my beautiful life

my beautiful life
Everybody is unique.

Selasa, 27 Maret 2012

THE TELL-TALE HEART

 by Edgar Allan Poe
1843


TRUE! --nervous --very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses --not destroyed --not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily --how calmly I can tell you the whole story.
It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture --a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees --very gradually --I made up my mind to take the life of the old man, and thus rid myself of the eye forever.
Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded --with what caution --with what foresight --with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it --oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly --very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this, And then, when my head was well in the room, I undid the lantern cautiously-oh, so cautiously --cautiously (for the hinges creaked) --I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights --every night just at midnight --but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.
Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers --of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back --but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.
I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out --"Who's there?"
I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed listening; --just as I have done, night after night, hearkening to the death watches in the wall.
Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief --oh, no! --it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself --"It is nothing but the wind in the chimney --it is only a mouse crossing the floor," or "It is merely a cricket which has made a single chirp." Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel --although he neither saw nor heard --to feel the presence of my head within the room.

When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little --a very, very little crevice in the lantern. So I opened it --you cannot imagine how stealthily, stealthily --until, at length a simple dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye.
It was open --wide, wide open --and I grew furious as I gazed upon it. I saw it with perfect distinctness --all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man's face or person: for I had directed the ray as if by instinct, precisely upon the damned spot.
And have I not told you that what you mistake for madness is but over-acuteness of the sense? --now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man's heart. It increased my fury, as the beating of a drum stimulates the soldier into courage.
But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eve. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment! --do you mark me well I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me --the sound would be heard by a neighbour! The old man's hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once --once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eve would trouble me no more.
If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs.
I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye --not even his --could have detected any thing wrong. There was nothing to wash out --no stain of any kind --no blood-spot whatever. I had been too wary for that. A tub had caught all --ha! ha!
When I had made an end of these labors, it was four o'clock --still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, --for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.
I smiled, --for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search --search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.
The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct: --It continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness --until, at length, I found that the noise was not within my ears.
No doubt I now grew very pale; --but I talked more fluently, and with a heightened voice. Yet the sound increased --and what could I do? It was a low, dull, quick sound --much such a sound as a watch makes when enveloped in cotton. I gasped for breath --and yet the officers heard it not. I talked more quickly --more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men --but the noise steadily increased. Oh God! what could I do? I foamed --I raved --I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder --louder --louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! --no, no! They heard! --they suspected! --they knew! --they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now --again! --hark! louder! louder! louder! louder!
"Villains!" I shrieked, "dissemble no more! I admit the deed! --tear up the planks! here, here! --It is the beating of his hideous heart!"

-THE END-





Be Creative and The Future is Yours


Can creativity be taught? That’s a question without a simple yes or no answer. Creativity may not be able to be taught directly, but what you can get better at is frequently aligning the circumstances of life which foster the greatest chances for true creative expression. Creativity is not like a lightning strike, but more like something which manifests itself inside those who learn to foster it and create the right conditions for it to prosper.

Steps

1
Ruthlessly limit your selection of tools to only the most vital. The more limited your set of tools is, the more creative the output will be. Having a limited set of vital tools forces creativity and really challenges you to use what you have to produce the desired results. As a byproduct, you’ll get incredibly good with that small set of tools and refine your use of them to a point you can literally do anything you like with them. You’ll be far sharper than someone who merely dabbles with a larger set of tools. Learn how to be resourceful.

2
Don’t listen to feedback, keep following your own path. The problem with asking for feedback is invariably the feedback will be given infused with that person’s preconceived notions of what the outcome should be. Others will unconsciously push you in a direction that they see as best. This is done with good intentions; however, it actually hurts your internal creativity. Now this is different than sharing your work--by all means share, but listening to feedback is not a good decision if you want to truly find your own path of creative self-expression. Once you're finished with your creative work, whatever it may be, then you can listen to feedback. Just don't let criticism (even the constructive type) stifle your creativity during the creative process.

Keep in mind that people will generally display resistance to your idea, because good ideas change the existing dynamic, and people, for the most part, like things the way they are. When you present something that challenges the status quo, many people (friends, relatives, co-workers) will feel threatened.


3
Having a routine is actually not a bad thing. Routines are positive if they reinforce a healthy, creative consciousness and negative if they destroy that. While breaking your routine once in a while to force new ways of thinking is good, what if growing/learning/experiencing new things was built into your routine as a given? The people who get stuck in a monotonous existence and speak negatively about routine have simply not developed a routine that puts them on a path of internal growth. The key is to discover creative rituals that put you in a more creative mindset.

