A Definition of the Literary Term, Cacophony

Similar to its counterpart in music, a cacophony in literature is a combination of words or phrases that sound harsh, jarring, and generally unpleasant. Pronounced Kuh-koff-uh-nee, the noun cacophony and its adjective form cacophonous, refer to the â€Å"musicality† of writing—how it sounds to the reader when spoken aloud.     Ã‚   Coming from a Greek word literally meaning â€Å"bad sound,† cacophony as used in both prose and poetry typically  produces its desired unharmonious effect through the repeated use of â€Å"explosive† consonants, like T, P, or K. The word cacophony itself is cacophonous because of its repetition of the â€Å"K† sound. On the other hand, some words like â€Å"screeching,† â€Å"scratching,† or â€Å"oozing† are cacophonies simply because they are unpleasant to hear. The opposite of cacophony is â€Å"euphony,† a mixture of words that sound pleasant or melodious to the reader. A common misconception is that any tongue-twister, like â€Å"She sells seashells by the seashore† is an example of cacophony. While cacophonous phrases can be tricky to pronounce, not every tongue-twister is a cacophony. For example, â€Å"She sells seashells by the seashore† is actually an example of sibilance—the repeated use of soft consonants to produce hissing sounds—and is thus more euphony than cacophony. Explosive Consonants: A Key to Cacophony In many cases, â€Å"explosive† consonants are the key ingredient of cacophony. Explosive or â€Å"stop† consonants are those after which all sound abruptly stops, producing tiny verbal explosions or â€Å"pops† when spoken aloud. The consonants B, D, K, P, T, and G are the consonants most commonly used in creating a cacophony. For example, imagine writing about a metal pot falling down a stairway. The pot would ping, ting, bong, dong, clang, and bang before going whack against your head. Other explosive consonants  or stop sounds include C, CH, Q, and X. Individual words, sentences, paragraphs, or entire poems are considered cacophonous when they contain explosive consonants occurring in relatively close succession. For example, in his classic poem â€Å"The Raven,† Edgar Allan Poe uses the â€Å"G† sound in a cacophony when he writes, â€Å"What this grim, ungainly, ghastly, gaunt, and ominous bird of yore.†Or in William Shakespeare’s â€Å"Macbeth,† the three witches’ chant of â€Å"Double, double toil and trouble,† repeats the â€Å"D† and â€Å"T† sounds to create a cacophony. However, this does not mean that every consonant must be explosive or that explosive sounds must come in rapid succession. Indeed, most cacophonies use other, non-explosive consonant sounds to add to the passage’s expression of uncomfortable discord. In contrast, euphony—the opposite of cacophony—uses soft consonant sounds, like â€Å"floral† or â€Å"euphoria,† or â€Å"cellar door,† which linguists consider the most pleasing combination of two words in the English language. Why Authors Use Cacophony In both prose and poetry, authors use cacophony to help bring life to their writing by making the sound of their words reflect or even mimic the subject, mood, or setting they are writing about. For example, cacophony might be used in writing about: The tolling of distant bells.The noise of a busy city street or classroom full of unruly children.The chaotic violence of a battleground.Dark emotions like guilt, regret, or sorrow.A world filled with fantasy and mysterious settings. By using cacophony and euphony—alone or together—authors can add tone and feeling to their writing in much the same way graphic artists use clashing and complementary colors to bring depth and emotion to their paintings.   Cacophony in Lewis Carroll’sâ€Å"Jabberwocky† In his 1871 novel, â€Å"Through the Looking-Glass, and What Alice Found There,† Lewis Carroll created perhaps the best-known example of cacophony by the inclusion of the classic poem, â€Å"Jabberwocky.