011-02-27 20:43:20','',0,'http://jeanatacc.com/2011/?p=179',0,'post','',8),(181,23,'2011-02-16 12:40:48','2011-02-16 18:40:48','I chose the topic Ziggurat of Ur because I knew absolutely nothing about Ziggurats and had no idea where Ur was located. I figured since I\'m back in college after a decade, I\'d try and learn some new things. That\'s what college is all about , right folks ? So, here\'s what I found.\n\nA ziggurat is a rectangular tiered temple mound erected by ancient Babylonians. Ziggurat is the moderm term derived from the Akkadian word ziggurratu.  It is made of mud-brick and stone. By the third milleniun builders had mastered building techniques.Ziggurats are similar to pyramids because they have stair-stepped shape and temple tops. Ur is a Sumerian city in southern Iraq.Ur is identified in the bible as the home of Abraham.  Ur is in a channel of the Euphrates River. The first serious excavations at Ur were made after World War I by H.R. Hall of the British Museum. Followed was  Mr Leonard Woolley led the well published excavations between 1922 and 1934. An ur is a \"tell\" , which is an artificial mound containing remains of accumulated habitants. Woolley\'s excavations gave the world much information about Ur, mostly about the walls, tombs, houses and religious center. Woolley\'s work greatly expanded our knowledge of Mesopotamian history. There is some evidence that the occupation of Ur ended with a flood, which was one described in Genesis in the Bible. The excavations further showed that the architects were familiar with columns, arches, vaults and domes.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere in the world. It was constructed approximately at the time of (2112-2095 B.C.). It was constructed under the direction of King Ur-Nammu. Ur-Nammu directed the construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is the moon god, who was the patron deity and divine king of Ur.Discoveries at other sites have supplemented the unusually full record obtained from the excavations at Ur. Knowledge of the peoples life, history business and art is now fairly complete and remarkably detailed.\n\nIt is one of the few examples of these type of ancient structures to remain standing today.\n\nMany ziggurats have seven tiers. The seven tiers are thought to represent the seven known planets or seven heavens.The ziggurat is the most enduring symbol of the Mesopotamian era. The ziggurat was a striking marker of human impact on the landscape of southern Iraq. They are monuments of their kings as well as to the combined labor forces of the time.\n\nThe Ziggurat of Ur was basically the center for many community activities such as religion,economy and government. Excavations have revealed storerooms, courtyards,other buildings and a shrine. Excavations have also revealed massive treasures of gold, silver, bronze and semiprecious stones. The Ziggurat of Ur is thought to be what is referred to in the biblical story of the Tower of Babel.Unlike Egyptian pyramids, ziggurats were never tomb buildings. So far , archaeologists have found the remains of thirty-two ziggurats in and around the Mesopotamian plains. Ancient Mesopotamians were the first to build canal systems, create glass, produce wheeled war machines as well as recipes for perfume, beer, dyes and medicine.\n\nMy personal reaction to the Ziggurat of Ur was true amazement. It encompassed so many variations of things that are taken for granted in the world today. Noone gives a second thought to columns or canals or glass. The sheer size of the structure must have taken thousands of people years to construct. That is fantastic to know thaat so many people could work together so long for a common project. Its refreshing to know people did things for each other rather than just themselves in the times of 2100 B.C.\n\nThe ziggurat was an icon of the community at the time. It was the center of activity for its people. It was used very frequently and was the most significant structure in the area. Judging by the detail of what was found in the excavations of Woolley and Hall, it contained items relevant to religion,art,science,industry and government.\n\nThe Ziggurat of Ur compares specifically to other works of its type and time in that it was the FIRST.','Ziggurats and Us','','inherit','open','open','','179-revision','','','2011-02-16 12:40:48','2011-02-16 18:40:48','',179,'http://jeanatacc.com/2011/?p=181',0,'revision','',0),(182,23,'2011-02-16 12:42:25','2011-02-16 18:42:25','I chose the topic Ziggurat of Ur because I knew absolutely nothing about Ziggurats and had no idea where Ur was located. I figured since I\'m back in college after a decade, I\'d try and learn some new things. That\'s what college is all about , right folks ? So, here\'s what I found.\n\nA ziggurat is a rectangular tiered temple mound erected by ancient Babylonians. Ziggurat is the moderm term derived from the Akkadian word ziggurrat.  It is made of mud-brick and stone. By the third milleniun builders had mastered building techniques.Ziggurats are similar to pyramids because they have stair-stepped shape and temple tops. Ur is a Sumerian city in southern Iraq.Ur is identified in the bible as the home of Abraham.  Ur is in a channel of the Euphrates River. The first serious excavations at Ur were made after World War I by H.R. Hall of the British Museum. Followed was  Mr Leonard Woolley led the well published excavations between 1922 and 1934. An ur is a \"tell\" , which is an artificial mound containing remains of accumulated habitants. Woolley\'s excavations gave the world much information about Ur, mostly about the walls, tombs, houses and religious center. Woolley\'s work greatly expanded our knowledge of Mesopotamian history. There is some evidence that the occupation of Ur ended with a flood, which was one described in Genesis in the Bible. The excavations further showed that the architects were familiar with columns, arches, vaults and domes.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere in the world. It was constructed approximately at the time of (2112-2095 B.C.). It was constructed under the direction of King Ur-Nammu. Ur-Nammu directed the construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is the moon god, who was the patron deity and divine king of Ur.Discoveries at other sites have supplemented the unusually full record obtained from the excavations at Ur. Knowledge of the peoples life, history business and art is now fairly complete and remarkably detailed.\n\nIt is one of the few examples of these type of ancient structures to remain standing today.\n\nMany ziggurats have seven tiers. The seven tiers are thought to represent the seven known planets or seven heavens.The ziggurat is the most enduring symbol of the Mesopotamian era. The ziggurat was a striking marker of human impact on the landscape of southern Iraq. They are monuments of their kings as well as to the combined labor forces of the time.\n\nThe Ziggurat of Ur was basically the center for many community activities such as religion,economy and government. Excavations have revealed storerooms, courtyards,other buildings and a shrine. Excavations have also revealed massive treasures of gold, silver, bronze and semiprecious stones. The Ziggurat of Ur is thought to be what is referred to in the biblical story of the Tower of Babel.Unlike Egyptian pyramids, ziggurats were never tomb buildings. So far , archaeologists have found the remains of thirty-two ziggurats in and around the Mesopotamian plains. Ancient Mesopotamians were the first to build canal systems, create glass, produce wheeled war machines as well as recipes for perfume, beer, dyes and medicine.\n\nMy personal reaction to the Ziggurat of Ur was true amazement. It encompassed so many variations of things that are taken for granted in the world today. Noone gives a second thought to columns or canals or glass. The sheer size of the structure must have taken thousands of people years to construct. That is fantastic to know thaat so many people could work together so long for a common project. Its refreshing to know people did things for each other rather than just themselves in the times of 2100 B.C.\n\nThe ziggurat was an icon of the community at the time. It was the center of activity for its people. It was used very frequently and was the most significant structure in the area. Judging by the detail of what was found in the excavations of Woolley and Hall, it contained items relevant to religion,art,science,industry and government.\n\nThe Ziggurat of Ur compares specifically to other works of its type and time in that it was the FIRST.','Ziggurats and Us','','inherit','open','open','','179-revision-2','','','2011-02-16 12:42:25','2011-02-16 18:42:25','',179,'http://jeanatacc.com/2011/?p=182',0,'revision','',0),(185,30,'2011-02-16 22:11:49','2011-02-17 04:11:49','﻿﻿﻿﻿﻿﻿<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1.jpg\"><img class=\"aligncenter size-medium wp-image-311\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1-234x300.jpg\" alt=\"\" width=\"234\" height=\"300\" /></a>\r\n<p style=\"text-align: center\">http://www.theoi.com/image/S29.2Nike.jpg</p>\r\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\r\n\r\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\r\n\r\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\r\n\r\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\r\n\r\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\r\n\r\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\r\n\r\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\r\n\r\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\r\n\r\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Statue-of-Laocoon-and-his-sons.jpg\"><img class=\"aligncenter size-medium wp-image-314\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Statue-of-Laocoon-and-his-sons-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\" /></a>http://www.molon.de/galleries/Italy/Rome/Vatican/Museum/images01/09%20Statue%20of%20Laocoon%20and%20his%20sons.jpg</p>\r\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\r\n\r\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\r\n\r\nWorks Cited\r\n\r\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\r\n\r\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\r\n\r\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\r\n\r\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','publish','open','open','','nike-of-samothrace','','','2011-02-16 22:11:49','2011-02-17 04:11:49','',0,'http://jeanatacc.com/2011/?p=185',0,'post','',6),(186,5,'2011-02-16 14:36:18','2011-02-16 20:36:18','<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt;-->\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).<!--more--></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as <em>Meditations</em>. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, <em>Meditations</em> is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, <em>Meditations</em> gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why <em>Meditations</em> should be preserved for future generations.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><em><span>Meditations </span></em><span>was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theaters. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><em><span>Meditations</span></em><span> is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, <em>Meditations</em> returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; <em>Meditations</em> is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time <em>Meditations</em> was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason” (Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, <em>Meditations</em> in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of <em>Meditations</em>. In Hadot\'s words: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares <em>Meditations</em> to: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm <em>Meditations</em> as a singular work of lasting value.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the <em>Meditations</em> remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues” (Rees xi). Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works. Titled simply <em>The Handbook</em>, this work was assembled in A.D. 135 and like <em>Meditations</em> also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while <em>Meditations</em> is clearly the work of a novice striving for advancement, <em>The Handbook</em> is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, <em>The Handbook</em> accomplishes a thorough going through while <em>Meditations</em> wanders to 12 Chapters. Still, <em>Meditations</em> conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with <em>Meditations</em>, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign (Morey). In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of <em>Meditations</em> speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his <em>Meditations</em>, we preserve a snapshot of the human spirit, searching for truth.