Many writers not only have a minimum number of words they must write each day, but they also have almost superstitious requirements for the circumstances under which they write. The 18th century German writer Friedrich Schiller, for example, kept rotten apples at his desk and soaked his feet in a tub of ice water while he wrote!
Don't be afraid to seize control of your environment and make it work for you. Ray Bradbury wrote the book-burning story Fahrenheit 451 by leaving his house and writing in a library. Stephen King insists on utter silence while writing, while Harlan Ellison listens to high-volume classical music.
Set aside a block of time each day to foster your creativity. Kick the session off with a creative exercise or ritual that triggers a flexible state of mind. Whether it's meditating, freewriting, listening to a particular song, or rubbing your lucky rock--do whatever gets you "in the zone" and set a daily goal (e.g. one sketch per day, 1000 words a day, an invention or song a day).



4 Let go of perfectionism. Your natural output uninhibited by concern for creating something correct or incorrect will always produce creative results. There are limitless paths to achieve creative success; there are so many shades of gray. Imperfection is human, and sometimes the most creative artists leave mistakes unfixed on purpose. Nature itself is beautifully imperfect. Many try to be so perfect that they scrub away what made their work special in the first place. In a world saturated by overproduced, unnaturally perfect, and clean--the unpolished is the most creative and in many cases most inspirational.

    • Work on the "bad" ideas--even if you are only coming up with what you feel are "bad" ideas, you are still being creative, so develop them, and it could turn into a great solution!
  • 5
    Ignore trends. If you want to be truly creative, you absolutely must ignore trends. Block them out--pay zero attention to them. Trends are the polar opposite of creativity. In many forms of art (especially music) the masses of artists are following whatever the hot trends set forth are. Then there is the other, smaller group of artists that are pursuing their own path and not really paying attention to external trends in their form of art of choice. There is certainly more money, fame and instant notoriety for following trends, but most of what is popular is hardly creative. If you want to make something truly unique, trends are irrelevant. Looking inside yourself is where you will discover a greater wealth of creativity than available in any hot trend. Here are some more suggestions for insulating yourself from trends:  
  • Don’t watch TV, don’t listen to the radio, and remove the vapid elements of popular culture from your life. These things aren’t bad for you in moderation, but they are great at normalizing your thoughts with the rest of society, and do not foster true internal creativity. Realize everything that you experience, every piece of content you consume plays a role in shaping your personality, even if at a subconscious level. It is all influence one way or another. You are in many ways a product of your experiences and stimulus. In one sentence, your creative output can be thought of simply as a personal interpretation of external stimulus. The best part about this is you get to control the input.
  • Don’t try and fit into a genre. Actively trying to fit your art or work into a genre is severely limiting and a detriment to its quality, if creativity is desired. Don’t try and write for a genre, don’t try to follow trends within a genre, in fact don’t even consider genre when working. Labeling it in a genre is a necessary evil for people to be able to find your work, and you will probably have to do this--but it shouldn’t be something that crosses your mind when trying to work. Genres, styles and methods don’t matter for creativity and originality. 
    •  Spend a lot of time alone. You don't have to be anti-social, but many people find their creativity really starts to open up when they are removed from others and able to have quiet focus for their creative work.  



  • 6.   Ignore the past. Want to be really creative or original? Ignore or forget the past; ignore what the world has created up until this point. Sometimes considering the past will make you place a sort of unconscious time stamp on a style. That’s the antithesis of creativity and originality. Create things from within yourself that don’t draw inspiration from what has come previously or even consider it, and you’ll be on a path to creative output. In a creative state of mind, time doesn't exist--a few hours can feel like seconds, a moment can seem to last for hours, and you're completely immersed in the present. Learn how to live in the moment.

