INSERT INTO `wp_posts` VALUES (1272,7,'2011-05-05 07:25:42','2011-05-05 13:25:42','<p style=\"text-align: center\"><strong><em> </em></strong></p>\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n[caption id=\"attachment_893\" align=\"aligncenter\" width=\"300\" caption=\"Woodcut from William Caxton&#039;s second edition of the Canterbury Tales printed in 1483   http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png\"]<strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong></dt> <dd>Library of Congress North Reading Room mural  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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;--><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8pt\"> </span> </dd> </dl></div>\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong><strong> </strong>\r\n\r\nThe debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt;line-height: 200%\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (Geoffrey Chaucer).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n[caption id=\"attachment_896\" align=\"alignright\" width=\"200\" caption=\"Library of Congress North Reading Room mural  http://loc.gov/pictures/resource/highsm.03162/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a></dt> <dd>Portrait of Chaucer  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-qformat:yes;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-fareast-font-family:\"Times New Roman\";\r\nmso-fareast-theme-font:minor-fareast;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;\r\nmso-bidi-font-family:\"Times New Roman\";\r\nmso-bidi-theme-font:minor-bidi;}\r\n<span><a href=\"http://www.qwiki.com/q/#!/English_literature\"><span style=\"font-size: 10pt;line-height: 115%\">http://www.qwiki.com/q/#!/English_li</span><span style=\"font-size: 9pt;line-height: 115%\">terature</span></a></span></dd> </dl></div>\r\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt;line-height: 200%\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12pt;line-height: 200%\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span style=\"font-size: 12pt;line-height: 200%\">Equitan</span></em><span style=\"font-size: 12pt;line-height: 200%\">, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span> </span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt;line-height: 200%\"><em><span style=\"font-size: 12.0pt;line-height: 200%\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt;line-height: 200%\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(Geoffrey Chaucer).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt;line-height: 200%\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a></dt> <dd>Manuscript page from The Canterbury Tales  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-qformat:yes;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-fareast-font-family:\"Times New Roman\";\r\nmso-fareast-theme-font:minor-fareast;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;\r\nmso-bidi-font-family:\"Times New Roman\";\r\nmso-bidi-theme-font:minor-bidi;}&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><a href=\"http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/\"><span style=\"font-size: 8pt\">http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/</span></a><span style=\"font-size: 8pt\"> </span></p>\r\n\r\n</dd> </dl></div>\r\nFor instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt;line-height: 200%\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span>\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a></dt> <dd>Detail of manuscript Dante\'s Comedy  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-qformat:yes;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-fareast-font-family:\"Times New Roman\";\r\nmso-fareast-theme-font:minor-fareast;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;\r\nmso-bidi-font-family:\"Times New Roman\";\r\nmso-bidi-theme-font:minor-bidi;}&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal\"><a href=\"http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd\"><span style=\"font-size: 12pt;color: windowtext\">http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd</span></a><span style=\"font-size: 12pt\"> </span></p>\r\n\r\n</dd> </dl></div>\r\n&nbsp;\r\n\r\nDante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt;line-height: 200%\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt;line-height: 200%\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt;line-height: 200%\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt;line-height: 200%\">protagonists</span><span style=\"font-size: 12pt;line-height: 200%\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt;line-height: 200%\">Fiero</span><span style=\"font-size: 12pt;line-height: 200%\">). </span><span style=\"font-size: 12pt;line-height: 200%\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt;line-height: 200%\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt;line-height: 200%\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”(---G</span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\r\n\r\n<div class=\"mceTemp mceIEcenter\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a>[/caption]&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext;text-decoration: none\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\r\n\r\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n\r\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-17','','','2011-05-05 07:25:42','2011-05-05 13:25:42','',892,'http://jeanatacc.com/2011/?p=1272',0,'revision','',0),(1271,7,'2011-05-05 07:24:30','2011-05-05 13:24:30','<p style=\"text-align: center\"><strong><em> </em></strong></p>\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n[caption id=\"attachment_893\" align=\"aligncenter\" width=\"300\" caption=\"Woodcut from William Caxton&#039;s second edition of the Canterbury Tales printed in 1483   http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png\"]<strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong></dt> <dd>Library of Congress North Reading Room mural  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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;--><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8pt\"> </span> </dd> </dl></div>\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong><strong> </strong>\r\n\r\nThe debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt;line-height: 200%\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (Geoffrey Chaucer).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n[caption id=\"attachment_896\" align=\"alignright\" width=\"200\" caption=\"Library of Congress North Reading Room mural  http://loc.gov/pictures/resource/highsm.03162/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a></dt><dd>Portrait of Chaucer  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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 /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-qformat:yes;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin-top:0in;\r\n	mso-para-margin-right:0in;\r\n	mso-para-margin-bottom:10.0pt;\r\n	mso-para-margin-left:0in;\r\n	line-height:115%;\r\n	mso-pagination:widow-orphan;\r\n	font-size:11.0pt;\r\n	font-family:\"Calibri\",\"sans-serif\";\r\n	mso-ascii-font-family:Calibri;\r\n	mso-ascii-theme-font:minor-latin;\r\n	mso-fareast-font-family:\"Times New Roman\";\r\n	mso-fareast-theme-font:minor-fareast;\r\n	mso-hansi-font-family:Calibri;\r\n	mso-hansi-theme-font:minor-latin;\r\n	mso-bidi-font-family:\"Times New Roman\";\r\n	mso-bidi-theme-font:minor-bidi;}\r\n <span><a href=\"http://www.qwiki.com/q/#!/English_literature\"><span style=\"font-size: 10pt;line-height: 115%\">http://www.qwiki.com/q/#!/English_li</span><span style=\"font-size: 9pt;line-height: 115%\">terature</span></a></span></dd></dl></div>\r\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt;line-height: 200%\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12pt;line-height: 200%\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span style=\"font-size: 12pt;line-height: 200%\">Equitan</span></em><span style=\"font-size: 12pt;line-height: 200%\">, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span></span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt;line-height: 200%\"><em><span style=\"font-size: 12.0pt;line-height: 200%\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt;line-height: 200%\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(Geoffrey Chaucer).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt;line-height: 200%\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\r\n\r\n<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a></dt><dd>Manuscript page from The Canterbury Tales  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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 /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-qformat:yes;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin-top:0in;\r\n	mso-para-margin-right:0in;\r\n	mso-para-margin-bottom:10.0pt;\r\n	mso-para-margin-left:0in;\r\n	line-height:115%;\r\n	mso-pagination:widow-orphan;\r\n	font-size:11.0pt;\r\n	font-family:\"Calibri\",\"sans-serif\";\r\n	mso-ascii-font-family:Calibri;\r\n	mso-ascii-theme-font:minor-latin;\r\n	mso-fareast-font-family:\"Times New Roman\";\r\n	mso-fareast-theme-font:minor-fareast;\r\n	mso-hansi-font-family:Calibri;\r\n	mso-hansi-theme-font:minor-latin;\r\n	mso-bidi-font-family:\"Times New Roman\";\r\n	mso-bidi-theme-font:minor-bidi;}\r\n \r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><a href=\"http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/\"><span style=\"font-size: 8pt\">http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/</span></a><span style=\"font-size: 8pt\"> </span></p>\r\n\r\n</dd></dl></div>\r\nFor instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt;line-height: 200%\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span>\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a></dt><dd>Detail of manuscript Dante\'s Comedy  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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 /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-qformat:yes;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin-top:0in;\r\n	mso-para-margin-right:0in;\r\n	mso-para-margin-bottom:10.0pt;\r\n	mso-para-margin-left:0in;\r\n	line-height:115%;\r\n	mso-pagination:widow-orphan;\r\n	font-size:11.0pt;\r\n	font-family:\"Calibri\",\"sans-serif\";\r\n	mso-ascii-font-family:Calibri;\r\n	mso-ascii-theme-font:minor-latin;\r\n	mso-fareast-font-family:\"Times New Roman\";\r\n	mso-fareast-theme-font:minor-fareast;\r\n	mso-hansi-font-family:Calibri;\r\n	mso-hansi-theme-font:minor-latin;\r\n	mso-bidi-font-family:\"Times New Roman\";\r\n	mso-bidi-theme-font:minor-bidi;}\r\n \r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal\"><a href=\"http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd\"><span style=\"font-size: 12pt;color: windowtext\">http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd</span></a><span style=\"font-size: 12pt\"> </span></p>\r\n\r\n</dd></dl></div>\r\n&nbsp;\r\n\r\nDante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt;line-height: 200%\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt;line-height: 200%\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt;line-height: 200%\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt;line-height: 200%\">protagonists</span><span style=\"font-size: 12pt;line-height: 200%\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt;line-height: 200%\">Fiero</span><span style=\"font-size: 12pt;line-height: 200%\">). </span><span style=\"font-size: 12pt;line-height: 200%\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt;line-height: 200%\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt;line-height: 200%\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”(---G</span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\r\n\r\n<div class=\"mceTemp mceIEcenter\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a>[/caption]&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext;text-decoration: none\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\r\n\r\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n\r\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-16','','','2011-05-05 07:24:30','2011-05-05 13:24:30','',892,'http://jeanatacc.com/2011/?p=1271',0,'revision','',0),(1274,7,'2011-05-05 07:34:45','2011-05-05 13:34:45','<p style=\"text-align: center\"><strong><em> </em></strong></p>\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n[caption id=\"attachment_893\" align=\"aligncenter\" width=\"300\" caption=\"Woodcut from William Caxton&#039;s second edition of the Canterbury Tales printed in 1483   http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png\"]<strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong></dt> <dd>Library of Congress North Reading Room mural  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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;--><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8pt\"> </span> </dd> </dl></div>\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong><strong> </strong>\r\n\r\nThe debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt;line-height: 200%\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (Geoffrey Chaucer).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n[caption id=\"attachment_896\" align=\"alignright\" width=\"200\" caption=\"Library of Congress North Reading Room mural  http://loc.gov/pictures/resource/highsm.03162/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a></dt> <dd>Portrait of Chaucer  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-qformat:yes;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-fareast-font-family:\"Times New Roman\";\r\nmso-fareast-theme-font:minor-fareast;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;\r\nmso-bidi-font-family:\"Times New Roman\";\r\nmso-bidi-theme-font:minor-bidi;}\r\n<span><a href=\"http://www.qwiki.com/q/#!/English_literature\"><span style=\"font-size: 10pt;line-height: 115%\">http://www.qwiki.com/q/#!/English_li</span><span style=\"font-size: 9pt;line-height: 115%\">terature</span></a></span></dd> </dl></div>\r\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt;line-height: 200%\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12pt;line-height: 200%\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span style=\"font-size: 12pt;line-height: 200%\">Equitan</span></em><span style=\"font-size: 12pt;line-height: 200%\">, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span> </span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt;line-height: 200%\"><em><span style=\"font-size: 12.0pt;line-height: 200%\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt;line-height: 200%\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(Geoffrey Chaucer).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt;line-height: 200%\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a></dt> <dd>Manuscript page from The Canterbury Tales  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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;--><a href=\"http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/\"><span style=\"font-size: 8pt\">http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/</span></a><span style=\"font-size: 8pt\"> </span> </dd> </dl></div>\r\nFor instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt;line-height: 200%\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span>\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a></dt> <dd>Detail of manuscript Dante\'s Comedy  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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;--><a href=\"http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd\"><span style=\"font-size: 12pt;color: windowtext\">http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd</span></a><span style=\"font-size: 12pt\"> </span> </dd> </dl></div>\r\n&nbsp;\r\n\r\nDante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt;line-height: 200%\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt;line-height: 200%\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt;line-height: 200%\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt;line-height: 200%\">protagonists</span><span style=\"font-size: 12pt;line-height: 200%\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt;line-height: 200%\">Fiero</span><span style=\"font-size: 12pt;line-height: 200%\">). </span><span style=\"font-size: 12pt;line-height: 200%\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt;line-height: 200%\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt;line-height: 200%\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”( Gaius</span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\r\n\r\n<div class=\"mceTemp mceIEcenter\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a>[/caption]&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext;text-decoration: none\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\r\n\r\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n\r\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-19','','','2011-05-05 07:34:45','2011-05-05 13:34:45','',892,'http://jeanatacc.com/2011/?p=1274',0,'revision','',0),(1273,7,'2011-05-05 07:31:20','2011-05-05 13:31:20','<p style=\"text-align: center\"><strong><em> </em></strong></p>\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n[caption id=\"attachment_893\" align=\"aligncenter\" width=\"300\" caption=\"Woodcut from William Caxton&#039;s second edition of the Canterbury Tales printed in 1483   http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png\"]<strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong></dt> <dd>Library of Congress North Reading Room mural  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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;--><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8pt\"> </span> </dd> </dl></div>\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong><strong> </strong>\r\n\r\nThe debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt;line-height: 200%\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (Geoffrey Chaucer).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n[caption id=\"attachment_896\" align=\"alignright\" width=\"200\" caption=\"Library of Congress North Reading Room mural  http://loc.gov/pictures/resource/highsm.03162/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a></dt> <dd>Portrait of Chaucer  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-qformat:yes;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-fareast-font-family:\"Times New Roman\";\r\nmso-fareast-theme-font:minor-fareast;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;\r\nmso-bidi-font-family:\"Times New Roman\";\r\nmso-bidi-theme-font:minor-bidi;}\r\n<span><a href=\"http://www.qwiki.com/q/#!/English_literature\"><span style=\"font-size: 10pt;line-height: 115%\">http://www.qwiki.com/q/#!/English_li</span><span style=\"font-size: 9pt;line-height: 115%\">terature</span></a></span></dd> </dl></div>\r\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt;line-height: 200%\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12pt;line-height: 200%\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span style=\"font-size: 12pt;line-height: 200%\">Equitan</span></em><span style=\"font-size: 12pt;line-height: 200%\">, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span> </span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt;line-height: 200%\"><em><span style=\"font-size: 12.0pt;line-height: 200%\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt;line-height: 200%\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(Geoffrey Chaucer).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt;line-height: 200%\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a></dt> <dd>Manuscript page from The Canterbury Tales  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-qformat:yes;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-fareast-font-family:\"Times New Roman\";\r\nmso-fareast-theme-font:minor-fareast;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;\r\nmso-bidi-font-family:\"Times New Roman\";\r\nmso-bidi-theme-font:minor-bidi;}&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><a href=\"http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/\"><span style=\"font-size: 8pt\">http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/</span></a><span style=\"font-size: 8pt\"> </span></p>\r\n\r\n</dd> </dl></div>\r\nFor instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt;line-height: 200%\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span>\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a></dt> <dd>Detail of manuscript Dante\'s Comedy  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-qformat:yes;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-fareast-font-family:\"Times New Roman\";\r\nmso-fareast-theme-font:minor-fareast;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;\r\nmso-bidi-font-family:\"Times New Roman\";\r\nmso-bidi-theme-font:minor-bidi;}&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal\"><a href=\"http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd\"><span style=\"font-size: 12pt;color: windowtext\">http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd</span></a><span style=\"font-size: 12pt\"> </span></p>\r\n\r\n</dd> </dl></div>\r\n&nbsp;\r\n\r\nDante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt;line-height: 200%\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt;line-height: 200%\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt;line-height: 200%\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt;line-height: 200%\">protagonists</span><span style=\"font-size: 12pt;line-height: 200%\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt;line-height: 200%\">Fiero</span><span style=\"font-size: 12pt;line-height: 200%\">). </span><span style=\"font-size: 12pt;line-height: 200%\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt;line-height: 200%\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt;line-height: 200%\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”(---G</span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\r\n\r\n<div class=\"mceTemp mceIEcenter\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a>[/caption]&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext;text-decoration: none\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\r\n\r\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n\r\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-18','','','2011-05-05 07:31:20','2011-05-05 13:31:20','',892,'http://jeanatacc.com/2011/?p=1273',0,'revision','',0),(1276,1,'2011-05-05 00:11:36','2011-05-05 06:11:36','<div><em><span style=\"font-size: x-large\"></span></em></div>\r\n<em><span style=\"font-size: x-large\">\r\n<p style=\"text-align: center\"> </p>\r\n\r\n</span></em>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Rumi-Meditation_new.jpg\"><img class=\"aligncenter size-full wp-image-1263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Rumi-Meditation_new.jpg\" alt=\"\" width=\"250\" height=\"247\" /></a></p>\r\n<p style=\"text-align: center\">RUMI\'S DIWAN-E SHAMS</p>\r\n<p style=\"text-align: center\">Rumi’s Diwan-e Shams (Jalaloddin Rumi) born on September 30, 1207 at Balkh in the north-eastern providence of Persia ( presence day Afghanistan ). Rumi’s has been regarded as one of the greatest spiritual masters and poetical intellects, in fact, there are several reasons on why Rumi’s poems were outstanding from his peers, while many other poets have a mystical vision of their poems and then try to express it in a understandable language, Rumi never attempted to bring his visions or poems to the level of the mundane, instead he has always expected, and demanded the reader to reach higher and higher in his or her own spiritual understanding, and then eventually be able to appreciate what he was truly saying. The most remarkable masterpiece created by Rumi’s was the Divan-e Shams a masterpiece of wisdom and eloquence. It is belief that Rumi had attained the level of a \"Perfect Master\" and as such, he dwelled in the spiritual realms that were rarely visited by others of this world, Moreover he attained heights that were attained by only a few before him or since. Based on the importance and mysterious poems from the masterpiece of Rumi’s (Diwan-e Shams) the scriptures should be preserved and past on from generation to generation to demonstrate the importance of god in mans life.</p>\r\n\r\n\r\nRumi’s life: At the age of 24 Rumi’s had fallowed the footsteps of his father, he distinguished scholar, as a teacher and preacher of religious sciences at the college in Konya, he was living a wealthy and respectful life but he was dissatisfy at that time. At the age of 37 he met a wandering dervish (a Muslim religious order) named Shamsuddin of Tabriz who saw in in rumi’s to much proud by the way of his scholar knowledge and authority. so as a result both rumi’s and Shamsuddin spend 90 days in a private retreat and both emerged themselves in to spiritual transformation, as consequence of this Rumi’s gave up everything that he had at that time and dedicated his life to a prolific outpouring of poetry he later named his collection the <em>Diwan-i Shams-i Tabriz-i</em> (The Works of Shams of Tabriz) in honor of Shamsuddin. In addiction, The <em>Diwan</em> consists of about 40,000 verses, arranged according to rhythm, and was written over a period of 30 years. Furthermore, some of the most remarkable poems he wrote were THE MAN OF GOD , EMPTY THE GLASS OF YOUR DESIRE and THE ONE TRUE LIFE. in almost all his poems he interpreted love in all its forms, rumi’s explores the immortal theme of love as passion. He sees passionate love as a selfless experience that enriches one\'s life. However, almost all of Rumi\'s love poems are ambiguous they can be interpreted as addressing both the earthly love that exists between two people and the higher love that exists between humans and god. in fact, he gave many examples on how a real man should behave. one of the most interesting poems that I personally enjoyed the most was EMPTY THE GLASS OF YOUR DESIRE:\r\n\r\n“Join yourself to friends\r\n\r\nand know the joy of the soul.\r\n\r\nEnter the neighborhood of ruin\r\n\r\nwith those who drink to the dregs.\r\n\r\nEmpty the glass of your desire\r\n\r\nso that you won\'t be disgraced.\r\n\r\nStop looking for something out there\r\n\r\nand begin seeing within.\r\n\r\nOpen your arms if you want an embrace.\r\n\r\nBreak the earthen idols and release the radiance.\r\n\r\nWhy get involved with a hag like this world?\r\n\r\nYou know what it will cost.\r\n\r\nAnd three pitiful meals a day\r\n\r\nis all that weapons and violence can earn.\r\n\r\nAt night when the Beloved comes\r\n\r\nwill you be nodding on opium?\r\n\r\nIf you close your mouth to food,\r\n\r\nyou can know a sweeter taste.\r\n\r\nOur Host is no tyrant. We gather in a circle.\r\n\r\nSit down with us beyond the wheel of time.\r\n\r\nHere is the deal: give one life\r\n\r\nand receive a hundred.\r\n\r\nStop growling like dogs,\r\n\r\nand know the shepherd\'s care.\r\n\r\nYou keep complaining about others\r\n\r\nand all they owe you?\r\n\r\nWell, forget about them;\r\n\r\njust be in His presence.\r\n\r\nWhen the earth is this wide,\r\n\r\nwhy are you asleep in a prison?\r\n\r\nThink of nothing but the source of thought.\r\n\r\nFeed the soul; let the body fast.\r\n\r\nAvoid knotted ideas;\r\n\r\nuntie yourself in a higher world.\r\n\r\nLimit your talk\r\n\r\nfor the sake of timeless communion.\r\n\r\nAbandon life and the world,\r\n\r\nand find the life of the world.”\r\n\r\n(fiero 6 e )\r\n\r\nThese poem seems to aimed the most important values of life, it gives a brief description on how humans should live. in fact, it said that we should abandon life in the world and discover the real world which it means that we should not pay to much attention to materialism and instead we should look for the spirit of god and discover the real world. there many important facts that contribute to the accomplishments of rumi’s, amount the most important are how he created his poems. “To achieve the sublime states described in Rumi\'s verse, the sufist <em>mevlevi</em> (whirling dervishes) developed a mental and physical frenzy during their sacred dance. The ecstatic gyration produced <em>fana</em> (euphorias) that, according to the poet, \"liberate the spirits from the body\'s trap and wipe the records clean\" (Rumi 2007, 41). The whirling generated a mystic release from time and space and a call to \"Behold the power of God in his composure!\" . “The rapid rotation of the trunk and limbs freed the mind of idol worship, rid the soul of guilt, and intoxicated the spirit with an epiphany of self-surrender. Enraptured with thoughts of God and universal love, the dancer became free of formal religious forms and the greed and power-mongering around them.”(Facts On File, Inc., 2009) Yet there is more. While many of the translations of Rumi’s poetry have tried to convey the immense wisdom contained therein, often they overlook the musical and artistic beauty that they contain but especially in Divan-e Shams, Rumi has created such level of beauty through the use and mastery of musical rhythm and rhyme, that the reader not only can appreciate its wisdom, but also reach levels of ecstasy and mystical energy that is seldom found in other poems or any translations of his poetry. Rumi’s poetry should be preserved in addition to the bible books to demonstrate the importance of god in mans life. To sum all up Rumi\'s poetry has influenced not only Islamic literature and civilization but also world literature, philosophy, and culture therefore it should be well preserve as one of the greatest poems and most influential literature of its time.\r\n<div><span style=\"font-size: large\"></span></div>\r\n<span style=\"font-size: large\">\r\n<p style=\"text-align: center\">REFERENCES</p>\r\n \r\n\r\n</span>\r\n\r\nTHE HUMANISTIC TRADITION . 6 EDITION . GLORIA K FIERO\r\n\r\n<a href=\"mailto:S@ZBNet.com\">Shahriar Shahriari</a> 1998, Vancouver Canada, 1999 - 2005, Los Angeles, CA\r\n\r\nSnodgrass, Mary Ellen. \"Jalal ad-Din ar-Rumi.\" <em>Encyclopedia of the Literature of Empire</em>. New York: Facts On File, Inc., 2009. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. http://www.fofweb.com/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin= ELOE212&amp;SingleRecord=True (accessed May 5, 2011).\r\n\r\nMolana Jalal-e-Din Mohammad Molavi Rumi. Shahrzad Rouzrok. http ://www.iranchamber.com/literature/jrumi/molana_rumi.php.<span style=\"font-family: Verdana\">Thursday, May 05, 2011</span>\r\n\r\nShahriar Shahriari. Vancouver, Canada\r\n\r\nJuly 20, 1998\r\n\r\n　\r\n\r\n　\r\n\r\n　\r\n\r\n　\r\n\r\n　\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Rumi-Meditation_new.jpg\"><img class=\"aligncenter size-full wp-image-1263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Rumi-Meditation_new.jpg\" alt=\"\" width=\"250\" height=\"247\" /></a></p>\r\n<p style=\"text-align: center\">RUMI\'S DIWAN-E SHAMS</p>','RUMI\'S DIWAN-E SHAMS ','','inherit','open','open','','1262-revision-4','','','2011-05-05 00:11:36','2011-05-05 06:11:36','',1262,'http://jeanatacc.com/2011/?p=1276',0,'revision','',0),(1277,1,'2011-05-04 12:38:15','2011-05-04 18:38:15','<p style=\"text-align: center\">﻿<img class=\"alignnone\" src=\"http://theunexplainedmysteries.com/Images/bookdead2.jpg\" alt=\"\" width=\"456\" height=\"265\" />http://theunexplainedmysteries.com/Images/bookdead2.jpg</p>\r\nAs a compilation of spells, charms, passwords, hints, and magical formulas, the Book of the Dead was a guide for the deceased of Ancient Egypt on their journey to the next life.  For years, the Book of the Dead was gathered, reedited, and completed by many authors and compilers, producing what they initially called The Chapters of Coming Forth by Day (“Ancient”).  This collection was found on tomb walls, coffins, scarabs, and other objects, but is primarily known because of its illustrations on papyrus.  Although not given an exact date, the Book of the Dead was discovered in tombs as early as the Renaissance, leading to the misconception that it was the Bible equivalence for the Egyptian culture (Goelet).  This magnificent piece of history, however, provides a contradicting picture of the belief of life after death.  Composed and considered the standard afterlife text for the Egyptian elite in the 16<sup>th</sup> century, the Egyptian Book of the Dead became one of the most important artifacts in history that has assisted modern experts in understanding the culture and civilization of the ancient Egyptians.  Because humans, even today, naturally question the thought of what happens after death, I believe the Book of the Dead effectively gives insight to just one of the many views that people, throughout history, have established to comfort their uncertainties about life— providing its importance in its preservation for future generations to acknowledge.\r\n\r\n<!--more-->\r\n\r\nThe Book of the Dead prepared the souls for the passage toward their heavenly domain with the sun god, Amon, “or flourish in a realm where wheat grows high and the living souls of the dead enjoy feasting and singing” (Fiero).  The book was illustrated with ancient traditions and scenes that continued after death on this journey and included the depiction of the last judgment. Associated with the Nile River, Osiris, the god of the underworld, Lord of the Dead, oversees the ceremony of weighing the heart of the deceased Princess Entiu-ny with his wife, Isis.  During this ceremony, the deceased would first ritualistically deny a list of forty-two misdeeds as the confession (Goelet).  The heart, upon judgment of the princess, is then weighed against the figure of Truth on the Great Balance prepared by Anubis, the jackal-headed god of death (Fiero).  It was said that, “one’s heart had to be as light as a feather in relation to sin” to be worthy of an external existence rather than a “final death” (Goelet).  The Egyptians highly valued happiness in the afterlife and essentially devoted a lot of their time and energy for their journey, as seen in the illustrations on the papyrus.\r\n\r\nThe text incorporated more early Egyptian religious literature.  Among these, the Pyramid Texts-- “the oldest extant funerary literature in the world,” was included.  Because of such a great compilation, the text was divided into four main divisions: Heliopolitan version, Theban version, a hieroglyphic and hieratic character version, and finally the Saite version (Budge).  Aside from the belief of an afterlife, the references of multiple gods and the metaphorical reference of the Great Balance, provides the viewer a look into the religious culture of the Ancient Egyptians as they constituted a polytheistic conception of a greater being.\r\n\r\nThe Ancient Egyptians revolved their life around religion, specifically polytheism.  