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span>Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. <a href=\"http://plato.stanford.edu/entries/stoicism/\">http://plato.stanford.edu/entries/stoicism/</a></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal;background: none repeat scroll 0% 0% white\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal;background: none repeat scroll 0% 0% white\"><span>Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\"></p>\r\n<p class=\"MsoNormal\"><span>Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.\r\n</span></p>\r\n\r\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span></p>\r\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as “Meditations”. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, “Meditations” is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, “Meditations” gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why “Meditations” should be preserved for future generations.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Meditations” was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theatres. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>“Meditations” is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, “Meditations” returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; “Meditations” is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time “Meditations” was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason”(Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, “Meditations” in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of “Meditations”. In Hadot\'s words: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares “Meditations” to: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm “Meditations” as a singular work of lasting value.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the Meditations remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues.” (7) xi Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works.” Titled “Enchiridion”, or more simply “The Handbook”, this work was assembled in A.D. 135 and like “Meditations” also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while “Meditations” is clearly the work of a novice striving for advancement, “Enchiridion” is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, “Enchiridion” accomplishes a thorough going through while “Meditations” wanders to 12 Chapters. Still, “Meditations” conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with “Meditations”, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign. (Morey) In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of “Meditations” speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his “Meditations”, we preserve a snapshot of the human spirit, searching for truth.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>(10) Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>(8) Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7) Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7 intro) Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span>(1) Kamtekar, Rachana. \"Marcus Aurelius .\" <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Winter 2010 Edition. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/marcus-aurelius/&gt;</span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span>(5) Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/stoicism/&gt;</span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span>(12) Epictetus. <em>The Enchiridion.</em> Trans. Elizabeth Carter. <em>The Internet Classics Archive: 441 Searchable Works of Classical Literature</em>. MIT. Web. 10 Feb. 2011. </span><a href=\"http://classics.mit.edu/Epictetus/epicench.html\"><span>http://classics.mit.edu/Epictetus/epicench.html</span></a></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span>(2) Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\r\n<p class=\"MsoNormal\"></p>\r\n<p class=\"MsoNormal\"><span>(13) Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n\r\n</div>','Aurelius\'s Meditations','','publish','open','open','','justtim-tcp1','','','2011-02-18 15:35:36','2011-02-18 21:35:36','',0,'http://jeanatacc.com/2011/?p=186',0,'post','',7),(187,32,'2011-02-18 14:20:25','2011-02-18 20:20:25','Altars were common in Greek history, often they were raised structures that sacrifice and religious rites took place.  Greek altars, usually perched in open air, often had burnt offerings, as this was the dominant act of worship. These events continued to flourish as Greek culture grew and advanced.<!--more-->\r\n\r\nDuring the 4th century BC and into the 3rd century BC, Alexander the Great began to expand his empire east toward Persia, Central Asia, and Egypt. This movement sparked a change in Greek architecture from the traditional Classical style to a more Hellenistic style.  This change of architectural style is prevalent in the city of Pergamon, which was located in northwest Asia Minor (now Turkey).  At the highest point of the city of Pergamon stood the “Altar of Zeus” also known as “The Great Altar.”\r\n\r\nThe Altar of Zeus is a spectacular display of the Hellenistic style. Leading up to the main entrance of the Altar is a staircase that is 68 feet wide and 30 feet in depth. The Altar stood as a single-story structure with an open Ionic screen, with walls of Ionic colonnades that depicted Gigantomachy (battles between Olympic Gods and Giants). The colonnades, or panels, were 7 ½ feet tall at the ends. Many believe that the battling gods and giants on the friezes act as a metaphor that represents Pergamon’s victory over the barbaric tribal Gaul’s, showing the dominance of civilization over barbarians.\r\n\r\nClassical architecture traditionally built solid walls unlike the more decorative thinner slab-like walls used to build the Great Altar. This approach to architecture may have differed due to the lack of marble and the greater abundance of andesite. This made it more economical to the city of Pergamon because it lowered the need to import marble. The more noticeable difference between the old Classical architecture to that of Hellenistic is the uncanny theatrical presence of the life-like relief sculptures that protrude from the friezes. Many believe this to be the archetype of the Hellenistic style.\r\n\r\nIn my opinion this transition from the classical architecture to the Hellenistic style is important, showing how influences can change our perception and the way people work together to create an object that can be shared for all.  It also is a benchmark in the movement of Greek’s influence throughout Asia.\r\n\r\nWorks Cited\r\n\r\nChavalas, Mark W., and Mark S. Aldenderfer. Great Events from History. Vol. 2. Pasadena, CA: Salem, 2004. Print.\r\n\r\nChing, Frank, Mark Jarzombek, and Vikramaditya Prakash. A Global History of Architecture. Hoboken, NJ: J. Wiley &amp; Sons, 2007. Print.\r\n\r\nKuhl, Isabel, Klaus Reichold, Kristina Lowis, and Christiane Weidemann. 50 Sculptures You Should Know. New York, NY: Prestel Pub., 2009. Print.\r\n\r\nStokstad, Marilyn, Marion Spears. Grayson, and Stephen Addiss. Art History. New York: H.N. Abrams, 1995. Print.\r\n\r\nTurner, Jane. The Dictionary of Art. New York: Grove, 1996. Print.','The Altar of Zeus','','publish','open','open','','the-altar-of-zeus','','','2011-02-18 14:20:25','2011-02-18 20:20:25','',0,'http://jeanatacc.com/2011/?p=187',0,'post','',6),(188,31,'2011-02-16 21:36:41','2011-02-17 03:36:41','Catullus was a Greek poet who was preserved through time. His Latin poetry is used commonly to teach Latin and the art of poetry. He is known and seen as a father to modern day poetry despite his reputation of being an abnormal poet in his time. Between his use of elegiac couplets you’re able to see the fall of Roman, through Gaius Valerius Catullus eyes. That is what makes Catullus’s poetry worth saving.<!--more-->\r\n\r\nI don’t believe any of Catullus’s work should be condensed from his 116 poems we have today but if his work had to be reduced to <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus.jpg\"><img class=\"size-medium wp-image-291 alignright\" style=\"border: 2px solid black\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus-300x265.jpg\" alt=\"book of catullus\'s poetry\" width=\"300\" height=\"265\" /></a>preserver for the future I think it would be well noted to keep Catullus’s love poems.  These poems I think preserver the charm, angst, and stunning sarcasm of Catullus. They provide a rare looking glass into the past. His work reminds us that history was human, not just text, sculptures, and paints. In this way it is very unique and allows us to see socially what it was like between 84-54 BC in upper class society. There were many other poets of the time of Catullus. Catullus fell deeply in love, probably with Clodia, sister of Cicero\'s opponent Publius Clodius. She was suspected of murdering her husband. Catullus wrote to his beloved, addressed as Lesbia (to reference Sappho of the Lesbos poems), a series of superb little poems that run from early passion and tenderness to the hatred and disillusionment that overwhelmed him after his mistress was faithless. (Catullus) Also throughout his poems he shows a grudge match against Cicero another poet of his time, whom dismisses Catullus’s poems as abnormal. It is noted that Catullus was never considered a “canonical school author” do to the sexual content of some and the silliness of his other poems, but his work was well appreciated for its uniqueness. He is however now seen as one of the best lyricists of all time despite of being discredited by others in his time. Today he is studied often in poetry and Latin he is seen as a father of modern lyrical poetry although it is understood that he did not invent the meter or the elegiac couplets. His work is widely translated and picked apart in Latin today to understand what he was saying. There are even debates on the ownership of 3 of his poems that are believed to have been written by someone else. To this day scholars debate on his works sarcasm and meaning.\r\n\r\nIt’s unusual that Catullus’s work was preserved through time, with 116 of his poems are still available today. In the fourteenth century, a single manuscript containing the 116 poems was discovered in the poet’s native Verona. That manuscript disappeared in the following century, but two copies had been made, and one of these survives to the present day, and is housed at Oxford University in England. (Rankin) But Catullus’s work also unique in content specifically Catullus’s blazing sarcasm throughout his work. His work had a flare of emotion that made is work stand out from others throughout history.\r\n\r\nThe Catullus’s poetry is typical of its era do to its meter and content.  Many love poems were also made during his era the Lesbos Island poems of Sappho.  It was also common to use the hendecasyllabic meter and elegiac couplets. Hendecasyllabic meter comes from a fourth century poet Phalaecus, the name comes from the fact that there are 11 syllables in each line.  Elegiac couplets are dactylic hexameter or dactylic pentameter that where commonly used in roman epics and love poems. (couplet)\r\n<p style=\"text-align: left\">“Asinius Marrucinus, left hand\r\nYou do not use well: in joke and wine\r\nYou lift the napkins of the more careless.\r\nDo you think that this is witty? It escapes you, foolish man\r\nThis thing is utterly sordid and unattractive.\r\nDo you not believe me? Believe you brother Pollio\r\nWho would wish that your acts of stealing\r\nBe changed for even a talent - for the boy\r\nIs full of charm and wit.\r\nTherefore expect either 300 hendecasyllabic verses\r\nOr send back the napkin to me,\r\nWhich does not move me by means of price,\r\nBut rather it is a souvenir of my friend.\r\nFor Fabullus and Veranius sent Saetaban napkins\r\nFrom the Spaniards to me as a gift;\r\nIt is necessary that I love these things\r\nAs I love my little Veranius and Fabullus.”( Drudy)</p>\r\n“stop stealing the napkins!: to Asinius Marrucinus, “ Catullus’s 12<sup>th</sup> poem. It shows blazing sarcasm and anger towards his napkin stealing friend Asinius Marrucinus. It’s a very relatable poem and even gives us a look into social customs at the time, by letting us know that it was disgusting to take someone’s napkin at a dinner party and also lets us know Rome had social hygiene standards. Catullus is as insufferable as Simmon from American idol. They both critiquing peoples actions with a stern eye and strong language.\r\n\r\n“…I can’t\r\nspeak — my tongue is broken;\r\na thin flame runs under\r\nmy skin; seeing nothing,\r\nhearing only my own ears\r\ndrumming, I drip with sweat;\r\ntrembling shakes my body\r\n\r\nand I turn paler than\r\ndry grass…”(Graves)\r\n\r\nCompared to a piece of Sappho’s poem (another famous poet at the time) showing that poets of the era were capability of writing a beautiful piece, but doesn’t give us a looking glass into society like Catullus’s works do. She was also well credited in her time even admired by Catullus. She is still noted to be to a great if not the greatest lyric poets of all time today.