    Creative Exercises

    • Look at a picture. Think of 100 (or 50) words about the picture, write them down, then create a crazy story about the picture using all (or most) of the words.
    • Think for a half hour a day exclusively on one subject. At first, this might be very hard to do. You can start off by thinking about a single subject for five minutes a day, then increase the period daily until you reach a half hour. At first it is wise to practice this when alone, but eventually you should be able to do it even in the midst of distractions, such as when traveling to and from work.[4]
    • Write a letter or speak for 15 minutes without using the words I, me, my and mine. Make it smooth and keep it interesting, so that someone reading or listening would never notice anything odd about it. This forces you to turn your mind outward, and give up the preoccupations and obsessions of your own life.[4]
    • Have someone doodle a line for you, then challenge yourself to make a variety of cartoons based on that one line. Don't resort to drawing faces, though--those are usually too easy![5]
    • Take a familiar outline and challenge yourself to come up with drawings that could fit within that outline.
    • Combine ideas. Choose two random objects, and describe each one in detail. What does it look like? What is it used for? How is it made? Then substitute one object with the other objects description. How can I make object A feel like object B? Or do what object B does?[6]
    • Keep a journal, describing everything you do and feel with metaphors. Each day, challenge yourself to come up with new metaphors. (After all, how many different ways can you symbolize brushing your teeth?) See How to Write a Metaphor.
    • Write a list of basic questions, such as 'What is your name?', 'Where are you from?', What did you do last Thursday?' Try to come up with at least 10 questions. The more you ask, the better! Whatever question comes to mind, write it down, even if it seems foolish. Answer the questions with song lyrics. (Try not to use the same song too often.)
    • Play word association games. It helps to have someone willing to play along, but if no one will, you can do this alone. If you're doing it solo, write down your beginning word and spend 10 minutes or so just saying the next word that comes to mind. Compare the beginning word to the final word. They should be pretty diverse. This loosens up your mind to allow free association of ideas.
    • See how long you can talk (and make sense!) without using a common word, like 'and','but', 'the' or 'that'.
    • Ask somebody to draw you a picture (ask him to try to make the picture nonsensical), and then write up a list of what the drawing may be/represent.
    • Try to tell to what each person you see resembles to you (by appearance or character). Don't push your thinking to a limit; it's not bad if someone is a carrot, or a table, just be sure of your choice.



http://www.wikihow.com/Be-Creative

How to be Creative

1. Ignore every­body.
2. The idea doesn’t have to be big. It just has to change the world.
3. Put the hours in.
4. If your biz plan depends on you sud­denly being “dis­co­ve­red” by some big shot, your plan will pro­bably fail.
5. You are res­pon­si­ble for your own expe­rience.
6. Ever­yone is born crea­tive; ever­yone is given a box of cra­yons in kin­der­gar­ten.
7. Keep your day job.
8. Com­pa­nies that squelch crea­ti­vity can no lon­ger com­pete with com­pa­nies that cham­pion crea­ti­vity.
9. Every­body has their own pri­vate Mount Eve­rest they were put on this earth to climb.
10. The more talen­ted some­body is, the less they need the props.
11. Don’t try to stand out from the crowd; avoid crowds alto­gether.
12. If you accept the pain, it can­not hurt you.
13. Never com­pare your inside with some­body else’s outside.
14. Dying young is ove­rra­ted.
15. The most impor­tant thing a crea­tive per­son can learn pro­fes­sio­nally is where to draw the red line that sepa­ra­tes what you are willing to do, and what you are not.
16. The world is chan­ging.
17. Merit can be bought. Pas­sion can’t. 
18. Avoid the Water­coo­ler Gang.
19. Sing in your own voice.
20. The choice of media is irre­le­vant.
21. Selling out is har­der than it looks.
22. Nobody cares. Do it for your­self.
23. Worr­ying about “Com­mer­cial vs. Artis­tic” is a com­plete waste of time.
24. Don't worry about fin­ding ins­pi­ra­tion. It comes even­tually.             
25. You have to find your own sch­tick.
26. Write from the heart.
27. The best way to get appro­val is not to need it.
28. Power is never given. Power is taken. 
29. Wha­te­ver choice you make, The Devil gets his due even­tually.
30. The har­dest part of being crea­tive is get­ting used to it.



Have a try then!!!  Good luck.
http://gapingvoid.com/2004/07/25/how-to-be-creative/                