Like all of the ancient people, the Egyptians’ worship of many gods is associated with the geography, climate, and the natural environment that shaped their belief (Fiero).   According to Fiero, the sun made it possible to cultivate crops while the Nile left them fertile soil and a basis for their solar calendar, in which their civilization benefitted in wealth and order.  “In the regularity of the sun’s daily cycle and Nile’s annual deluge, ancient Egyptians found security” (Fiero).  From these gifts, the Egyptians were able to construct their theory of origin, describing the earth as a “flat platter floating on the waters of the underworld” in which a mound of silt was brought forth by the Nile (Fiero).  The self-generating Amon was then believed to be born.\r\n\r\nFiero goes on to state the symbolic importance of the sun’s daily ascent as “rebirth”, signifying “victory of the forces of day, light, purity, goodness, and life over those of night, darkness ignorance, evil, and death.”  Coincidentally, the recurring idea of “rebirth” can be seen in the story of Osiris.  According to the myth, after being slain, chopped, and thrown into the Nile by his evil brother, Set, Osiris was restored to life by his wife, Isis, Queen of Heaven.  Their son, Horus, ultimately became the ruler of Egypt after overthrowing Set (Fiero).  With resurrection as a central idea to the Ancient Egyptians, the Book of the Dead effectively illustrates this view of a continuous life.\r\n\r\nThe Book of the Dead proved to be typical of its era, simply because of its association with religion and the thought of an afterlife.  “There was never an ancient people who insisted upon believing that death was not the final act of a human being” (“Ancient”).  Through the text, historians were able to understand the Egyptian culture and their focus on taking great care of the body “to preserve it as a center of individual spirit manifestation.”  Upon the preservation of a body, all of the organs, with the exception of the heart, were removed, and preservatives were used to fill the body cavity (Fiero).  With the heart refrained from being removed, we can reference the scene of Princess Entiu-ny in the funerary text as her heart is weighed on the Great Scale.  There is no doubt that these two are correlated and thus proves the Book of the Dead’s significance in the preservation of the dead.\r\n\r\nDuring this time it was typical to mummify an Egyptian upon death along with placing in the tomb essential items such as food and weapons, as if preparing for a long journey (“Ancient”).  The Book of the Dead, as a matter of fact, was discovered in a tomb and therefore easily arguable that it was used as a tool or a guide for such a journey, and therefore fitting for the cultural context of this time.\r\n\r\nThe Book was rather unusual for its time, because although it is filled with realistic and graphic scenes for the funerary preparation, it surprisingly lacks illustrations depicting death and dying.  “For a people obsessed with the mortuary and funerary aspects of death, the Egyptians seldom dealt with the actual ways in which people lost their lives” (“Ancient”).  Also, as times were changing, the Book of the Dead was one of the first texts that “decreed that anyone who could afford the rituals would be entitled to follow the god Osiris into the afterlife” (“Ancient”).  This freedom was unfamiliar even to the Egyptians.  Funerary preparation and books were usually only meant for the pharaohs and other royals.  The Book of the Dead was associated with a great social and religious revolution, holding its unique place in Egyptian history.\r\n\r\nBecause the lives of the Ancient Egyptians greatly revolved around religion and the belief of an afterlife, they were optimistic about their souls after death as they would be guided safely in their journey.  “For them death may have been inevitable, but it was survivable” (Goelet).  The Book of the Dead was popular and greatly commissioned by the deceased before their death.  Because the promise of life after death seemingly dominated all of Egyptian culture, many paid to be granted “the help and protection of the gods while proclaiming the deceased’s identity with the gods” (Deurer).  The polytheistic belief enhanced their motivation to be among the greater beings to achieve this heavenly destination.\r\n\r\nToday, many individuals do not believe in life after death.  Many do not believe in multiple gods.  Instead, much of the world follows a monotheistic religion with the belief that the soul may live on to heaven or hell.  Despite these religious and culture disagreements, many agree that the Book is magnificent with its incredible illustrations and text that opens a window into history.  Goelet states, “There is probably no text in the popular imagination more closely associated with the ancient Egyptian beliefs about life after death than the work popularly known as the Egyptian Book of the Dead.”\r\n\r\nPersonally, the Book of the Dead caught my attention because of the illustrations and the scenes they portray both guide the living and the dead.  As the book guides the soul to its next life, it also guides the living to the “heart” of their culture and religious values.  This is one of my favorite pieces of art as it has so much meaning in the context.  The Egyptians seemed very loyal to their beliefs and passionate about their gods as seen in the Book of the Dead.  It’s amazing to see such variety of cultural and religious tradition throughout history, and I believe that the stories, pictures, and text will be able to catch the attention of future viewers as it caught mine.\r\n\r\nThe Egyptian Book of the Dead can be compared to the Tibetan Book of the Dead.  Although, similar in name, both provide different ways of achieving ultimate happiness.  Also called the <em>Bardo Thodol</em>, the Tibetan Book of the Dead was a “guide to spiritual and mental liberation” (Agha 896).  The Tibetan book focused primarily on self-awareness by meditation.  By meditating, the mind will able to control its own passage over the cycle of life, death, and rebirth (Agha 897).  This differs from that of Ancient Egyptians as they mainly focused on the life after death and spent much of their energy preparing for the anticipated journey of their final judgment.  Although a life after death to reach the heavens can be considered a spiritual liberation, the Egyptians incorporate nothing but their gods and cultural values.  The Tibetan book emphasizes the mind’s role as synonymous to the soul that continues on to the next state.  Although the <em>Bardo Thodol, </em>prepares you for the states after death, it can only be read by the living.  Along with the idea that “the book is a guide to liberation across the entire cycle of human existence,” the specification of only being read by the living is one of the main differences between Tibetan and Egyptian funerary scripts.\r\n\r\nWith similar name and similar misconception of bible equivalency, these two books share other similarities concerning life after death.   Just like in Egypt, the Tibetan book was a guide and a preparation for the deceased, although it called for much more effort from the conscious mind.  Tibetan Buddhists also viewed death as a process that took several days.  Because the Egyptians believed that preservation of the body was necessary and essential to your journey to the afterlife, they made sure that bodies were embalmed for ten weeks before internal organs were removed (Fiero).  The processes that were put in effect because of the importance placed on life after death was a similar belief of both cultures.\r\n\r\nSo much effort and precision was done to make sure lives were brought to eternal bliss.  This can be viewed in the Egyptian Book of the Dead as the spells, chants, and hints made sure their people were truly guided on their journey to ultimately appear on their judgment day.  There will always be the inevitable question of what happens next.  This book provides a magnificent insight to the lives of those from ancient history that have centered their cultural and spiritual beliefs around their faith.  I believe the Book of the Dead is essential for future generations, because it sparks interest in historical background of another’s cultures and beliefs of how they comforted their uncertainties through its mysterious text and illustrations.\r\n\r\n&nbsp;\r\n\r\n<!--more-->\r\n\r\nWorks Cited\r\n\r\nAgha, Asif. \"Tibetan Book of the Dead.\" <em>Macmillan Encyclopedia of Death and Dying</em>. Ed. Robert Kastenbaum. Vol. 2. New York: Macmillan Reference USA, 2002. 896-898. <em>Gale Virtual Reference Library</em>. Web. 2 May. 2011.  &lt;http://go.galegroup.com.lsproxy.austincc.edu&gt;.\r\nI used this reference to compare Tibetan Book of  the Dead to the Egyptian Book of the Dead.\r\n\r\n\"Ancient Egypt and the Afterlife.\" <em>The Gale Encyclopedia of the Unusual and Unexplained</em>. Ed. Brad Steiger and Sherry Hanson Steiger. Vol. 1. Detroit: Gale, 2003. 15-22. <em>Gale Virtual Reference Library</em>. Web. 1 May. 2011.  &lt;http://go.galegroup.com.lsproxy.austincc.edu&gt;.\r\nI used this reference to talk about how it was unusual for its time.\r\n\r\nBudge, E.A. Wallis.  “Egyptian Book of the Dead.”  <em>The Nazarean Way of Essenic Studies.</em> Web.  18 April 2011.  &lt;http://www.thenazareneway.com/index_egyptain_book_dead.htm&gt;.\r\nI used this website to help me with description and the historical context of the time.\r\n\r\nDeurer.  “The Egyptian Book of the Dead.”<em> Egypt Art</em>.  2010.  Web.  18 April 2011.  &lt;http://www.egyptartsite.com/book.html&gt;.\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\nI used this book to describe the historical context along with description of the book.\r\n\r\nGoelet, Ogden, Jr. \"Egyptian Book of the Dead.\" <em>Macmillan Encyclopedia of Death and Dying</em>. Ed. Robert Kastenbaum. Vol. 1. New York: Macmillan Reference USA, 2002. 251-253. <em>Gale Virtual Reference Library</em>. Web. 1 May. 2011.  &lt;http://go.galegroup.com.lsproxy.austincc.edu&gt;.\r\nI used this book to explain why it’s important today along with the dates of creation.\r\n\r\n&nbsp;','The Egyptian Book of the Dead','','inherit','open','open','','1251-revision-7','','','2011-05-04 12:38:15','2011-05-04 18:38:15','',1251,'http://jeanatacc.com/2011/?p=1277',0,'revision','',0),(1278,7,'2011-05-06 10:16:27','2011-05-06 16:16:27','<div class=\"mceTemp mceIEcenter\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Confucius.jpg\"><img class=\"size-medium wp-image-1178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Confucius-300x240.jpg\" alt=\"\" width=\"300\" height=\"240\" /></a></dt> <dd>The Master said, \"Learning without thought is labour lost; thought without learning is perilous.\"       <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: 200%\"><span style=\"font-size: 8.0pt;line-height: 200%\">http://www.btinternet.com/~glynhughes/squashed/confucius.htm</span></p>\r\n\r\n</dd> </dl></div>\r\n&nbsp;\r\n\r\nThe Analects are, in fact, a compilation of moral and ethical insights from the Chinese philosopher K’ong Fu-Tzu (551–479 b.c.e.), better known as Confucius (a Latin form of his Chinese name), supporting set principles for individual conduct and the ethical administration of government and community; guiding principles for a just and compassionate world or more succinctly described by Confucius, \"the supreme virtue of humanity\" (Confucius). Though this text is not the direct writings of Confucius\'s sayings, the Analects do provides an exceptional digest of his philosophical and idealistic concepts that continues to be a significant influence on education, society, and culture thought in China and in many other countries as well.<!--more-->\r\n\r\nInterpretations vary for these twenty books of the <em>Analects</em>, each running about five pages in English translation. The virtue of <em>Jen</em>, a key concept in the <em>Analects</em> refers to humanity, good, or reciprocity while the term <em>Tao</em> speaks to the correct obligations, actions, and conduct of individuals, families, and governments. Rituals, ceremonies, and group activities and the accepted their performance that encourages a link to that world which is beyond daily life is referred to as <em>Li</em>. The Analects emphasized the importance of independent thinking, identifying models in an abstract, universal style; a style was relevant to diverse cultures. This method of teaching has resulted in conflicting interpretations through the ages.  For example, the <em>Analects</em>’ emphasis on discipline, duty, and etiquette giving credence to Confucius notion that the state exists to serve its citizens; however, various political leaders use these same terms and concepts to validate autocratic government. In some ways the Analects are reminiscent of  Castiglione’s The Well-Rounded Person, Book Four of <em>The Courtier, “</em>must possess the refinements of a humanistic education” (Fiero). Though Castiglione asserts that should master all the skills of the medieval warrior and display the physical proficiency of a champion athlete” (Fiero), Confucius explains that a ruler should lead by the sway of his ethics. Two of characteristic considered vital for civilization, maintain and promote rituals and music, are set through moral example. If the ruler of the land cannot provide these things, the allegiance of his ministers vanishes along with the people’s confidence, resulting in a calamity for the realm.\r\n\r\nThe Chinese were humanist and their values reflected those of morality and righteous behavior. Confucius teachings hardly ever referred to gods and spirits and his did not contemplate the makeup of realism, yet Confucianism is often referred to as a religion. The wisdom of Confucius passed down through generations of Chinese, spoke to the social and political concepts of his time; ideas with roots as old as the Shang and Zhou dynasties. He taught that tradition was essential, respectfulness of one’s’ elders, and the exercise of <em>Li </em>(not simply performing ceremonies by rote, but applying a fitting reverence to the ritual.)  In the first following excerpts from the  <em>Analects </em> , Confucius reveals that it is the duty of humans to do nothing that may harm others; even give his own life to protect this tenant. While the second is the infamous “Golden Rule,” that one should act (do) toward others as one                                                       might act (do) on one’s own behalf.\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images-cartoon.jpg\"><img class=\"size-full wp-image-1184\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images-cartoon.jpg\" alt=\"\" width=\"240\" height=\"159\" /></a></dt> <dd><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 4.0in;text-indent: .5in;line-height: 200%\"><span>http://kisner.edublogs.org/</span></p>\r\n“At fifteen I set my heart upon learning.  At thirty, I had planted my feet firmly upon the ground.  At forty, I no longer suffered from perplexities.  At fifty, I knew what were the biddings of Heaven.  At sixty, I heard them with docile ear.  At seventy, I could follow the dictates of my own heart; for I no longer overstepped the boundaries of right.”\r\n\r\n</dd> </dl></div>\r\nThe Analects developed from the oral dissertation provided by Confucius in various conversations and instructive talks with his disciples. “…it was not at all clear at the time that the Confucian tradition was to emerge as the most powerful persuasion in Chinese history” (Ropp). After his death in 479 B.C.E., Confucius’ disciples worked diligently, collecting these works and transcribing them. It was not until 221 B.C.E., over 250 years after Confucius breathed his last breath, his followers were able complete the Analects used today. A common thread, weaving through the Analects: measured and judicious thought, action, and deed build strength of character and a superior human being. Qualities illustrated in the Analects include: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples.\r\n\r\nVery outspoken and often at odds with authority, Confucius had a reputation of “… at once more austere, more pompous, harsh even, and as a reinforcer of the status quo…” (Spence).  This assessment of Confucius has been linked to a celebrated Chinese historian, Ssu-ma Ch’ien (145-89 B.C.E.), who lived during the Han dynasty and, in part, caused this view of Confucius. In an effort to apply the appropriate importance of Confucius work to the historical contexts of the Historical Records, Ssu-ma Chi’ien’s tribute to Confucius and his work was located in the era of the early China ruling houses instead of placing him with “…other individual thinkers and statesmen…”  (Spencer). However, in the abstract of Confucius’s, Ssu-ma Ch’ien offered his touching yet succinct respect:\r\n\r\n“In this world there have been many people-from kings to wise men-who had a glory while they lived that ended after their death. But Confucius, though a simple commoner, has had his name transmitted for more than 10 generations; all those who study his works consider him their master. From the Son of Heaven, the princes, and the lords on down, anyone in the Central Kingdom who is dedicated to a life of learning, follows the precepts and the rules of the Master. Thus it is that we call him a true Sage” (Spencer).\r\n\r\nThe crumbling of the Zhou dynasty, in power since 1027 B.C.E. and the relocation of the capital farther east by the leaders of the Zhou dynasty placed the kingdom in danger; an unsafe, precarious position brought on by the aggressive Mongols and Turkic horsemen from Central Asia, as well as, escalating conflicts among the autonomous Chinese states. This instability in the land did not to impede the prosperity and industry of China. Examples of the Chinese ongoing development of these turbulent times include the development of “chopsticks, cast iron, square-holed coins, and finely lacquered objects...”(Fiero). China’s trade and its urban growth continued throughout this period. Interestingly, the Chinese intellectual minds during this time produced some of “China’s oldest moral and religious precepts,” paralleling similar developments in Greek philosophy of the same time (Fiero).\r\n\r\nA devastating event, impacting the Analects survival and that of other important texts, occurred in the Qin Dynasty, during which much of the territories’ history was lost in the infamous “book-burnings” and wars; “chronicles of events as far back as 1000 years before the Han Era” consisted of records of events were kept as a tradition by the Chinese court historians. (Fiero). The Qin dynasty favored the doctrine of Legalism in which evil was considered an inborn trait of all humans. Consequently, the severe Qin laws were able to derive a benefit from the validation for a \"civil and political oppressiveness of imperial authority…”  (Fiero).  All personally owned copies of Confucian works were ordered burned due to the Emperors’ disquiet over any resistance that might arise from the “free exercise of thought…” (Fiero).  He took further steps to insure his authority by executing political oppositionists and their families. The Qin empire was tripled in size by the Han leaders and reinstate Confucianism, Confucian texts, and the Confucian scholars/official.  And prosperity reigned during the Han dynasty with technological develops and advancements in farming techniques encouraging trade and industry within its borders and abroad. Innovations from this period of Chinese history prove the concentration and importance of Chinese technology of the age.\r\n\r\nConfucianism is “Cited as a major force behind East Asia\'s economic ‘miracles,’ it is now finding a renewed following among mainland Chinese grown disillusioned with communism” (Spencer). China has, in the past decade, embraced the Confucius dogmas as “… the old and venerable tradition of Confucianism, which is being revived by government officials, critical intellectuals and ordinary citizens” (Bell). For instance, during the 2008 opening ceremonies of the Olympic games hosted by China, quotes from the Analects of Confucius were used in place of the formerly and ever present quotes from Marx.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/bros.jpg\"><img class=\"size-medium wp-image-1185 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/bros-300x170.jpg\" alt=\"\" width=\"300\" height=\"170\" /></a>\r\n<p class=\"MsoNormal\" style=\"margin-left: 2.5in;line-height: 200%\"><span style=\"font-size: 8pt;line-height: 200%\">http://appleisblogging.blogspot.com/2008_08_01_archive.html</span></p>\r\n<strong>“The world’s peoples are all brothers” and “isn’t one of life’s greatest pleasures to have friends visiting from afar?” </strong>broadcasted around the world to billions of viewers. This \" ‘official’ Confucianism being revived today may be less dangerous — it emphasizes social harmony, meaning the peaceful resolution of conflicts — but it remains a conservative morality. Today, the most viable alternative to China\'s political status quo is left Confucianism” (Bigley). In the time of Confucius life and for hundreds of years to follow, The Analects of Confucius took its place in society as the ultimate guide to living a meaningful and fulfilling life. The resurgence of interest in Confucianism by the Chinese state government is an effort to soften its own world reputation as a harsh, autocratic, dictatorial government by, at least on the surface, infusing some of the humanistic ideals of Confucianism. However, even the government officials admit that its form of Confucianism is a more left focused style and the adherence to policy and obedience by its citizens is still expected.\r\n\r\nThe author of a more recent English and French translation of the <em>Analects, </em>Simon Leys claims the originally crafted text might have actually been the first to express human personage; that is, the life of an individual (Leys).\r\n\r\nIn general, The Analects of Confucius is a common sense handbook with a somewhat austere approach to life. The constant vigilance required to elevate ones being to that of <em>superior</em> is daunting in this writers’ opinion. It is understood that the life in a young country with abundant personal freedoms would certainly color ones judgment of such strict guidelines. Though, the concepts of working for communal good, living an ethical life, and treating others with compassion are values the writer cherishes, she does so with a much lighter approach than some of those expressed in the Analects of Confucius.\r\n\r\nTaoism is most influential religion or philosophy among the Chinese people after Confucianism. The Taoist scriptures, written in the sixth century B.C.E. are, as with The Analects of Confucius, a collection of moral and ethical codes intended to guide people in their everyday lives.    The Tao Te Ching [DOWduh jing], “Classic of the Way and Its Working,” and the Chaung-tsu [jwahng tzoo] are held in high esteem throughout the world, remaining prominent significant work of literature down through the centuries. The compilation of the Taoist canon is known as the Tao Tsang [dow tsahng]. The primary printing was in 1926 and consisted of 1,120 volumes, a significant number compared to the twenty books of the Analects.\r\n\r\nThe text of the Tao Tsang is assembled into the “Three Caverns,” which relate to three historic traditions of Taoism: the Supreme Clarity school; the Numinous Treasure school; and the Three Sovereigns school.  Each of these is then divided into twelve segments. “They are original revelations; divine talismans; interpretations; diagrams; chronologies and genealogies; moral codes; ceremonial decorum; rituals; esoteric techniques (alchemy, astrology, exorcism, etc.); lives of past Taoist worthies; hymns; and messages …” (Van Voorst). The Analects are written as they were delivered, in a dialog form and cover a range of ideals from a humanistic approach, ideals as mentioned earlier: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples.\r\n\r\nThe Analects of Confucius present a timeless personification of a society built on order and structure; a society that generates respect for all and encourages scholarship. Confucius words reach out from the pages of the Analects, seemingly speaking to present day issues as readily as it spoke to the issues of his time. For those seeking “the supreme virtue of humanity,” Confucius offers in brief and succinct axioms a fountain of knowledge from which to drink. The Analects  of Confucius is collection of moral and ethical principles advocated by the teacher/philosopher, Confucius. These principles guide individuals in matters of conduct and the moral administration of government and community. Analects do provides an exceptional digest of his philosophical and idealistic concepts that are sure to serve a new colony well by, continuing to be a significant influence on education, society, and culture thought.  For these reasons, The Analects of Confucius must be preserved for posterity.\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images.jpg\"><img class=\"size-full wp-image-1188\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images.jpg\" alt=\"\" width=\"211\" height=\"238\" /></a></dt> <dd>“When he is told one thing, he understands ten.”         <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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&nbsp;\r\n<p class=\"MsoNormal\"><span style=\"font-size: 8pt;line-height: 115%\"><a href=\"http://kisner.edublogs.org/\">http://kisner.edublogs.org/</a></span></p>\r\n\r\n</dd> </dl></div>\r\n<!--more-->\r\n<p style=\"text-align: center\"><strong>Cited Work</strong></p>\r\n&nbsp;\r\n\r\nBell, Daniel A.  Confucianism makes a comeback in China.  The Japan Times Online. <a href=\"http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html\">http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html</a> . July 10, 2008.\r\n\r\nSpence, Jonathan D. is George B. Adams. CONFUCIUS. Wilson Quarterly. Woodrow Wilson International Center for Scholars. 1993\r\n\r\nVan Voorst, Robert E.  <em>Taoism</em>. Anthology of World Scriptural Thomson Wadsworth. 2007. 6<sup>th</sup>. Page 162\r\n\r\nRopp, Paul S. <em>Heritage of China Contemporary Perspectives on Chinese Civilization</em>.1990 University of California Press, Berkeley, California. Page 121\r\n\r\nWaley, Arthur. The Book of Songs, The Ancient Chinese Classic of Poetry. Grover Press, New York, NY. 1996\r\n\r\nLeys, Simon (Pierre Ryckmans Governor General of Congo), <em>The Analects of Confucius Translation and Notes by Simon Leys</em>.  Introduction. W.W. Norton Company. New York, NY. (1997). Page xxx\r\n\r\nFiero, Gloria.<em> The Humanistic Tradition</em>. McGraw-Hill Companies, The. January 2010. 6<sup>th</sup> Edition.   Page B3.30\r\n\r\nConfucius<em>. The Analects of Confucius</em>. Penguin Books. London, England. 1979. 2.4.\r\n\r\n&nbsp;','Confucius’ Analects','','inherit','open','open','','1176-autosave','','','2011-05-06 10:16:27','2011-05-06 16:16:27','',1176,'http://jeanatacc.com/2011/?p=1278',0,'revision','',0),(1280,7,'2011-05-06 10:01:34','2011-05-06 16:01:34','<div class=\"mceTemp mceIEcenter\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Confucius.jpg\"><img class=\"size-medium wp-image-1178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Confucius-300x240.jpg\" alt=\"\" width=\"300\" height=\"240\" /></a></dt><dd>The Master said, \"Learning without thought is labour lost; thought without learning is perilous.\"       <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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: 200%\"><span style=\"font-size: 8.0pt;line-height: 200%\">http://www.btinternet.com/~glynhughes/squashed/confucius.htm</span></p>\r\n\r\n</dd></dl></div>\r\n&nbsp;\r\n\r\nThe Analects are, in fact, a compilation of moral and ethical insights from the Chinese philosopher K’ong Fu-Tzu (551–479 b.c.e.), better known as Confucius (a Latin form of his Chinese name), supporting set principles for individual conduct and the ethical administration of government and community; guiding principles for a just and compassionate world or more succinctly described by Confucius, \"the supreme virtue of humanity\" (Confucius). Though this text is not the direct writings of Confucius\'s sayings, the Analects do provides an exceptional digest of his philosophical and idealistic concepts that continues to be a significant influence on education, society, and culture thought in China and in many other countries as well.<!--more-->\r\n\r\nInterpretations vary for these twenty books of the <em>Analects</em>, each running about five pages in English translation. The virtue of <em>Jen</em>, a key concept in the <em>Analects</em> refers to humanity, good, or reciprocity while the term <em>Tao</em> speaks to the correct obligations, actions, and conduct of individuals, families, and governments. Rituals, ceremonies, and group activities and the accepted their performance that encourages a link to that world which is beyond daily life is referred to as <em>Li</em>. The Analects emphasized the importance of independent thinking, identifying models in an abstract, universal style; a style was relevant to diverse cultures. This method of teaching has resulted in conflicting interpretations through the ages.  For example, the <em>Analects</em>’ emphasis on discipline, duty, and etiquette giving credence to Confucius notion that the state exists to serve its citizens; however, various political leaders use these same terms and concepts to validate autocratic government. In some ways the Analects are reminiscent of  Castiglione’s The Well-Rounded Person, Book Four of <em>The Courtier, “</em>must possess the refinements of a humanistic education” (Fiero). Though Castiglione asserts that should master all the skills of the medieval warrior and display the physical proficiency of a champion athlete” (Fiero), Confucius explains that a ruler should lead by the sway of his ethics. Two of characteristic considered vital for civilization, maintain and promote rituals and music, are set through moral example. If the ruler of the land cannot provide these things, the allegiance of his ministers vanishes along with the people’s confidence, resulting in a calamity for the realm.\r\n\r\nThe Chinese were humanist and their values reflected those of morality and righteous behavior. Confucius teachings hardly ever referred to gods and spirits and his did not contemplate the makeup of realism, yet Confucianism is often referred to as a religion. The wisdom of Confucius passed down through generations of Chinese, spoke to the social and political concepts of his time; ideas with roots as old as the Shang and Zhou dynasties. He taught that tradition was essential, respectfulness of one’s’ elders, and the exercise of <em>Li </em>(not simply performing ceremonies by rote, but applying a fitting reverence to the ritual.)  In the first following excerpts from the  <em>Analects </em> , Confucius reveals that it is the duty of humans to do nothing that may harm others; even give his own life to protect this tenant. While the second is the infamous “Golden Rule,” that one should act (do) toward others as one                                                       might act (do) on one’s own behalf.\r\n<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images-cartoon.jpg\"><img class=\"size-full wp-image-1184\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images-cartoon.jpg\" alt=\"\" width=\"240\" height=\"159\" /></a></dt><dd><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-left: 4.0in;text-indent: .5in;line-height: 200%\"><span>http://kisner.edublogs.org/</span></p>\r\n\r\n“At fifteen I set my heart upon learning.  At thirty, I had planted my feet firmly upon the ground.  At forty, I no longer suffered from perplexities.  At fifty, I knew what were the biddings of Heaven.  At sixty, I heard them with docile ear.  At seventy, I could follow the dictates of my own heart; for I no longer overstepped the boundaries of right.” </dd></dl></div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe Analects developed from the oral dissertation provided by Confucius in various conversations and instructive talks with his disciples. “…it was not at all clear at the time that the Confucian tradition was to emerge as the most powerful persuasion in Chinese history” (Ropp). After his death in 479 B.C.E., Confucius’ disciples worked diligently, collecting these works and transcribing them. It was not until 221 B.C.E., over 250 years after Confucius breathed his last breath, his followers were able complete the Analects used today. A common thread, weaving through the Analects: measured and judicious thought, action, and deed build strength of character and a superior human being. Qualities illustrated in the Analects include: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples.\r\n\r\nVery outspoken and often at odds with authority, Confucius had a reputation of “… at once more austere, more pompous, harsh even, and as a reinforcer of the status quo…” (Spence).  This assessment of Confucius has been linked to a celebrated Chinese historian, Ssu-ma Ch’ien (145-89 B.C.E.), who lived during the Han dynasty and, in part, caused this view of Confucius. In an effort to apply the appropriate importance of Confucius work to the historical contexts of the Historical Records, Ssu-ma Chi’ien’s tribute to Confucius and his work was located in the era of the early China ruling houses instead of placing him with “…other individual thinkers and statesmen…”  (Spencer). However, in the abstract of Confucius’s, Ssu-ma Ch’ien offered his touching yet succinct respect:\r\n\r\n“In this world there have been many people-from kings to wise men-who had a glory while they lived that ended after their death. But Confucius, though a simple commoner, has had his name transmitted for more than 10 generations; all those who study his works consider him their master. From the Son of Heaven, the princes, and the lords on down, anyone in the Central Kingdom who is dedicated to a life of learning, follows the precepts and the rules of the Master. Thus it is that we call him a true Sage” (Spencer).\r\n\r\nThe crumbling of the Zhou dynasty, in power since 1027 B.C.E. and the relocation of the capital farther east by the leaders of the Zhou dynasty placed the kingdom in danger; an unsafe, precarious position brought on by the aggressive Mongols and Turkic horsemen from Central Asia, as well as, escalating conflicts among the autonomous Chinese states. This instability in the land did not to impede the prosperity and industry of China. Examples of the Chinese ongoing development of these turbulent times include the development of “chopsticks, cast iron, square-holed coins, and finely lacquered objects...”(Fiero). China’s trade and its urban growth continued throughout this period. Interestingly, the Chinese intellectual minds during this time produced some of “China’s oldest moral and religious precepts,” paralleling similar developments in Greek philosophy of the same time (Fiero).