\r\n\r\nI believe what is most meaningful about his work is that when you read his work you become him. There are very few pieces of history that allow you to read about that person’s life it really makes me feel less of disconnect from the time. You become a person in the end of the Roman Empire. For Future generations to truly understand the importance of Catullus one must read his work. Otherwise I don’t believe future generations will understand why his work is beloved and debated about, or see Rome though Catullus’s looking glass.\r\n\r\n<strong>Works Cited</strong>\r\n\r\n\"Catullus.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nRankin, Thomas. \"Catullus.\" <em>Magill’s Survey of World Literature, Revised Edition</em> (2009): 1-5. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\n\"couplet.\" (n.d.): <em>Facts on File: Bloom\'s Literary Reference Online Database</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nGraves, Roy Neil. \"Sappho.\" <em>Magill’s Survey of World Literature, Revised Edition</em> (2009): 1-5. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nDrudy, Greg. “Carmen 12.”<em> Gaius Valerius Catullus</em>. 5 Dec. 1997. 16 Feb. 2010 &lt; http://rudy.negenborn.net/catullus/text2/e12.htm&gt;','Catullus’s Poetic Looking Glass','','publish','open','open','','catullus%e2%80%99s-poetic-looking-glass','','','2011-02-16 21:36:41','2011-02-17 03:36:41','',0,'http://jeanatacc.com/2011/?p=188',0,'post','',7),(189,32,'2011-02-16 14:00:12','2011-02-16 20:00:12','','Auto Draft','','inherit','open','open','','187-revision','','','2011-02-16 14:00:12','2011-02-16 20:00:12','',187,'http://jeanatacc.com/2011/?p=189',0,'revision','',0),(191,32,'2011-02-16 14:05:47','2011-02-16 20:05:47','Altars were common in Greek history, often they were raised structures that sacrifice and religious rites took place.  Greek altars, usually perched in open air, often had burnt offerings, as this was the dominant act of worship. These events continued to flourish as Greek culture grew and advanced.   \n\nDuring the 4th century BC and into the 3rd century BC, Alexander the Great began to expand his empire east toward Persia, Central Asia, and Egypt. This movement sparked a change in Greek architecture from the traditional Classical style to a more Hellenistic style.  This change of architectural style is prevalent in the city of Pergamon, which was located in northwest Asia Minor (now Turkey).  At the highest point of the city of Pergamon stood the “Altar of Zeus” also known as “The Great Altar.”\n\nThe Altar of Zeus is a spectacular display of the Hellenistic style. Leading up to the main entrance of the Altar is a staircase that is 68 feet wide and 30 feet in depth. The Altar stood as a single-story structure with an open Ionic screen, with walls of Ionic colonnades that depicted Gigantomachy (battles between Olympic Gods and Giants). The colonnades, or panels, were 7 ½ feet tall at the ends. Many believe that the battling gods and giants on the friezes act as a metaphor that represents Pergamon’s victory over the barbaric tribal Gaul’s, showing the dominance of civilization over barbarians. \n\nClassical architecture traditionally built solid walls unlike the more decorative thinner slab-like walls used to build the Great Altar. This approach to architecture may have differed due to the lack of marble and the greater abundance of andesite. This made it more economical to the city of Pergamon because it lowered the need to import marble. The more noticeable difference between the old Classical architecture to that of Hellenistic is the uncanny theatrical presence of the life-like relief sculptures that protrude from the friezes. Many believe this to be the archetype of the Hellenistic style. \n\nWorks Cited\n\nChavalas, Mark W., and Mark S. Aldenderfer. Great Events from History. Vol. 2. Pasadena, CA: Salem, 2004. Print.\n\nChing, Frank, Mark Jarzombek, and Vikramaditya Prakash. A Global History of Architecture. Hoboken, NJ: J. Wiley &amp; Sons, 2007. Print.\n\nKuhl, Isabel, Klaus Reichold, Kristina Lowis, and Christiane Weidemann. 50 Sculptures You Should Know. New York, NY: Prestel Pub., 2009. Print.\n\nStokstad, Marilyn, Marion Spears. Grayson, and Stephen Addiss. Art History. New York: H.N. Abrams, 1995. Print.\n\nTurner, Jane. The Dictionary of Art. New York: Grove, 1996. Print.\n','The Altar of Zeus','','inherit','open','open','','187-revision-2','','','2011-02-16 14:05:47','2011-02-16 20:05:47','',187,'http://jeanatacc.com/2011/?p=191',0,'revision','',0),(192,27,'2011-02-16 11:10:55','2011-02-16 17:10:55','','Auto Draft','','inherit','open','open','','174-revision','','','2011-02-16 11:10:55','2011-02-16 17:10:55','',174,'http://jeanatacc.com/2011/?p=192',0,'revision','',0),(195,26,'2011-02-16 14:11:31','2011-02-16 20:11:31','TCP PROPOSAL 1 - Kris Cooley\n\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span>\n\nby Sappho\n\n630-580 B.C.E\n\n<span style=\"text-decoration: underline\">Hymn to Aphrodite </span>is the piece of poetry written by Sappho . It is her only poem to make it through the ages in complete form. The rest of her work is fragmented or lost.  This poem is a plea to Aphrodite to help with a broken heart.  It is seven stanzas long. It is believed that this peculiar poem was written to be performed for her cult to Aphrodite. (Graves)\n\nThis poem is typical of era because it was written for the purpose of getting a god\'s attention or favor.  During the time of it\'s creation, gods were asked upon to intervene in common daily lives. This poem focuses on relieving the writer of grief of a lost love.\n\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span> was written as a lyric poem. Sappho created her poems to be sung accompanied by a lyre. She has often been acknowledged as one of the earliest poets to create lyric poetry. It wasn\'t documented until Dionysus of Halicarnassus quoted it in it\'s entirety. (Newlyn)\n\nSappho was exalted by many scholars and artists as a great lyrical poet. Her works were written down on papyrus and studied for approximately 300 years before their disapperance. Plato was said to call her his \"tenth muse\". (Columbia Electronic Encyclopedia, 6th Edition)\n\nPlato is credited with saying: “Some say the muses are nine - how careless - behold, Sappho of Lesbos is the tenth”.  (Anthologia Palantia)\n\nDioscorides  “greetings to you lady, as to the gods; for we still have your immortal daughters, your songs”.\n\nSolon, a contemporary of Sappho, is said to have heard a boy singing one of her songs, and asked him to teach it to him, so that he might learn it and die.\n\nToday, poets all over the world take the time to render their own translations of Sappho\'s work. She continues to inspire poets even in this modern age. This is an incredible accomplishment considering that Sappho herself never wrote down any of her poems.\n\nToday, many translations have been made. Each poet that has taken upon this feat, has remade her poetry in their perception .\n\n\"Sappho’s oeuvre can be entered from\n\nmany different portals, and the Sapphic\n\nrealm of gold will have different aspects for\n\ndifferent readers.\" (Hadas)\n\nThe other type of poetry during Sappho\'s time was the epic poem. Homer is famous for writing <span style=\"text-decoration: underline\">IIiad.</span> This was not a hymn meant to be sung for the gods, but instead a detailed description account of the gods, heroes, and war. This story was concieved on facts and didn\'t match the rhythmic feel of Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite.</span>\n\nAs I read Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite</span>, I was able to visualize emotion out of each line. It\'s not only a plea for help but also a statement of faith in her goddess, Aphrodite. The fragmented sentences causes a stop, pause, relate sensation to it. Yet I can feel the \'sway\' of each methodical syllable creating a natural tempo.\n\n\"Though Sappho\'s language is laden with color-adjectives and compound epithets typical of Greek lyric poetry, her syntax is simple and avoids rhetorical flourishes, creating the impression that we are directly witnessing her experience.\"  (Bloom)\n\nThis poem should be taken into the future, not only because of it’s extreme beauty, but as a testament of our breathe taking passion for this emotion called love. She embodied the essence that is love, by describing the pain of love not returned and a belief in her goddess’s mercy.','Sappho-TCP1','','inherit','open','open','','171-revision-2','','','2011-02-16 14:11:31','2011-02-16 20:11:31','',171,'http://jeanatacc.com/2011/?p=195',0,'revision','',0),(194,27,'2011-02-16 14:23:05','2011-02-16 20:23:05','        The acropolis shows an important development in greek culture, the athenian people were proud of their tall fortress. I find it meaningful in that its completion set the standard for athenian dominance and progress for hundreds of years. The acropolis has giant beautiful walls, and thoughtful design throughout. The building of; and the finished product that became the acropolis gave the people of athens a national symbol of strength and prosperity to put their faith and effort behind. (Hellenic Ministry)  To the athenian, the fortress would and could protect them from any danger they could conceive at the time.<!--more-->\n\n          It is important to note that athens is an early epicenter of greek history, the acropolis helped them become the only greek city-state that survived the doric invasions, which devastated most of the greek cities at the time. Athens\' existence allowed the greek people to have a permanent historical home throughout the centuries. The lion gate at Mycenae was also built at this time, it employed the same “post and lintel” construction type as the walls and main gate of athens. It made use of pressure distribution through the setting of triangular stones at the base of the structure. The athenian acropolis was typical of its era in that most every greek city-state at the time had an acropilis, but athens was set apart by location and economic oppurtunity . Their rich coffers allowed them to build high walls, dig deep wells, and make a highly defensible, and self sufficient city. They were capable of fending off attackers for longer periods of time due to interior wells, and large food stores. “According to legend, king Theseus united the towns into one administrative entity (known as synoikismos), and this synoikismos appears to have been instrumental in the city’s survival when most of the other Mycenaean centers were destroyed around 1200 BCE by invading hordes from mainland Greece, or due to a possible invasion of tribes from the North (what many refer to as the Doric invasion). While all other Mycenaean centers, including mighty Mycenae, were deserted during this period, Athens was the only town to remain inhabited and active”(Sakoulas). This partnership with the surrounding communities helped athens withstand the forces of time, and even their enemies.\n\n        The oldest buildings have large, but simple, round columns, whereas the increasingly more modern buildings have ornate design. For example the columns of the  newer buildings are fluted, and the even more modern and complicated buildings have acanthus leaves carved in along with vines.(Palmer, Allison Lee.A to Z of Architecture. Lanham, Md. etc.: Scarecrow, 2009. Print.)This progressive increase in elaborate adornment shows how the people became more comfortable in their city\'s ability to last, and their continued increase in income throughout the years.\n\n           The acropolis was received well in its time, the athenians being very spiritual, and community-oriented, enjoyed the ability to worship en masse, and celebrate in the town epicenter. Every 4 years in athens the people had a celebration called Panatheaea (all-athenia), in which a luxurious woolen robe would be draped over the statue of athena inside the parthenon( for purposes of sacrifice). The celebration was thought to be a deliberate attempt to contend with the olympics for popularity. The acropolis also gave the more wealthy people in athens a heightened sense of security, because they could now establish their homes inside the agora, or the marketplace area of the acropolis. This was the lowest area of the acropolis, but still within the walls. The agora could definitely be considered the city center, where celebrations and meetings would take place regularly. The greeks at the time were centered around worship of female goddesses as their primary deities, and the temples and caryatids (statues integrated as support beams) around the city represented that.