Minggu, 18 Maret 2012

Cara Menghapus File Secara Permanen

Secara default, sebuah file ataupun folder yang dihapus pada sistem operasi MS Windows tidak dihapus secara fisik, melainkan dipindahkan ke lokasi yang disebut recycle bin. Tujuannya tentu untuk berjaga-jaga, seandainya Anda menghapus file yang penting secara tidak sengaja, maka file atau folder yang penting secara tidak sengaja, maka file atau folder tersebut masih dapat dikembalikan lagi (restore).
Sebaliknya, jika file penting yang Anda hapus tidak ingin dikembalikan lagi, dapat dengan cara menghapusnya pada bagian Recycle Bin sehingga tidak terlihat oleh sistem operasi windows, namun dengan cara ini, banyak sekali software Recovery yang dapat mengembalikannya lagi.
Cara lain ynag dapat Anda lakukan adalah menggunakan aplikasi buatan pihak ketiga seperti aplikasi File Shredder yang dapat di download pada www.fileshredder.org. Setelah Anda download dan install, lalu jalankan aplikasi ini. Anda dapat menghapus file atau folder bahkan seluruh data yang terdapat pada partisi hard-disk Anda tanpa dapat dikembalikan lagi.
Bahkan file yang sebelumnya pernah Anda hapus dan berada pada Recycle Bin dapat dihapus dengan sempurna oleh aplikasi ini. Jika Anda masuk ke bagian konfigurasi (setting) dari aplikasi File Shredder ini, terdapat beberapa algoritma tingkatan kemampuan menghapusnya. Semakin tinggi algoritma yang dipilih semakin sulit file yang dihapus untuk dikembalikan, namun semakin lama juga proses penghapusannya.
Aplikasi ini setelah diinstalpun telah terintegrasi dengan sistem Windows Anda. Cukup dengan klik kanan di atas file atau folder yang akan dihapus, maka akan terdapat link aplikasi denagn nama File Shredder->Secure Delete File. Untuk menghapus secara permanen tanpa dapat dikembalikan lagi oleh aplikasi recovery lainnya.
Pastikan Anda betul-betul yakin untuk menghapus file/folder, karena sekali dihapus dengan aplikasi ini, file atau folde rAnda tidak akan dapat dikembalikan lagi. Be.rhati-hatilah

Jumat, 16 Maret 2012

How to Write a Satire Essay



Satirical essay writing is a style of writing that uses satire to criticize or poke fun at a subject. A satirical writer often uses such devices as hyperbole and irony to get his point across. Satirical essays are often aimed at political candidates, celebrities or situations that are absurd. The satire writer often seeks to provide relevant, useful, eye-opening information within the scope of his essay. Learning to write satirically is easy once you understand the techniques used for the style and the purpose of your content.

Instructions

    • 1
      Choose a topic. Look for subject matter that is already ironic or ridiculous. The goal of your essay is to use satire (much like a caricature artist uses caricature techniques) to bring out the absurdity in your subject. Satirical cartoons work on the same premise. You can usually read them in your Sunday paper. These are good examples of the style you will want to put into your satirical essay. Start with a goal, and use literary devices and factual information to reach the goal.
    • 2
      Use hyperbole to make your point. Hyperbole is a literary device that exaggerates facts. Be careful of using this device. Hyperbole does not mean lying. You need to stick to the facts, but use hyperbole creatively to highlight the facts in such a way that the absurdity behind them is made clear. An example line might be something like, "Andy Garbo drinks tons of coffee a year to make sure he keeps his stock in Folgers profitable." This is obvious hyperbole, but it's used to make an exaggerated point about Andy.
    • 3
      Use irony to help tell the story you want your essay to present. Irony is the use of words or phrases to express the opposite of what you truly mean, or to express an incongruity between what someone expects and what actually occurs. A simple example of irony would be, "He's kind enough to steal from the poor to feed his pockets." The use of "kind enough" turns this into an ironic statement. Irony is one of the best tools you can use in satirical essays. It is used to criticize with sarcasm.
    • 4
      Aim for humor in your satirical essays. Not all satire is funny, but by pointing out the ridiculous elements of the situation or person you're writing about, you can often bring people over to your way of thinking or make the point you're trying to make quicker. A lot of readers respond faster to humor, especially when you can make them see the absurdity the way you see it.