\r\n\r\nA devastating event, impacting the Analects survival and that of other important texts, occurred in the Qin Dynasty, during which much of the territories’ history was lost in the infamous “book-burnings” and wars; “chronicles of events as far back as 1000 years before the Han Era” consisted of records of events were kept as a tradition by the Chinese court historians. (Fiero). The Qin dynasty favored the doctrine of Legalism in which evil was considered an inborn trait of all humans. Consequently, the severe Qin laws were able to derive a benefit from the validation for a \"civil and political oppressiveness of imperial authority…”  (Fiero).  All personally owned copies of Confucian works were ordered burned due to the Emperors’ disquiet over any resistance that might arise from the “free exercise of thought…” (Fiero).  He took further steps to insure his authority by executing political oppositionists and their families. The Qin empire was tripled in size by the Han leaders and reinstate Confucianism, Confucian texts, and the Confucian scholars/official.  And prosperity reigned during the Han dynasty with technological develops and advancements in farming techniques encouraging trade and industry within its borders and abroad. Innovations from this period of Chinese history prove the concentration and importance of Chinese technology of the age.\r\n\r\nConfucianism is “Cited as a major force behind East Asia\'s economic ‘miracles,’ it is now finding a renewed following among mainland Chinese grown disillusioned with communism” (Spencer). China has, in the past decade, embraced the Confucius dogmas as “… the old and venerable tradition of Confucianism, which is being revived by government officials, critical intellectuals and ordinary citizens” (Bell). For instance, during the 2008 opening ceremonies of the Olympic games hosted by China, quotes from the Analects of Confucius were used in place of the formerly and ever present quotes from Marx.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/bros.jpg\"><img class=\"size-medium wp-image-1185 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/bros-300x170.jpg\" alt=\"\" width=\"300\" height=\"170\" /></a><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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 /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-qformat:yes;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin-top:0in;\r\n	mso-para-margin-right:0in;\r\n	mso-para-margin-bottom:10.0pt;\r\n	mso-para-margin-left:0in;\r\n	line-height:115%;\r\n	mso-pagination:widow-orphan;\r\n	font-size:11.0pt;\r\n	font-family:\"Calibri\",\"sans-serif\";\r\n	mso-ascii-font-family:Calibri;\r\n	mso-ascii-theme-font:minor-latin;\r\n	mso-fareast-font-family:\"Times New Roman\";\r\n	mso-fareast-theme-font:minor-fareast;\r\n	mso-hansi-font-family:Calibri;\r\n	mso-hansi-theme-font:minor-latin;\r\n	mso-bidi-font-family:\"Times New Roman\";\r\n	mso-bidi-theme-font:minor-bidi;}\r\n \r\n<p class=\"MsoNormal\" style=\"margin-left: 2.5in;line-height: 200%\"><span style=\"font-size: 8pt;line-height: 200%\">http://appleisblogging.blogspot.com/2008_08_01_archive.html</span></p>\r\n<strong>“The world’s peoples are all brothers” and “isn’t one of life’s greatest pleasures to have friends visiting from afar?” </strong>broadcasted around the world to billions of viewers. This \" ‘official’ Confucianism being revived today may be less dangerous — it emphasizes social harmony, meaning the peaceful resolution of conflicts — but it remains a conservative morality. Today, the most viable alternative to China\'s political status quo is left Confucianism” (Bigley). In the time of Confucius life and for hundreds of years to follow, The Analects of Confucius took its place in society as the ultimate guide to living a meaningful and fulfilling life. The resurgence of interest in Confucianism by the Chinese state government is an effort to soften its own world reputation as a harsh, autocratic, dictatorial government by, at least on the surface, infusing some of the humanistic ideals of Confucianism. However, even the government officials admit that its form of Confucianism is a more left focused style and the adherence to policy and obedience by its citizens is still expected.\r\n\r\nThe author of a more recent English and French translation of the <em>Analects, </em>Simon Leys claims the originally crafted text might have actually been the first to express human personage; that is, the life of an individual (Leys).\r\n\r\nIn general, The Analects of Confucius is a common sense handbook with a somewhat austere approach to life. The constant vigilance required to elevate ones being to that of <em>superior</em> is daunting in this writers’ opinion. It is understood that the life in a young country with abundant personal freedoms would certainly color ones judgment of such strict guidelines. Though, the concepts of working for communal good, living an ethical life, and treating others with compassion are values the writer cherishes, she does so with a much lighter approach than some of those expressed in the Analects of Confucius.\r\n\r\nTaoism is most influential religion or philosophy among the Chinese people after Confucianism. The Taoist scriptures, written in the sixth century B.C.E. are, as with The Analects of Confucius, a collection of moral and ethical codes intended to guide people in their everyday lives.    The Tao Te Ching [DOWduh jing], “Classic of the Way and Its Working,” and the Chaung-tsu [jwahng tzoo] are held in high esteem throughout the world, remaining prominent significant work of literature down through the centuries. The compilation of the Taoist canon is known as the Tao Tsang [dow tsahng]. The primary printing was in 1926 and consisted of 1,120 volumes, a significant number compared to the twenty books of the Analects.\r\n\r\nThe text of the Tao Tsang is assembled into the “Three Caverns,” which relate to three historic traditions of Taoism: the Supreme Clarity school; the Numinous Treasure school; and the Three Sovereigns school.  Each of these is then divided into twelve segments. “They are original revelations; divine talismans; interpretations; diagrams; chronologies and genealogies; moral codes; ceremonial decorum; rituals; esoteric techniques (alchemy, astrology, exorcism, etc.); lives of past Taoist worthies; hymns; and messages …” (Van Voorst). The Analects are written as they were delivered, in a dialog form and cover a range of ideals from a humanistic approach, ideals as mentioned earlier: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples.\r\n\r\nThe Analects of Confucius present a timeless personification of a society built on order and structure; a society that generates respect for all and encourages scholarship. Confucius words reach out from the pages of the Analects, seemingly speaking to present day issues as readily as it spoke to the issues of his time. For those seeking “the supreme virtue of humanity,” Confucius offers in brief and succinct axioms a fountain of knowledge from which to drink. The Analects  of Confucius is collection of moral and ethical principles advocated by the teacher/philosopher, Confucius. These principles guide individuals in matters of conduct and the moral administration of government and community. Analects do provides an exceptional digest of his philosophical and idealistic concepts that are sure to serve a new colony well by, continuing to be a significant influence on education, society, and culture thought.  For these reasons, The Analects of Confucius must be preserved for posterity.\r\n<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images.jpg\"><img class=\"size-full wp-image-1188\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images.jpg\" alt=\"\" width=\"211\" height=\"238\" /></a></dt><dd>“When he is told one thing, he understands ten.”         <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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 /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-qformat:yes;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin-top:0in;\r\n	mso-para-margin-right:0in;\r\n	mso-para-margin-bottom:10.0pt;\r\n	mso-para-margin-left:0in;\r\n	line-height:115%;\r\n	mso-pagination:widow-orphan;\r\n	font-size:11.0pt;\r\n	font-family:\"Calibri\",\"sans-serif\";\r\n	mso-ascii-font-family:Calibri;\r\n	mso-ascii-theme-font:minor-latin;\r\n	mso-fareast-font-family:\"Times New Roman\";\r\n	mso-fareast-theme-font:minor-fareast;\r\n	mso-hansi-font-family:Calibri;\r\n	mso-hansi-theme-font:minor-latin;\r\n	mso-bidi-font-family:\"Times New Roman\";\r\n	mso-bidi-theme-font:minor-bidi;}\r\n \r\n<p class=\"MsoNormal\"><span style=\"font-size: 8pt;line-height: 115%\"><a href=\"http://kisner.edublogs.org/\">http://kisner.edublogs.org/</a></span></p>\r\n\r\n</dd></dl></div>\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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 /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-qformat:yes;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin-top:0in;\r\n	mso-para-margin-right:0in;\r\n	mso-para-margin-bottom:10.0pt;\r\n	mso-para-margin-left:0in;\r\n	line-height:115%;\r\n	mso-pagination:widow-orphan;\r\n	font-size:11.0pt;\r\n	font-family:\"Calibri\",\"sans-serif\";\r\n	mso-ascii-font-family:Calibri;\r\n	mso-ascii-theme-font:minor-latin;\r\n	mso-fareast-font-family:\"Times New Roman\";\r\n	mso-fareast-theme-font:minor-fareast;\r\n	mso-hansi-font-family:Calibri;\r\n	mso-hansi-theme-font:minor-latin;\r\n	mso-bidi-font-family:\"Times New Roman\";\r\n	mso-bidi-theme-font:minor-bidi;}\r\n \r\n<p class=\"MsoNormal\"><span style=\"font-size: 8pt;line-height: 115%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;text-align: center\"><span style=\"font-size: 8pt;line-height: 115%\">Cited Work</span></p>\r\n\r\n<h1 style=\"line-height: 150%\"><span>Bell, Daniel A.<span> </span>Confucianism makes a comeback in China.<span> </span>The Japan Times Online. </span><span><a href=\"http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html\"><span style=\"color: windowtext\">http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html</span></a></span><span> . July 10, 2008.</span></h1>\r\n<h1 style=\"line-height: 150%\"><span>Spence, Jonathan D. is George B. Adams. CONFUCIUS. Wilson Quarterly. Woodrow Wilson International Center for Scholars. 1993</span></h1>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 8pt;line-height: 150%\"> Van Voorst, Robert E.<span> </span><em>Taoism</em>. Anthology of World Scriptural Thomson Wadsworth. 2007. 6<sup>th</sup>. Page 162</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 8pt;line-height: 150%\">Ropp, Paul S. <em>Heritage of China Contemporary Perspectives on Chinese Civilization</em>.1990 University of California Press, Berkeley, California. Page 121</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 8pt;line-height: 150%\">Waley, Arthur. The Book of Songs, The Ancient Chinese Classic of Poetry. Grover Press, New York, NY. 1996</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 150%\"><span style=\"font-size: 8pt;line-height: 150%\">Leys, Simon (Pierre Ryckmans Governor General of Congo), <em>The Analects of Confucius Translation and Notes by Simon Leys</em>. <span> </span>Introduction. W.W. Norton Company. New York, NY. (1997). Page xxx</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 150%\"><span style=\"font-size: 8pt;line-height: 150%\"> Fiero, Gloria.<em> The Humanistic Tradition</em>. McGraw-Hill Companies, The. January 2010. 6<sup>th</sup> Edition.<span> </span></span><span style=\"font-size: 8pt;line-height: 150%\">Page B3.30</span></p>\r\n<span> Confucius<em>. The Analects of Confucius</em>. Penguin Books. London, England. 1979. 2.4.</span><span><span> </span>Confucianism makes a comeback in China.<span> </span>The Japan Times Online. </span><a href=\"http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html\"><span>http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html</span></a><span> . July 10, 2008.</span>\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\">\r\n<h1><span>Spence, Jonathan D. is George B. Adams. CONFUCIUS. Wilson Quarterly. Woodrow Wilson International Center for Scholars. 1993</span></h1>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\">Van Voorst, Robert E.<span> </span><em>Taoism</em>. Anthology of World Scriptural Thomson Wadsworth. 2007. 6<sup>th</sup>. Page 162</p>\r\n<p class=\"MsoNormal\">Ropp, Paul S. <em>Heritage of China Cointemporary Perspectives on Chinese Civilization</em>.1990 University of California Press, Berkeley, California. Page 121</p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\">Waley, Arthur. The Book of Songs, The Ancient Chinese Classic of Poetry. Grover Press, New York, NY. 1996</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span style=\"font-size: 12.0pt;line-height: 115%\">Leys, Simon (Pierre Ryckmans Governor General of Congo), <em>The Analects of Confucius Translation and Notes by Simon Leys</em>. <span> </span>Introduction. W.W. Norton Company. New York, NY. (1997). Page xxx</span><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span>Fiero, Gloria.<em> The Humanistic Tradition</em>. McGraw-Hill Companies, The. January 2010. 6<sup>th</sup> Edition.<span> </span></span><span><span> </span></span><span>Page B3.30</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span style=\"font-size: 12.0pt;line-height: 115%;letter-spacing: -.1pt\">Confucius<em>. The Analects of Confucius</em>. Penguin Books. London, England. 1979. 2.4.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><span style=\"font-size: 12.0pt;letter-spacing: -.1pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><span> </span></p>\r\n\r\n</div>\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">http://www.btinternet.com/~glynhughes/squashed/confucius.htm</span></p>\r\n\r\n</div>','Confucius’ Analects','','inherit','open','open','','1176-revision-13','','','2011-05-06 10:01:34','2011-05-06 16:01:34','',1176,'http://jeanatacc.com/2011/?p=1280',0,'revision','',0),(1279,7,'2011-05-04 11:36:36','2011-05-04 17:36:36','[caption id=\"attachment_1178\" align=\"aligncenter\" width=\"300\" caption=\"The Master said, &quot;Learning without thought is labour lost; thought without learning is perilous.&quot;\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Confucius.jpg\"><img class=\"size-medium wp-image-1178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Confucius-300x240.jpg\" alt=\"\" width=\"300\" height=\"240\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\nThe Analects are, in fact, a compilation of moral and ethical insights from the Chinese philosopher K’ong Fu-Tzu (551–479 b.c.e.), better known as Confucius (a Latin form of his Chinese name), supporting set principles for individual conduct and the ethical administration of government and community; guiding principles for a just and compassionate world or more succinctly described by Confucius, \"the supreme virtue of humanity\" (Confucius). Though this text is not the direct writings of Confucius\'s sayings, the Analects do provides an exceptional digest of his philosophical and idealistic concepts that continues to be a significant influence on education, society, and culture thought in China and in many other countries as well.<!--more-->\r\n\r\nInterpretations vary for these twenty books of the <em>Analects</em>, each running about five pages in English translation. The virtue of <em>Jen</em>, a key concept in the <em>Analects</em> refers to humanity, good, or reciprocity while the term <em>Tao</em> speaks to the correct obligations, actions, and conduct of individuals, families, and governments. Rituals, ceremonies, and group activities and the accepted their performance that encourages a link to that world which is beyond daily life is referred to as <em>Li</em>. The Analects emphasized the importance of independent thinking, identifying models in an abstract, universal style; a style was relevant to diverse cultures. This method of teaching has resulted in conflicting interpretations through the ages.  For example, the <em>Analects</em>’ emphasis on discipline, duty, and etiquette giving credence to Confucius notion that the state exists to serve its citizens; however, various political leaders use these same terms and concepts to validate autocratic government. In some ways the Analects are reminiscent of  Castiglione’s The Well-Rounded Person, Book Four of <em>The Courtier, “</em>must possess the refinements of a humanistic education” (Fiero). Though Castiglione asserts that should master all the skills of the medieval warrior and display the physical proficiency of a champion athlete” (---F), Confucius explains that a ruler should lead by the sway of his ethics. Two of characteristic considered vital for civilization, maintain and promote rituals and music, are set through moral example. If the ruler of the land cannot provide these things, the allegiance of his ministers vanishes along with the people’s confidence, resulting in a calamity for the realm.\r\n\r\nThe Chinese were humanist and their values reflected those of morality and righteous behavior. Confucius teachings hardly ever referred to gods and spirits and his did not contemplate the makeup of realism, yet Confucianism is often referred to as a religion. The wisdom of Confucius passed down through generations of Chinese, spoke to the social and political concepts of his time; ideas with roots as old as the Shang and Zhou dynasties. He taught that tradition was essential, respectfulness of one’s’ elders, and the exercise of <em>Li </em>(not simply performing ceremonies by rote, but applying a fitting reverence to the ritual.)  In the first following excerpts from the  <em>Analects </em> , Confucius reveals that it is the duty of humans to do nothing that may harm others; even give his own life to protect this tenant. While the second is the infamous “Golden Rule,” that one should act (do) toward others as one                                                       might act (do) on one’s own behalf.\r\n\r\n[caption id=\"attachment_1184\" align=\"alignleft\" width=\"240\" caption=\"“At fifteen I set my heart upon learning.  At thirty, I had planted my feet firmly upon the ground.  At forty, I no longer suffered from perplexities.  At fifty, I knew what were the biddings of Heaven.  At sixty, I heard them with docile ear.  At seventy, I could follow the dictates of my own heart; for I no longer overstepped the boundaries of right.”  \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images-cartoon.jpg\"><img class=\"size-full wp-image-1184\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images-cartoon.jpg\" alt=\"\" width=\"240\" height=\"159\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe Analects developed from the oral dissertation provided by Confucius in various conversations and instructive talks with his disciples. “…it was not at all clear at the time that the Confucian tradition was to emerge as the most powerful persuasion in Chinese history” (Ropp). After his death in 479 B.C.E., Confucius’ disciples worked diligently, collecting these works and transcribing them. It was not until 221 B.C.E., over 250 years after Confucius breathed his last breath, his followers were able complete the Analects used today. A common thread, weaving through the Analects: measured and judicious thought, action, and deed build strength of character and a superior human being. Qualities illustrated in the Analects include: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples.\r\n\r\nVery outspoken and often at odds with authority, Confucius had a reputation of “… at once more austere, more pompous, harsh even, and as a reinforcer of the status quo…” (Spence).  This assessment of Confucius has been linked to a celebrated Chinese historian, Ssu-ma Ch’ien (145-89 B.C.E.), who lived during the Han dynasty and, in part, caused this view of Confucius. In an effort to apply the appropriate importance of Confucius work to the historical contexts of the Historical Records, Ssu-ma Chi’ien’s tribute to Confucius and his work was located in the era of the early China ruling houses instead of placing him with “…other individual thinkers and statesmen…”  (---S). However, in the abstract of Confucius’s, Ssu-ma Ch’ien offered his touching yet succinct respect:\r\n\r\n“In this world there have been many people-from kings to wise men-who had a glory while they lived that ended after their death. But Confucius, though a simple commoner, has had his name transmitted for more than 10 generations; all those who study his works consider him their master. From the Son of Heaven, the princes, and the lords on down, anyone in the Central Kingdom who is dedicated to a life of learning, follows the precepts and the rules of the Master. Thus it is that we call him a true Sage” (---S).\r\n\r\nThe crumbling of the Zhou dynasty, in power since 1027 B.C.E. and the relocation of the capital farther east by the leaders of the Zhou dynasty placed the kingdom in danger; an unsafe, precarious position brought on by the aggressive Mongols and Turkic horsemen from Central Asia, as well as, escalating conflicts among the autonomous Chinese states. This instability in the land did not to impede the prosperity and industry of China. Examples of the Chinese ongoing development of these turbulent times include the development of “chopsticks, cast iron, square-holed coins, and finely lacquered objects...”(Fiaro). China’s trade and its urban growth continued throughout this period. Interestingly, the Chinese intellectual minds during this time produced some of “China’s oldest moral and religious precepts,” paralleling similar developments in Greek philosophy of the same time (Fiaro).\r\n\r\nA devastating event, impacting the Analects survival and that of other important texts, occurred in the Qin Dynasty, during which much of the territories’ history was lost in the infamous “book-burnings” and wars; “chronicles of events as far back as 1000 years before the Han Era” consisted of records of events were kept as a tradition by the Chinese court historians. (---F). The Qin dynasty favored the doctrine of Legalism in which evil was considered an inborn trait of all humans. Consequently, the severe Qin laws were able to derive a benefit from the validation for a \"civil and political oppressiveness of imperial authority…”  (---F).  All personally owned copies of Confucian works were ordered burned due to the Emperors’ disquiet over any resistance that might arise from the “free exercise of thought…” (---F).  He took further steps to insure his authority by executing political oppositionists and their families. The Qin empire was tripled in size by the Han leaders and reinstate Confucianism, Confucian texts, and the Confucian scholars/official.  And prosperity reigned during the Han dynasty with technological develops and advancements in farming techniques encouraging trade and industry within its borders and abroad. Innovations from this period of Chinese history prove the concentration and importance of Chinese technology of the age.\r\n\r\nConfucianism is “Cited as a major force behind East Asia\'s economic ‘miracles,’ it is now finding a renewed following among mainland Chinese grown disillusioned with communism” (---S). China has, in the past decade, embraced the Confucius dogmas as “… the old and venerable tradition of Confucianism, which is being revived by government officials, critical intellectuals and ordinary citizens” (Bell). For instance, during the 2008 opening ceremonies of the Olympic games hosted by China, quotes from the Analects of Confucius were used in place of the formerly and ever present quotes from Marx.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/bros.jpg\"><img class=\"size-medium wp-image-1185 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/bros-300x170.jpg\" alt=\"\" width=\"300\" height=\"170\" /></a>\r\n\r\n<strong>“The world’s peoples are all brothers” and “isn’t one of life’s greatest pleasures to have friends visiting from afar?” </strong>broadcasted around the world to billions of viewers. This \" ‘official’ Confucianism being revived today may be less dangerous — it emphasizes social harmony, meaning the peaceful resolution of conflicts — but it remains a conservative morality. Today, the most viable alternative to China\'s political status quo is left Confucianism” (---B). In the time of Confucius life and for hundreds of years to follow, The Analects of Confucius took its place in society as the ultimate guide to living a meaningful and fulfilling life. The resurgence of interest in Confucianism by the Chinese state government is an effort to soften its own world reputation as a harsh, autocratic, dictatorial government by, at least on the surface, infusing some of the humanistic ideals of Confucianism. However, even the government officials admit that its form of Confucianism is a more left focused style and the adherence to policy and obedience by its citizens is still expected.\r\n\r\nThe author of a more recent English and French translation of the <em>Analects, </em>Simon Leys claims the originally crafted text might have actually been the first to express human personage; that is, the life of an individual (Leys).\r\n\r\nIn general, The Analects of Confucius is a common sense handbook with a somewhat austere approach to life. The constant vigilance required to elevate ones being to that of <em>superior</em> is daunting in this writers’ opinion. It is understood that the life in a young country with abundant personal freedoms would certainly color ones judgment of such strict guidelines. Though, the concepts of working for communal good, living an ethical life, and treating others with compassion are values the writer cherishes, she does so with a much lighter approach than some of those expressed in the Analects of Confucius.\r\n\r\nTaoism is most influential religion or philosophy among the Chinese people after Confucianism. The Taoist scriptures, written in the sixth century B.C.E. are, as with The Analects of Confucius, a collection of moral and ethical codes intended to guide people in their everyday lives.    The Tao Te Ching [DOWduh jing], “Classic of the Way and Its Working,” and the Chaung-tsu [jwahng tzoo] are held in high esteem throughout the world, remaining prominent significant work of literature down through the centuries. The compilation of the Taoist canon is known as the Tao Tsang [dow tsahng]. The primary printing was in 1926 and consisted of 1,120 volumes, a significant number compared to the twenty books of the Analects.\r\n\r\nThe text of the Tao Tsang is assembled into the “Three Caverns,” which relate to three historic traditions of Taoism: the Supreme Clarity school; the Numinous Treasure school; and the Three Sovereigns school.  Each of these is then divided into twelve segments. “They are original revelations; divine talismans; interpretations; diagrams; chronologies and genealogies; moral codes; ceremonial decorum; rituals; esoteric techniques (alchemy, astrology, exorcism, etc.); lives of past Taoist worthies; hymns; and messages …” (Van Voorst). The Analects are written as they were delivered, in a dialog form and cover a range of ideals from a humanistic approach, ideals as mentioned earlier: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples.\r\n\r\nThe Analects of Confucius present a timeless personification of a society built on order and structure; a society that generates respect for all and encourages scholarship. Confucius words reach out from the pages of the Analects, seemingly speaking to present day issues as readily as it spoke to the issues of his time. For those seeking “the supreme virtue of humanity,” Confucius offers in brief and succinct axioms a fountain of knowledge from which to drink. The Analects  of Confucius is collection of moral and ethical principles advocated by the teacher/philosopher, Confucius. These principles guide individuals in matters of conduct and the moral administration of government and community. Analects do provides an exceptional digest of his philosophical and idealistic concepts that are sure to serve a new colony well by, continuing to be a significant influence on education, society, and culture thought.  For these reasons, The Analects of Confucius must be preserved for posterity.\r\n\r\n[caption id=\"attachment_1188\" align=\"alignleft\" width=\"211\" caption=\"“When he is told one thing, he understands ten.” \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images.jpg\"><img class=\"size-full wp-image-1188\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images.jpg\" alt=\"\" width=\"211\" height=\"238\" /></a>[/caption]\r\n\r\n<!--more-->\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: 0.0001pt;text-align: center\"><span style=\"font-size: 12pt;line-height: 115%\">Cited Work</span></p>\r\n\r\n<h1 style=\"line-height: 150%\"><span>Bell, Daniel A.<span> </span>Confucianism makes a comeback in China.<span> </span>The Japan Times Online. </span><span><a href=\"http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html\"><span style=\"color: windowtext\">http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html</span></a></span><span> . July 10, 2008.</span></h1>\r\n<h1 style=\"line-height: 150%\"><span>Spence, Jonathan D. is George B. Adams. CONFUCIUS. Wilson Quarterly. Woodrow Wilson International Center for Scholars. 1993</span></h1>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 150%\"><span style=\"font-size: 12pt;line-height: 150%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12pt;line-height: 150%\">Van Voorst, Robert E.<span> </span><em>Taoism</em>. Anthology of World Scriptural Thomson Wadsworth. 2007. 6<sup>th</sup>. Page 162</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12pt;line-height: 150%\">Ropp, Paul S. <em>Heritage of China Contemporary Perspectives on Chinese Civilization</em>.1990 University of California Press, Berkeley, California. Page 121</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12pt;line-height: 150%\">Waley, Arthur. The Book of Songs, The Ancient Chinese Classic of Poetry. Grover Press, New York, NY. 1996</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 150%\"><span style=\"font-size: 12pt;line-height: 150%\">Leys, Simon (Pierre Ryckmans Governor General of Congo), <em>The Analects of Confucius Translation and Notes by Simon Leys</em>. <span> </span>Introduction. W.W. Norton Company. New York, NY. (1997). Page xxx</span></p>\r\n&nbsp;\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\">\r\n<h1><span>Daniel A.<span> </span>Confucianism makes a comeback in China.<span> </span>The Japan Times Online. </span><a href=\"http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html\"><span>http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html</span></a><span> . July 10, 2008.</span></h1>\r\n<h1><span>Spence, Jonathan D. is George B. Adams. CONFUCIUS. Wilson Quarterly. Woodrow Wilson International Center for Scholars. 1993</span></h1>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\">Van Voorst, Robert E.<span> </span><em>Taoism</em>. Anthology of World Scriptural Thomson Wadsworth. 2007. 6<sup>th</sup>. Page 162</p>\r\n<p class=\"MsoNormal\">Ropp, Paul S. <em>Heritage of China Cointemporary Perspectives on Chinese Civilization</em>.1990 University of California Press, Berkeley, California. Page 121</p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\">Waley, Arthur. The Book of Songs, The Ancient Chinese Classic of Poetry. Grover Press, New York, NY. 1996</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span style=\"font-size: 12.0pt;line-height: 115%\">Leys, Simon (Pierre Ryckmans Governor General of Congo), <em>The Analects of Confucius Translation and Notes by Simon Leys</em>. <span> </span>Introduction. W.W. Norton Company. New York, NY. (1997). Page xxx</span><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span>Fiero, Gloria.<em> The Humanistic Tradition</em>. McGraw-Hill Companies, The. January 2010. 6<sup>th</sup> Edition.<span> </span></span><span><span> </span></span><span>Page B3.30</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span style=\"font-size: 12.0pt;line-height: 115%;letter-spacing: -.1pt\">Confucius<em>. The Analects of Confucius</em>. Penguin Books. London, England. 1979. 2.4.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><span style=\"font-size: 12.0pt;letter-spacing: -.1pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><span> </span></p>\r\n\r\n</div>\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\">\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt\"><span><span> </span>Cited Work</span></p>\r\n\r\n<h1><span>Bell, Daniel A.<span> </span>Confucianism makes a comeback in China.<span> </span>The Japan Times Online. </span><a href=\"http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html\"><span>http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html</span></a><span> . July 10, 2008.</span></h1>\r\n<h1><span>Spence, Jonathan D. is George B. Adams. CONFUCIUS. Wilson Quarterly. Woodrow Wilson International Center for Scholars. 1993</span></h1>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\">Van Voorst, Robert E.<span> </span><em>Taoism</em>. Anthology of World Scriptural Thomson Wadsworth. 2007. 6<sup>th</sup>. Page 162</p>\r\n<p class=\"MsoNormal\">Ropp, Paul S. <em>Heritage of China Cointemporary Perspectives on Chinese Civilization</em>.1990 University of California Press, Berkeley, California. Page 121</p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\">Waley, Arthur. The Book of Songs, The Ancient Chinese Classic of Poetry. Grover Press, New York, NY. 1996</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span style=\"font-size: 12.0pt;line-height: 115%\">Leys, Simon (Pierre Ryckmans Governor General of Congo), <em>The Analects of Confucius Translation and Notes by Simon Leys</em>. <span> </span>Introduction. W.W. Norton Company. New York, NY. (1997). Page xxx</span><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span>Fiero, Gloria.<em> The Humanistic Tradition</em>. McGraw-Hill Companies, The. January 2010. 6<sup>th</sup> Edition.<span> </span></span><span><span> </span></span><span>Page B3.30</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt\"><span style=\"font-size: 12.0pt;line-height: 115%;letter-spacing: -.1pt\">Confucius<em>. The Analects of Confucius</em>. Penguin Books. London, England. 1979. 2.4.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><span style=\"font-size: 12.0pt;letter-spacing: -.1pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><span> </span></p>\r\n\r\n</div>','Confucius’ Analects','','inherit','open','open','','1176-revision-12','','','2011-05-04 11:36:36','2011-05-04 17:36:36','',1176,'http://jeanatacc.com/2011/?p=1279',0,'revision','',0),(1281,7,'2011-05-06 10:16:21','2011-05-06 16:16:21','<div class=\"mceTemp mceIEcenter\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Confucius.jpg\"><img class=\"size-medium wp-image-1178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/Confucius-300x240.jpg\" alt=\"\" width=\"300\" height=\"240\" /></a></dt> <dd>The Master said, \"Learning without thought is labour lost; thought without learning is perilous.