\n\n             The athens acropolis in specific was  different than most of the others in its time because its walls were built almost twice as thick as most, and were built up to 30 feet high in some places. It was one of the few greek cities at the time to employ cyclopean architecture, which was mostly being utilized in rome and other parts of italy. The athenians had a strong relationship with the smaller cities surrounding them, which gave them a powerful economy, and a large group of allies in times of need. The acropolis was innovative in that it was built with the intention to last far into the future, as one of the first long-term permanent settlements for their culture. They built athens as a trade and religious center, in order to draw other greeks to the city and its surrounding areas. The People of athens love the acropolis to this day, festivals and celebrations have been hosted inside the walls for ages. In the time of its contruction, the acropolis was mainly a place of study for religion and science. Modern times have really turned the intention away from its original values, and to more celebratory, and anthropological research.\n\n             It is important for us to remember that the acropolis at athens hosts some of the most famous     and impressive historical buildings of all time. The Parthenon itself is still a modern marvel, the building is built around the golden ratio of mathematics, which has been found to be not only one of the most structurally sound, but aesthetically pleasing to people. This measurement ratio also makes the  structure stronger, as for some reason it distributes pressure more equally to the whole of the frame.   Some of the most famous relics in the world have been removed by looters and collectors throughout the ages, while some have been returned, a good many are still being recovered by the greek government to this day. The restoration processes have included adding titanium supports to the columns and roof frames, re-foundation of many buildings, and cleaning the stone and various material to the best of their abilities. In june, 2009, the greek government opened up a museum dedicated to the acropolis, with exhibits illustrating its rich history of war, art, philosophy, architecture, etc. (Athens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas - GR). Web. 15 Feb. 2011. .)\n','The Acropolis in Athens','','inherit','open','open','','174-revision-2','','','2011-02-16 14:23:05','2011-02-16 20:23:05','',174,'http://jeanatacc.com/2011/?p=194',0,'revision','',0),(200,25,'2011-02-16 14:31:56','2011-02-16 20:31:56','  North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (      ). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (Discovering the secrets of Stonehenge). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (Discovering the secrets of Stonehenge). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (Discovering the secrets of Stonehenge).\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (      ). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (     ).  As time passed, archaeologists found that most of the stones mark graves (       ).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” (Robinson and Evans Freke). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (       ).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (Stonehenge\'s twin could have been the dining area). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (Stonehenge\'s twin could have been the dining area).  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.','Stonehenge','','inherit','open','open','','162-revision-2','','','2011-02-16 14:31:56','2011-02-16 20:31:56','',162,'http://jeanatacc.com/2011/?p=200',0,'revision','',0),(196,26,'2011-02-16 14:28:31','2011-02-16 20:28:31','TCP PROPOSAL 1 - Kris Cooley\n\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span>\n\nby Sappho\n\n630-580 B.C.E\n\n<span style=\"text-decoration: underline\">Hymn to Aphrodite </span>is the piece of poetry written by Sappho . It is her only poem to make it through the ages in complete form, the rest of her work is fragmented or lost. This poem is a plea to Aphrodite to help with a broken heart and is seven stanzas long. It is believed that this peculiar poem was written to be performed for her cult to Aphrodite. (Graves)\n\nThis poem is typical of its era because it was written for the purpose of getting a god\'s attention or favor. During the time of its creation, gods were asked upon to intervene in common daily lives. This poem focuses on relieving the writer of grief of a lost love.\n\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span> was written as a lyric poem, Sappho created her poems to be sung accompanied by a lyre. She has often been acknowledged as one of the earliest poets to create lyric poetry. It wasn\'t documented until Dionysus of Halicarnassus quoted it in it\'s entirety. (Newlyn)\n\nSappho was exalted by many scholars and artists as a great lyrical poet. Her works were written down on papyrus and studied for approximately 300 years before their disappearance. Plato was said to call her his \"tenth muse\". (Columbia Electronic Encyclopedia, 6th Edition)\n\nPlato is credited with saying: “Some say the muses are nine - how careless - behold, Sappho of Lesbos is the tenth”.  (Anthologia Palantia)\n\nDioscorides  “greetings to you lady, as to the gods; for we still have your immortal daughters, your songs”.\n\nSolon, a contemporary of Sappho, is said to have heard a boy singing one of her songs, and asked him to teach it to him, so that he might learn it and die.\n\nToday, poets all over the world take the time to render their own translations of Sappho\'s work. She continues to inspire poets even in this modern age, which is an incredible accomplishment considering that Sappho herself never wrote down any of her poems.\n\nToday, many translations have been made, each poet that has taken upon this feat, has remade her poetry in their perception .\n\n\"Sappho’s oeuvre can be entered from\n\nmany different portals, and the Sapphic\n\nrealm of gold will have different aspects for\n\ndifferent readers.\" (Hadas)\n\nThe other type of poetry during Sappho\'s time was the epic poem. Homer is famous for writing <span style=\"text-decoration: underline\">The IIiad.</span> This was not a hymn meant to be sung for the gods, but instead a detailed description account of the gods, heroes, and war. This story was concieved on facts and didn\'t match the rhythmic feel of Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite.</span>\n\nAs I read Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite</span>, I was able to visualize emotion out of each line. It\'s not only a plea for help but also a statement of faith in her goddess, Aphrodite. The fragmented sentences causes a stop, pause, relate sensation to it. Yet I can feel the \'sway\' of each methodical syllable creating a natural tempo.\n\n\"Though Sappho\'s language is laden with color-adjectives and compound epithets typical of Greek lyric poetry, her syntax is simple and avoids rhetorical flourishes, creating the impression that we are directly witnessing her experience.\"  (Bloom)\n\nThis poem should be taken into the future, not only because of it’s extreme beauty, but as a testament of our breathe taking passion for this emotion called love. She embodied the essence that is love, by describing the pain of love not returned and a belief in her goddess’s mercy.\n\nBibliography\n\nNewlyn, Evelyn S. \"Sappho.\" Critical Survey of Poetry, Second Revised Edition (2003): 1-7. MagillOnLiterature Plus. EBSCO. Web\n\n\"Sappho.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. MasterFILE Premier. EBSCO.\n\nHadas, Rachel. \"The tenth muse.\" New Criterion 28.7 (2010): 67. MasterFILE Premier. EBSCO. Web\n\nBloom, Harold \"Human Sexuality\" Infobase Publishing, 2009 – 68\n\nGraves, Roy Neil. \"Sappho.\" Magill\'s Survey of World Literature, Revised Edition (2009): 1-5. MagillOnLiterature Plus. EBSCO. Web','Sappho-TCP1','','inherit','open','open','','171-revision-3','','','2011-02-16 14:28:31','2011-02-16 20:28:31','',171,'http://jeanatacc.com/2011/?p=196',0,'revision','',0),(197,26,'2011-02-16 14:43:10','2011-02-16 20:43:10','TCP PROPOSAL 1 - Kris Cooley\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span>\r\n\r\nby Sappho\r\n\r\n630-580 B.C.E\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite </span>is the piece of poetry written by Sappho . It is her only poem to make it through the ages in complete form, the rest of her work is fragmented or lost. This poem is a plea to Aphrodite to help with a broken heart and is seven stanzas long. It is believed that this peculiar poem was written to be performed for her cult to Aphrodite. (Graves)\r\n\r\nThis poem is typical of its era because it was written for the purpose of getting a god\'s attention or favor. During the time of its creation, gods were asked upon to intervene in common daily lives. This poem focuses on relieving the writer of grief of a lost love.\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span> was written as a lyric poem, Sappho created her poems to be sung accompanied by a lyre. She has often been acknowledged as one of the earliest poets to create lyric poetry. It wasn\'t documented until Dionysus of Halicarnassus quoted it in it\'s entirety. (Newlyn)\r\n\r\nSappho was exalted by many scholars and artists as a great lyrical poet. Her works were written down on papyrus and studied for approximately 300 years before their disappearance. Plato was said to call her his \"tenth muse\". (Columbia Electronic Encyclopedia, 6th Edition)\r\n\r\nPlato is credited with saying: “Some say the muses are nine - how careless - behold, Sappho of Lesbos is the tenth”.  (Anthologia Palantia)\r\n\r\nDioscorides  “greetings to you lady, as to the gods; for we still have your immortal daughters, your songs”.\r\n\r\nSolon, a contemporary of Sappho, is said to have heard a boy singing one of her songs, and asked him to teach it to him, so that he might learn it and die.\r\n\r\nToday, poets all over the world take the time to render their own translations of Sappho\'s work. She continues to inspire poets even in this modern age, which is an incredible accomplishment considering that Sappho herself never wrote down any of her poems.\r\n\r\nToday, many translations have been made, each poet that has taken upon this feat, has remade her poetry in their perception .\r\n\r\n\"Sappho’s oeuvre can be entered from\r\n\r\nmany different portals, and the Sapphic\r\n\r\nrealm of gold will have different aspects for\r\n\r\ndifferent readers.\" (Hadas)\r\n\r\nThe other type of poetry during Sappho\'s time was the epic poem. Homer is famous for writing <span style=\"text-decoration: underline\">The IIiad.</span> This was not a hymn meant to be sung for the gods, but instead a detailed description account of the gods, heroes, and war. This story was concieved on facts and didn\'t match the rhythmic feel of Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite.</span>\r\n\r\nAs I read Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite</span>, I was able to visualize emotion out of each line. It\'s not only a plea for help but also a statement of faith in her goddess, Aphrodite. The fragmented sentences causes a stop, pause, relate sensation to it. Yet I can feel the \'sway\' of each methodical syllable creating a natural tempo.\r\n\r\n\"Though Sappho\'s language is laden with color-adjectives and compound epithets typical of Greek lyric poetry, her syntax is simple and avoids rhetorical flourishes, creating the impression that we are directly witnessing her experience.\"  (Bloom)\r\n\r\nThis poem should be taken into the future, not only because of it’s extreme beauty, but as a testament of our breathe taking passion for this emotion called love. She embodied the essence that is love, by describing the pain of love not returned and a belief in her goddess’s mercy.\r\n\r\nBibliography\r\n\r\nNewlyn, Evelyn S. \"Sappho.\" Critical Survey of Poetry, Second Revised Edition (2003): 1-7. MagillOnLiterature Plus. EBSCO. Web\r\n\r\n\"Sappho.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. MasterFILE Premier. EBSCO.\r\n\r\nHadas, Rachel. \"The tenth muse.\" New Criterion 28.7 (2010): 67. MasterFILE Premier. EBSCO. Web\r\n\r\nBloom, Harold \"Human Sexuality\" Infobase Publishing, 2009 – 68\r\n\r\nGraves, Roy Neil. \"Sappho.\" Magill\'s Survey of World Literature, Revised Edition (2009): 1-5. MagillOnLiterature Plus. EBSCO. Web','Sappho-TCP1','','inherit','open','open','','171-autosave','','','2011-02-16 14:43:10','2011-02-16 20:43:10','',171,'http://jeanatacc.com/2011/?p=197',0,'revision','',0),(212,25,'2011-02-16 15:45:46','2011-02-16 21:45:46','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (       ).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” (     ). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (       ).