Taken From  http://www.ehow.com/how_5653646_write-satire-essay.html

Satire in Gulliver's Travels

Satire is a literary genre of Greek origin (satyr), in which human folly and vice are held up to scorn, derision, or ridicule. Although satire is usually meant to be funny, its purpose is often irony or sarcasm, ideally with the intent of shaming individuals, religion, and communities themselves, into improvement. In Gulliver's Travels, satire is shown through narration, setting, character, and plot. Jonathan Swift uses utopia and dystopia as elements of setting, and he uses a flat character, miser and tyrant type of character, moral touchstone, and grotesque to illustrate the character element of his satirical novel.
Jonathan Swift has chosen a first-person narrator in his novel of Gulliver's Travels. The narrator is Gulliver who has been plunged into extraordinary and absurd circumstances during his four voyages to a multitude of strange lands around the globe. Although Gulliver's vivid and detailed style of narration makes it obvious that he is intelligent and well educated, his perceptions are naive and gullible. As an example, Gulliver is a naive consumer of the Lilliputians' grandiose imaginings, because he is cowed by their threats of punishment, and their formally worded condemnation of Gulliver on grounds of treason works quite effectively on the naive Gulliver, forgetting that they have no real physical power over him. Gulliver is a round character which is a kind of character who encounters conflict and is changed by it. He changes in relation to the places he visits and the events that befall him as he voyages. As an example, he is the giant in Lilliput and he is worried about trampling on the Lilliputians, while he is at risk of being trampled upon and he is treated as a doll in the land of Brobdingnag. In his last voyage, he develops such a love for the Houyhnhnms society that he no longer desires to return to humankind. And he becomes more and more narrow-minded as the story progresses. On the whole, Gulliver proves to be more resilient that the average man by managing to survive the disastrous shipwrecks and the foreign people.
The setting in Gulliver's Travels explores the idea of utopia and dystopia. Utopia is an imaginary model of the ideal community. The Houyhnhnms represent an ideal of rational existence because they are reasonable, rational characters, and they seem to embody the principle virtue of friendship and benevolence, and all the perfections that humans strive to achieve. Their language does not have negative words such as lie, deceit, war, and evil. Their society builds simple houses, and it has a sound knowledge of medical herbs and poetry. They breed cleanliness and civility in their young and exercise them for speed and strength, because they are concerned more with the community than their own personal advantages. The Houyhnhnms are used as objects of satire, particularly when the inconsistencies in their character and behaviour are reflective of paradoxes in human thoughts and faults. Utopia could turn into dystopia, for the reason that Houyhnhnms could not have a true sense of good if they do not know what the evil is, and their lives seem lacking vigour, challenge, and excitement. Therefore the Houyhnhnms' society is perfect for Houyhnhnms, but it is hopeless for humans.
On the other hand, dystopia is a creation of a nightmare world where the conditions and the quality of life are extremely bad. Dystopia is illustrated through the Yahoos. The Yahoos are more primitive than humans. Their behaviour reflects the decadent and irrational behaviour of the civilized humans. For example, Yahoos fight with other groups and each other without apparent reason. Also their avarice for certain shiny stones of no practical use can be paralleled to contemporary societies' possessions of material such as jewellery. Swift uses the Yahoos as an example of greed and selfishness of humans. The Yahoos are entirely bestial and Gulliver's first meeting with them greatly disgust him "Upon the whole, I never behold in all my travels so disagreeable an animal, nor one against which I naturally conceived so strong an antipathy" (Swift 170).
The satirical element of character is illustrated through flat character, type of character, moral touchstone, and grotesque. A flat character is relatively uncomplicated and do not change throughout the course of a work. Swift uses the king of Lilliput as a flat character and he pictures the king as a powerful and greedy man who is very proud of himself. The king's government uses performance such as jumping high on a tight rope in order to obtain the vacant position in the government. This shows how the king's power eventually makes him care more about personal entertainment than the kingdom. In addition to that, the king's commands for Lilliputians to break their eggs on the small end first, illustrate the act of pride because the king wishes to make everyone subject to his will.
As well as using a flat character, the character element of the novel includes the greedy and the tyrant character type. For instance, the farmer of Brobdingnag plays the role of the greedy that puts Gulliver on display to profit from spectacular viewing of Gulliver performing tricks. Furthermore, the farmer starves Gulliver to death and resolves to make as much money as possible before Gulliver dies by selling him to the queen.
As an illustration of tyranny, Swift uses the king of Laputa. When the king wants to punish a particular region of the country, he can keep the floating island above it, depriving the lands below of the sun and rain. Similarly, the king is oblivious to the real concerns of the people below as he has never been below.
Also, the character element of a satirical novel uses moral touchstone. The moral touchstone is an excellent quality or example that is used to test the excellence or genuineness of others. In this case, the two moral touchstones of the novel are Glumdalclitch and Don Pedro. Glumdalclitch takes care of Gulliver, and she becomes his friend and nursemaid. She makes Gulliver several sets of new clothes, she delightedly dresses him, she puts him in her closet at night to sleep, and she teaches him the Brobdingnagian language. Don Pedro treats Gulliver with great patience and hospitality, even tenderness, when he allows him to travel on his ship. He offers him food, drink, and clothes. He also gives Gulliver twenty pounds for his journey to England.
Together with flat, type, and moral touch stone. Grotesque is another element of the satirical character. Grotesque is strangely or fantastically distorted. It is embodied in the magnified world of Brobdingnag. In the magnified world of Brobdingnag, everything takes on new levels of complexity and imperfection, demonstrating that the truth about object is heavily influenced by the observer's perspective. For instance, the smoothest skin of the most appealing ladies has imperfections, and these imperfections are bound to be exposed under close scrutiny. Gulliver describes "Their Skins appeared so coarse and uneven, so variously coloured when I saw them near" (108). In a sense, what looks perfect to us is not actually perfect; it is simply not imperfect enough for our limited senses of notice.
Furthermore, satire is shown through the plot of journey and return. The Lilliputians symbolize humankind's widely excessive pride in its own puny existence because, in spite of the small size of the Lilliputians, they do not consider the notion that Gulliver is enormous compared to them and could kill them with just a flick of his finger. Gulliver has learned that their society suffers from the same flaws inherent in the English society (rebellions over relatively minor issues), but their society is more utopian compared to the English society. On the contrary, the people of Brobdingnag are peaceful and fair, and not violent and cruel as the people of Europe have been. This is illustrated with the King of Brobdingnag's conclusion about European society, "I cannot but conclude hte Bulk of your Natives to be the most pernicious Race of little odious Vermin" (121). In his fourth voyage, Gulliver has seen unusual societies. The Yahoos represent human follies, greed and selfishness, while the Houyhnhnms represent humanity free of strife and hardship. The Houyhnhnms seem like model citizens, and Gulliver's intense grief when he is forced to leave them suggests that they have made an impact on him greater than that of any other society he has visited.
In conclusion, Gulliver's travels uses satire through narration, setting, character, and plot to illustrate the weaknesses of human, and suggest ways of improvement. In other words, the novel portrays the ideal (or not so ideal) society and how Swift views England. Each society has its own exaggerated feature. The Lilliputians presents the animalistic nature of humanity. Man's capability of reason is shown in the Brobdingnagians. The bestial characteristic is shown through the Yahoos. The highest ideal for man, however, is best represented by the Houyhnhnms. Therefore, the Houyhnhnms serve as an example of the ideal for man.
Gulliver changes his attitudes and his perceptions of people because of the different societies he encounters. At the beginning, he is a standard issue European adventurer; by the end, he has become a misanthrope who totally rejects human society.