\"       <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: 200%\"><span style=\"font-size: 8.0pt;line-height: 200%\">http://www.btinternet.com/~glynhughes/squashed/confucius.htm</span></p>\r\n\r\n</dd> </dl></div>\r\n&nbsp;\r\n\r\nThe Analects are, in fact, a compilation of moral and ethical insights from the Chinese philosopher K’ong Fu-Tzu (551–479 b.c.e.), better known as Confucius (a Latin form of his Chinese name), supporting set principles for individual conduct and the ethical administration of government and community; guiding principles for a just and compassionate world or more succinctly described by Confucius, \"the supreme virtue of humanity\" (Confucius). Though this text is not the direct writings of Confucius\'s sayings, the Analects do provides an exceptional digest of his philosophical and idealistic concepts that continues to be a significant influence on education, society, and culture thought in China and in many other countries as well.<!--more-->\r\n\r\nInterpretations vary for these twenty books of the <em>Analects</em>, each running about five pages in English translation. The virtue of <em>Jen</em>, a key concept in the <em>Analects</em> refers to humanity, good, or reciprocity while the term <em>Tao</em> speaks to the correct obligations, actions, and conduct of individuals, families, and governments. Rituals, ceremonies, and group activities and the accepted their performance that encourages a link to that world which is beyond daily life is referred to as <em>Li</em>. The Analects emphasized the importance of independent thinking, identifying models in an abstract, universal style; a style was relevant to diverse cultures. This method of teaching has resulted in conflicting interpretations through the ages.  For example, the <em>Analects</em>’ emphasis on discipline, duty, and etiquette giving credence to Confucius notion that the state exists to serve its citizens; however, various political leaders use these same terms and concepts to validate autocratic government. In some ways the Analects are reminiscent of  Castiglione’s The Well-Rounded Person, Book Four of <em>The Courtier, “</em>must possess the refinements of a humanistic education” (Fiero). Though Castiglione asserts that should master all the skills of the medieval warrior and display the physical proficiency of a champion athlete” (Fiero), Confucius explains that a ruler should lead by the sway of his ethics. Two of characteristic considered vital for civilization, maintain and promote rituals and music, are set through moral example. If the ruler of the land cannot provide these things, the allegiance of his ministers vanishes along with the people’s confidence, resulting in a calamity for the realm.\r\n\r\nThe Chinese were humanist and their values reflected those of morality and righteous behavior. Confucius teachings hardly ever referred to gods and spirits and his did not contemplate the makeup of realism, yet Confucianism is often referred to as a religion. The wisdom of Confucius passed down through generations of Chinese, spoke to the social and political concepts of his time; ideas with roots as old as the Shang and Zhou dynasties. He taught that tradition was essential, respectfulness of one’s’ elders, and the exercise of <em>Li </em>(not simply performing ceremonies by rote, but applying a fitting reverence to the ritual.)  In the first following excerpts from the  <em>Analects </em> , Confucius reveals that it is the duty of humans to do nothing that may harm others; even give his own life to protect this tenant. While the second is the infamous “Golden Rule,” that one should act (do) toward others as one                                                       might act (do) on one’s own behalf.\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images-cartoon.jpg\"><img class=\"size-full wp-image-1184\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images-cartoon.jpg\" alt=\"\" width=\"240\" height=\"159\" /></a></dt> <dd><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] -->&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 4.0in;text-indent: .5in;line-height: 200%\"><span>http://kisner.edublogs.org/</span></p>\r\n“At fifteen I set my heart upon learning.  At thirty, I had planted my feet firmly upon the ground.  At forty, I no longer suffered from perplexities.  At fifty, I knew what were the biddings of Heaven.  At sixty, I heard them with docile ear.  At seventy, I could follow the dictates of my own heart; for I no longer overstepped the boundaries of right.”\r\n\r\n</dd> </dl></div>\r\nThe Analects developed from the oral dissertation provided by Confucius in various conversations and instructive talks with his disciples. “…it was not at all clear at the time that the Confucian tradition was to emerge as the most powerful persuasion in Chinese history” (Ropp). After his death in 479 B.C.E., Confucius’ disciples worked diligently, collecting these works and transcribing them. It was not until 221 B.C.E., over 250 years after Confucius breathed his last breath, his followers were able complete the Analects used today. A common thread, weaving through the Analects: measured and judicious thought, action, and deed build strength of character and a superior human being. Qualities illustrated in the Analects include: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples.\r\n\r\nVery outspoken and often at odds with authority, Confucius had a reputation of “… at once more austere, more pompous, harsh even, and as a reinforcer of the status quo…” (Spence).  This assessment of Confucius has been linked to a celebrated Chinese historian, Ssu-ma Ch’ien (145-89 B.C.E.), who lived during the Han dynasty and, in part, caused this view of Confucius. In an effort to apply the appropriate importance of Confucius work to the historical contexts of the Historical Records, Ssu-ma Chi’ien’s tribute to Confucius and his work was located in the era of the early China ruling houses instead of placing him with “…other individual thinkers and statesmen…”  (Spencer). However, in the abstract of Confucius’s, Ssu-ma Ch’ien offered his touching yet succinct respect:\r\n\r\n“In this world there have been many people-from kings to wise men-who had a glory while they lived that ended after their death. But Confucius, though a simple commoner, has had his name transmitted for more than 10 generations; all those who study his works consider him their master. From the Son of Heaven, the princes, and the lords on down, anyone in the Central Kingdom who is dedicated to a life of learning, follows the precepts and the rules of the Master. Thus it is that we call him a true Sage” (Spencer).\r\n\r\nThe crumbling of the Zhou dynasty, in power since 1027 B.C.E. and the relocation of the capital farther east by the leaders of the Zhou dynasty placed the kingdom in danger; an unsafe, precarious position brought on by the aggressive Mongols and Turkic horsemen from Central Asia, as well as, escalating conflicts among the autonomous Chinese states. This instability in the land did not to impede the prosperity and industry of China. Examples of the Chinese ongoing development of these turbulent times include the development of “chopsticks, cast iron, square-holed coins, and finely lacquered objects...”(Fiero). China’s trade and its urban growth continued throughout this period. Interestingly, the Chinese intellectual minds during this time produced some of “China’s oldest moral and religious precepts,” paralleling similar developments in Greek philosophy of the same time (Fiero).\r\n\r\nA devastating event, impacting the Analects survival and that of other important texts, occurred in the Qin Dynasty, during which much of the territories’ history was lost in the infamous “book-burnings” and wars; “chronicles of events as far back as 1000 years before the Han Era” consisted of records of events were kept as a tradition by the Chinese court historians. (Fiero). The Qin dynasty favored the doctrine of Legalism in which evil was considered an inborn trait of all humans. Consequently, the severe Qin laws were able to derive a benefit from the validation for a \"civil and political oppressiveness of imperial authority…”  (Fiero).  All personally owned copies of Confucian works were ordered burned due to the Emperors’ disquiet over any resistance that might arise from the “free exercise of thought…” (Fiero).  He took further steps to insure his authority by executing political oppositionists and their families. The Qin empire was tripled in size by the Han leaders and reinstate Confucianism, Confucian texts, and the Confucian scholars/official.  And prosperity reigned during the Han dynasty with technological develops and advancements in farming techniques encouraging trade and industry within its borders and abroad. Innovations from this period of Chinese history prove the concentration and importance of Chinese technology of the age.\r\n\r\nConfucianism is “Cited as a major force behind East Asia\'s economic ‘miracles,’ it is now finding a renewed following among mainland Chinese grown disillusioned with communism” (Spencer). China has, in the past decade, embraced the Confucius dogmas as “… the old and venerable tradition of Confucianism, which is being revived by government officials, critical intellectuals and ordinary citizens” (Bell). For instance, during the 2008 opening ceremonies of the Olympic games hosted by China, quotes from the Analects of Confucius were used in place of the formerly and ever present quotes from Marx.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/bros.jpg\"><img class=\"size-medium wp-image-1185 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/bros-300x170.jpg\" alt=\"\" width=\"300\" height=\"170\" /></a>\r\n<p class=\"MsoNormal\" style=\"margin-left: 2.5in;line-height: 200%\"><span style=\"font-size: 8pt;line-height: 200%\">http://appleisblogging.blogspot.com/2008_08_01_archive.html</span></p>\r\n<strong>“The world’s peoples are all brothers” and “isn’t one of life’s greatest pleasures to have friends visiting from afar?” </strong>broadcasted around the world to billions of viewers. This \" ‘official’ Confucianism being revived today may be less dangerous — it emphasizes social harmony, meaning the peaceful resolution of conflicts — but it remains a conservative morality. Today, the most viable alternative to China\'s political status quo is left Confucianism” (Bigley). In the time of Confucius life and for hundreds of years to follow, The Analects of Confucius took its place in society as the ultimate guide to living a meaningful and fulfilling life. The resurgence of interest in Confucianism by the Chinese state government is an effort to soften its own world reputation as a harsh, autocratic, dictatorial government by, at least on the surface, infusing some of the humanistic ideals of Confucianism. However, even the government officials admit that its form of Confucianism is a more left focused style and the adherence to policy and obedience by its citizens is still expected.\r\n\r\nThe author of a more recent English and French translation of the <em>Analects, </em>Simon Leys claims the originally crafted text might have actually been the first to express human personage; that is, the life of an individual (Leys).\r\n\r\nIn general, The Analects of Confucius is a common sense handbook with a somewhat austere approach to life. The constant vigilance required to elevate ones being to that of <em>superior</em> is daunting in this writers’ opinion. It is understood that the life in a young country with abundant personal freedoms would certainly color ones judgment of such strict guidelines. Though, the concepts of working for communal good, living an ethical life, and treating others with compassion are values the writer cherishes, she does so with a much lighter approach than some of those expressed in the Analects of Confucius.\r\n\r\nTaoism is most influential religion or philosophy among the Chinese people after Confucianism. The Taoist scriptures, written in the sixth century B.C.E. are, as with The Analects of Confucius, a collection of moral and ethical codes intended to guide people in their everyday lives.    The Tao Te Ching [DOWduh jing], “Classic of the Way and Its Working,” and the Chaung-tsu [jwahng tzoo] are held in high esteem throughout the world, remaining prominent significant work of literature down through the centuries. The compilation of the Taoist canon is known as the Tao Tsang [dow tsahng]. The primary printing was in 1926 and consisted of 1,120 volumes, a significant number compared to the twenty books of the Analects.\r\n\r\nThe text of the Tao Tsang is assembled into the “Three Caverns,” which relate to three historic traditions of Taoism: the Supreme Clarity school; the Numinous Treasure school; and the Three Sovereigns school.  Each of these is then divided into twelve segments. “They are original revelations; divine talismans; interpretations; diagrams; chronologies and genealogies; moral codes; ceremonial decorum; rituals; esoteric techniques (alchemy, astrology, exorcism, etc.); lives of past Taoist worthies; hymns; and messages …” (Van Voorst). The Analects are written as they were delivered, in a dialog form and cover a range of ideals from a humanistic approach, ideals as mentioned earlier: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples.\r\n\r\nThe Analects of Confucius present a timeless personification of a society built on order and structure; a society that generates respect for all and encourages scholarship. Confucius words reach out from the pages of the Analects, seemingly speaking to present day issues as readily as it spoke to the issues of his time. For those seeking “the supreme virtue of humanity,” Confucius offers in brief and succinct axioms a fountain of knowledge from which to drink. The Analects  of Confucius is collection of moral and ethical principles advocated by the teacher/philosopher, Confucius. These principles guide individuals in matters of conduct and the moral administration of government and community. Analects do provides an exceptional digest of his philosophical and idealistic concepts that are sure to serve a new colony well by, continuing to be a significant influence on education, society, and culture thought.  For these reasons, The Analects of Confucius must be preserved for posterity.\r\n<div class=\"mceTemp\"><dl> <dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images.jpg\"><img class=\"size-full wp-image-1188\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/images.jpg\" alt=\"\" width=\"211\" height=\"238\" /></a></dt> <dd>“When he is told one thing, he understands ten.”         <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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&nbsp;\r\n<p class=\"MsoNormal\"><span style=\"font-size: 8pt;line-height: 115%\"><a href=\"http://kisner.edublogs.org/\">http://kisner.edublogs.org/</a></span></p>\r\n\r\n</dd> </dl></div>\r\n<!--more-->\r\n<p style=\"text-align: center\"><strong>Cited Work</strong></p>\r\n&nbsp;\r\n\r\nBell, Daniel A.  Confucianism makes a comeback in China.  The Japan Times Online. <a href=\"http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html\">http://search.japantimes.co.jp/cgi-bin/eo20080710a1.html</a> . July 10, 2008.\r\n\r\nSpence, Jonathan D. is George B. Adams. CONFUCIUS. Wilson Quarterly. Woodrow Wilson International Center for Scholars. 1993\r\n\r\nVan Voorst, Robert E.  <em>Taoism</em>. Anthology of World Scriptural Thomson Wadsworth. 2007. 6<sup>th</sup>. Page 162\r\n\r\nRopp, Paul S. <em>Heritage of China Contemporary Perspectives on Chinese Civilization</em>.1990 University of California Press, Berkeley, California. Page 121\r\n\r\nWaley, Arthur. The Book of Songs, The Ancient Chinese Classic of Poetry. Grover Press, New York, NY. 1996\r\n\r\nLeys, Simon (Pierre Ryckmans Governor General of Congo), <em>The Analects of Confucius Translation and Notes by Simon Leys</em>.  Introduction. W.W. Norton Company. New York, NY. (1997). Page xxx\r\n\r\nFiero, Gloria.<em> The Humanistic Tradition</em>. McGraw-Hill Companies, The. January 2010. 6<sup>th</sup> Edition.   Page B3.30\r\n\r\nConfucius<em>. The Analects of Confucius</em>. Penguin Books. London, England. 1979. 2.4.\r\n\r\n&nbsp;','Confucius’ Analects','','inherit','open','open','','1176-revision-14','','','2011-05-06 10:16:21','2011-05-06 16:16:21','',1176,'http://jeanatacc.com/2011/?p=1281',0,'revision','',0),(1282,1,'2011-04-11 14:51:00','2011-04-11 20:51:00','Botticelli: The Birth of Venus\r\n\r\n<img class=\"alignnone\" src=\"http://www.gwennseemel.com/images/blog09/BotticelliBirthVenus.jpg\" alt=\"\" width=\"540\" height=\"342\" /><!--more-->\r\n\r\nSandro Botticelli was an Italian painter of the Florentine school during the early renaissance. It is said that it was Botticelli’s belief that “objects of physical beauty move the soul to desire unity with God, divine fount of beauty and truth (Fiero, Gloria K).” It is my belief that Botticelli was triumphant in creating the most breath taking painting ever created, The Birth of Venus. This painting is the definition of beauty and needs to be saved for our future generations.\r\n<div>\r\n\r\nThe Birth of Venus was commissioned by Lorenzo di Pierfrancesco de’Medici for the villa of Castello. In Previous eras, the painter had a specific story to tell on a specific spot; however, in Botticelli’s case, he was commissioned to paint whatever he desired. So, he chose to stay in the typical ‘closed’ renaissance style—meaning figures are shown in full. Because of this the story was critical, and had to be expressed in complete accuracy and detail (Bertsch, Cole).\r\n\r\nThe Birth of Venus was completed in 1485 on Canvas, which was fairly unusual for its time. Most artists used more expensive wooden panels, but this approach was not practical for the technique needed. Botticelli used a paint made of thin tempera, based on the use of diluted egg yolk (Johnson, Mary), which gives the paint an aspect of extraordinary transparency, allowing the magnificent highlights and softness used in the painting.\r\n\r\nThe story of this art starts off by first already knowing the myth of where Venus came from. During the middle ages, legends of the creations of the world and all its inhabitants were restricted to the stories of the Bible, all other beliefs were taken with a grain of salt. The Renaissance however brought the wisdom of the Greeks and considered the myths to be invaluable information of the past. The Greeks had thought that when the titan Cronus castrated his father, the god Uranus, his genitals fell into the sea—enabling the fertilization of Venus (Bertsch, Cole).\r\n\r\nFrom this story Botticelli depicts Venus being born from sea foam.  Standing naked on a pearlescent scallop shell, her right hand covers only her right breast, with long billowing hair to cover her pubic parts. Yet while looking at her, you start to wonder, “Have I seen this woman before?” Chances are you have. Botticelli never married; the popular view is that he suffered from unrequited love for Simonetta Vespucci, a married noblewoman that was coveted by many men. According to legend, she had served as the model for The Birth of Venus and reoccurs throughout his and others paintings, such as, Mars and Venus, La primavera, and Pallas Athena and the Centaur, to name a few (Niyazi, H).\r\n\r\nNow as to who accompanies her on this canvas is debatable. On her right are two beings, a man and a woman, flying above the sea, blowing Venus westward towards the shores of Paphos on the island of Cyprus. While everyone agrees that the man is the Greek god of the west wind, Zephyrus, the girl he is holding remains unclear. Some say she is Chloris, a Nymph that is associated with spring and flowers, and wife of Zephyrus.  Others say she is the titan goddess Aura, who is a divine personification of breezes.\r\n\r\nOn the shore, a woman in a flowery dress is awaiting Venus with a pink robe like garment, ready to cover her up. It is spectated that this woman is Pomona, the goddess of fruit trees and fecundity (Fiero, Gloria K). Many say she the Horai goddess of springtime due to the abundance of flowers and springtime like nature of the painting, however, it is popular belief that she is merely a visual representation of the city of Florence, receiving Venus as a welcomed gift from the Gods.\r\n\r\n</div>\r\n<div>\r\n\r\nNo matter who accompanies her, it is obvious that Venus is the center of attention, due to the fact that everything is angled towards her. The angle that the wind gods are positioned urges the eye to focus on Venus, as well as the way the robe seems ready to float onto her body. If separated from the rest of the painting and viewed solely, the movement of her body is enough evidence of her beauty and importance. Sculpted with very soft lines, the way her right foot dangles behind the other, and the way her arms move across her body, gives the impression of her innocence and elegance; separating her from the other figures. She is so beautiful that one tends to not even notice that Botticelli altered the nature of human anatomy. Venus has steep falling shoulders, and an unnaturally long neck —all to create a graceful harmonic outline (Bertsch, Cole). The uniqueness of this painting still receives wide scholarly attention even to this day.\r\n\r\nThis magnificent artwork wasn’t painted alone; it has a twin, La Primavera. Painted in 1482, before The Birth of Venus was created, it is meant to be placed in the same room. The two paintings together showed two parts of Venus.  In one, Venus has just been born, young and radiant, arriving on a shore where the fruit hasn’t yet been produced from the trees, and being welcomed by the world.  In the other, Venus is older and dressed in extravagant clothing, the trees are lush with flowers and fruit, and people are rejoicing. But, instead of being an object of beauty, she now represents love and marriage.  Even though both paintings are indeed breath taking, when placed side by side, you just can’t help but be drawn back to The Birth of Venus (Bowman, David).\r\n\r\nWe live in a world of death and violence; it constantly surrounds us. Without The Birth of Venus, how are we going to teach our children what the true meaning of love and beauty actually is? If we don’t preserve this gorgeous symbolic image of flawlessness, it would be stripping our society of all things that are incorrupt and harmonious, and that would be catastrophic.\r\n\r\n&nbsp;\r\n\r\nCitation\r\n\r\nBertsch, Cole. \"The Birth of Venus.\" <em>Sauk</em><em> </em><em>Valley</em><em> </em><em>Community College</em><em> - Home</em>. Colebott. Web. 04 Apr. 2011. &lt;http://www.svcc.edu/academics/classes/murray/Ezine/colebott.htm&gt;.\r\n\r\n&nbsp;\r\n\r\nBowman, David. \"Birth of Venus and La Primavera Conjoined - Alternative View on Art, Architecture and Religion.\" <em>Alternative Information Newsletter - Alternative View on Art, Architecture and Religion</em>. 2008. Web. 10 Apr. 2011. &lt;http://www.aiwaz.net/article/Birth-of-Venus-and-La-Primavera-Conjoined/a115&gt;.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. \"Chapter 17. Renaissance Artists: Disciples of Nature, Masters of Invention Ca. 1400–1600.\" <em>The Humanistic Tradition</em>. 6th ed. Vol. 1. Boston: McGraw-Hill, 2011. B3.44+. Print.\r\n\r\n&nbsp;\r\n\r\nJohnson, Mary. \"Botticelli.\" <em>Gilford Multimedia: Since 1972 South Jersey\'s Oldest Existing Ad Agency</em>. Web. 07 Apr. 2011. &lt;http://www.sohoart.com/botticelli.htm&gt;.\r\n\r\n&nbsp;\r\n\r\nNiyazi, H. \"Simonetta Vespucci: a Renaissance Muse?\" <em>Three Pipe Problem</em>. 26 Apr. 2010. Web. 07 Apr. 2011. &lt;http://www.3pipe.net/2010/04/simonetta-vespucci-real-life-muse-of.html&gt;.\r\n\r\n&nbsp;\r\n\r\nImage: http://www.gwennseemel.com/images/blog09/BotticelliBirthVenus.jpg\r\n\r\n</div>','The Birth of Venus','','inherit','open','open','','993-revision-3','','','2011-04-11 14:51:00','2011-04-11 20:51:00','',993,'http://jeanatacc.com/2011/?p=1282',0,'revision','',0),(1283,1,'2011-05-02 10:30:11','2011-05-02 16:30:11','<p style=\"text-align: center\">Ibn Sina’s Canon of Medicine</p>\r\n<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://newsimg.bbc.co.uk/media/images/44004000/jpg/_44004316_canonofmed.jpg\" alt=\"\" width=\"416\" height=\"300\" /><!--more--></p>\r\nAvicenna, or commonly known as Ibn Sina, lived in a time were medicine had limited laws.  Medicine in the 11<sup>th</sup> century was almost hazardous to your health. Back then they thought that simple bad hygiene, odors, and a sinful soul were the causes of sickness. If you were stricken with a serious illness, good luck. You’re only real chance for survival against the bacteria that lingered underneath your feet, and in the air that you breathed, was to be Avicenna’s (or commonly known as Ibn Sina) best friend. He was not only an Iranian astronomer, chemist, psychologist, teacher, mathematician, and poet, but he was physician. A brilliant physician that wrote a book in 1025 called the Canon of Medicine which changed the field of medicine to what it is today, and we cannot leave it behind.\r\n\r\nAvicenna was a brilliant mind. Rare to children of his time, and even to the children of now, he was highly enthusiastic about his studies, and engaged heavily in self-education. He read avidly and mastered Islamic law, medicine, and even metaphysics by the age of 17 (Ibn Sina (Avicenna): Historical Vignette: Historical Case). With his profound knowledge he was able to cure Shams al-Dawlah, the King of Hamadan, for severe colic, In Rayy he cured their king\'s melancholia (which was later documented in his book <em>State of the Human Soul</em>), and was able cure Nuh ibn Mansur, the King of Bukhhara, of an illness considered untreatable by well-known physicians (Hawkridge, Owen).\r\n\r\nEven through all his triumphs he wasn’t truly thought of as head of the pack until he wrote Canon of Medicine. In this book he broke down all the knowledge he had accumulated throughout his studies about human illnesses and their cures into 5 books. Book one is the most complicated. It is the study of the four elements, four humors, symptoms, hygiene, causes of sickness, therapy, surgical treatments and inevitability of death –basically the framework for medical practice. Book two is the on the physical properties of drugs, and their qualities. Book three focuses on diseases starting with the brain, nerves, eyes, ears, and ending with pains in joints. The fourth book is the general pathologies such as fevers, wounds, fractures, and poisons. Finally, book five centers on compound drugs and their applications (Archives Avicenna Canon of Medicine).\r\n\r\nHuge contributions for modern medicine were within these 5 sections of the Canon of Medicine. In it was the recognition that tuberculosis is contagious; diseases can be spread through water and soil; and a person’s emotional health influences their physical health. It was also the first to describe parts of the eye, heart valves, and that nerves were responsible for perceiving pain (The Islamic World to 1600).\r\n\r\nAfter its publishing, it served as the medical authority throughout Europe for 600 years. When it was translated into Latin in the 12<sup>th</sup> century, it gained wide fame through the west (Fiero, Gloria K). Quickly becoming the predominant textbook used in European medical schools all the way until the 17<sup>th</sup> century, it is still used today in Islamic medical schools in Pakistan and India. No other medical book has remained so highly acclaimed for the amount of time that this one has, and it was even one of the first books to be produced on the invention of the printing press in Arabic in 1593 (The Islamic World to 1600).\r\n\r\nThere was another Canon of Medicine that was published by the Chinese called <em>Yellow Emperor\'s Inner Canon </em>that describes Chinese medicine and acupuncture, and is thought to be the most important ancient text in Chinese medicine. Unlike Avicenna’s, it is written by many different scholars and physicians instead of one mind, and has been translated into multiple versions that sometimes lose important sections.  Also, instead of representing its information like a typical text book, it is structured as a dialogue between the Yellow Emperor and one of his physicians. It is spectated that the reasoning for this is so anonymous authors could avoid attribution and blame. Despite all the flaws related to this Canon, it is still considered a fundamental doctrine for Chinese medicine (Huangdi Neijing).\r\n\r\nAvicenna later died in 1037 of a disease he was ironically able to treat successfully; Severe colic. Him, along with his works, must not be forgotten. How can we move our lives and civilization forward if we leave behind the only thing that kept us free of death by illness? We cannot resort back to the primitive methods of removing sickness with leeches. Diseases exist and we NEED this book to combat it. We are taking it with us. End of discussion.\r\n\r\n&nbsp;\r\n\r\nCITATION\r\n\r\n\"Archives Avicenna Canon of Medicine.\" <em>The Institution of Engineering and Technology - The IET</em>. Web. 28 Apr. 2011. &lt;http://www.theiet.org/about/libarc/archives/featured/avicenna.cfm&gt;.\r\n\r\nFiero, Gloria K. \"Chapter 10. The Islamic World: Religion and Culture Ca. 570–1300.\" <em>The Humanistic Tradition</em>. 6th ed. Vol. 1. Boston: McGraw-Hill, 2011. B2.54+. Print.\r\n\r\nHawkridge, Owen. \"Science Vignette: Ibn Sïnā (Avicenna).\" <em>Quasar</em>. Web. 28 Apr. 2011. &lt;http://www.quasar.ualberta.ca/edse456/apt/vignettes/ibnsina.htm&gt;.\r\n\r\n\"Huangdi Neijing.\" <em>Wikipedia.org</em>. Wikipedia. Web. 27 Apr. 2011. &lt;http://en.wikipedia.org/wiki/Huangdi_Neijing&gt;.\r\n\r\n\"Ibn Sina (Avicenna): Historical Vignette: Historical Case.\" <em>Medscape</em>. American Association of Neurological Surgeons, 2001. Web. 26 Apr. 2011. &lt;http://www.medscape.com/viewarticle/405737_2&gt;.\r\n\r\n\"The Islamic World to 1600: The Arts, Learning, and Knowledge (Ibn Sina).\" <em>Home | University of Calgary</em>. The Applied History Research Group, 1998. Web. 27 Apr. 2011. &lt;http://www.ucalgary.ca/applied_history/tutor/islam/learning/ibnsina.html&gt;.\r\n\r\nImage: http://newsimg.bbc.co.uk/media/images/44004000/jpg/_44004316_canonofmed.jpg','Ibn Sina\'s Canon of Medicine','','inherit','open','open','','1133-revision-2','','','2011-05-02 10:30:11','2011-05-02 16:30:11','',1133,'http://jeanatacc.com/2011/?p=1283',0,'revision','',0),(3459,74,'2013-10-14 12:06:53','2013-10-14 18:06:53','[caption id=\"attachment_3405\" align=\"alignnone\" width=\"284\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/fie23976_21025.png\"><img class=\"size-medium wp-image-3405\" alt=\"fie23976_21025\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/fie23976_21025-284x300.png\" width=\"284\" height=\"300\" /></a> Xu Yang, <em>Bird\'s Eye View of the Capital</em> http://textflow.mcgraw-hill.com//figures/0077346181/fie23976_21025.png[/caption]\r\n\r\nThe Forbidden City \"was the most elaborate imperial monument of the Ming and Qing eras\" (Fiero). Once the Ming court settled it in 1421, it remained a cornerstone of Chinese government and artistic vision into the early 20th century. The longevity of this work and it\'s importance as the seat of Chinese government make a strong case for it\'s worth as an object of preservation. Built in Beijing, China, it represented the separation between the government bureaucracy and aristocracy from the peasants. This elitism is what earned the name Forbidden City, and the 10 foot high walls surrounding the complex added to the mystique and exclusivity of the work. Inside those walls were an elaborate microcosm of imperial life, and it\'s residents had every necessity and luxury possible without ever having to go into the outside world. The central structure was the Hall of Supreme Harmony where the emperor (In Chinese 皇帝, pronounced huangdi literally meaning \"Son of Heaven\") conducted his affairs. This marriage of spirituality with governance shows itself in the numerous temples and gardens alongside administrative buildings.\r\n\r\nHISTORICAL CONTEXT Prior to the Forbidden City, China already had a history of dynasties and strong central government. Confucianism, the\r\n\r\nAround the world imperial palaces such as Versailles in France and Shahjahanabad in India were being constructed by powerful authoritarian rulers\r\n\r\nFiero, Gloria. \"The Humanistic Tradition Book 3, The European Renaissance, The Reformation, And Global Encounter.\" <em>6<sup>th</sup>. McGraw-Hill Humanities/Social Sciences/Languages</em>, 2010.  September 29, 2013.\r\n\r\nChanghong, Guo. 2008. \"The Qing Palace: from a Forbidden City to a Public Heritage.\" <i>Museum International</i> 60, no. 1/2: 78-88. <i>Academic Search Complete</i>, EBSCO<i>host</i> (accessed September 29, 2013).\r\n\r\nNaquin, Susan. 2004. \"The Forbidden City Goes Abroad: Qing History and the Foreign Exhibitions of the Palace Museum, 1974–2004.\" <i>T\'oung Pao</i> 90, no. 4: 341-397. <i>Academic Search Complete</i>, EBSCO<i>host</i> (accessed September 29, 2013).\r\n\r\nGao, Xiang, Yilin, tr Deng, and Shiwu, tr Deng. 2010. \"The rise of a new tradition: Changes in values and life styles in late Ming China /.\" <i>Frontiers Of History In China</i> 5, no. 1: 1-29. <i>Humanities Full Text (H.W. Wilson)</i>, EBSCO<i>host.</i> (accessed September 29, 2013).\r\n\r\nUNESCO. \"Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang\" <em>UNESCO. </em>Web. 14 Oct. 2013.\r\n\r\nMichaelson, Carol. <i>Ming Dynasty</i>. n.p.: Oxford University Press, 1996. <i>Grove Art Online</i>. Web. 14 Oct. 2013.\r\n\r\n&nbsp;','','','inherit','open','open','','3404-revision-v1','','','2013-10-14 12:06:53','2013-10-14 18:06:53','',3404,'http://jeanatacc.com/2011/?p=3459',0,'revision','',0),(3465,75,'2013-10-14 12:23:51','2013-10-14 18:23:51','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco.jpg\"><img class=\"alignnone size-medium wp-image-3449\" alt=\"greco\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco-300x265.jpg\" width=\"300\" height=\"265\" /></a> <!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 10]&gt;-->\r\n<p class=\"MsoHeader\" style=\"text-align: center\" align=\"center\"><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\">                       <span style=\"font-size: 12.0pt;line-height: 115%\">                                                          <strong>Agony in the Garden</strong></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\">                                                                                    El Greco’s</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\">The Agony in the Garden was created early 1590’s. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The Painting “Agony in the garden” by El Greco’s is simply a painting that portrays the experiences Christ encounters in trying to negotiate between life and Death in the Garden of Gethsemane seeing the suffering and pains to be subjected to.<!