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.','Stonehenge','','inherit','open','open','','162-revision-5','','','2011-02-16 15:45:46','2011-02-16 21:45:46','',162,'http://jeanatacc.com/2011/?p=212',0,'revision','',0),(198,5,'2011-02-16 14:33:32','2011-02-16 20:33:32','<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt;--> \n /* Style Definitions */\n table.MsoNormalTable\n	{mso-style-name:\"Table Normal\";\n	mso-tstyle-rowband-size:0;\n	mso-tstyle-colband-size:0;\n	mso-style-noshow:yes;\n	mso-style-priority:99;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\n	mso-para-margin-top:0in;\n	mso-para-margin-right:0in;\n	mso-para-margin-bottom:10.0pt;\n	mso-para-margin-left:0in;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:11.0pt;\n	font-family:\"Calibri\",\"sans-serif\";\n	mso-ascii-font-family:Calibri;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Calibri;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n \n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as <em>Meditations</em>. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, <em>Meditations</em> is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, <em>Meditations</em> gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why <em>Meditations</em> should be preserved for future generations.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><em><span>Meditations </span></em><span>was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theatres. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><em><span>Meditations</span></em><span> is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, <em>Meditations</em> returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; <em>Meditations</em> is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time <em>Meditations</em> was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason” (Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, <em>Meditations</em> in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of <em>Meditations</em>. In Hadot\'s words: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares <em>Meditations</em> to: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm <em>Meditations</em> as a singular work of lasting value.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the <em>Meditations</em> remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues” (Rees xi). Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works. Titled simply <em>The Handbook</em>, this work was assembled in A.D. 135 and like <em>Meditations</em> also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while <em>Meditations</em> is clearly the work of a novice striving for advancement, <em>The Handbook</em> is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, <em>The Handbook</em> accomplishes a thorough going through while <em>Meditations</em> wanders to 12 Chapters. Still, <em>Meditations</em> conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with <em>Meditations</em>, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign (Morey). In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of <em>Meditations</em> speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his <em>Meditations</em>, we preserve a snapshot of the human spirit, searching for truth.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span>Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. <a href=\"http://plato.stanford.edu/entries/stoicism/\">http://plato.stanford.edu/entries/stoicism/</a></span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal;background: none repeat scroll 0% 0% white\"><span>Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\n<p class=\"MsoNormal\"><span>Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.\n</span></p>\n\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span></p>\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as “Meditations”. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, “Meditations” is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, “Meditations” gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why “Meditations” should be preserved for future generations.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Meditations” was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theatres. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>“Meditations” is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, “Meditations” returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; “Meditations” is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time “Meditations” was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason”(Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, “Meditations” in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of “Meditations”. In Hadot\'s words: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares “Meditations” to: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm “Meditations” as a singular work of lasting value.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the Meditations remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues.” (7) xi Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works.” Titled “Enchiridion”, or more simply “The Handbook”, this work was assembled in A.D. 135 and like “Meditations” also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while “Meditations” is clearly the work of a novice striving for advancement, “Enchiridion” is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, “Enchiridion” accomplishes a thorough going through while “Meditations” wanders to 12 Chapters. Still, “Meditations” conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with “Meditations”, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign. (Morey) In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of “Meditations” speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his “Meditations”, we preserve a snapshot of the human spirit, searching for truth.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>(10) Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>(8) Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7) Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7 intro) Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(1) Kamtekar, Rachana. \"Marcus Aurelius .\" <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Winter 2010 Edition. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/marcus-aurelius/&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(5) Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/stoicism/&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(12) Epictetus. <em>The Enchiridion.</em> Trans. Elizabeth Carter. <em>The Internet Classics Archive: 441 Searchable Works of Classical Literature</em>. MIT. Web. 10 Feb. 2011. </span><a href=\"http://classics.mit.edu/Epictetus/epicench.html\"><span>http://classics.mit.edu/Epictetus/epicench.html</span></a></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(2) Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\n<p class=\"MsoNormal\"></p>\n<p class=\"MsoNormal\"><span>(13) Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n\n</div>','JustTim-TCP1','','inherit','open','open','','186-revision','','','2011-02-16 14:33:32','2011-02-16 20:33:32','',186,'http://jeanatacc.com/2011/?p=198',0,'revision','',0),(199,29,'2011-02-16 16:15:49','2011-02-16 22:15:49','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). <!--more-->La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\r\n\r\n[caption id=\"\" align=\"alignnone\" width=\"392\" caption=\"La Maison Carrée\"]<a href=\"http://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\"><img src=\"http://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\" alt=\"\" width=\"392\" height=\"576\" /></a>[/caption]\r\n\r\nhttp://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\r\n\r\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\r\n\r\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\r\n\r\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\r\n\r\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\r\n\r\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\r\n\r\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\r\n\r\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\r\n\r\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\r\n\r\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\r\n\r\nWorks Cited\r\n\r\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\r\n\r\n2006. Print\r\n\r\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\r\n\r\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\r\n\r\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\r\n\r\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\r\n\r\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','publish','open','open','','la-maison-carree','','','2011-03-02 21:21:28','2011-03-03 03:21:28','',0,'http://jeanatacc.com/2011/?p=199',0,'post','',8),(211,25,'2011-02-16 15:31:16','2011-02-16 21:31:16','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (      ). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets of Stonehenge\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets of Stonehenge\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets of Stonehenge\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (      ). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (       ).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” (     ). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (       ).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (Stonehenge\'s twin could have been the dining area). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (Stonehenge\'s twin could have been the dining area).  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.','Stonehenge','','inherit','open','open','','162-revision-4','','','2011-02-16 15:31:16','2011-02-16 21:31:16','',162,'http://jeanatacc.com/2011/?p=211',0,'revision','',0),(201,5,'2011-02-16 14:35:54','2011-02-16 20:35:54','<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt;-->\n/* Style Definitions */\ntable.MsoNormalTable\n{mso-style-name:\"Table Normal\";\nmso-tstyle-rowband-size:0;\nmso-tstyle-colband-size:0;\nmso-style-noshow:yes;\nmso-style-priority:99;\nmso-style-qformat:yes;\nmso-style-parent:\"\";\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\nmso-para-margin-top:0in;\nmso-para-margin-right:0in;\nmso-para-margin-bottom:10.0pt;\nmso-para-margin-left:0in;\nline-height:115%;\nmso-pagination:widow-orphan;\nfont-size:11.0pt;\nfont-family:\"Calibri\",\"sans-serif\";\nmso-ascii-font-family:Calibri;\nmso-ascii-theme-font:minor-latin;\nmso-fareast-font-family:\"Times New Roman\";\nmso-fareast-theme-font:minor-fareast;\nmso-hansi-font-family:Calibri;\nmso-hansi-theme-font:minor-latin;\nmso-bidi-font-family:\"Times New Roman\";\nmso-bidi-theme-font:minor-bidi;}\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as <em>Meditations</em>. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, <em>Meditations</em> is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, <em>Meditations</em> gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why <em>Meditations</em> should be preserved for future generations.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><em><span>Meditations </span></em><span>was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theaters. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><em><span>Meditations</span></em><span> is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, <em>Meditations</em> returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; <em>Meditations</em> is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time <em>Meditations</em> was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason” (Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, <em>Meditations</em> in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of <em>Meditations</em>. In Hadot\'s words: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares <em>Meditations</em> to: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm <em>Meditations</em> as a singular work of lasting value.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the <em>Meditations</em> remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues” (Rees xi). Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works. Titled simply <em>The Handbook</em>, this work was assembled in A.D. 135 and like <em>Meditations</em> also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while <em>Meditations</em> is clearly the work of a novice striving for advancement, <em>The Handbook</em> is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, <em>The Handbook</em> accomplishes a thorough going through while <em>Meditations</em> wanders to 12 Chapters. Still, <em>Meditations</em> conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with <em>Meditations</em>, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign (Morey). In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of <em>Meditations</em> speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his <em>Meditations</em>, we preserve a snapshot of the human spirit, searching for truth.