Taken From http://www.essayforum.com/writing-feedback-3/describe-satire-gullivers-travels-27346/

What Do Children Think about Love??

A group of professional people posed this question to a group of 4 to 8 year-olds, "What does love mean?" The answers they got were broader and deeper than anyone could have imagined. See what you think:
1. "When my grandmother got arthritis, she couldn't bend over and paint her toenails anymore. So my grandfather does it for her all the time, even when his hands got arthritis too. That's love." - Rebecca - age 8
2. "When someone loves you, the way they say your name is different. You know that your name is safe in their mouth." - Billy - age 4
3. "Love is when a girl puts on perfume and a boy puts on shaving cologne and they go out and smell each other." - Karl - age 5
4. "Love is when you go out to eat and give somebody most of your French fries without making them give you any of theirs." - Chrissy - age 6
5. "Love is when someone hurts you. And you get so mad but you don't yell at them because you know it would hurt their feelings." - Samantha - age 6
6. "Love is what makes you smile when you're tired." - Terri- age 4
7. "Love is when my mommy makes coffee for my daddy and she takes a sip before giving it to him, to make sure the taste is OK." - Danny - age 7
8. "Love is when you kiss all the time. Then when you get tired of kissing, you still want to be together and you talk more. My mommy and Daddy are like that. They look gross when they kiss." -Emily - age 8
9. "Love is what's in the room with you at Christmas if you stop opening presents and listen." - Bobby - age 5
10. "If you want to learn to love better, you should start with a friend who you hate." - Nikka - age 6
11. "Love is hugging, Love is kissing, Love is saying no" - Patty - age 8
12. "When you tell someone something bad about yourself and you're scared they won't love you anymore. But then you get surprised because not only do they still love you, they love you even more." - Matthew - age 7
13. "There are two kinds of love. Our love. God's love. But God makes both kinds of them." - Jenny - age 4
14. "Love is when you tell a guy you like his shirt, then he wears it everyday." - Noelle - age 7
15. "Love is like a little old woman and a little old man who are still friends even after they know each other so well." - Tommy - age 6
16. "During my piano recital, I was on a stage and scared. I looked at all the people watching me and saw my daddy waving and smiling. He was the only one doing that. I wasn't scared anymore." - Cindy - age 8
17. "My mommy loves me more than anybody. You don't see anyone else kissing me to sleep at night." - Clare - Age 5
18. "Love is when mommy gives daddy the best piece of chicken." - Elaine- age 5
19. "Love is when mommy sees daddy smelly and sweaty and still says he is handsomer than Robert Redford." - Chris - age 8
20. "Love is when your puppy licks your face even after you left him alone all day." - Mary Ann - age 4
21. "I know my older sister loves me because she gives me all her old clothes and has to go out and buy new ones." - Lauren - age - 4
22. "I let my big sister pick on me because my Mom says she only picks on me because she loves me. So I pick on my baby sister because I love her." - Bethany - age 4
23. "Love cards like Valentine's cards say stuff on them that we'd like to say ourselves, but we wouldn't be caught dead saying." - Mike - age 8
24. "When you love somebody, your eyelashes go up and down and little stars come out of you." - Karen - age 7
25. "Love is when mommy sees daddy on the toilet and she doesn't think it's gross." - Mark - age 6
26. "You really shouldn't say 'I love you' unless you mean it. But if you mean it, you should say it a lot. People forget."- Jessica - age 8
27. "Love is that first feeling you feel before all the bad stuff gets in the way." - Charlie - age 5

Funny Story!