--more--></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The historical context and what distinguishes El Greco’s Painting from other contemporaries, people like Titian and others, was that El Greco’s was able to introduced detains contained in all the four Gospel accounts while his contemporaries’ was just only on a single text of the Gospel account and also the . El Greco’ did his work composition both horizontally and vertically, this work above was specifically horizontal one which gives a vivid illustration of Christ Agony in the Garden of Gethsemane.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The Painting work by El Greco’s were automatically different from others, because what were typical in its era was merely an artistic work that has a single Gospel account and that has a vertical form of composition style which was the dominant artistic work in its era but El Greco’s brought a whole new dimensions and style to painting when he introduces both as a horizontal and as a vertical composition to his work, and also the study of pictures and symbols in “Visual Arts” was prevalent in El Greco’s era too, and when comparing to other people’s work “none of the Gospels, for example, states that the angel bore a chalice i.e. the golden cup held by the angel symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42). Christ, kneeling in prayer in front of a great rock, faces the angel who gives him strength (Luke 22:41, 43). Beneath the angel, seemingly encased in the mist or cloud on which the heavenly messenger kneels, are the sleeping figures of the disciples Peter, James Major, and John (Matt.26:37;Mark 14:33). At the right, in the distance, Judas approaches, leading the guards of the chief priests who will take Christ captive (John 18:3). And the most astonishing risk taking by El Greco’s in his Painting, the most daring is the sense of discontinuous space created by the apparent enclosure of the sleeping disciples within the cloud underneath the angel: the viewer looks through a sort of whirlwind on which the angel is poised and sees Christ’s followers “a stone’s cast” away (Luke 22:41). The swirling oval of mist, which insulates the disciples from the supernatural event that is transpiring, is balanced at the upper right by a fog that is passing over the edge of the rock. The glaring divine light that emanates from above the angel creates unusually brilliant effects on the red robe of Christ; the robe’s sharply faceted planes range in hue from almost white, on his shoulder, to deepest crimson, in the shadows about his left leg” (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span>El Greco’s work Agony in the Garden, was the most successful artistic work in his era with a clear picture, images visible for a self-explanation to the audience and whoever that cares for the work. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The work of El Greco’s stands out from its peers in the sense that (1). The work was done both as a horizontal and as a vertical composition. (2).The painting is probably the prototype, or at any rates the best Autograph version, of the horizontal type. (3). It draws from all four Gospel accounts. (4). That none of the Gospels, work down by the other artist, for example,<span>  </span>states that the angel bore a chalice but El Greco’s painting did that. (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003). </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">El Greco’s work was the best in his era because in its painting pattern he was able to incorporate the four Gospel accounts both as a horizontal and as a vertical composition, and also in its painting still El Greco’s introduce an angel bearing a chalice which is uncommon to other of its contemporaries painting work which makes El Greco’s unique. (Page 237, El Greco’s of Toledo) <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">That El Greco’s painting work is still one of the best and successful artist work which a lot of artist had improve upon due to clarity in the images, the illustration of the four Gospel account on a painting, the visual aspect makes it a stand out and most sort of painting, and most important of all is that it is self-explanation such as an “angel holding a golden cup which symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42)”. (Page 237, El Greco’s of Toledo) </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">That a Painting work done in the early 1590’s still outstanding till today and had no rival, that the pictures, symbols, visual art is something remarkable, introduction of the four Gospel account in a painting both as an horizontal and as an vertical composition, showing Christ kneeling and praying, and showing an angel carrying a golden cup and others. And El Greco’s brought whole new dimensions to Painting work to past and the present.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Works by such painters as Carpaccio, Bassano, Titian and Tintoretto where each compares to each other’s work with El Greco’s painting was on (1) such as the rock behind Christ, (2) the enclosure of the Apostles in a circle.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The Painting in four Gospel Account, the painting in both as an Horizontal and as an Vertical composition, and the angel holding a golden cup which symbolizes the Passion, and refers to an allusion to Christ’s words, Christ kneeling down etc., and importantly the clarity, visual art, symbols, background of the artist and pictures. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span>      </span>All Work Cited From:</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">1. (El Greco’s of Toledo, Page 237).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">2. (El Greco’s, Page 152 of 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">3. </span><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\"><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\"><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\"> </span></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','El Greco\'s: Agony in The Garden','','inherit','open','open','','3407-revision-v1','','','2013-10-14 12:23:51','2013-10-14 18:23:51','',3407,'http://jeanatacc.com/2011/?p=3465',0,'revision','',0),(3462,75,'2013-10-14 12:16:43','2013-10-14 18:16:43','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco.jpg\"><img class=\"alignnone size-medium wp-image-3449\" alt=\"greco\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/greco-300x265.jpg\" width=\"300\" height=\"265\" /></a> <!--[if gte mso 9]&gt;-->\r\n \r\n  \r\n \r\n\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n \r\n  Normal\r\n  0\r\n  \r\n  \r\n  \r\n  \r\n  false\r\n  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\r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n \r\n<!--[if gte mso 10]&gt;-->\r\n\r\n /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin-top:0in;\r\n	mso-para-margin-right:0in;\r\n	mso-para-margin-bottom:10.0pt;\r\n	mso-para-margin-left:0in;\r\n	line-height:115%;\r\n	mso-pagination:widow-orphan;\r\n	font-size:11.0pt;\r\n	font-family:\"Calibri\",\"sans-serif\";\r\n	mso-ascii-font-family:Calibri;\r\n	mso-ascii-theme-font:minor-latin;\r\n	mso-hansi-font-family:Calibri;\r\n	mso-hansi-theme-font:minor-latin;}\r\n\r\n\r\n<p class=\"MsoHeader\" style=\"text-align: center\" align=\"center\"><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\">                       <span style=\"font-size: 12.0pt;line-height: 115%\">                                                          <strong>Agony in the Garden</strong></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\">                                                                                    El Greco’s</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\">The Agony in the Garden was created early 1590’s. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The Painting “Agony in the garden” by El Greco’s is simply a painting that portrays the experiences Christ encounters in trying to negotiate between life and Death in the Garden of Gethsemane seeing the suffering and pains to be subjected to.<!--more--></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The historical context and what distinguishes El Greco’s Painting from other contemporaries, people like Titian and others, was that El Greco’s was able to introduced detains contained in all the four Gospel accounts while his contemporaries’ was just only on a single text of the Gospel account and also the . El Greco’ did his work composition both horizontally and vertically, this work above was specifically horizontal one which gives a vivid illustration of Christ Agony in the Garden of Gethsemane.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The Painting work by El Greco’s were automatically different from others, because what were typical in its era was merely an artistic work that has a single Gospel account and that has a vertical form of composition style which was the dominant artistic work in its era but El Greco’s brought a whole new dimensions and style to painting when he introduces both as a horizontal and as a vertical composition to his work, and also the study of pictures and symbols in “Visual Arts” was prevalent in El Greco’s era too, and when comparing to other people’s work “none of the Gospels, for example, states that the angel bore a chalice i.e. the golden cup held by the angel symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42). Christ, kneeling in prayer in front of a great rock, faces the angel who gives him strength (Luke 22:41, 43). Beneath the angel, seemingly encased in the mist or cloud on which the heavenly messenger kneels, are the sleeping figures of the disciples Peter, James Major, and John (Matt.26:37;Mark 14:33). At the right, in the distance, Judas approaches, leading the guards of the chief priests who will take Christ captive (John 18:3). And the most astonishing risk taking by El Greco’s in his Painting, the most daring is the sense of discontinuous space created by the apparent enclosure of the sleeping disciples within the cloud underneath the angel: the viewer looks through a sort of whirlwind on which the angel is poised and sees Christ’s followers “a stone’s cast” away (Luke 22:41). The swirling oval of mist, which insulates the disciples from the supernatural event that is transpiring, is balanced at the upper right by a fog that is passing over the edge of the rock. The glaring divine light that emanates from above the angel creates unusually brilliant effects on the red robe of Christ; the robe’s sharply faceted planes range in hue from almost white, on his shoulder, to deepest crimson, in the shadows about his left leg” (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span>El Greco’s work Agony in the Garden, was the most successful artistic work in his era with a clear picture, images visible for a self-explanation to the audience and whoever that cares for the work. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The work of El Greco’s stands out from its peers in the sense that (1). The work was done both as a horizontal and as a vertical composition. (2).The painting is probably the prototype, or at any rates the best Autograph version, of the horizontal type. (3). It draws from all four Gospel accounts. (4). That none of the Gospels, work down by the other artist, for example,<span>  </span>states that the angel bore a chalice but El Greco’s painting did that. (Page 237, El Greco’s of Toledo, Page 152 of El Greco’s 2003). </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">El Greco’s work was the best in his era because in its painting pattern he was able to incorporate the four Gospel accounts both as a horizontal and as a vertical composition, and also in its painting still El Greco’s introduce an angel bearing a chalice which is uncommon to other of its contemporaries painting work which makes El Greco’s unique. (Page 237, El Greco’s of Toledo) <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">That El Greco’s painting work is still one of the best and successful artist work which a lot of artist had improve upon due to clarity in the images, the illustration of the four Gospel account on a painting, the visual aspect makes it a stand out and most sort of painting, and most important of all is that it is self-explanation such as an “angel holding a golden cup which symbolizes the Passion and refers to an allusion to Christ’s words; ‘O my Father, if this cup may not pass away from me, except I drink it, thy will be done’ (Matthew 26:42)”. (Page 237, El Greco’s of Toledo) </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">That a Painting work done in the early 1590’s still outstanding till today and had no rival, that the pictures, symbols, visual art is something remarkable, introduction of the four Gospel account in a painting both as an horizontal and as an vertical composition, showing Christ kneeling and praying, and showing an angel carrying a golden cup and others. And El Greco’s brought whole new dimensions to Painting work to past and the present.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Works by such painters as Carpaccio, Bassano, Titian and Tintoretto where each compares to each other’s work with El Greco’s painting was on (1) such as the rock behind Christ, (2) the enclosure of the Apostles in a circle.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The Painting in four Gospel Account, the painting in both as an Horizontal and as an Vertical composition, and the angel holding a golden cup which symbolizes the Passion, and refers to an allusion to Christ’s words, Christ kneeling down etc., and importantly the clarity, visual art, symbols, background of the artist and pictures. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span>                                                                     </span>All Work Cited From:</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">                                                       1. (El Greco’s of Toledo, Page 237).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">                                                       2. (El Greco’s, Page 152 of 2003).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">                                                       3. </span><a href=\"http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm\">http://faculty.txwes.edu/csmeller/human-prospect/ProData09/03Biee/BieePICs/5dEurPICs/ElGreco1541/ElGr1595AgGar444.htm</a></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\"><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\"><span> </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%\"> </span></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','El Greco\'s: Agony in The Garden','','inherit','open','open','','3407-revision-v1','','','2013-10-14 12:16:43','2013-10-14 18:16:43','',3407,'http://jeanatacc.com/2011/?p=3462',0,'revision','',0),(1289,8,'2011-05-08 15:09:45','2011-05-08 21:09:45','The year was 2100 and the earth as we had come to know and live was no longer existent.  It had been a tough decision in determining what artifacts we could carry on this space ship.  We were first more concerned if we would all survive the long journey into deep space to begin anew.  The Earth and most early civilizations on it, measured the passing of time by the phases of the moon other stories regarding the sky goddess Nut above her brother and earth god Geb, the air god Shu gives form to the world.  The mythical separation of sky and earth represented but one explanation of divine creation and here today the Earth with its fury on fire as we viewed from our vessel.<!--more-->\r\n\r\nThis particular ship had been invented for such a purpose in the event of nuclear disaster; our government had wasted no time in designing a time capsule with \"<em>Logitech Advance Aviation Technology.\" </em>Its interior was composed of startlingly compact white pods whose walls were mounted with every necessity, from a sleeping bunk and desk to a rotary phone, calculator, and reel-to-reel tape player. The hallway doors looked like airlocks. The sole window in each pod was circular.  A towering stack of prefabricated concrete cubes jutting at myriad angles out of a central core and to contrast the white walls were shades of orange and avocado green were used to off set the sterile whiteness.  Evident from the context of late ’70s and early ’80s design, the capsule city almost seemed preordained. Long-haul space flights had introduced the world to confined, multifunctional, technology-intensive living.  I held my breath as we continued to view in awe the destruction of the Earth as we had come to know and live; the realization that I would never set foot there again had not even been a thought in my mind yet.\r\n\r\nOn flight we had managed to preserve the main four items I felt to be the most important; I was accused of hoarding old artifacts rather than to save the mere 49 people that could have been saved had I chosen not to bring my collection.\r\n\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 “<em>Rig Veda, a collection of 1,028 hymns addressed to various Hindu gods.”</em>(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.   Therefore this documentation is of essence for the future provided we would survive life in space and if we did; then it would be those that supersede us that will be the benefactors of 49 lives left to sacrifice today as we launched into space.\r\n\r\nAlso on board were the royal patrons behind the Parisian “court style” of Gothic art and architecture.  King Louis IX. the grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old. The story of Gothic art and architecture begins in the Ile-de-France around 1140 at Saint-Denis, Paris, Chartres, and elsewhere.  French architects pioneered a new building style using ribs vaults with pointed arches, flying buttresses, and stained-glass windows, French builders constructed towering cathedrals with statue-lined portals in and interiors flooded with mystical multicolored light, it was the stained glass windows and relics that I managed to bring as well as the architects blueprints from centuries past that would help us rebuild it if we ever where able to find a plant like Earth.\r\n\r\nAnother treasure saved was the frescoed allegories of Good and Bad Government that were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm.  These paintings would give only a glimpse of how the earlier societies learned to live and cope during their times.  I liken these paintings at hand waiting to be experienced again on another level far above the skies as we travel through time.\r\n\r\nAnd finally The Arabian Nights, also known as The Thousand and One Nights and known in Arabic as Alf Layla wa Layla, is a collection of fables, fairy tales, romances and historical accounts of varying ethnic sources, including Indian, Persian, and Arabic oral traditions. While their specific origins are unknown, it is certain that the stories were circulating orally for centuries before they were written down in the fourteenth century in a Syrian manuscript.  “Arabian Nights” is probably one of the most famous literary works of the Eastern civilization, which incorporates literary heritage of different countries united into one literary work. At the same time, the creation of this book perfectly reflects the major political and socio-economic trends during this time.  If anything these stories would help us surpass the time while we are on our conquest to find a place of our own to call our home.\r\n\r\nI can still almost hear; each of them whispering to me and their relevance of our future as our space craft flowed through unchartered skies into the dark.  Satisfied with my accomplishments I retired for the evening; yes it had a been a rough launch, probably more emotionally challenging; tomorrow would bring a new day in a new world that we would have to learn to live in.  I was convinced that the people from Earth 2100 would survive and sustain themselves for the generations to come; not least because they came from the proving ground of the Earth but for all those whom were lost and left behind; it was for them we would continue on this journey into the future.\r\n\r\nThe End.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n&nbsp;\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, </em>\r\n\r\n<em> and Padua: Art, Society and Religion </em>1280-1400, Edited by D. Norman. New Haven, CT: Yale University Press.\r\n\r\nDoniger, Wendy. “<em>The Hindus: an alternative history</em>” New York: Penguin Press, 2009. Print\r\n\r\nFiero, Gloria. “<em>The Humanistic Tradition” Vol 1 6e.</em> Ed. New York: McGraw-Hill Press, 2011. E-Book\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','The Earth in 2100','','publish','open','open','','the-earth-in-2100','','','2011-05-08 15:09:45','2011-05-08 21:09:45','',0,'http://jeanatacc.com/2011/?p=1289',0,'post','',2),(1290,8,'2011-05-08 15:09:41','2011-05-08 21:09:41','The year was 2100 and the earth as we had come to know and live was no longer existent.  It had been a tough decision in determining what artifacts we could carry on this space ship.  We were first more concerned if we would all survive the long journey into deep space to begin anew.  The Earth and most early civilizations on it, measured the passing of time by the phases of the moon other stories regarding the sky goddess Nut above her brother and earth god Geb, the air god Shu gives form to the world.  The mythical separation of sky and earth represented but one explanation of divine creation and here today the Earth with its fury on fire as we viewed from our vessel.<!--more-->\n\nThis particular ship had been invented for such a purpose in the event of nuclear disaster; our government had wasted no time in designing a time capsule with \"<em>Logitech Advance Aviation Technology.\" </em>Its interior was composed of startlingly compact white pods whose walls were mounted with every necessity, from a sleeping bunk and desk to a rotary phone, calculator, and reel-to-reel tape player. The hallway doors looked like airlocks. The sole window in each pod was circular.  A towering stack of prefabricated concrete cubes jutting at myriad angles out of a central core and to contrast the white walls were shades of orange and avocado green were used to off set the sterile whiteness.  Evident from the context of late ’70s and early ’80s design, the capsule city almost seemed preordained. Long-haul space flights had introduced the world to confined, multifunctional, technology-intensive living.  I held my breath as we continued to view in awe the destruction of the Earth as we had come to know and live; the realization that I would never set foot there again had not even been a thought in my mind yet.\n\nOn flight we had managed to preserve the main four items I felt to be the most important; I was accused of hoarding old artifacts rather than to save the mere 49 people that could have been saved had I chosen not to bring my collection.\n\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 “<em>Rig Veda, a collection of 1,028 hymns addressed to various Hindu gods.”</em>(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.   Therefore this documentation is of essence for the future provided we would survive life in space and if we did; then it would be those that supersede us that will be the benefactors of 49 lives left to sacrifice today as we launched into space.\n\nAlso on board were the royal patrons behind the Parisian “court style” of Gothic art and architecture.  King Louis IX. the grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old. The story of Gothic art and architecture begins in the Ile-de-France around 1140 at Saint-Denis, Paris, Chartres, and elsewhere.  French architects pioneered a new building style using ribs vaults with pointed arches, flying buttresses, and stained-glass windows, French builders constructed towering cathedrals with statue-lined portals in and interiors flooded with mystical multicolored light, it was the stained glass windows and relics that I managed to bring as well as the architects blueprints from centuries past that would help us rebuild it if we ever where able to find a plant like Earth.\n\nAnother treasure saved was the frescoed allegories of Good and Bad Government that were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm.  These paintings would give only a glimpse of how the earlier societies learned to live and cope during their times.  I liken these paintings at hand waiting to be experienced again on another level far above the skies as we travel through time.\n\nAnd finally The Arabian Nights, also known as The Thousand and One Nights and known in Arabic as Alf Layla wa Layla, is a collection of fables, fairy tales, romances and historical accounts of varying ethnic sources, including Indian, Persian, and Arabic oral traditions. While their specific origins are unknown, it is certain that the stories were circulating orally for centuries before they were written down in the fourteenth century in a Syrian manuscript.  “Arabian Nights” is probably one of the most famous literary works of the Eastern civilization, which incorporates literary heritage of different countries united into one literary work. At the same time, the creation of this book perfectly reflects the major political and socio-economic trends during this time.  If anything these stories would help us surpass the time while we are on our conquest to find a place of our own to call our home.\n\nI can still almost hear; each of them whispering to me and their relevance of our future as our space craft flowed through unchartered skies into the dark.  Satisfied with my accomplishments I retired for the evening; yes it had a been a rough launch, probably more emotionally challenging; tomorrow would bring a new day in a new world that we would have to learn to live in.  I was convinced that the people from Earth 2100 would survive and sustain themselves for the generations to come; not least because they came from the proving ground of the Earth but for all those whom were lost and left behind; it was for them we would continue on this journey into the future.\n\nThe End.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">Works Cited</p>\n&nbsp;\n\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, </em>\n\n<em> and Padua: Art, Society and Religion </em>1280-1400, Edited by D. Norman. New Haven, CT: Yale University Press.\n\nDoniger, Wendy. “<em>The Hindus: an alternative history</em>” New York: Penguin Press, 2009. Print\n\nFiero, Gloria. “<em>The Humanistic Tradition” Vol 1 6e.</em> Ed. New York: McGraw-Hill Press, 2011. E-Book\n\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale University Press.\n\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\n\n&nbsp;','The Earth in 2100','','inherit','open','open','','1289-revision','','','2011-05-08 15:09:41','2011-05-08 21:09:41','',1289,'http://jeanatacc.com/2011/?p=1290',0,'revision','',0),(1292,1,'2011-05-02 13:32:18','2011-05-02 19:32:18','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8.jpg\"><img class=\"size-medium wp-image-1087 alignleft\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a>The Letters from Mexico written by Cortes to the King and Queen of Spain, offer a glimpse of the time of the Spanish conquistadors and the exploration of the New World during the early 1500s. These letters describe the culture of the indigenous civilization, the Aztecs, their ancient city, their culture, and their way of life before the destruction of the ancient civilization, illustrating the clashing between two different cultures, and illustrate a very important perspective of the events in Spanish exploration of the New World through one of the most important figures in history.\r\n\r\n<!--more-->Hernan Cortes was born 1485 into a noble family in Medellin, Spain. He studied law in Salamanca, ran away when he was nineteen, and entered the military under Diego Velazquez. He died 1547 (\"Cortés, Hernán\"). Cortes is the most famous conquistador in history known for being mistaken as a deity by the natives, having toppled the great city of Technochtitlan, and facilitated the fall of the Aztec Empire (\"conquistadores\").  During his travels in the New World, Cortes had contact with the various Native inhabitants and the Aztec people writing reports or letters to the King and Queen of Spain explaining various situations and events that happened. Like many notable works during this era, Cortes’ letters described the native peoples explaining in great detail about their wealth, “harmony,” culture, and civilization. Like other conqueror of any nation, he views the Natives as barbaric and uncivilized: an attitude that is often illustrated within his letters.\r\n\r\n&nbsp;\r\n\r\nThe letters that Cortes wrote also give great insight into what the Conquistadors at the time were thinking of the Natives. One thing that sets the letters apart from other “works” is that it offers a conqueror’s perspective on history. Despite his notions of the natives, he still provides a very detailed account of what their culture, rich descriptions, praise, and even admiration towards the Natives to the point where he would compare them to Christian or Islamic nations. In one of his letters, he marvels at the structure and of the city: “There are in the city many large and beautiful houses, and the reason for this is that all the chiefs of the land, who are Montezuma\'s vassals, have houses in the city and live there for part of the year; and in addition there are many rich citizens who likewise have very good houses. All these houses have very large and very good rooms and also very pleasant gardens of various sorts of flowers both on the upper and lower floors” (Fiero), illustrating his awe at what the Aztecs achieved.\r\n\r\n&nbsp;\r\n\r\nAnother comparable work regarding the Natives and the New World is “A Short Account of the Destruction of the Indies” by Bartolome De Las Casas, a monk and philanthropist who objected against Spanish conquest in defense of the Natives, having witnessed their subjugation. His work provides a point of view that is different, completely opposite of the conqueror’s perspective. In his work, he focuses much on cruelty done to the Natives by the Spanish. His work also gain considerable influence and advocated for more humane policies regarding the Natives.\r\n\r\n&nbsp;\r\n\r\nCortes’ letters were mainly received by his superiors and the King and Queen of Spain. He sent five long dispatches to the King describing his conquest. His fourth and fifth letters were not published until the nineteenth century (Angel) possibly because they were the least exciting of the five letters. The rest of the letters were quickly known throughout Europe and were translated into Latin, Italian, and German. They were published around 1522 to 1532 (Angel). Back then, the European civilizations where curious about the New World and its inhabitants and Cortes’ letters provided them a glimpse, albeit, a biased view, of the Natives and the New World. Many are still fascinated by ancient Native American civilizations. However, the letters of Cortes and many other works of the like are not as well known to the average citizen.  Yet, the fact that his writings are still studied and being published in books up to today represent that his writings still hold much value and relevance in today’s world, for it could be said that it is Cortes’ letters that paved the way for European opportunity (Angel). It was Cortes and his conquest of Mexico that allowed for the influx of wealth being poured into Spain and the rest of Europe. The discovery of the New World brought many new and interesting trades, foods, crops, and spices. At the same time, it meant massive death by common diseases brought over by the settlers (John), the destruction of their culture, the forced conversion of Christianity imposed upon them, and the enslavement of the indigenous people. In fact, the first fifty years of contact almost killed the whole native population and other densely populated areas.\r\n\r\n&nbsp;\r\n\r\nPersonally, I was intrigued that Cortes found many similarities between his culture and the Natives to the point where he compares the great city of Technochtitlan to the Spanish city of Seville. Yet, he still finds one fault that lead to a great divide between the Natives and himself, leading onward to a culture clash, which unfolded into the mass extermination of the Natives and the elimination of their way of life: the fact that they were polytheistic and were not of the same religion as Cortes. Because of this fact, he continued to view the Natives as barbaric people who need to be brought the knowledge of God: “I will say only that these people live almost like those in Spain, and in as much harmony and order as there, and considering that they are barbarous and so far from the knowledge of God and cut off from all civilized nations, it is truly remarkable to see what they have achieved in all things” (Fiero). Although Cortes believed that the Natives needed to be Christian or Catholic, religion and beliefs were not the only reason why Cortes wanted to conquer the New World, one should note that there was wealth to be had by doing so. From a much broader perspective, economic interest also played a  major role in the conquest.\r\n\r\n&nbsp;\r\n\r\nAlthough Cortes’ actions facilitated the growth of wealth into Europe’s economy and provided great detail of what was once the Aztec Empire before its fall, offering a perspective of the events during his conquest, much that could be learned from the Aztecs have been lost. Generations should look back at it and learn one of the most important lessons that is still very relevant in today’s world. As illustrated in Cortes’ letters, culture clashes happen when people are not able to be able to think beyond the context of their own culture, thus creating conflict. Cortes had no doubts in his belief of the superiority of the Christian faith and did what he believed was what should be done in his understanding of it, which was to conquer for “God, king, and country” no matter what it meant (Angel). In the end, Technochtitlan was leveled to the ground. All the gold on the structures of the city were melted down and sent to Spain.  The Natives lost much of their identity and forgotten many of the great achievements that they had, and experienced and generations of conflict. Many of what the Aztecs valued, ancient knowledge, and what future generations could also benefit from their achievements have been destroyed, lost in time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">WORKS CITED</p>\r\n&nbsp;\r\n\r\nAngel Delgado Gómez \"Cortés, Fernando\" The Oxford Encyclopedia of Mesoamerican\r\n\r\nCultures. Ed. Davíd Carrasco. Oxford University Press, 2006.  Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t221.e151&gt;\r\n\r\n\"conquistadores\"  A Dictionary of World History. Oxford University Press, 2000. Oxford\r\n\r\nReference Online. Oxford University Press.  Austin Community College.  