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span>Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. <a href=\"http://plato.stanford.edu/entries/stoicism/\">http://plato.stanford.edu/entries/stoicism/</a></span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal;background: none repeat scroll 0% 0% white\"><span>Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\n<p class=\"MsoNormal\"><span>Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.\n</span></p>\n\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span></p>\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as “Meditations”. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, “Meditations” is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, “Meditations” gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why “Meditations” should be preserved for future generations.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Meditations” was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theatres. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>“Meditations” is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, “Meditations” returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; “Meditations” is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time “Meditations” was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason”(Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, “Meditations” in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of “Meditations”. In Hadot\'s words: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares “Meditations” to: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm “Meditations” as a singular work of lasting value.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the Meditations remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues.” (7) xi Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works.” Titled “Enchiridion”, or more simply “The Handbook”, this work was assembled in A.D. 135 and like “Meditations” also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while “Meditations” is clearly the work of a novice striving for advancement, “Enchiridion” is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, “Enchiridion” accomplishes a thorough going through while “Meditations” wanders to 12 Chapters. Still, “Meditations” conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with “Meditations”, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign. (Morey) In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of “Meditations” speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his “Meditations”, we preserve a snapshot of the human spirit, searching for truth.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>(10) Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>(8) Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7) Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7 intro) Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(1) Kamtekar, Rachana. \"Marcus Aurelius .\" <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Winter 2010 Edition. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/marcus-aurelius/&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(5) Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/stoicism/&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(12) Epictetus. <em>The Enchiridion.</em> Trans. Elizabeth Carter. <em>The Internet Classics Archive: 441 Searchable Works of Classical Literature</em>. MIT. Web. 10 Feb. 2011. </span><a href=\"http://classics.mit.edu/Epictetus/epicench.html\"><span>http://classics.mit.edu/Epictetus/epicench.html</span></a></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(2) Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\n<p class=\"MsoNormal\"></p>\n<p class=\"MsoNormal\"><span>(13) Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n\n</div>','JustTim-TCP1','','inherit','open','open','','186-revision-2','','','2011-02-16 14:35:54','2011-02-16 20:35:54','',186,'http://jeanatacc.com/2011/?p=201',0,'revision','',0),(229,25,'2011-02-16 16:24:03','2011-02-16 22:24:03','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\n\n<!--more-->\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-13','','','2011-02-16 16:24:03','2011-02-16 22:24:03','',162,'http://jeanatacc.com/2011/?p=229',0,'revision','',0),(202,25,'2011-02-16 14:35:58','2011-02-16 20:35:58','  North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\r\n\r\n<!--more-->\r\n\r\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\r\n\r\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (      ). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\r\n\r\n(INSERT PICTURE)\r\n\r\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (Discovering the secrets of Stonehenge). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (Discovering the secrets of Stonehenge). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (Discovering the secrets of Stonehenge).\r\n\r\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (      ). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (     ).  As time passed, archaeologists found that most of the stones mark graves (       ).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” (Robinson and Evans Freke). The megaliths were considered stone tombs for the ones who had passed.\r\n\r\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (       ).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\r\n\r\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (Stonehenge\'s twin could have been the dining area). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (Stonehenge\'s twin could have been the dining area).  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\r\n\r\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.','Stonehenge','','inherit','open','open','','162-revision-3','','','2011-02-16 14:35:58','2011-02-16 20:35:58','',162,'http://jeanatacc.com/2011/?p=202',0,'revision','',0),(203,5,'2011-02-18 16:27:56','2011-02-18 22:27:56','<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt;-->\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).<!--more--></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as <em>Meditations</em>. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, <em>Meditations</em> is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, <em>Meditations</em> gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why <em>Meditations</em> should be preserved for future generations.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><em><span>Meditations </span></em><span>was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theaters. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><em><span>Meditations</span></em><span> is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, <em>Meditations</em> returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; <em>Meditations</em> is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time <em>Meditations</em> was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason” (Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, <em>Meditations</em> in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of <em>Meditations</em>. In Hadot\'s words: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares <em>Meditations</em> to: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm <em>Meditations</em> as a singular work of lasting value.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the <em>Meditations</em> remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues” (Rees xi). Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works. Titled simply <em>The Handbook</em>, this work was assembled in A.D. 135 and like <em>Meditations</em> also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while <em>Meditations</em> is clearly the work of a novice striving for advancement, <em>The Handbook</em> is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, <em>The Handbook</em> accomplishes a thorough going through while <em>Meditations</em> wanders to 12 Chapters. Still, <em>Meditations</em> conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with <em>Meditations</em>, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign (Morey). In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of <em>Meditations</em> speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his <em>Meditations</em>, we preserve a snapshot of the human spirit, searching for truth.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span>Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. <a href=\"http://plato.stanford.edu/entries/stoicism/\">http://plato.stanford.edu/entries/stoicism/</a></span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal;background: none repeat scroll 0% 0% white\"></p>\n<p class=\"MsoNormal\" style=\"line-height: normal;background: none repeat scroll 0% 0% white\"><span>Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\n<p class=\"MsoNormal\"></p>\n<p class=\"MsoNormal\"><span>Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.\n</span></p>\n\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span></p>\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as “Meditations”. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, “Meditations” is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, “Meditations” gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why “Meditations” should be preserved for future generations.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Meditations” was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theatres. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>“Meditations” is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, “Meditations” returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; “Meditations” is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time “Meditations” was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason”(Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, “Meditations” in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of “Meditations”. In Hadot\'s words: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares “Meditations” to: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm “Meditations” as a singular work of lasting value.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the Meditations remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues.” (7) xi Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works.” Titled “Enchiridion”, or more simply “The Handbook”, this work was assembled in A.D. 135 and like “Meditations” also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while “Meditations” is clearly the work of a novice striving for advancement, “Enchiridion” is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, “Enchiridion” accomplishes a thorough going through while “Meditations” wanders to 12 Chapters. Still, “Meditations” conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with “Meditations”, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign. (Morey) In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of “Meditations” speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his “Meditations”, we preserve a snapshot of the human spirit, searching for truth.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>(10) Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>(8) Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7) Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span> </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7 intro) Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(1) Kamtekar, Rachana. \"Marcus Aurelius .\" <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Winter 2010 Edition. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/marcus-aurelius/&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(5) Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/stoicism/&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(12) Epictetus. <em>The Enchiridion.</em> Trans. Elizabeth Carter. <em>The Internet Classics Archive: 441 Searchable Works of Classical Literature</em>. MIT. Web. 10 Feb. 2011. </span><a href=\"http://classics.mit.edu/Epictetus/epicench.html\"><span>http://classics.mit.edu/Epictetus/epicench.html</span></a></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span>(2) Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\n<p class=\"MsoNormal\"></p>\n<p class=\"MsoNormal\"><span>(13) Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n\n</div>','Aurelius\'s Meditations','','inherit','open','open','','186-autosave','','','2011-02-18 16:27:56','2011-02-18 22:27:56','',186,'http://jeanatacc.com/2011/?p=203',0,'revision','',0),(204,29,'2011-02-16 14:41:00','2011-02-16 20:41:00','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\n\n<!