                                                                     Assignment
The teacher gave her fifth grade class an assignment: Go home and get their parents to tell them a story with a moral at the end of it. The next day the kids came back and one by one began to tell their stories:
Ashley said, "My father's a farmer and we have a lot of egg-laying hens. One time we were taking our eggs to market in a basket on the front seat of the pickup when we hit a big bump in the road and all the eggs went flying and broke and made a mess."
"And what's the moral of the story?" asked the teacher.
"Don't put all your eggs in one basket!"
"Very good," said the teacher.
Next little Sarah raised her hand and said, "Our family are farmers too. But we raise chickens for the meat market. We had a dozen eggs one time, but when they hatched we only got ten live chicks, and the moral to this story is, 'don't count your chickens before they're hatched.'"
"That was a fine story Sarah."
"Michael, do you have a story to share?"
"Yes, ma'am, my daddy told me this story about my Aunt Karen. Aunt Karen was a flight engineer in Desert Storm and her plane got hit. She had to bailout over enemy territory and all she had was a bottle of whiskey, a machinegun and a machete. She drank the whiskey on the way down so it wouldn't break and then she landed right in the middle of 100 enemy troops. She killed seventy of them with the machine gun until she ran out of bullets. Then she killed twenty more with the machete until the blade broke. And then she killed the last ten with her bare hands."
"Good heavens," said the horrified teacher, "what kind of moral did your daddy tell you from that horrible story?"
"Stay the Hell away from Aunt Karen when she's been drinking."

7 Reasons Not To Mess With A Child

1) A little girl was talking to her teacher about whales. The teacher said it was physically impossible for a whale to swallow a human because even though it was a very large mammal its throat was very small. The little girl stated that Jonah was swallowed by a whale. Irritated, the teacher reiterated that a whale could not swallow a human; it was physically impossible. The little girl said, "When I get to heaven I will ask Jonah". The teacher asked, "What if Jonah went to hell?" The little girl replied, "Then you ask him."
2) A Kindergarten teacher was observing her classroom of children while they were drawing. She would occasionally walk around to see each child's work. As she got to one little girl who was working diligently, she asked what the drawing was. The girl replied, "I'm drawing God." The teacher paused and said, "But no one knows what God looks like." Without missing a beat, or looking up from her drawing, the girl replied, "They will in a minute."
3) A Sunday school teacher was discussing the Ten Commandments with her five and six-year olds. After explaining the commandment to "honor" thy Father and thy Mother, she asked, "Is there a commandment that teaches us how to treat our brothers and sisters?" Without missing a beat one little boy (the oldest of a family) answered, "Thou shall not kill."
4) One day a little girl was sitting and watching her mother do the dishes at the kitchen sink. She suddenly noticed that her mother has several strands of white hair sticking out in contrast on her brunette head. She looked at her mother and inquisitively asked, "Why are some of your hairs white, Mom?"
Her mother replied, "Well, every time that you do something wrong and make me cry or unhappy, one of my hairs turns white." The little girl thought about this revelation for a while and then said, "Momma, how come ALL of grandma's hairs are white?"
5) The children had all been photographed, and the teacher was trying to persuade them each to buy a copy of the group picture. "Just think how nice it will be to look at it when you are all grown up and say, 'There's Jennifer, she's a lawyer,' or 'That's Michael; he's a doctor.' A small voice at the back of the room rang out, "And there's the teacher; she's dead."
6) A teacher was giving a lesson on the circulation of the blood. Trying to make the matter clearer, she said, "Now, class, if I stood on my head, the blood, as you know, would run into it, and I would turn red in the face." "Yes," the class said. "Then why is it that while I am standing upright in the ordinary position the blood doesn't run into my feet?" A little fellow shouted, "Cause your feet ain't empty."
7) The children were lined up in the cafeteria of a Catholic elementary school for lunch. At the head of the table was a large pile of apples. The nun made a note, and posted it on the apple tray: "Take only ONE. God is watching." Moving further along the lunch line, at the other end of the table was a large pile of chocolate chip cookies. A child had written a note, "Take all you want . . . God is watching the apples."