25 April 2011&lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t48.e917&gt;\r\n\r\n\"Cortés, Hernán\"  The Oxford Dictionary of the Renaissance. Gordon Campbell. Oxford\r\n\r\nUniversity Press, 2003.  Austin Community College.  25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t175.e963&gt;\r\n\r\nJohn M. D. Pohl, Michael E. Smith, Deborah L. Nichols \"Aztec Civilization\"   <em>The Oxford </em>\r\n\r\n<em>Companion to Archaeology</em>. Brian M. Fagan, ed., Oxford University Press 1996. <em>Oxford Reference Online</em>. Oxford University Press. Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com/views/ENTRY.html?subview=Main&amp;entry=t136.e0043-s0004&gt;\r\n\r\n&nbsp;','Cortes\' Letters from Mexico','','inherit','open','open','','1086-revision-8','','','2011-05-02 13:32:18','2011-05-02 19:32:18','',1086,'http://jeanatacc.com/2011/?p=1292',0,'revision','',0),(1293,1,'2011-05-08 20:48:13','2011-05-09 02:48:13','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8.jpg\"><img class=\"size-medium wp-image-1087 alignleft\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a>The Letters from Mexico written by Cortes to the King and Queen of Spain, offer a glimpse of the time of the Spanish conquistadors and the exploration of the New World during the early 1500s. These letters describe the culture of the indigenous civilization, the Aztecs, their ancient city, their culture, and their way of life before the destruction of the ancient civilization, illustrating the clashing between two different cultures, and illustrate a very important perspective of the events in Spanish exploration of the New World through one of the most important figures in history.\r\n\r\n<!--more-->Hernan Cortes was born 1485 into a noble family in Medellin, Spain. He studied law in Salamanca, ran away when he was nineteen, and entered the military under Diego Velazquez. He died 1547 (\"Cortés, Hernán\"). Cortes is the most famous conquistador in history known for being mistaken as a deity by the natives, having toppled the great city of Technochtitlan, and facilitated the fall of the Aztec Empire (\"conquistadores\").  During his travels in the New World, Cortes had contact with the various Native inhabitants and the Aztec people writing reports or letters to the King and Queen of Spain explaining various situations and events that happened. Like many notable works during this era, Cortes’ letters described the native peoples explaining in great detail about their wealth, “harmony,” culture, and civilization. Like other conqueror of any nation, he views the Natives as barbaric and uncivilized: an attitude that is often illustrated within his letters.\r\n\r\n&nbsp;\r\n\r\nThe letters that Cortes wrote also give great insight into what the Conquistadors at the time were thinking of the Natives. One thing that sets the letters apart from other “works” is that it offers a conqueror’s perspective on history. Despite his notions of the natives, he still provides a very detailed account of what their culture, rich descriptions, praise, and even admiration towards the Natives to the point where he would compare them to Christian or Islamic nations. In one of his letters, he marvels at the structure and of the city: “There are in the city many large and beautiful houses, and the reason for this is that all the chiefs of the land, who are Montezuma\'s vassals, have houses in the city and live there for part of the year; and in addition there are many rich citizens who likewise have very good houses. All these houses have very large and very good rooms and also very pleasant gardens of various sorts of flowers both on the upper and lower floors” (Fiero), illustrating his awe at what the Aztecs achieved.\r\n\r\n&nbsp;\r\n\r\nAnother comparable work regarding the Natives and the New World is “A Short Account of the Destruction of the Indies” by Bartolome De Las Casas, a monk and philanthropist who objected against Spanish conquest in defense of the Natives, having witnessed their subjugation. His work provides a point of view that is different, completely opposite of the conqueror’s perspective. In his work, he focuses much on cruelty done to the Natives by the Spanish. His work also gain considerable influence and advocated for more humane policies regarding the Natives.\r\n\r\n&nbsp;\r\n\r\nCortes’ letters were mainly received by his superiors and the King and Queen of Spain. He sent five long dispatches to the King describing his conquest. His fourth and fifth letters were not published until the nineteenth century (Angel) possibly because they were the least exciting of the five letters. The rest of the letters were quickly known throughout Europe and were translated into Latin, Italian, and German. They were published around 1522 to 1532 (Angel). Back then, the European civilizations where curious about the New World and its inhabitants and Cortes’ letters provided them a glimpse, albeit, a biased view, of the Natives and the New World. Many are still fascinated by ancient Native American civilizations. However, the letters of Cortes and many other works of the like are not as well known to the average citizen.  Yet, the fact that his writings are still studied and being published in books up to today represent that his writings still hold much value and relevance in today’s world, for it could be said that it is Cortes’ letters that paved the way for European opportunity (Angel). It was Cortes and his conquest of Mexico that allowed for the influx of wealth being poured into Spain and the rest of Europe. The discovery of the New World brought many new and interesting trades, foods, crops, and spices. At the same time, it meant massive death by common diseases brought over by the settlers (John), the destruction of their culture, the forced conversion of Christianity imposed upon them, and the enslavement of the indigenous people. In fact, the first fifty years of contact almost killed the whole native population and other densely populated areas.\r\n\r\n&nbsp;\r\n\r\nPersonally, I was intrigued that Cortes found many similarities between his culture and the Natives to the point where he compares the great city of Technochtitlan to the Spanish city of Seville. Yet, he still finds one fault that lead to a great divide between the Natives and himself, leading onward to a culture clash, which unfolded into the mass extermination of the Natives and the elimination of their way of life: the fact that they were polytheistic and were not of the same religion as Cortes. Because of this fact, he continued to view the Natives as barbaric people who need to be brought the knowledge of God: “I will say only that these people live almost like those in Spain, and in as much harmony and order as there, and considering that they are barbarous and so far from the knowledge of God and cut off from all civilized nations, it is truly remarkable to see what they have achieved in all things” (Fiero). Although Cortes believed that the Natives needed to be Christian or Catholic, religion and beliefs were not the only reason why Cortes wanted to conquer the New World, one should note that there was wealth to be had by doing so. From a much broader perspective, economic interest also played a  major role in the conquest.\r\n\r\n&nbsp;\r\n\r\nAlthough Cortes’ actions facilitated the growth of wealth into Europe’s economy and provided great detail of what was once the Aztec Empire before its fall, offering a perspective of the events during his conquest, much that could be learned from the Aztecs have been lost. Generations should look back at it and learn one of the most important lessons that is still very relevant in today’s world. As illustrated in Cortes’ letters, culture clashes happen when people are not able to be able to think beyond the context of their own culture, thus creating conflict. Cortes had no doubts in his belief of the superiority of the Christian faith and did what he believed was what should be done in his understanding of it, which was to conquer for “God, king, and country” no matter what it meant (Angel). In the end, Technochtitlan was leveled to the ground. All the gold on the structures of the city were melted down and sent to Spain.  The Natives lost much of their identity and forgotten many of the great achievements that they had, and experienced and generations of conflict. Many of what the Aztecs valued, ancient knowledge, and what future generations could also benefit from their achievements have been destroyed, lost in time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">WORKS CITED</p>\r\n&nbsp;\r\n\r\nAngel Delgado Gómez \"Cortés, Fernando\" The Oxford Encyclopedia of Mesoamerican\r\n\r\nCultures. Ed. Davíd Carrasco. Oxford University Press, 2006.  Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t221.e151&gt;\r\n\r\n\"conquistadores\"  A Dictionary of World History. Oxford University Press, 2000. Oxford\r\n\r\nReference Online. Oxford University Press.  Austin Community College.  25 April 2011&lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t48.e917&gt;\r\n\r\n\"Cortés, Hernán\"  The Oxford Dictionary of the Renaissance. Gordon Campbell. Oxford\r\n\r\nUniversity Press, 2003.  Austin Community College.  25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t175.e963&gt;\r\n\r\nJohn M. D. Pohl, Michael E. Smith, Deborah L. Nichols \"Aztec Civilization\"   <em>The Oxford </em>\r\n\r\n<em>Companion to Archaeology</em>. Brian M. Fagan, ed., Oxford University Press 1996. <em>Oxford Reference Online</em>. Oxford University Press. Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com/views/ENTRY.html?subview=Main&amp;entry=t136.e0043-s0004&gt;\r\n\r\n&nbsp;','Cortes\' Letters from Mexico','','inherit','open','open','','1086-revision-9','','','2011-05-08 20:48:13','2011-05-09 02:48:13','',1086,'http://jeanatacc.com/2011/?p=1293',0,'revision','',0),(1296,1,'2011-05-05 07:40:35','2011-05-05 13:40:35','<p style=\"text-align: center\"><strong><em> </em></strong></p>\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n<div class=\"mceTemp mceIEcenter\"><dl><dt><strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong></dt><dd>Library of Congress North Reading Room mural<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt;line-height: normal\"><span style=\"font-size: 8.0pt\"><span> </span></span><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n\r\n</dd></dl></div>\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong><strong> </strong>\r\n\r\nThe debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a></dt><dd>Woodcut from William Caxton\'s second edition of the Canterbury Tales printed in 1483  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: normal\"><a href=\"http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png\"><span style=\"font-size: 8.0pt\">http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n\r\n</dd></dl></div>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt;line-height: 200%\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (Geoffrey Chaucer).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a></dt><dd>Portrait of Chaucer <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --><span><a href=\"http://www.qwiki.com/q/#%21/English_literature\"><span style=\"font-size: 10.0pt;line-height: 115%\">http://www.qwiki.com/q/#!/English_li</span><span style=\"font-size: 9.0pt;line-height: 115%\">terature</span></a></span></dd></dl></div>\r\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt;line-height: 200%\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12.0pt;line-height: 200%\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span>Equitan</span></em><span>, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt;line-height: 200%\"><em><span style=\"font-size: 12.0pt;line-height: 200%\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt;line-height: 200%\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(Geoffrey Chaucer).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt;line-height: 200%\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\r\n\r\n<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a></dt><dd>Manuscript page from The Canterbury Tales  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: normal\"><a href=\"http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/\"><span style=\"font-size: 8.0pt\">http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n\r\n</dd></dl></div>\r\nFor instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt;line-height: 200%\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span>\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a></dt><dd>Detail of manuscript Dante\'s Comedy  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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] --><span><a href=\"http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd\"><span style=\"font-size: 12.0pt;line-height: 115%;color: windowtext\">http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd</span></a></span> </dd></dl></div>\r\nDante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt;line-height: 200%\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt;line-height: 200%\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt;line-height: 200%\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt;line-height: 200%\">protagonists</span><span style=\"font-size: 12pt;line-height: 200%\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt;line-height: 200%\">Fiero</span><span style=\"font-size: 12pt;line-height: 200%\">). </span><span style=\"font-size: 12pt;line-height: 200%\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt;line-height: 200%\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt;line-height: 200%\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”(</span></span><span>Gāius</span><span style=\"font-size: 12.0pt;line-height: 200%\"><span class=\"huge\"> </span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\r\n\r\n<div class=\"mceTemp mceIEcenter\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></dt><dd>Library of Congress North Reading Room mural  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt;line-height: normal\"><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n\r\n</dd></dl></div>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext;text-decoration: none\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\r\n\r\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\">\r\n\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    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] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n</div>\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[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=\"margin-bottom: .0001pt;line-height: normal\"><span style=\"font-size: 8.0pt\"><span> </span></span><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n\r\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-21','','','2011-05-05 07:40:35','2011-05-05 13:40:35','',892,'http://jeanatacc.com/2011/?p=1296',0,'revision','',0),(1294,1,'2011-05-08 20:49:10','2011-05-09 02:49:10','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8.jpg\"><img class=\"size-medium wp-image-1087 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a></p>\r\n<p style=\"text-align: center;\">http://www.lilalions.com/blog/CM1A_LF/</p>\r\n<p style=\"text-align: left;\">The Letters from Mexico written by Cortes to the King and Queen of Spain, offer a glimpse of the time of the Spanish conquistadors and the exploration of the New World during the early 1500s. These letters describe the culture of the indigenous civilization, the Aztecs, their ancient city, their culture, and their way of life before the destruction of the ancient civilization, illustrating the clashing between two different cultures, and illustrate a very important perspective of the events in Spanish exploration of the New World through one of the most important figures in history.</p>\r\n<!--more-->Hernan Cortes was born 1485 into a noble family in Medellin, Spain. He studied law in Salamanca, ran away when he was nineteen, and entered the military under Diego Velazquez. He died 1547 (\"Cortés, Hernán\"). Cortes is the most famous\r\n\r\nconquistador in history known for being mistaken as a deity by the natives, having toppled the great city of Technochtitlan, and facilitated the fall of the Aztec Empire (\"conquistadores\").  During his travels in the New World, Cortes had contact with the various Native inhabitants and the Aztec people writing reports or letters to the King and Queen of Spain explaining various situations and events that happened. Like many notable works during this era, Cortes’ letters described the native peoples explaining in great detail about their wealth, “harmony,” culture, and civilization. Like other conqueror of any nation, he views the Natives as barbaric and uncivilized: an attitude that is often illustrated within his letters.\r\n\r\nThe letters that Cortes wrote also give great insight into what the Conquistadors at the time were thinking of the Natives. One thing that sets the letters apart from other “works” is that it offers a conqueror’s perspective on history. Despite his notions of the natives, he still provides a very detailed account of what their culture, rich descriptions, praise, and even admiration towards the Natives to the point where he would compare them to Christian or Islamic nations. In one of his letters, he marvels at the structure and of the city: “There are in the city many large and beautiful houses, and the reason for this is that all the chiefs of the land, who are Montezuma\'s vassals, have houses in the city and live there for part of the year; and in addition there are many rich citizens who likewise have very good houses. All these houses have very large and very good rooms and also very pleasant gardens of various sorts of flowers both on the upper and lower floors” (Fiero), illustrating his awe at what the Aztecs achieved.\r\n\r\n&nbsp;\r\n\r\nAnother comparable work regarding the Natives and the New World is “A Short Account of the Destruction of the Indies” by Bartolome De Las Casas, a monk and philanthropist who objected against Spanish conquest in defense of the Natives, having witnessed their subjugation. His work provides a point of view that is different, completely opposite of the conqueror’s perspective. In his work, he focuses much on cruelty done to the Natives by the Spanish. His work also gain considerable influence and advocated for more humane policies regarding the Natives.\r\n\r\n&nbsp;\r\n\r\nCortes’ letters were mainly received by his superiors and the King and Queen of Spain. He sent five long dispatches to the King describing his conquest. His fourth and fifth letters were not published until the nineteenth century (Angel) possibly because they were the least exciting of the five letters. The rest of the letters were quickly known throughout Europe and were translated into Latin, Italian, and German. They were published around 1522 to 1532 (Angel). Back then, the European civilizations where curious about the New World and its inhabitants and Cortes’ letters provided them a glimpse, albeit, a biased view, of the Natives and the New World. Many are still fascinated by ancient Native American civilizations. However, the letters of Cortes and many other works of the like are not as well known to the average citizen.  Yet, the fact that his writings are still studied and being published in books up to today represent that his writings still hold much value and relevance in today’s world, for it could be said that it is Cortes’ letters that paved the way for European opportunity (Angel). It was Cortes and his conquest of Mexico that allowed for the influx of wealth being poured into Spain and the rest of Europe. The discovery of the New World brought many new and interesting trades, foods, crops, and spices. At the same time, it meant massive death by common diseases brought over by the settlers (John), the destruction of their culture, the forced conversion of Christianity imposed upon them, and the enslavement of the indigenous people. In fact, the first fifty years of contact almost killed the whole native population and other densely populated areas.\r\n\r\n&nbsp;\r\n\r\nPersonally, I was intrigued that Cortes found many similarities between his culture and the Natives to the point where he compares the great city of Technochtitlan to the Spanish city of Seville. Yet, he still finds one fault that lead to a great divide between the Natives and himself, leading onward to a culture clash, which unfolded into the mass extermination of the Natives and the elimination of their way of life: the fact that they were polytheistic and were not of the same religion as Cortes. Because of this fact, he continued to view the Natives as barbaric people who need to be brought the knowledge of God: “I will say only that these people live almost like those in Spain, and in as much harmony and order as there, and considering that they are barbarous and so far from the knowledge of God and cut off from all civilized nations, it is truly remarkable to see what they have achieved in all things” (Fiero). Although Cortes believed that the Natives needed to be Christian or Catholic, religion and beliefs were not the only reason why Cortes wanted to conquer the New World, one should note that there was wealth to be had by doing so. From a much broader perspective, economic interest also played a  major role in the conquest.\r\n\r\n&nbsp;\r\n\r\nAlthough Cortes’ actions facilitated the growth of wealth into Europe’s economy and provided great detail of what was once the Aztec Empire before its fall, offering a perspective of the events during his conquest, much that could be learned from the Aztecs have been lost. Generations should look back at it and learn one of the most important lessons that is still very relevant in today’s world. As illustrated in Cortes’ letters, culture clashes happen when people are not able to be able to think beyond the context of their own culture, thus creating conflict. Cortes had no doubts in his belief of the superiority of the Christian faith and did what he believed was what should be done in his understanding of it, which was to conquer for “God, king, and country” no matter what it meant (Angel). In the end, Technochtitlan was leveled to the ground. All the gold on the structures of the city were melted down and sent to Spain.  The Natives lost much of their identity and forgotten many of the great achievements that they had, and experienced and generations of conflict. Many of what the Aztecs valued, ancient knowledge, and what future generations could also benefit from their achievements have been destroyed, lost in time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\">WORKS CITED</p>\r\n&nbsp;\r\n\r\nAngel Delgado Gómez \"Cortés, Fernando\" The Oxford Encyclopedia of Mesoamerican\r\n\r\nCultures. Ed. Davíd Carrasco. Oxford University Press, 2006.  Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t221.e151&gt;\r\n\r\n\"conquistadores\"  A Dictionary of World History. Oxford University Press, 2000. Oxford\r\n\r\nReference Online. Oxford University Press.  Austin Community College.  25 April 2011&lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t48.e917&gt;\r\n\r\n\"Cortés, Hernán\"  The Oxford Dictionary of the Renaissance. Gordon Campbell. Oxford\r\n\r\nUniversity Press, 2003.  Austin Community College.  25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t175.e963&gt;\r\n\r\nJohn M. D. Pohl, Michael E. Smith, Deborah L. Nichols \"Aztec Civilization\"   <em>The Oxford </em>\r\n\r\n<em>Companion to Archaeology</em>. Brian M. Fagan, ed., Oxford University Press 1996. <em>Oxford Reference Online</em>. Oxford University Press. Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com/views/ENTRY.html?subview=Main&amp;entry=t136.e0043-s0004&gt;\r\n\r\n&nbsp;','Cortes\' Letters from Mexico','','inherit','open','open','','1086-revision-10','','','2011-05-08 20:49:10','2011-05-09 02:49:10','',1086,'http://jeanatacc.com/2011/?p=1294',0,'revision','',0),(1295,1,'2011-05-08 20:49:14','2011-05-09 02:49:14','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8.jpg\"><img class=\"size-medium wp-image-1087 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a></p>\r\n<p style=\"text-align: center;\">http://www.lilalions.com/blog/CM1A_LF/</p>\r\n<p style=\"text-align: left;\">The Letters from Mexico written by Cortes to the King and Queen of Spain, offer a glimpse of the time of the Spanish conquistadors and the exploration of the New World during the early 1500s. These letters describe the culture of the indigenous civilization, the Aztecs, their ancient city, their culture, and their way of life before the destruction of the ancient civilization, illustrating the clashing between two different cultures, and illustrate a very important perspective of the events in Spanish exploration of the New World through one of the most important figures in history.</p>\r\n<!--more-->Hernan Cortes was born 1485 into a noble family in Medellin, Spain. He studied law in Salamanca, ran away when he was nineteen, and entered the military under Diego Velazquez. He died 1547 (\"Cortés, Hernán\"). Cortes is the most famous\r\n\r\nconquistador in history known for being mistaken as a deity by the natives, having toppled the great city of Technochtitlan, and facilitated the fall of the Aztec Empire (\"conquistadores\").  During his travels in the New World, Cortes had contact with the various Native inhabitants and the Aztec people writing reports or letters to the King and Queen of Spain explaining various situations and events that happened. Like many notable works during this era, Cortes’ letters described the native peoples explaining in great detail about their wealth, “harmony,” culture, and civilization. Like other conqueror of any nation, he views the Natives as barbaric and uncivilized: an attitude that is often illustrated within his letters.\r\n\r\nThe letters that Cortes wrote also give great insight into what the Conquistadors at the time were thinking of the Natives. One thing that sets the letters apart from other “works” is that it offers a conqueror’s perspective on history. Despite his notions of the natives, he still provides a very detailed account of what their culture, rich descriptions, praise, and even admiration towards the Natives to the point where he would compare them to Christian or Islamic nations. In one of his letters, he marvels at the structure and of the city: “There are in the city many large and beautiful houses, and the reason for this is that all the chiefs of the land, who are Montezuma\'s vassals, have houses in the city and live there for part of the year; and in addition there are many rich citizens who likewise have very good houses. All these houses have very large and very good rooms and also very pleasant gardens of various sorts of flowers both on the upper and lower floors” (Fiero), illustrating his awe at what the Aztecs achieved.\r\n\r\n&nbsp;\r\n\r\nAnother comparable work regarding the Natives and the New World is “A Short Account of the Destruction of the Indies” by Bartolome De Las Casas, a monk and philanthropist who objected against Spanish conquest in defense of the Natives, having witnessed their subjugation. His work provides a point of view that is different, completely opposite of the conqueror’s perspective. In his work, he focuses much on cruelty done to the Natives by the Spanish. His work also gain considerable influence and advocated for more humane policies regarding the Natives.\r\n\r\n&nbsp;\r\n\r\nCortes’ letters were mainly received by his superiors and the King and Queen of Spain. He sent five long dispatches to the King describing his conquest. His fourth and fifth letters were not published until the nineteenth century (Angel) possibly because they were the least exciting of the five letters. The rest of the letters were quickly known throughout Europe and were translated into Latin, Italian, and German. They were published around 1522 to 1532 (Angel). Back then, the European civilizations where curious about the New World and its inhabitants and Cortes’ letters provided them a glimpse, albeit, a biased view, of the Natives and the New World. Many are still fascinated by ancient Native American civilizations. However, the letters of Cortes and many other works of the like are not as well known to the average citizen.  Yet, the fact that his writings are still studied and being published in books up to today represent that his writings still hold much value and relevance in today’s world, for it could be said that it is Cortes’ letters that paved the way for European opportunity (Angel). It was Cortes and his conquest of Mexico that allowed for the influx of wealth being poured into Spain and the rest of Europe. The discovery of the New World brought many new and interesting trades, foods, crops, and spices. At the same time, it meant massive death by common diseases brought over by the settlers (John), the destruction of their culture, the forced conversion of Christianity imposed upon them, and the enslavement of the indigenous people. In fact, the first fifty years of contact almost killed the whole native population and other densely populated areas.\r\n\r\n&nbsp;\r\n\r\nPersonally, I was intrigued that Cortes found many similarities between his culture and the Natives to the point where he compares the great city of Technochtitlan to the Spanish city of Seville. Yet, he still finds one fault that lead to a great divide between the Natives and himself, leading onward to a culture clash, which unfolded into the mass extermination of the Natives and the elimination of their way of life: the fact that they were polytheistic and were not of the same religion as Cortes. Because of this fact, he continued to view the Natives as barbaric people who need to be brought the knowledge of God: “I will say only that these people live almost like those in Spain, and in as much harmony and order as there, and considering that they are barbarous and so far from the knowledge of God and cut off from all civilized nations, it is truly remarkable to see what they have achieved in all things” (Fiero). Although Cortes believed that the Natives needed to be Christian or Catholic, religion and beliefs were not the only reason why Cortes wanted to conquer the New World, one should note that there was wealth to be had by doing so. From a much broader perspective, economic interest also played a  major role in the conquest.\r\n\r\n&nbsp;\r\n\r\nAlthough Cortes’ actions facilitated the growth of wealth into Europe’s economy and provided great detail of what was once the Aztec Empire before its fall, offering a perspective of the events during his conquest, much that could be learned from the Aztecs have been lost. Generations should look back at it and learn one of the most important lessons that is still very relevant in today’s world. As illustrated in Cortes’ letters, culture clashes happen when people are not able to be able to think beyond the context of their own culture, thus creating conflict. Cortes had no doubts in his belief of the superiority of the Christian faith and did what he believed was what should be done in his understanding of it, which was to conquer for “God, king, and country” no matter what it meant (Angel). In the end, Technochtitlan was leveled to the ground. All the gold on the structures of the city were melted down and sent to Spain.  The Natives lost much of their identity and forgotten many of the great achievements that they had, and experienced and generations of conflict. Many of what the Aztecs valued, ancient knowledge, and what future generations could also benefit from their achievements have been destroyed, lost in time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\">WORKS CITED</p>\r\n&nbsp;\r\n\r\nAngel Delgado Gómez \"Cortés, Fernando\" The Oxford Encyclopedia of Mesoamerican\r\n\r\nCultures. Ed. Davíd Carrasco. Oxford University Press, 2006.  Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t221.e151&gt;\r\n\r\n\"conquistadores\"  A Dictionary of World History. Oxford University Press, 2000. Oxford\r\n\r\nReference Online. Oxford University Press.  Austin Community College.  25 April 2011&lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t48.e917&gt;\r\n\r\n\"Cortés, Hernán\"  The Oxford Dictionary of the Renaissance. Gordon Campbell. Oxford\r\n\r\nUniversity Press, 2003.  Austin Community College.  25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t175.e963&gt;\r\n\r\nJohn M. D. Pohl, Michael E. Smith, Deborah L. Nichols \"Aztec Civilization\"   <em>The Oxford </em>\r\n\r\n<em>Companion to Archaeology</em>. Brian M. Fagan, ed., Oxford University Press 1996. <em>Oxford Reference Online</em>. Oxford University Press. Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com/views/ENTRY.html?subview=Main&amp;entry=t136.e0043-s0004&gt;\r\n\r\n&nbsp;','Cortes\' Letters from Mexico','','inherit','open','open','','1086-revision-11','','','2011-05-08 20:49:14','2011-05-09 02:49:14','',1086,'http://jeanatacc.com/2011/?p=1295',0,'revision','',0),(1297,1,'2011-04-16 19:54:11','2011-04-17 01:54:11','Good morning again, fine people. We reconvene today to discuss the task of preservation items. We have been meeting on these topics for some time now. Secretary, please note for the record that the date is in the year 2100 A.D. The earth is still uninhabitable. There have been some advancements in relation to inhabitability, but none significant enough to warrant launching exploration teams back to Earth. Our children will need inspirational items to focus on.  The third item I want to submit to the review committee is the Franco-Flemish composer Guillame Dufay. <!--more-->He was the author of the piece entitled Missa L’ homme arme’. I submit this piece due to the fact that Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. “Dufay was the first to explore combining two or more cantus firmi into one mass.”( Oxford Music Online- Cantus Firmus) The works by Guillame Dufay should be preserved because they represent the change from “ Gregorian chant as the backbone of compositions to using popular songs of the day.” ( Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career) Netlibrary Ebook. “ Polyphony was to become , over the next few centuries, one of the most intricately artistic achievements in all of sacred art.” ( Brown)\r\n\r\nGuillame Dufay’s Missa L’homme arme’ was composed in 1453. This date coincides with the fall of Constantinople. For the Missa L’homme arme’ Dufay “ followed the common practice of borrowing melodies from popular folk tunes. In it , he employed the best known of all fifteenth- century  folk songs, “ the armed man” as the cantus firmus for all sections of the piece.”(Fiero)  Cantus firmus were widely used in Latin masses. A Cantus Firmus is a pre-exisiting melody used as a basis of a new polyphonic composition. A polyphonic composition is something that consists of two or more independent melodic voices. During the Renaissance, music was composed by amateurs and professionals alike. The printing press had been invented, so publishing works of music became prevalent. During the renaissance, music was an essential ingredient in gatherings, celebrations and festivals.  