--more-->\n\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\n\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\n\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\n\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\n\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\n\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\n\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\n\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\n\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\n\nWorks Cited\n\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\n\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\n\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\n\n2006. Print\n\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\n\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\n\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\n\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\n\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision','','','2011-02-16 14:41:00','2011-02-16 20:41:00','',199,'http://jeanatacc.com/2011/?p=204',0,'revision','',0),(205,27,'2011-02-16 14:35:56','2011-02-16 20:35:56','        The acropolis shows an important development in greek culture, the athenian people were proud of their tall fortress. I find it meaningful in that its completion set the standard for athenian dominance and progress for hundreds of years. The acropolis has giant beautiful walls, and thoughtful design throughout. The building of; and the finished product that became the acropolis gave the people of athens a national symbol of strength and prosperity to put their faith and effort behind. (Hellenic Ministry)  To the athenian, the fortress would and could protect them from any danger they could conceive at the time.\n\n          It is important to note that athens is an early epicenter of greek history, the acropolis helped them become the only greek city-state that survived the doric invasions, which devastated most of the greek cities at the time. Athens\' existence allowed the greek people to have a permanent historical home throughout the centuries. The lion gate at Mycenae was also built at this time, it employed the same “post and lintel” construction type as the walls and main gate of athens. It made use of pressure distribution through the setting of triangular stones at the base of the structure. The athenian acropolis was typical of its era in that most every greek city-state at the time had an acropilis, but athens was set apart by location and economic oppurtunity . Their rich coffers allowed them to build high walls, dig deep wells, and make a highly defensible, and self sufficient city. They were capable of fending off attackers for longer periods of time due to interior wells, and large food stores. “According to legend, king Theseus united the towns into one administrative entity (known as synoikismos), and this synoikismos appears to have been instrumental in the city’s survival when most of the other Mycenaean centers were destroyed around 1200 BCE by invading hordes from mainland Greece, or due to a possible invasion of tribes from the North (what many refer to as the Doric invasion). While all other Mycenaean centers, including mighty Mycenae, were deserted during this period, Athens was the only town to remain inhabited and active”(Sakoulas). This partnership with the surrounding communities helped athens withstand the forces of time, and even their enemies.\n\n        The oldest buildings have large, but simple, round columns, whereas the increasingly more modern buildings have ornate design. For example the columns of the  newer buildings are fluted, and the even more modern and complicated buildings have acanthus leaves carved in along with vines.(Palmer, Allison Lee.A to Z of Architecture. Lanham, Md. etc.: Scarecrow, 2009. Print.)This progressive increase in elaborate adornment shows how the people became more comfortable in their city\'s ability to last, and their continued increase in income throughout the years.\n\n           The acropolis was received well in its time, the athenians being very spiritual, and community-oriented, enjoyed the ability to worship en masse, and celebrate in the town epicenter. Every 4 years in athens the people had a celebration called Panatheaea (all-athenia), in which a luxurious woolen robe would be draped over the statue of athena inside the parthenon( for purposes of sacrifice). The celebration was thought to be a deliberate attempt to contend with the olympics for popularity. The acropolis also gave the more wealthy people in athens a heightened sense of security, because they could now establish their homes inside the agora, or the marketplace area of the acropolis. This was the lowest area of the acropolis, but still within the walls. The agora could definitely be considered the city center, where celebrations and meetings would take place regularly. The greeks at the time were centered around worship of female goddesses as their primary deities, and the temples and caryatids (statues integrated as support beams) around the city represented that.\n\n             The athens acropolis in specific was  different than most of the others in its time because its walls were built almost twice as thick as most, and were built up to 30 feet high in some places. It was one of the few greek cities at the time to employ cyclopean architecture, which was mostly being utilized in rome and other parts of italy. The athenians had a strong relationship with the smaller cities surrounding them, which gave them a powerful economy, and a large group of allies in times of need. The acropolis was innovative in that it was built with the intention to last far into the future, as one of the first long-term permanent settlements for their culture. They built athens as a trade and religious center, in order to draw other greeks to the city and its surrounding areas. The People of athens love the acropolis to this day, festivals and celebrations have been hosted inside the walls for ages. In the time of its contruction, the acropolis was mainly a place of study for religion and science. Modern times have really turned the intention away from its original values, and to more celebratory, and anthropological research.\n\n             It is important for us to remember that the acropolis at athens hosts some of the most famous     and impressive historical buildings of all time. The Parthenon itself is still a modern marvel, the building is built around the golden ratio of mathematics, which has been found to be not only one of the most structurally sound, but aesthetically pleasing to people. This measurement ratio also makes the  structure stronger, as for some reason it distributes pressure more equally to the whole of the frame.   Some of the most famous relics in the world have been removed by looters and collectors throughout the ages, while some have been returned, a good many are still being recovered by the greek government to this day. The restoration processes have included adding titanium supports to the columns and roof frames, re-foundation of many buildings, and cleaning the stone and various material to the best of their abilities. In june, 2009, the greek government opened up a museum dedicated to the acropolis, with exhibits illustrating its rich history of war, art, philosophy, architecture, etc. (Athens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas - GR). Web. 15 Feb. 2011. .)\n','The Acropolis in Athens','','inherit','open','open','','174-revision-3','','','2011-02-16 14:35:56','2011-02-16 20:35:56','',174,'http://jeanatacc.com/2011/?p=205',0,'revision','',0),(247,27,'2011-02-16 17:53:06','2011-02-16 23:53:06','        The acropolis shows an important development in greek culture, the athenian people were proud of their tall fortress. I find it meaningful in that its completion set the standard for athenian dominance and progress for hundreds of years. The acropolis has giant beautiful walls, and thoughtful design throughout. The building of; and the finished product that became the acropolis gave the people of athens a national symbol of strength and prosperity to put their faith and effort behind. (Hellenic Ministry)  To the athenian, the fortress would and could protect them from any danger they could conceive at the time.<!--more-->\n\n          It is important to note that athens is an early epicenter of greek history, the acropolis helped them become the only greek city-state that survived the doric invasions, which devastated most of the greek cities at the time. Athens\' existence allowed the greek people to have a permanent historical home throughout the centuries. The lion gate at Mycenae was also built at this time, it employed the same “post and lintel” construction type as the walls and main gate of athens. It made use of pressure distribution through the setting of triangular stones at the base of the structure. The athenian acropolis was typical of its era in that most every greek city-state at the time had an acropilis, but athens was set apart by location and economic oppurtunity . Their rich coffers allowed them to build high walls, dig deep wells, and make a highly defensible, and self sufficient city. They were capable of fending off attackers for longer periods of time due to interior wells, and large food stores. “According to legend, king Theseus united the towns into one administrative entity (known as synoikismos), and this synoikismos appears to have been instrumental in the city’s survival when most of the other Mycenaean centers were destroyed around 1200 BCE by invading hordes from mainland Greece, or due to a possible invasion of tribes from the North (what many refer to as the Doric invasion). While all other Mycenaean centers, including mighty Mycenae, were deserted during this period, Athens was the only town to remain inhabited and active”(Sakoulas). This partnership with the surrounding communities helped athens withstand the forces of time, and even their enemies.\n\n        The oldest buildings have large, but simple, round columns, whereas the increasingly more modern buildings have ornate design. For example the columns of the  newer buildings are fluted, and the even more modern and complicated buildings have acanthus leaves carved in along with vines.(Palmer, Allison Lee.A to Z of Architecture. Lanham, Md. etc.: Scarecrow, 2009. Print.)This progressive increase in elaborate adornment shows how the people became more comfortable in their city\'s ability to last, and their continued increase in income throughout the years.\n\n           The acropolis was received well in its time, the athenians being very spiritual, and community-oriented, enjoyed the ability to worship en masse, and celebrate in the town epicenter. Every 4 years in athens the people had a celebration called Panatheaea (all-athenia), in which a luxurious woolen robe would be draped over the statue of athena inside the parthenon( for purposes of sacrifice). The celebration was thought to be a deliberate attempt to contend with the olympics for popularity. The acropolis also gave the more wealthy people in athens a heightened sense of security, because they could now establish their homes inside the agora, or the marketplace area of the acropolis. This was the lowest area of the acropolis, but still within the walls. The agora could definitely be considered the city center, where celebrations and meetings would take place regularly. The greeks at the time were centered around worship of female goddesses as their primary deities, and the temples and caryatids (statues integrated as support beams) around the city represented that.\n\n             The athens acropolis in specific was  different than most of the others in its time because its walls were built almost twice as thick as most, and were built up to 30 feet high in some places. It was one of the few greek cities at the time to employ cyclopean architecture, which was mostly being utilized in rome and other parts of italy. The athenians had a strong relationship with the smaller cities surrounding them, which gave them a powerful economy, and a large group of allies in times of need. The acropolis was innovative in that it was built with the intention to last far into the future, as one of the first long-term permanent settlements for their culture. They built athens as a trade and religious center, in order to draw other greeks to the city and its surrounding areas. The People of athens love the acropolis to this day, festivals and celebrations have been hosted inside the walls for ages. In the time of its contruction, the acropolis was mainly a place of study for religion and science. Modern times have really turned the intention away from its original values, and to more celebratory, and anthropological research.\n\n             It is important for us to remember that the acropolis at athens hosts some of the most famous     and impressive historical buildings of all time. The Parthenon itself is still a modern marvel, the building is built around the golden ratio of mathematics, which has been found to be not only one of the most structurally sound, but aesthetically pleasing to people. This measurement ratio also makes the  structure stronger, as for some reason it distributes pressure more equally to the whole of the frame.   