Rabu, 14 Maret 2012

I gave up!

I gave up on this blog!
I mean I gave up on posting anything here, especially about my assignments. If there is no comment here, I won't make anything new, I will not!
I was tired of giving some comments in all of their postings on their blog, but no there were no comments on mine!  Heh!  Great then!
Who care? Who will read the posting on this blog if it is just like a diary of my daily life? I have some interesting experiences of course, but I won't write them all here. That's my secret and I won't let everyone, especially my classmates, know them all. I like to write them all not for assignments. My classmates are soooooooooooooo lazy to read a long story! so lazy, really!!  heh.
They prefer read just two short paragraphs to along story even though that story is interesting.
Who cares about my long story that i write here??  NO ONE!
Sometimes I hate all of my classmates!
Now, I write my daily experience in an online diary. That's better than it! I write everything I want there, as long as I can! In English of course, not In Indonesian. Later, I'll make that diary like a book. I hope I can publish that diary one day.

Kamis, 08 Maret 2012

Children Who Use The Right Brain Dominant

It's me. 
^_^
Check it out.................!


General characteristics:
    
Too late to talk in his age
    
Difficult in reading, especially reading aloud
    
It is hard to spell syllables
    
It's hard to do math problems logic / formulas are sometimes more easily about the story
    
Often look up and look like a daydream
    
Less likely to record (since records hinder the process of visualization)
    
Often read upside down
    
Often read the jump and missed or skipped a few words
    
Can be read from the back or in reverse order
   
do not speak coherently and not systematically
    
Difficult to express his desire in the form of words / phrases
    
Often incoherent speech with a question
    
Quickly familiar places / locations and travel routes
    
Sometimes fanciful and fantasy to tell
    
Low concentrations on the job less preferred

    High concentrations and long on the things that interest him.




 How It Works, Right brain:
    
Creative -> want to learn new things and finding new ways unconventional, look at alternative solutions to various problems.
    
The three spatial dimensions, able to see and imagine things in three dimensions; can see from right to left, top to bottom and vice versa. and thumbed through the letters, numbers and images.
    
Photographic memory, capable of recording information in the form of images in either stationary or moving like a movie. Has a display board in the brain.
    
Art -> look for a job as a process that relies on a sense of art and aesthetics that are often not limited by time and work with the inspiration and mood.
    
Deductive -> first have to see the big picture or the end result is a new move up step by step and stage of the process.
    
Random -> Prepare and process information in random order,
    
Visual -> Working in the form of images; often times difficult to put the idea into a sentence or a picture that the words are understood.
    
Global -> more like a general overview and does not like the details.
    
Conclusive -> Drawing conclusions from the general pieces of information.
    
Execution of two steps -> Record interpret new information.
    
Inspirational -> work based on inspiration is sudden and unplanned.

    
Comparison of Left and Right Brain Work:
    
a. Symbols vs. Figure
    
b. Coherent / Sequence vs. Random / Random
    
c. Logical vs Creative / Art
    
d. Detail to Global vs. Global to detail.
    
e. Direct vs. gradual
    
f. Then the process then the process of memory vs memory
    
g. Duplication vs. imagination

    h. Regular vs. random and jump around
    
i. Conclusion Analysis of parse analysis vs
    
j. Deadline Time vs. Free Time
    
k. Inspiration vs. plan
    
l. Black & White vs. Object object colorful


Sabtu, 03 Maret 2012

Graduation Ceremony

Wow!
It's Graduation Ceremony at my campus now.
Of course it's not my graduation ceremony.  hehehe
two years more.
^_^
It's weekend, so no classes.
It's so crowded now. One of the tenant in my dorm celebrate it now. All of her family come here! They seem sooooooooooo happy with their laugh and nice smile.
^_^
I decided to not go outside for it'll be a terrible traffic jam around here. I don't want stuck in the traffic jam (again) like what happened last year. Last year, I caught in a terrible traffic jam for the graduation ceremony that really made me out of energy.
hahhaa
By the way, I really want to see a graduation ceremony because i never see it. poor i'm!
^_^
My mom said that, " no need to see a graduation ceremony. You'll feel it later, just wait for it. I don't want you to compare your graduation ceremony with all of ceremonies that you have seen. May be in your graduation ceremony, just me who will accompany you. So, don't be sad."
Yeah, she's right. I only have her and my younger brother, just them.
^_^
But, that's okay. I'll be happy. I'll join my friends to make it happier.
All is well.

# I wish my dad was still alive.
^_^