Music is still a very important part of our lives through time. Even today, we celebrate the beginning of life with music. We also mourn our deceased at ceremonies that include music. While Italian visual artists lead the field, the French and Franco- Flemish composers were way ahead of their time. The reason Dufay’s piece carries such significance is because pieces were written based on it up to three centuries later.\r\n\r\n“ Like renaissance art, renaissance music was increasingly secular in subject matter and function.” (Fiero) Dufay’s piece was the first to depart away from this. Missa L’homme arme’ translates into the Mass of the Armed Man. Weapons had recently been invented that would enable individuals to carry them. Masses were an important part of life, not only for religious reasons , but for social and political reasons as well. The fact that a Mass was dedicated to an armed man or a soldier showed the significance of fighting for ones beliefs.\r\n\r\n“During both the Middle Ages and the Renaissance a clear line existed between music’s role as a branch of the sciences on the one hand and musical composition and performance on the other. “ ( Bleiberg) . Dufay’s Missa L’homme arme’ is of importance because this piece helps define the new era of having mutliple voices in one piece of music. He was a pioneer of composing. Today more than 200 pieces of his work still remain.\r\n\r\n“ According to executors of Dufay’s will, his homeland was the town of Brusells.  His name was originally spelled Du_Fayt. The earliest mention of Dufay is in 1409 where he is listed as Willemet. He was taught by two people in Cambrai. Dufay became a residentiary canon of the cathedral in 1408. He caught the attention of the cathedral authorities early on. His instruction in music and grammar followed the rigid curriculum common to most French cathedral schools in the late Middle Ages.  Dufay became a canon in 1436. In 1437 it is mentioned that he obtained a Bachelor of Law degree by papal decree. As a canon of St. Donation, he had trouble with the chapter over the collection of his revenues. in 1447 he resigned at St. Donation and was installed as canon of Ste. Waudru in Mons.” (Bloxam)\r\n\r\nA composer who competed with Dufay during his time was Josquin Des Prez.  Dufay and Des Prez were similar in that they both “ unified each polyphonic Mass around a single musical theme.” (Fiero) “Des Prez was different than Dufay in that his compositions contrived complex designs in which melody and harmony were distributed symmetrically and with geometric clarity. “ (Fiero) Des Prez motets are thought to represent his work the best. Dufay’s cantus firmus are his best pieces.\r\n\r\nAnother composer in the time of Dufay was Adrian Willaert. Willaert also had legal training similar to Dufay. Willaert was famous for his motets. Willaert’s works didn’t include any cantus firmus like Dufay’s. Unlike Dufay, Des Prez’ technical innovations “include a closer relationship between words and music and the use of imitation ( repetition by one voice of a melody sung by another voice). “( Encyclopedia of World Biography , Vol 16 2nd ed. Detroit: Gale,2004. P287-288, Willaert) Des Prez was similar to Dufay in that he was sought after by churches throughout Europe.\r\n\r\nToday Dufay’s works are studied by musical scholars as well a just the general public interested in musical history and how modern day music evolved from the days of the Gregorian chants.  Dufay is held as a genius of his time. He is compared to many other composers during his era. He stands above the rest in that the Missa L’ homme arme’ was the first of its kind. It became the model that was used by composers well into three centuries later. Dufay’s works mark what has come to be known as renaissance music.\r\n“The author of the song, an ingenious poet and composer, describes in a semi-dramatic , semi-narrative form what he heard in a late medieval town: the warning sound of the watchmen’s horn from the tower as a hostile army is approaching from across the plains- L’homme arme’” ( Planchart)\r\nThis would apply even in today’s world as news spreads about wars throughout the lands.\r\n\r\nWorks cited :\r\n\r\nPlanchart, Alejandro e. The Origins and Early History of L\'homme arme\'. Berkeley, CA: University of California Press, 2003. Print.\r\nPlanchart, Alejandro e. “ Dufay Guillaume” Grove Music Online. Oxford Music Online. 28\r\nMar .2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/08268\r\n“Music and the Renaissance.” Arts and Humanities Through the Eras. Ed.Edward I. Bleiberg, et al. Vol. 4 : Renaissance Europe 1300-1600. Detroit: Gale,2005. 173-176. Gale Virtual Reference Library.  Web. 29 Mar. 2011.\r\nM. Jennifer Bloxam. “ Cantus Firmus.” Grove Music Online. Oxford Music Online. 28 Mar. 2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/04795\r\n\"Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career.\" chicago institute for career research 11 (2005): 6. netlibrary.com. Web. 5 Apr. 2011.\r\n“Josquin des Prez.\" Encyclopedia of World Biography. 2nd ed. Vol. 8. Detroit: Gale, 2004. 361-363. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\"Adrian Willaert.\" Encyclopedia of World Biography. 2nd ed. Vol. 16. Detroit: Gale, 2004. 287-288. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\nFiero, Gloria K. The Humanistic Tradition. 6th ed. New York: McGraw Hill, 2011. 75-76. Print.','BEWARE THE ARMED MAN','','inherit','open','open','','1005-revision-5','','','2011-04-16 19:54:11','2011-04-17 01:54:11','',1005,'http://jeanatacc.com/2011/?p=1297',0,'revision','',0),(1298,1,'2011-04-16 19:52:21','2011-04-17 01:52:21','In 1428, Masaccio’s Holy Trinity and the virgin Mary and St. John was created. The painting was the first successful depiction in painting of the new concept era(World Book Encyclopedia). Even though the painting is influenced by Brunelleschi’s mathematical laws and Donatello, it is the beginning of the Renaissance awakening and introduced humanism and line perspective to spiritual paintings of its time (Matthews).<!--more-->\r\n\r\nThe painting creates such an illusion of space and distance which were drawn from the life around him. He was a well praised artist for the most part and his work was never doubted, in fact it was influential. When the painting was done, the Renaissance era was just beginning.\r\n\r\nThe work was typical because at the time most artist created paintings based off of spiritual entities. It was unusual because it was the only painting for awhile that touched base with humanism and the feelings around Masaccio. The feelings glowed off of the paper and each part told a smaller portion of a greater story. The work was delighting during its prime because no one had experienced the beauty of Masaccio’s art and it was received as a breakthrough for a more modern art.\r\n\r\nToday it is viewed as shaping the future for our present artistic styles and we view the different styles of art. I love the was Masaccio created his edition of the Holy Trinity and the virgin Mary and St. John. Compared to other paintings it is more appealing to the eye and is influential and unique.\r\n\r\nThis work should be remembered not only for the contributions it has made to the educational world of art and how he used space perspective, distance and mathematical angles to create linear illusions but to the satisfactory world.\r\n\r\nMasaccio was born December 21, 1401 Tommaso di Giovanni di Simone Guidi. He received the name Masaccio when he was sixteen. His father died when he was five and his mother died just before he was a young adult (Matthews).\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nAiken, Jane “The Perspective Construction of Masaccio’s Trinity Fresco Medieval Astronomical Graphics, p. 171-187, 1995\r\n\r\nMatthews. The Western Humantities.Second Edition.Mayfield Publishing Co. 1950\r\n\r\nWorld Book Encylcopedia. World Book Inc. 1993. Volume 13\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Influences of Massacio','','inherit','open','open','','1012-revision-3','','','2011-04-16 19:52:21','2011-04-17 01:52:21','',1012,'http://jeanatacc.com/2011/?p=1298',0,'revision','',0),(1299,1,'2011-05-04 11:33:32','2011-05-04 17:33:32','The Treasury of a Well-Turned Verse, also known as “Subhasitaratnakosa,” is one of the many collected pieces of poetry that consisted of 1739 verses from a Buddhist monk by the name of Vidyakara. During the eleventh century, the anthologies of Sanskrit poetry started to rise. This anthology consisted more on the erotic love rather than the emotional love. The details that are described in this poem are based on physical passion and the female beauty. During the life and time of India in the fourth through eleventh centuries, many accomplishments had come about. There were “ruling hereditary chiefs or “rajputs” (sons of kings) followed a code of chivalry that set them apart from the lower classes” (Fiero). The caste system, which was a system to keep higher and lower social classes divided up properly.<!--more-->\r\n\r\nThis anthology was typical of its era due to the alliteration, assonance, and lack of rhyme. The alliteration portrayed in the poems had the same consonant sound. For example, the words “scent of the sweat” would be the alliteration used in the poem, Treasury of a Well-Turned Verse. The assonance in the poems would have the same vowel sound. For example, the words “wished to kiss” would be the assonance that is portrayed in the poem.  This type of work was unusual for its time because Indian poetry has more of a sexual and erotic perspective rather than a romantic perspective. Since this work was unusual for its time, this type of poetry was not really seen until the mid 600<sup>th</sup> century. People saw it as a new perspective on love and not the romantic aspect of it. People today find this work very important. It shows that Indian anthologies in the earlier times have demonstrated amazing progress and have influenced many poets and authors to create such successful work.\r\n\r\nMy personal reaction to the work is that I find it very distinctive and diverse. The anthologies that Vidyakara had collected revealed different perspectives of love. It showed that there could be poems written either about the romantic aspects or the erotic and sexual aspects. I find this type of work meaningful due to it being different and unusual. It focuses more on the romantic and physical aspects rather than on most Islamic verses. The Treasury of a Well-Turned Verse specifically compares to any collected poem of Vidyakara. This poem can compare to another poem, Song of Muhamudra, written by Tilopa during the eleventh century. The poems consist of two literary devices; alliteration and assonance. The differences between them is that The Treasury of a Well-Turned Verse has passionate and erotic love, whereas, Song of Muhamudra depicts more of the love of friendship. This work is most significant to future generations because it shows that there are different views on love. Vidyakara’s anthologies portray beauty, passion, and erotic romance. It shows that there are different emotions that can be displayed in poems, which could then lead to future collections such as Vidyakara’s anthologies.','TompkinsAllie- TCP4','','inherit','open','open','','1225-revision-3','','','2011-05-04 11:33:32','2011-05-04 17:33:32','',1225,'http://jeanatacc.com/2011/?p=1299',0,'revision','',0),(1300,1,'2011-05-09 15:26:49','2011-05-09 21:26:49','The Treasury of a Well-Turned Verse, also known as “Subhasitaratnakosa,” is one of the many collected pieces of poetry that consisted of 1739 verses from a Buddhist monk by the name of Vidyakara. During the eleventh century, the anthologies of Sanskrit poetry started to rise. This anthology consisted more on the erotic love rather than the emotional love. The details that are described in this poem are based on physical passion and the female beauty. During the life and time of India in the fourth through eleventh centuries, many accomplishments had come about. There were “ruling hereditary chiefs or “rajputs” (sons of kings) followed a code of chivalry that set them apart from the lower classes” (Fiero). The caste system, which was a system to keep higher and lower social classes divided up properly.<!--more-->\n\nThis anthology was typical of its era due to the alliteration, assonance, and lack of rhyme. The alliteration portrayed in the poems had the same consonant sound. For example, the words “scent of the sweat” would be the alliteration used in the poem, Treasury of a Well-Turned Verse. The assonance in the poems would have the same vowel sound. For example, the words “wished to kiss” would be the assonance that is portrayed in the poem.  This type of work was unusual for its time because Indian poetry has more of a sexual and erotic perspective rather than a romantic perspective. Since this work was unusual for its time, this type of poetry was not really seen until the mid 600<sup>th</sup> century. People saw it as a new perspective on love and not the romantic aspect of it. People today find this work very important. It shows that Indian anthologies in the earlier times have demonstrated amazing progress and have influenced many poets and authors to create such successful work.\n\nMy personal reaction to the work is that I find it very distinctive and diverse. The anthologies that Vidyakara had collected revealed different perspectives of love. It showed that there could be poems written either about the romantic aspects or the erotic and sexual aspects. I find this type of work meaningful due to it being different and unusual. It focuses more on the romantic and physical aspects rather than on most Islamic verses. The Treasury of a Well-Turned Verse specifically compares to any collected poem of Vidyakara. This poem can compare to another poem, Song of Muhamudra, written by Tilopa during the eleventh century. The poems consist of two literary devices; alliteration and assonance. The differences between them is that The Treasury of a Well-Turned Verse has passionate and erotic love, whereas, Song of Muhamudra depicts more of the love of friendship. This work is most significant to future generations because it shows that there are different views on love. Vidyakara’s anthologies portray beauty, passion, and erotic romance. It shows that there are different emotions that can be displayed in poems, which could then lead to future collections such as Vidyakara’s anthologies.\n\n<!--  /* Font Definitions */ @font-face 	{font-family:Times; 	panose-1:2 0 5 0 0 0 0 0 0 0; 	mso-font-charset:0; 	mso-generic-font-family:auto; 	mso-font-pitch:variable; 	mso-font-signature:3 0 0 0 1 0;} @font-face 	{font-family:Calibri; 	panose-1:2 15 5 2 2 2 4 3 2 4; 	mso-font-charset:0; 	mso-generic-font-family:auto; 	mso-font-pitch:variable; 	mso-font-signature:3 0 0 0 1 0;} @font-face 	{font-family:Cambria; 	panose-1:2 4 5 3 5 4 6 3 2 4; 	mso-font-charset:0; 	mso-generic-font-family:auto; 	mso-font-pitch:variable; 	mso-font-signature:3 0 0 0 1 0;}  /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal 	{mso-style-parent:\"\"; 	margin:0in; 	margin-bottom:.0001pt; 	mso-pagination:widow-orphan; 	font-size:12.0pt; 	font-family:\"Times New Roman\"; 	mso-ascii-font-family:Cambria; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:Cambria; 	mso-fareast-theme-font:minor-latin; 	mso-hansi-font-family:Cambria; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:\"Times New Roman\"; 	mso-bidi-theme-font:minor-bidi;} p 	{margin:0in; 	margin-bottom:.0001pt; 	mso-pagination:widow-orphan; 	font-size:10.0pt; 	font-family:\"Times New Roman\"; 	mso-ascii-font-family:Times; 	mso-fareast-font-family:Cambria; 	mso-fareast-theme-font:minor-latin; 	mso-hansi-font-family:Times; 	mso-bidi-font-family:\"Times New Roman\";} @page Section1 	{size:8.5in 11.0in; 	margin:1.0in 1.25in 1.0in 1.25in; 	mso-header-margin:.5in; 	mso-footer-margin:.5in; 	mso-paper-source:0;} div.Section1 	{page:Section1;} -->Works Cited\n\nFiero, Gloria K.\nThe Humanistic Tradition. Gloria K. Fiero- 6<sup>th</sup> ed. New York, NY. McGraw-Hill, 2011.\n\nThis citation shows the rulings of the hereditary chiefs and how the caste system worked.','TompkinsAllie- TCP4','','inherit','open','open','','1225-autosave','','','2011-05-09 15:26:49','2011-05-09 21:26:49','',1225,'http://jeanatacc.com/2011/?p=1300',0,'revision','',0),(1302,22,'2011-05-09 21:48:51','2011-05-10 03:48:51','<span style=\"font-size: large\">\n<p style=\"text-align: center\">CREATIONS</p>\n \n\n</span>\n\nFrom the beginning art has played a really important part in human history. In fact it has made a remarkable memory in earth, because of artist we the future generations had been able to learn about other cultures from different time and place all around the world. It is a true statement that art reveals the creation and imagination of humans mind, it also displays the intellect of those individuals who apply it. In addition, human curiosity has always been the best weapon to discover new ways and ideas to make something better that it can mark one’s existence. Now it’s the year 2100 and earth is uninhabitable we most build a spaceship to travel and find a better place to live , but first able we need to know what are we going to carry on and how does it need to be designed. To begin we need to consider the people and the only four pieces of art that we have left from our ancestors : THE CHURCH OF ST DENIS, THE SCHOOL OF ATHENS, STATUE OF ARISTOTLES, AND RUMI’S DIWAN-E SHAMS. Our main goal is to show future generations how human development has been progressing through the years. Art is the magic of humans mind that reveals one’s creativity, imagination and intellect of those individuals who apply it.\n\nFirst the spaceship needs to be big enough to carry our pieces of art and designed in a way that will be able to fly carrying the people and the belongings from the community . Since one of our master pieces is going to be a cathedral in fact, the church of ST Denis France, the spaceship needs to have enough room. The spaceship will have a longitude of 100 miles square around in the first floor, now on the second floor it needs to have at least 80 miles square for the use of our master pieces the third floor need to have somewhere about 60 miles square, and the last floor would have to be the smallest with a longitude of 40 miles square the top of the spaceship need to have a triangular shape for dynamic purposes. All the floors will be separated in different sections and use for a specific purpose. For instance, in the first floor which it will be the biggest we need to install all the engines and the turbines that will keep the spaceship in movement. in addition, the engines need to be designed in a way that will work with gases that can be found in the outer space, gases such as hydrogen and plasma. Now on the second floor which is the next we need to put all of our master pieces. First, the church of ST Denis from France it need to be placed in the middle of everything then we will display each of the other three on one corner to form a triangle around the cathedral each one of the will contain a displacement. Now on the third floor will be occupied with the citizens of the community it will be full of NANO buildings and its only purpose in life is be use as a rest place, a place where people will be able to spend their free time and have a little big of fun so they don’t forget how earth used be. The four and our last floor will be used as commander of the spaceship , there we will have the capital and the people who command the spaceship, the end of the spaceship. The spaceship will have a triangular form require for dynamic purposes. to travel at high speeds.\n\nGoing back to the third floor a school will be added around of our masters pieces of art.\n\nThere children’s and young adults will have the opportunity to be educated. As expected, every monument will have a displacement on why is important for the community to preserve this monument, the purpose of the author on trying to do the master piece, the author of the masters piece, and the year and how it was build. Now the first and biggest monument is THE CHUCH OF ST DENIS FRANCE which is going to be placed in the center of the second floor, its message will have a displacement related to GOD and the importance of its present spiritually in the community, it will also display the story of ST DENIS. Our second monument will be RAPHAEL’S THE SHOOL OF ATHENS and it will have a displacement related with mathematics and physics based on how Raphael incorporated mathematics on the shapes of if his master piece it will also serve as inspiration to those students who choose to go on the field of mathematics. The third of our master pieces of art would be statue of Aristotle’s representing his teachings on philosophy, logic, science, and biology these particular monument will serve as inspiration of those students who choose to go in the field of medicine and philosophy.\n\nOur last but not least will RUMI’S DIWAN-E SHAMS and the displacement of this figure will be a tablet that will have written a poem of the master piece of Rumi’s Diwan-e Shams but since this is big collection of about 40000 verses that were written in a period of 30 years we will choose just one of the most important for our displacement. I think the best one will be (empty the glass of your desire) because it will explain in reinforcement with the church of ST DENIS the importance of the spiritual side of humanity. Moreover on the top of the tablet there will be a little square figure build of pure fine crystal that will have a sentence written on in. the sentence will be the rule of gold that everyone should fallow regardless of any particular situation the rule will say: “THREAT OTHER HOW YOU WUOLD YOU LIKE TO BE THREAT”.\n\n　\n\nHumans creativity has no limits as we seem it before there are certain things that humans do naturally and art is consider to be one of them. In fact, since the beginning early civilizations of humans painted inside the caves and drew many pictures of people and animals that were important at that time. Furthermore the importance of art goes beyond our imagination, there is an old saying that says “ the key of the future can only be found on the pass” so if artist will never done there work and preserved how we the future generations would be able to understand their way of living at that time??? In addition. Art have the essential elements to construct things never been though before elements such as history, creativity, imagination and intellect, so if we don’t care about the pieces of art that we have left where or how are we going to acquire all this knowledge.\n\nBased in my own opinion, I strongly belief that the four pieces of art will have a extreme importance in our community. In fact, if we take the four master pieces that we have left from our ancestors with us our children’s will have the opportunity to study them and eventually they would discover something that we didn’t see before. To sum all up, art is the magic of humans mind that reveals ones creativity, imagination and intellect. To end the story , The four pieces of art should be recognized as symbols of inspiration and triumph over humanity successfulness in the community.','HUMAN CREATIONS','','inherit','open','open','','1301-revision','','','2011-05-09 21:48:51','2011-05-10 03:48:51','',1301,'http://jeanatacc.com/2011/?p=1302',0,'revision','',0),(1303,1,'2011-05-09 21:49:21','2011-05-10 03:49:21','<span style=\"font-size: large\">\r\n<p style=\"text-align: center\">CREATIONS</p>\r\n \r\n\r\n</span>\r\n\r\nFrom the beginning art has played a really important part in human history. In fact it has made a remarkable memory in earth, because of artist we the future generations had been able to learn about other cultures from different time and place all around the world. It is a true statement that art reveals the creation and imagination of humans mind, it also displays the intellect of those individuals who apply it. In addition, human curiosity has always been the best weapon to discover new ways and ideas to make something better that it can mark one’s existence. Now it’s the year 2100 and earth is uninhabitable we most build a spaceship to travel and find a better place to live , but first able we need to know what are we going to carry on and how does it need to be designed. To begin we need to consider the people and the only four pieces of art that we have left from our ancestors : THE CHURCH OF ST DENIS, THE SCHOOL OF ATHENS, STATUE OF ARISTOTLES, AND RUMI’S DIWAN-E SHAMS. Our main goal is to show future generations how human development has been progressing through the years. Art is the magic of humans mind that reveals one’s creativity, imagination and intellect of those individuals who apply it.\r\n\r\nFirst the spaceship needs to be big enough to carry our pieces of art and designed in a way that will be able to fly carrying the people and the belongings from the community . Since one of our master pieces is going to be a cathedral in fact, the church of ST Denis France, the spaceship needs to have enough room. The spaceship will have a longitude of 100 miles square around in the first floor, now on the second floor it needs to have at least 80 miles square for the use of our master pieces the third floor need to have somewhere about 60 miles square, and the last floor would have to be the smallest with a longitude of 40 miles square the top of the spaceship need to have a triangular shape for dynamic purposes. All the floors will be separated in different sections and use for a specific purpose. For instance, in the first floor which it will be the biggest we need to install all the engines and the turbines that will keep the spaceship in movement. in addition, the engines need to be designed in a way that will work with gases that can be found in the outer space, gases such as hydrogen and plasma. Now on the second floor which is the next we need to put all of our master pieces. First, the church of ST Denis from France it need to be placed in the middle of everything then we will display each of the other three on one corner to form a triangle around the cathedral each one of the will contain a displacement. Now on the third floor will be occupied with the citizens of the community it will be full of NANO buildings and its only purpose in life is be use as a rest place, a place where people will be able to spend their free time and have a little big of fun so they don’t forget how earth used be. The four and our last floor will be used as commander of the spaceship , there we will have the capital and the people who command the spaceship, the end of the spaceship. The spaceship will have a triangular form require for dynamic purposes. to travel at high speeds.\r\n\r\nGoing back to the third floor a school will be added around of our masters pieces of art.\r\n\r\nThere children’s and young adults will have the opportunity to be educated. As expected, every monument will have a displacement on why is important for the community to preserve this monument, the purpose of the author on trying to do the master piece, the author of the masters piece, and the year and how it was build. Now the first and biggest monument is THE CHUCH OF ST DENIS FRANCE which is going to be placed in the center of the second floor, its message will have a displacement related to GOD and the importance of its present spiritually in the community, it will also display the story of ST DENIS. Our second monument will be RAPHAEL’S THE SHOOL OF ATHENS and it will have a displacement related with mathematics and physics based on how Raphael incorporated mathematics on the shapes of if his master piece it will also serve as inspiration to those students who choose to go on the field of mathematics. The third of our master pieces of art would be statue of Aristotle’s representing his teachings on philosophy, logic, science, and biology these particular monument will serve as inspiration of those students who choose to go in the field of medicine and philosophy.\r\n\r\nOur last but not least will RUMI’S DIWAN-E SHAMS and the displacement of this figure will be a tablet that will have written a poem of the master piece of Rumi’s Diwan-e Shams but since this is big collection of about 40000 verses that were written in a period of 30 years we will choose just one of the most important for our displacement. I think the best one will be (empty the glass of your desire) because it will explain in reinforcement with the church of ST DENIS the importance of the spiritual side of humanity. Moreover on the top of the tablet there will be a little square figure build of pure fine crystal that will have a sentence written on in. the sentence will be the rule of gold that everyone should fallow regardless of any particular situation the rule will say: “THREAT OTHER HOW YOU WUOLD YOU LIKE TO BE THREAT”.\r\n\r\n　\r\n\r\nHumans creativity has no limits as we seem it before there are certain things that humans do naturally and art is consider to be one of them. In fact, since the beginning early civilizations of humans painted inside the caves and drew many pictures of people and animals that were important at that time. Furthermore the importance of art goes beyond our imagination, there is an old saying that says “ the key of the future can only be found on the pass” so if artist will never done there work and preserved how we the future generations would be able to understand their way of living at that time??? In addition. Art have the essential elements to construct things never been though before elements such as history, creativity, imagination and intellect, so if we don’t care about the pieces of art that we have left where or how are we going to acquire all this knowledge.\r\n\r\nBased in my own opinion, I strongly belief that the four pieces of art will have a extreme importance in our community. In fact, if we take the four master pieces that we have left from our ancestors with us our children’s will have the opportunity to study them and eventually they would discover something that we didn’t see before. To sum all up, art is the magic of humans mind that reveals ones creativity, imagination and intellect. To end the story , The four pieces of art should be recognized as symbols of inspiration and triumph over humanity successfulness in the community.','HUMANS CREATIONS ','','inherit','open','open','','1301-revision-2','','','2011-05-09 21:49:21','2011-05-10 03:49:21','',1301,'http://jeanatacc.com/2011/?p=1303',0,'revision','',0),(1304,1,'2011-05-10 12:13:57','2011-05-10 18:13:57','<span style=\"font-size: large;\"> </span>\r\n<p style=\"text-align: center;\">CREATIONS</p>\r\n&nbsp;\r\n\r\nFrom the beginning art has played a really important part in human history. In fact it has made a remarkable memory in earth, because of artist we the future generations had been able to learn about other cultures from different time and place all around the world. It is a true statement that art reveals the creation and imagination of humans mind, it also displays the intellect of those individuals who apply it. In addition, human curiosity has always been the best weapon to discover new ways and ideas to make something better that it can mark one’s existence. Now it’s the year 2100 and earth is uninhabitable we most build a spaceship to travel and find a better place to live , but first able we need to know what are we going to carry on and how does it need to be designed. To begin we need to consider the people and the only four pieces of art that we have left from our ancestors : THE CHURCH OF ST DENIS, THE SCHOOL OF ATHENS, STATUE OF ARISTOTLES, AND RUMI’S DIWAN-E SHAMS. Our main goal is to show future generations how human development has been progressing through the years. Art is the magic of humans mind that reveals one’s creativity, imagination and intellect of those individuals who apply it.<!--more-->\r\n\r\nFirst the spaceship needs to be big enough to carry our pieces of art and designed in a way that will be able to fly carrying the people and the belongings from the community . Since one of our master pieces is going to be a cathedral in fact, the church of ST Denis France, the spaceship needs to have enough room. The spaceship will have a longitude of 100 miles square around in the first floor, now on the second floor it needs to have at least 80 miles square for the use of our master pieces the third floor need to have somewhere about 60 miles square, and the last floor would have to be the smallest with a longitude of 40 miles square the top of the spaceship need to have a triangular shape for dynamic purposes. All the floors will be separated in different sections and use for a specific purpose. For instance, in the first floor which it will be the biggest we need to install all the engines and the turbines that will keep the spaceship in movement. in addition, the engines need to be designed in a way that will work with gases that can be found in the outer space, gases such as hydrogen and plasma. Now on the second floor which is the next we need to put all of our master pieces. First, the church of ST Denis from France it need to be placed in the middle of everything then we will display each of the other three on one corner to form a triangle around the cathedral each one of the will contain a displacement. Now on the third floor will be occupied with the citizens of the community it will be full of NANO buildings and its only purpose in life is be use as a rest place, a place where people will be able to spend their free time and have a little big of fun so they don’t forget how earth used be. The four and our last floor will be used as commander of the spaceship , there we will have the capital and the people who command the spaceship, the end of the spaceship. The spaceship will have a triangular form require for dynamic purposes. to travel at high speeds.\r\n\r\nGoing back to the third floor a school will be added around of our masters pieces of art.\r\n\r\nThere children’s and young adults will have the opportunity to be educated. As expected, every monument will have a displacement on why is important for the community to preserve this monument, the purpose of the author on trying to do the master piece, the author of the masters piece, and the year and how it was build. Now the first and biggest monument is THE CHUCH OF ST DENIS FRANCE which is going to be placed in the center of the second floor, its message will have a displacement related to GOD and the importance of its present spiritually in the community, it will also display the story of ST DENIS. Our second monument will be RAPHAEL’S THE SHOOL OF ATHENS and it will have a displacement related with mathematics and physics based on how Raphael incorporated mathematics on the shapes of if his master piece it will also serve as inspiration to those students who choose to go on the field of mathematics. The third of our master pieces of art would be statue of Aristotle’s representing his teachings on philosophy, logic, science, and biology these particular monument will serve as inspiration of those students who choose to go in the field of medicine and philosophy.