Some of the most famous relics in the world have been removed by looters and collectors throughout the ages, while some have been returned, a good many are still being recovered by the greek government to this day. The restoration processes have included adding titanium supports to the columns and roof frames, re-foundation of many buildings, and cleaning the stone and various material to the best of their abilities. In june, 2009, the greek government opened up a museum dedicated to the acropolis, with exhibits illustrating its rich history of war, art, philosophy, architecture, etc. (Athens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas)\n','The Acropolis in Athens','','inherit','open','open','','174-revision-5','','','2011-02-16 17:53:06','2011-02-16 23:53:06','',174,'http://jeanatacc.com/2011/?p=247',0,'revision','',0),(207,27,'2011-02-16 14:41:25','2011-02-16 20:41:25','        The acropolis shows an important development in greek culture, the athenian people were proud of their tall fortress. I find it meaningful in that its completion set the standard for athenian dominance and progress for hundreds of years. The acropolis has giant beautiful walls, and thoughtful design throughout. The building of; and the finished product that became the acropolis gave the people of athens a national symbol of strength and prosperity to put their faith and effort behind. (Hellenic Ministry)  To the athenian, the fortress would and could protect them from any danger they could conceive at the time.<!--more-->\r\n\r\n          It is important to note that athens is an early epicenter of greek history, the acropolis helped them become the only greek city-state that survived the doric invasions, which devastated most of the greek cities at the time. Athens\' existence allowed the greek people to have a permanent historical home throughout the centuries. The lion gate at Mycenae was also built at this time, it employed the same “post and lintel” construction type as the walls and main gate of athens. It made use of pressure distribution through the setting of triangular stones at the base of the structure. The athenian acropolis was typical of its era in that most every greek city-state at the time had an acropilis, but athens was set apart by location and economic oppurtunity . Their rich coffers allowed them to build high walls, dig deep wells, and make a highly defensible, and self sufficient city. They were capable of fending off attackers for longer periods of time due to interior wells, and large food stores. “According to legend, king Theseus united the towns into one administrative entity (known as synoikismos), and this synoikismos appears to have been instrumental in the city’s survival when most of the other Mycenaean centers were destroyed around 1200 BCE by invading hordes from mainland Greece, or due to a possible invasion of tribes from the North (what many refer to as the Doric invasion). While all other Mycenaean centers, including mighty Mycenae, were deserted during this period, Athens was the only town to remain inhabited and active”(Sakoulas). This partnership with the surrounding communities helped athens withstand the forces of time, and even their enemies.\r\n\r\n        The oldest buildings have large, but simple, round columns, whereas the increasingly more modern buildings have ornate design. For example the columns of the  newer buildings are fluted, and the even more modern and complicated buildings have acanthus leaves carved in along with vines.(Palmer, Allison Lee.A to Z of Architecture. Lanham, Md. etc.: Scarecrow, 2009. Print.)This progressive increase in elaborate adornment shows how the people became more comfortable in their city\'s ability to last, and their continued increase in income throughout the years.\r\n\r\n           The acropolis was received well in its time, the athenians being very spiritual, and community-oriented, enjoyed the ability to worship en masse, and celebrate in the town epicenter. Every 4 years in athens the people had a celebration called Panatheaea (all-athenia), in which a luxurious woolen robe would be draped over the statue of athena inside the parthenon( for purposes of sacrifice). The celebration was thought to be a deliberate attempt to contend with the olympics for popularity. The acropolis also gave the more wealthy people in athens a heightened sense of security, because they could now establish their homes inside the agora, or the marketplace area of the acropolis. This was the lowest area of the acropolis, but still within the walls. The agora could definitely be considered the city center, where celebrations and meetings would take place regularly. The greeks at the time were centered around worship of female goddesses as their primary deities, and the temples and caryatids (statues integrated as support beams) around the city represented that.\r\n\r\n             The athens acropolis in specific was  different than most of the others in its time because its walls were built almost twice as thick as most, and were built up to 30 feet high in some places. It was one of the few greek cities at the time to employ cyclopean architecture, which was mostly being utilized in rome and other parts of italy. The athenians had a strong relationship with the smaller cities surrounding them, which gave them a powerful economy, and a large group of allies in times of need. The acropolis was innovative in that it was built with the intention to last far into the future, as one of the first long-term permanent settlements for their culture. They built athens as a trade and religious center, in order to draw other greeks to the city and its surrounding areas. The People of athens love the acropolis to this day, festivals and celebrations have been hosted inside the walls for ages. In the time of its contruction, the acropolis was mainly a place of study for religion and science. Modern times have really turned the intention away from its original values, and to more celebratory, and anthropological research.\r\n\r\n             It is important for us to remember that the acropolis at athens hosts some of the most famous     and impressive historical buildings of all time. The Parthenon itself is still a modern marvel, the building is built around the golden ratio of mathematics, which has been found to be not only one of the most structurally sound, but aesthetically pleasing to people. This measurement ratio also makes the  structure stronger, as for some reason it distributes pressure more equally to the whole of the frame.   Some of the most famous relics in the world have been removed by looters and collectors throughout the ages, while some have been returned, a good many are still being recovered by the greek government to this day. The restoration processes have included adding titanium supports to the columns and roof frames, re-foundation of many buildings, and cleaning the stone and various material to the best of their abilities. In june, 2009, the greek government opened up a museum dedicated to the acropolis, with exhibits illustrating its rich history of war, art, philosophy, architecture, etc. (Athens Acropolis Museum.\" Acropolis of Athens, Attiki (Hellas - GR). Web. 15 Feb. 2011. .)\r\n','The Acropolis in Athens','','inherit','open','open','','174-revision-4','','','2011-02-16 14:41:25','2011-02-16 20:41:25','',174,'http://jeanatacc.com/2011/?p=207',0,'revision','',0),(208,29,'2011-02-16 14:42:16','2011-02-16 20:42:16','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\n\n<!--more-->\n\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\n\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\n\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\n\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\n\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\n\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\n\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\n\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\n\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\n\nWorks Cited\n\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\n\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\n\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\n\n2006. Print\n\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\n\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\n\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\n\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\n\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision-2','','','2011-02-16 14:42:16','2011-02-16 20:42:16','',199,'http://jeanatacc.com/2011/?p=208',0,'revision','',0),(209,26,'2011-02-16 14:29:09','2011-02-16 20:29:09','TCP PROPOSAL 1 - Kris Cooley\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span>\r\n\r\nby Sappho\r\n\r\n630-580 B.C.E\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite </span>is the piece of poetry written by Sappho . It is her only poem to make it through the ages in complete form, the rest of her work is fragmented or lost. This poem is a plea to Aphrodite to help with a broken heart and is seven stanzas long. It is believed that this peculiar poem was written to be performed for her cult to Aphrodite. (Graves)\r\n\r\nThis poem is typical of its era because it was written for the purpose of getting a god\'s attention or favor. During the time of its creation, gods were asked upon to intervene in common daily lives. This poem focuses on relieving the writer of grief of a lost love.\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span> was written as a lyric poem, Sappho created her poems to be sung accompanied by a lyre. She has often been acknowledged as one of the earliest poets to create lyric poetry. It wasn\'t documented until Dionysus of Halicarnassus quoted it in it\'s entirety. (Newlyn)\r\n\r\nSappho was exalted by many scholars and artists as a great lyrical poet. Her works were written down on papyrus and studied for approximately 300 years before their disappearance. Plato was said to call her his \"tenth muse\". (Columbia Electronic Encyclopedia, 6th Edition)\r\n\r\nPlato is credited with saying: “Some say the muses are nine - how careless - behold, Sappho of Lesbos is the tenth”.  (Anthologia Palantia)\r\n\r\nDioscorides  “greetings to you lady, as to the gods; for we still have your immortal daughters, your songs”.\r\n\r\nSolon, a contemporary of Sappho, is said to have heard a boy singing one of her songs, and asked him to teach it to him, so that he might learn it and die.\r\n\r\nToday, poets all over the world take the time to render their own translations of Sappho\'s work. She continues to inspire poets even in this modern age, which is an incredible accomplishment considering that Sappho herself never wrote down any of her poems.\r\n\r\nToday, many translations have been made, each poet that has taken upon this feat, has remade her poetry in their perception .\r\n\r\n\"Sappho’s oeuvre can be entered from\r\n\r\nmany different portals, and the Sapphic\r\n\r\nrealm of gold will have different aspects for\r\n\r\ndifferent readers.\" (Hadas)\r\n\r\nThe other type of poetry during Sappho\'s time was the epic poem. Homer is famous for writing <span style=\"text-decoration: underline\">The IIiad.</span> This was not a hymn meant to be sung for the gods, but instead a detailed description account of the gods, heroes, and war. This story was concieved on facts and didn\'t match the rhythmic feel of Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite.</span>\r\n\r\nAs I read Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite</span>, I was able to visualize emotion out of each line. It\'s not only a plea for help but also a statement of faith in her goddess, Aphrodite. The fragmented sentences causes a stop, pause, relate sensation to it. Yet I can feel the \'sway\' of each methodical syllable creating a natural tempo.\r\n\r\n\"Though Sappho\'s language is laden with color-adjectives and compound epithets typical of Greek lyric poetry, her syntax is simple and avoids rhetorical flourishes, creating the impression that we are directly witnessing her experience.\"  (Bloom)\r\n\r\nThis poem should be taken into the future, not only because of it’s extreme beauty, but as a testament of our breathe taking passion for this emotion called love. She embodied the essence that is love, by describing the pain of love not returned and a belief in her goddess’s mercy.\r\n\r\nBibliography\r\n\r\nNewlyn, Evelyn S. \"Sappho.\" Critical Survey of Poetry, Second Revised Edition (2003): 1-7. MagillOnLiterature Plus. EBSCO. Web\r\n\r\n\"Sappho.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. MasterFILE Premier. EBSCO.\r\n\r\nHadas, Rachel. \"The tenth muse.\" New Criterion 28.7 (2010): 67. MasterFILE Premier. EBSCO. Web\r\n\r\nBloom, Harold \"Human Sexuality\" Infobase Publishing, 2009 – 68\r\n\r\nGraves, Roy Neil. \"Sappho.\" Magill\'s Survey of World Literature, Revised Edition (2009): 1-5. MagillOnLiterature Plus. EBSCO. Web','Sappho-TCP1','','inherit','open','open','','171-revision-4','','','2011-02-16 14:29:09','2011-02-16 20:29:09','',171,'http://jeanatacc.com/2011/?p=209',0,'revision','',0),