\r\n\r\nOur last but not least will RUMI’S DIWAN-E SHAMS and the displacement of this figure will be a tablet that will have written a poem of the master piece of Rumi’s Diwan-e Shams but since this is big collection of about 40000 verses that were written in a period of 30 years we will choose just one of the most important for our displacement. I think the best one will be (empty the glass of your desire) because it will explain in reinforcement with the church of ST DENIS the importance of the spiritual side of humanity. Moreover on the top of the tablet there will be a little square figure build of pure fine crystal that will have a sentence written on in. the sentence will be the rule of gold that everyone should fallow regardless of any particular situation the rule will say: “THREAT OTHER HOW YOU WUOLD YOU LIKE TO BE THREAT”.\r\n\r\n&nbsp;\r\n\r\nHumans creativity has no limits as we seem it before there are certain things that humans do naturally and art is consider to be one of them. In fact, since the beginning early civilizations of humans painted inside the caves and drew many pictures of people and animals that were important at that time. Furthermore the importance of art goes beyond our imagination, there is an old saying that says “ the key of the future can only be found on the pass” so if artist will never done there work and preserved how we the future generations would be able to understand their way of living at that time??? In addition. Art have the essential elements to construct things never been though before elements such as history, creativity, imagination and intellect, so if we don’t care about the pieces of art that we have left where or how are we going to acquire all this knowledge.\r\n\r\nBased in my own opinion, I strongly belief that the four pieces of art will have a extreme importance in our community. In fact, if we take the four master pieces that we have left from our ancestors with us our children’s will have the opportunity to study them and eventually they would discover something that we didn’t see before. To sum all up, art is the magic of humans mind that reveals ones creativity, imagination and intellect. To end the story , The four pieces of art should be recognized as symbols of inspiration and triumph over humanity successfulness in the community.','HUMANS CREATIONS ','','inherit','open','open','','1301-revision-3','','','2011-05-10 12:13:57','2011-05-10 18:13:57','',1301,'http://jeanatacc.com/2011/?p=1304',0,'revision','',0),(1305,1,'2011-02-25 16:15:12','2011-02-25 22:15:12','<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato’s </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">(approx. 399 B.C.E)</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Locked in a prison cell, Socrates, the protagonist in the dialogue, awaits his execution. If you are not familiar with ancient Greek philosophy, historically speaking, Socrates is one of the most important figures in in the context of Western philosophy.<img class=\"aligncenter size-medium wp-image-504\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Plato1-245x300.jpg\" alt=\"Raffaello Sanzio\'s Plato\" width=\"245\" height=\"300\" /><!--more--> One may call Plato his admirable protegee, and which in effect is why we find him in character form throughout Plato’s works. Additionally, a second point of clarification more of it, Socrates was in fact imprisoned for his heretical works against Grecian beliefs. So, we can also say </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">was in the realm of historical fiction. Fascinating if you ask me. But the story continues with a dialogue between Crito, an old friend of Socrates, and himself. The name Crito comes from, one of Socrates long-time follower and whom is whole-heartily concerned about his eminent execution. Crito offers to provide the means of an escape for his mentor, but Socrates, bothered by the repercussions of his actions, argues whether to escape or not. If Crito were to arrange an escape, he rationalizes, he would be breaking the Law of Athens as a citizen. This is unjust for Socrates since the Law exists as one entity, to act out against one law would be to act out against all laws, and should he go forth and do so, Socrates would affect the integrity of the Law. He explanation states that by living in a city/country one implicitly accepts the governing body of law. In a deductive sense, he then resolved that rather than breaking the law, he should persuade for his freedom. Having lived a nearly fulfilling life in Athens, Socrates should be satisfied to accord with his contractual obligations as a citizen. On the other hand, If Socrates chose to escape into exile, while having--for seventy years--abided by the Athenian law, he would not only outlaw himself from Athens but also from any other state for the remainder of his life. By his means of ethics, his actions would be heavily judged in the underworld for his unjust behaviour towards his city’s law. His criterion of justice then leads him to conclude his sentence would be best not served in an attempt to escape rather in the just punishment his people decide.</span>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Many of Plato’s treatise revolved around the trial of Socrates. It is thus the case in the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, as previously mentioned, and is a historical representation, by the hand of Plato, of the importance of civil obedience. Athens, a relatively new style of sociological organization, had yet to set in stone the significance or importance of a code of law. Plato provided the citizens of Athens an extension of his curiosity for the inter-workings of a functioning society. </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is thought by many scholars as a precursor to the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Republic</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> which later visited the subject of the meaning of justice further into depth. “If the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> is considered as a text in Virtue Ethics, we should expect it to shed light on this issue as the question it deals with is \'under what circumstances should one/Socrates obey the law?” </span>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Through the years after, and more specifically in the Sixth Century, cosmopolitan Greece where law, and the ethics associated thereof, were discussed in comparison to the trifles faced by Socrates. It is interesting to point out that the Grecian word for law, </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">nomos,</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> means custom. One may pass this of as an oversight of translation, but the essence of the matter is in its meaning not to us but rather why the people of Greece used such a duality. This is precisely the evidence we find in later editions of Grecian law, and the residual implications of Socrates trial. I find it important also to point out some historical differences between the two Athens. </span>\r\n<p style=\"text-align: left;margin-top: 0pt;text-indent: 36pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">“In general, the ancients aimed at the good of the citizens as a whole, while contemporary liberals aim at the rights of the individual. Or in more detail: the ancients thought that, the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">telos </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">being the good life of the citizens as a whole, that individual citizens could be called upon to suffer for the good of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Times New Roman;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">polis</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">; while liberals, conceding that different views of the good life sometimes cause conflict, hold that individual rights should trump the good of the whole so that individuals should not suffer for the good of the whole, but can only be punished for violating the rights of others.”</span></p>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The liberal’s point of view serves as a segue for the opposition of the </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Crito.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\"> Although a grand majority of the opposition to Plato’s work came from the usage of Socrates to carry out his message in literary spirit, for Socrates was seen as a phony for claiming that it was his divine duty to be a moral citizen of Athens, people for this reason felt the need to seek, only in self-interest, their individual rights. His opposition made itself clear in many of Plato’s work and served as a historical reference to the relatively undocumented life of Socrates.Socrates begged the question, “Can the citizen put his own conscience above the law?” This is to date held as a highly grey-scaled question. Although we may still not have the answer to that question, we do, on the other hand, remain in a quasi-ancient exchange of ideas with both Plato and Socrates themselves. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    Keeping in mind that philosophy on self-governance is ever changing, Plato nevertheless provides a platform by which whatever society that may come ahead of us can prop up a government and ask themselves the same universal questions Plato had unto himself, and also, a more basic level, feel really great about human existence and its origins. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Works Cited:</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Berges, Dr. Sandine. \"THE PARENT ANALOGY IN PLATO\'S CRITO.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2000. Web. 20 Feb 2011.</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://evans-experientialism.freewebspace.com/berges.htm&gt;. </span>\r\n<p style=\"margin-top: 0pt;text-indent: -33pt;margin-bottom: 0pt;margin-left: 36pt\"><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Fierro, Gloria K.. \"The Hummanistic Tradition.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Plato\'s Crito</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Comp. New York: McGraw-Hill, </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2010. Ditial.</span></p>\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Jowett, Benjamin. \"The Apology.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Athenaeum Library of Philosophy</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. N.p., n.d. Web. 20 Feb </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">2011. &lt;http://evans-experientialism.freewebspace.com/plato_apology.htm&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Kraut, Richard, \"Plato\", </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">The Stanford Encyclopedia of Philosophy (Fall 2009 Edition)</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">, Edward N. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Zalta (ed.), URL = &lt;http://plato.stanford.edu/archives/fall2009/entries/plato/&gt;.</span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi, John. \"Plato\'s Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Protevi</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Louisianna State University, n.d. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://www.protevi.com/john/FH/PDF/Crito.pdf&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">\"Socratic Citizenship: Plato, Crito.\" </span><span style=\"background-color: transparent;font-style: italic;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">Academic Earth</span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">. Web. 20 Feb 2011. </span><span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">&lt;http://academicearth.org/lectures/socratic-citizenship-plato-crito&gt;. </span>\r\n\r\n<span style=\"background-color: transparent;font-style: normal;font-family: Arial;color: #000000;font-size: 11pt;vertical-align: baseline;font-weight: normal;text-decoration: none\">    </span>','A Proposal for Perpetuation: Law and Obedience, Crito Style','','inherit','open','open','','498-revision-6','','','2011-02-25 16:15:12','2011-02-25 22:15:12','',498,'http://jeanatacc.com/2011/?p=1305',0,'revision','',0),(1306,9,'2011-05-11 13:40:29','2011-05-11 19:40:29','<p style=\"text-align: center;\"><a href=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\"><img class=\"aligncenter\" src=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\" alt=\"\" width=\"250\" height=\"255\" /> http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg</a></p>\r\nAs the Earth becomes uninhabitable over the years, life aboard the spaceship is now necessary for civilizations to continue, expand, and flourish as society has done throughout history.  Knowing that we were limited in the number of objects to preserve, it was my responsibility, as Curator, to choose four works of art dated from Pre-History to the Renaissance.  Using my creative abilities, I was able to design the space for the preservation of these magnificent historical artworks: Oedipus the King, Hagia Sophia, Donatello’s David, and the Egyptian Book of the Dead.  After learning the enormous impact and influence each culture and art has provided throughout history, I knew that it was undeniably certain, these works will be able to stir as much enthusiasm and awe as it has during it its era.  These works will continue to be used as artistic inspiration for the people aboard as they see the various interpretations of their cultures and imaginations during the historical period of their existence.<!--more-->\r\n<p style=\"text-align: left;\"><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"461\" height=\"356\" /><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\">http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg</a></p>\r\n<p style=\"text-align: left;\"><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\"></a>To display these historical pieces, I designed a space much like that of the Guggenheim Museum in New York, New York.  I have always been amazed at the beauty and simplicity of the architecture that provides a subtle continuous flow for people to view art.  I think it is very important for the preservations to be viewed as timeless and everlasting to the human past and future generations.  Each display will have its own section on the winding ramp.  For viewers to better understand each work, the space provided on the elongated section of the ramp will include floating, holographic text that goes into detail the description, historical context and the influences of the preserved art throughout history.  The sections of each piece will be separated by a threshold, only slightly visible, that when crossed, quickly changes the scene of the space to the appropriate display.  This subtle and indistinct separation of cultures and art still holds the theme of an unending and timeless take on the history of mankind.</p>\r\nDisplaying <em>Oedipus the King</em> required some thought into how others may be able to view Sophocles’ most famed and influential play.  As a theatrical performance that became a model for the development of other forms of drama, the preservation was done by integrating holographic advancement with trained actors to portray the adventures of the tragic “hero”.  Because there is no original work of the play, we must make sure that we accurately describe and illustrate the work that historically impacted forms of entertainment for centuries.  During the time where Greek drama was popularized, the Athenians worshipped many gods who they believed to be in control of an individual’s destiny.  The reoccurring idea of fate determined by the gods in the play, along with its association to the festivals of Dionysus, exemplified the cultural trend of the time.\r\n\r\nDuring the period of ancient Greek theatre, Sophocles had a very unique style, lengthening the resolution scene of the play instead of concentrating on the actions to get there.  Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).\r\n\r\nDespite its influences on the development of theatre, <em>Oedipus the King</em> provides a philosophical motif of the uncertainties and dangers of ultimately learning the truth.  From this, the play has shaped the beliefs of psychologists and influenced much work in the field of psycho analysis, one of the major innovations of human thought—“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).  The impact on the psychological sciences in history is the most significant aspect of the acclaimed <em>Oedipus the King.</em>\r\n\r\nAfter completion of my project to display <em>Oedipus the King, </em>I see the people on board interacting with the holographic visual representation of the play as it is acted throughout the display space.  Because each space consisted of the section of the ramp like that of the Guggenheim museum, the viewers will be able to follow along with the play as they proceed up the ramp to the next display.  They will be intrigued and fascinated with the works of Sophocles as they are performed live and closer than they would imagine.\r\n\r\nAs a historical and magnificent architectural building that has survived attack religious riot destructions, and multiple transformations, the Hagia Sophia will be preserved by floating text describing its history as viewers walk up the ramp.  The text will lead to a door that will take the viewer into a virtual, yet realistic representation of the Hagia Sophia.  The entrance will feel as if you were walking in during the 21<sup>st</sup> century.\r\n\r\nAs Christianity continued to spread throughout Europe during the time Hagia Sophia was built, the level importance for creating a building for religious worship was enormous, thus exemplifying the cultural trend of the time.  Christianity is not observed throughout its existence.  Also, because the Hagia Sophia was initially a Christian building and Roman architecture was generally used as the architectural style for constructing them, this massive piece of art fit into the artistic trend of the 6<sup>th</sup> century.\r\n\r\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years.  Because of such a large building and the design for a huge dome for which it is well known for, new ideas were implemented to secure its stability.  The size and the adaptability of structuring in the art as architecture were two of the major innovations that Hagia Sophia represents.\r\n\r\nPeople aboard the spaceship will acknowledge the significance of Hagia Sophia in history as it is the oldest church that has been a part of both Christian and non-Christian worship.  The strength of withstanding so many transformations for such a beautiful, massive architectural masterpiece is the most important, significant acknowledgement of the Hagia Sophia.\r\n\r\nAs they enter the virtual church, the people will be astounded by the beauty and the intricate detail inside the “building”—there will only be portraits of the exterior as it is equally beautiful, but extremely massive to display.  They can look up to the dome at the center of the building.  They will be astonished to learn that such an old structure would be so beautiful and strong in historical perspective.\r\n\r\nAfter viewing the interior of the Hagia Sophia, the viewers will be able to enter the world that revolves around Donatello’s David.  This magnificent sculpture will be floating in the middle as the viewers ascend the ramp.  While doing so, the biblical story of David and Goliath will be visually displayed by holographic images along the walls.  Because the sculpture depicts the epic biblical hero, the viewers will better understand why it was sculpted with such detail.\r\n\r\nDuring the time Donatello sculpted David, artists were very passionate about studying and reproducing the classical styles of antiquity.  Donatello had sculpted the first nude statue who poised a contrapposto like that of the Greeks, exemplifying artistic and cultural trends of their time.  He also portrayed David in a feminine pose, as if confident in himself and his body which was associated with the dominant themes of admiration of thyself and interest in human proportions.\r\n\r\nBecause it was the first bronze large-scale, free-standing nude statue of the Renaissance, Donatello’s David represented major innovations in art during his time period.  Bronze figures were not seen since antiquity and his nude sculpture exalted the human body rather than reject its sinfulness.  His sensual masterpiece was a major innovation of the time that influenced other great masterpieces like that of Michelangelo’s David.\r\n\r\nThe idea that the nude human body is beautiful rather than sinful is very significant for viewers aboard the spaceship to acknowledge as they recognize the unique style Donatello used to sculpt the biblical hero.  The viewers will be able to gather around and understand the sculpture as the story unfolds around them.  They will be astonished to see and interact with the holographic action up close and personal as they ascend closer to view the beauty of the Donatello’s David.\r\n\r\nFinally, as they ascend higher up the ship, they will enter the world of the Ancient Egyptians.  As Curator, I will display the Egyptian Book of the Dead also as floating text on the walls where the chants can be heard and the illustrations will be moving sequentially in time.  The viewers will be able to see everything around them come to life and will be able to interact with the illustrations as their own hearts can be imaginarily “weighed” on the Great Scale by Anubis and looked upon by Osiris and his wife, Isis.  The gods will be holograms following the viewers along their path ascending up into the “heavens” as they continue their journey up the ramp through the Egyptian world and ultimately the end of the preserved displays.\r\n\r\nThe Egyptian Book of the Dead exemplified the arts and works of its time as they revolved their life around their religion and the many gods they believed in.  They put a lot of energy and effort in preparing for their afterlife so the Book of the Dead was a way to help guide them to their heavenly destination safely.  One innovation in art was the lack of illustrations depicting death and dying.  They depicted funerary preparations, but the Egyptians dealt with how people lose their lives.  Another major innovation was it expanded the freedom for other Egyptians, despite socioeconomic class structures, to be entitled to follow Osiris into the afterlife if they could afford it.  This was highly unusual for this time period because the social structures were very evident in their lifestyles.  The Egyptian Book of the Dead was one of the first texts to allow funerary preparations for people other than pharaohs and royals.\r\n\r\nThe viewers should know how other cultures viewed religion and their way of life.  It is very insightful to view how people revolved their lives around religion and how the Egyptians put so much effort to make sure lives were brought to eternal bliss.  As we know it religion has sparked much controversy and has branched out into so many views that the first beliefs of people should not be forgotten.  People use religion to comfort themselves from the uncertainties of life and the Egyptian’s way of doing so through the Book of the Dead is the most significant aspect of the display the viewers should acknowledge.\r\n\r\nThese four displays will be placed in ascending order where the top will be the “heavens” as the Egyptians will lead the way to the final destination.  The viewers will be able to interact with each display accordingly to the holographic design and representations of text around the walls that will help them understand the works of art in their own unique way.  The viewers aboard the spaceship of 2100 will be able to grab magnificent insight into the once inhabitable world that used intellect and creativity to produce such beautiful pieces of art that would continually be praised for and influence other artists centuries later.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\"><img class=\"aligncenter\" src=\"http://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg\" alt=\"\" width=\"442\" height=\"342\" />\r\nhttp://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg</p>\r\n<p style=\"text-align: center;\"><!--more-->Works Cited</p>\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" <em>New Republic</em> 187.9 (1982): 28. <em>MasterFILE Premier</em>. EBSCO. Web. 21 Feb. 2011.\r\n<p style=\"text-align: center;\">&nbsp;</p>','Aboard the Spaceship in 2100','','publish','open','open','','aboard-the-spaceship-in-2100','','','2011-05-11 15:32:28','2011-05-11 21:32:28','',0,'http://jeanatacc.com/2011/?p=1306',0,'post','',4),(1307,9,'2011-05-10 13:24:41','2011-05-10 19:24:41','','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision','','','2011-05-10 13:24:41','2011-05-10 19:24:41','',1306,'http://jeanatacc.com/2011/?p=1307',0,'revision','',0),(1308,9,'2011-05-10 13:26:01','2011-05-10 19:26:01','<img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"640\" height=\"495\" />','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-2','','','2011-05-10 13:26:01','2011-05-10 19:26:01','',1306,'http://jeanatacc.com/2011/?p=1308',0,'revision','',0),(1309,9,'2011-05-10 13:26:29','2011-05-10 19:26:29','<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"512\" height=\"396\" /></p>','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-3','','','2011-05-10 13:26:29','2011-05-10 19:26:29','',1306,'http://jeanatacc.com/2011/?p=1309',0,'revision','',0),(1310,9,'2011-05-10 13:26:51','2011-05-10 19:26:51','<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"461\" height=\"356\" /></p>','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-4','','','2011-05-10 13:26:51','2011-05-10 19:26:51','',1306,'http://jeanatacc.com/2011/?p=1310',0,'revision','',0),(1311,9,'2011-05-10 13:29:56','2011-05-10 19:29:56','<p style=\"text-align: center\"><a href=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\"><img src=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\" alt=\"\" width=\"250\" height=\"255\" />\r\nhttp://www.tomorrowstrends.com/future_freeway_sign250_1.jpg</a></p>\r\n<p style=\"text-align: center\"><a href=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\"></a><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"461\" height=\"356\" /></p>','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-5','','','2011-05-10 13:29:56','2011-05-10 19:29:56','',1306,'http://jeanatacc.com/2011/?p=1311',0,'revision','',0),(1314,38,'2011-05-11 12:13:41','2011-05-11 18:13:41','The Rosetta stone is a black slab of Basalt that measures 3 feet nine 9 in height, 2 feet 4.5 inches across and 11 inches thick and weighs approximately 346 pounds. The Rosetta stone was “…discovered in July 1799, in the foundations of Fort Julien, Rosetta, by Lieutenant Pierre Francois Xavier Bouchard.”  (Downs)\r\n\r\n<!--more-->\r\n\r\nThe French were led to Egypt by Napoleon Bonaparte in the efforts to take over from the British and rediscover the lost civilization of the Nile.  The French set sail to Egypt in 1798, in a fleet larger than the Spanish Armada. (Downs)\r\n\r\nNapoleon led his army to conquer Egypt in efforts to control trade and make France a power country. Napoleon’s expedition was not only a military one, but also an academic one.\r\n\r\n&nbsp;\r\n\r\nThe preservation of the Stone is essential because it depicts the evolution of writing and reminding us of early civilization, which has beginnings in ancient Egypt.\r\n\r\n“As early as 7500 B.C.E., people used token-pieces of clay molded into shapes to represent specific commodities: a cone for a unit of grain, an egg shape for a unit of oil and so on.” (Fiero) The tokens were essential in exporting. All the goods were accounted for with these tokens.\r\n\r\nThe inscription, written by a group of priests“…consists of a decree issued by he Egyptian priesthood on 27 March 196 BC, roughly six months after the coronation of King Ptolemy V in the old capital of Memphis.” (Downs 216)\r\n\r\nThe Stone is comprised of 3 bands and is carved in two languages, Egyptian and Greek. The Egyptian script was ancient hieroglyphs and Demotic. The top band is hieroglyphics, the middle band is Demotic and the lower band is Greek. The decree accounts for all the good deeds that Ptolemy did for the priesthood.\r\n\r\n&nbsp;\r\n\r\nHieroglyphics is the most famous of the Egyptian scripts. Hieroglyphs was not only used on the Rosetta stone, but also used on temple walls and the tombs of royalty. Scribes used hieroglyphs to preserve history, beliefs and ideas on papyrus scrolls. The deciphering of the hieroglyphics code on the Rosetta stone is accredited to Jean-Francois Champillion. (Downs)\r\n\r\nIn summary, the decree is a depiction of the life of Ptolemy. It explains how he inherited the kingdom from his father and ruled for about 30 years. In regards to priests and temples, temples had annual contributions in the form of money and corn. He did not obligate priest to pay anything more than what they had been paying when he his father, Ptolemy IV was ruler.\r\n\r\n&nbsp;\r\n\r\nThe Rosetta stone has been monumental for language. In current times, companies like Apple, Inc. use the Rosetta concept in the MacIntosh Operating system. This process allows some programs that were Power PC compatible to run on Intel based MacIntosh computers. (https://apple.com/support)\r\n\r\n&nbsp;\r\n\r\nCurrently, the Stone is displayed in the British Museum, Society of Antiquaries of London.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nhttp://www.britishmuseum.org/explore/highlights/highlight_image.aspx?image=an16456b.jpg&amp;retpage=15633\r\n\r\n&nbsp;\r\n\r\nhttp://www.umass.edu/wsp/philology/gallery/champollion.html\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://docs.info.apple.com/article.html?path=Mac/10.6/en/8496.html\">http://docs.info.apple.com/article.html?path=Mac/10.6/en/8496.html</a>\r\n\r\n&nbsp;\r\n\r\nDowns, Jonathan. <span style=\"text-decoration: underline;\">Discovery at Rosetta.</span> New York: Skyhorse Publishing, 2008\r\n\r\nFiero, Gloria K. <span style=\"text-decoration: underline;\">The Humanistic Tradition, Volume 1, Sixth Edition</span>. New York: McGraw-Hill, 2011\r\n\r\n&nbsp;','Rosetta Stone','','publish','open','open','','rosetta-stone','','','2011-05-11 15:11:23','2011-05-11 21:11:23','',0,'http://jeanatacc.com/2011/?p=1314',0,'post','',3),(1315,38,'2011-05-11 11:54:57','2011-05-11 17:54:57','','Rosetta Stone','','inherit','open','open','','1314-revision','','','2011-05-11 11:54:57','2011-05-11 17:54:57','',1314,'http://jeanatacc.com/2011/?p=1315',0,'revision','',0),(1316,38,'2011-05-11 12:13:41','2011-05-11 18:13:41','The Rosetta stone is a black slab of Basalt that measures 3 feet nine 9 in height, 2 feet 4.5 inches across and 11 inches thick and weighs approximately 346 pounds. The Rosetta stone was “…discovered in July 1799, in the foundations of Fort Julien, Rosetta, by Lieutenant Pierre Francois Xavier Bouchard.”  (Downs)\r\n\r\n&nbsp;\r\n\r\nThe French were led to Egypt by Napoleon Bonaparte in the efforts to take over from the British and rediscover the lost civilization of the Nile.  The French set sail to Egypt in 1798, in a fleet larger than the Spanish Armada. (Downs)\r\n\r\nNapoleon led his army to conquer Egypt in efforts to control trade and make France a power country. Napoleon’s expedition was not only a military one, but also an academic one.\r\n\r\n&nbsp;\r\n\r\nThe preservation of the Stone is essential because it depicts the evolution of writing and reminding us of early civilization, which has beginnings in ancient Egypt.\r\n\r\n“As early as 7500 B.C.E., people used token-pieces of clay molded into shapes to represent specific commodities: a cone for a unit of grain, an egg shape for a unit of oil and so on.” (Fiero) The tokens were essential in exporting. All the goods were accounted for with these tokens.\r\n\r\nThe inscription, written by a group of priests“…consists of a decree issued by he Egyptian priesthood on 27 March 196 BC, roughly six months after the coronation of King Ptolemy V in the old capital of Memphis.” (Downs 216)\r\n\r\nThe Stone is comprised of 3 bands and is carved in two languages, Egyptian and Greek. The Egyptian script was ancient hieroglyphs and Demotic. The top band is hieroglyphics, the middle band is Demotic and the lower band is Greek. The decree accounts for all the good deeds that Ptolemy did for the priesthood.\r\n\r\n&nbsp;\r\n\r\nHieroglyphics is the most famous of the Egyptian scripts. Hieroglyphs was not only used on the Rosetta stone, but also used on temple walls and the tombs of royalty. Scribes used hieroglyphs to preserve history, beliefs and ideas on papyrus scrolls. The deciphering of the hieroglyphics code on the Rosetta stone is accredited to Jean-Francois Champillion. (Downs)\r\n\r\nIn summary, the decree is a depiction of the life of Ptolemy. It explains how he inherited the kingdom from his father and ruled for about 30 years. In regards to priests and temples, temples had annual contributions in the form of money and corn. He did not obligate priest to pay anything more than what they had been paying when he his father, Ptolemy IV was ruler.\r\n\r\n&nbsp;\r\n\r\nThe Rosetta stone has been monumental for language. In current times, companies like Apple, Inc. use the Rosetta concept in the MacIntosh Operating system. This process allows some programs that were Power PC compatible to run on Intel based MacIntosh computers. (https://apple.com/support)\r\n\r\n&nbsp;\r\n\r\nCurrently, the Stone is displayed in the British Museum, Society of Antiquaries of London.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nhttp://www.britishmuseum.org/explore/highlights/highlight_image.aspx?image=an16456b.jpg&amp;retpage=15633\r\n\r\n&nbsp;\r\n\r\nhttp://www.umass.edu/wsp/philology/gallery/champollion.html\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://docs.info.apple.com/article.html?path=Mac/10.6/en/8496.html\">http://docs.info.apple.com/article.html?path=Mac/10.6/en/8496.html</a>\r\n\r\n&nbsp;\r\n\r\nDowns, Jonathan. <span style=\"text-decoration: underline\">Discovery at Rosetta.</span> New York: Skyhorse Publishing, 2008\r\n\r\nFiero, Gloria K. <span style=\"text-decoration: underline\">The Humanistic Tradition, Volume 1, Sixth Edition</span>. New York: McGraw-Hill, 2011\r\n\r\n&nbsp;','Rosetta Stone','','inherit','open','open','','1314-revision-2','','','2011-05-11 12:13:41','2011-05-11 18:13:41','',1314,'http://jeanatacc.com/2011/?p=1316',0,'revision','',0),(3252,79,'2013-09-23 11:35:04','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-23 11:35:04','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3252',0,'post','',0),