† The poem, which at once fascinated and confounded the novel’s main character Alice, uses cacophony in the form of invented, unmelodious words spiked with the explosive constants T, B, K to paint  a picture of life in a fantastical world terrorized by a gang of menacing monsters. (Listen to Benedict Cumberbatch read the poem in this video.) Twas brillig, and the slithy tovesDid gyre and gimble in the wabe:All mimsy were the borogoves,And the momeraths outgrabe.Beware the Jabberwock, my son!The jaws that bite, the claws that catch!Beware the Jubjub bird, and shunThe frumious Bandersnatch! Carroll’s cacophony of confusion clearly worked on the novel’s main character Alice, who after reading the poem, exclaimed: â€Å"Somehow it seems to fill my head with ideas—only I don’t exactly know what they are! However, somebody killed something: that’s clear, at any rate.† Contrast Carrolls use of cacophony in â€Å"Jabberwocky† with the pleasurable euphony used by John Keats in his pastoral ode, â€Å"To Autumn.† Season of mists and mellow fruitfulness,Close bosom-friend of the maturing sun;Conspiring with him how to load and blessWith fruit the vines that round the thatch-eves run. Cacophony in Kurt Vonnegut’s â€Å"Cat’s Cradle† In his 1963 novel â€Å"Cat’s Cradle,† Kurt Vonnegut creates the fictional Caribbean island of San Lorenzo, the natives of which speak a vaguely recognizable dialect of English. The San Lorenzan dialect is dominated by the explosive consonant sounds of TSVs, Ks, and hard Ps and Bs.   At one point, Vonnegut translates the well-known nursery rhyme â€Å"Twinkle Twinkle Little Star† (albeit the version used in Alice in Wonderland) into Lorenzan: Tsvent-kiul, tsvent-kiul, lett-pool store,(Twinkle, twinkle, little star,)  Kojytsvantoor bat voo yore.(How I wonder what you are,)        Ã‚  Ã‚     Put-shinik on lo sheezobrath,(Shining in the sky so bright,)Kam oon teetron on lo nath,(Like a tea tray in the night,) Throughout the novel, Vonnegut  uses cacophony comically to illustrate the absurdities of subjects like science, technology, religion, and the arms race by creating characters like Zinka and Bokonon and invented words like sinookas and wampeters, which are decidedly cacophonic due to their use of explosive consonants. Cacophony in Jonathan Swift’s â€Å"Gullivers Travels† In his satirical novel on human nature â€Å"Gullivers Travels,† Jonathan Swift uses cacophony to  create a graphic mental image of the horrors of war. I could not forbear shaking my head, and smiling a little at his ignorance. And being no stranger to the art of war, I gave him a description of cannons, culverins, muskets, carbines, pistols, bullets, powder, swords, bayonets, battles, sieges, retreats, attacks, undermines, countermines, bombardments, sea fights, ships sunk with a thousand men†¦ In similar passages, combining sharp sounds of the explosive consonants C and K add a nature of ruggedness and violence to words like â€Å"cannons† and â€Å"muskets, while P and B add to the discomfort felt while reading words like â€Å"pistols† and â€Å"bombardments.† But Does Cacophony Always Work?   While it can clearly add color and tone to writing, cacophony can sometimes do more harm than good.   If used for no good reason or too often, it can distract and even aggravate readers, making it hard for them to follow the work’s main plot or to understand its intent. Indeed, many authors strive to avoid injecting â€Å"accidental cacophony† into their works. As the noted literary critic M. H. Abrams points out in his book, â€Å"A Glossary of Literary Terms,† a cacophony may be written, â€Å"inadvertent, through a lapse in the writers attention or skill.† However, he stresses, â€Å"cacophony may also be deliberate and functional: for humor, or else for other purposes.† Key Points A cacophony in literature is a combination of words or phrases that sound harsh, jarring, and generally unpleasant.The opposite of cacophony is â€Å"euphony,† a mixture of pleasant or melodious words.The repeated use of â€Å"explosive† or â€Å"stop† consonants like B, D, K, P, T, and G are often used to create a cacophony.Cacophony is used in both poetry and prose.Writers use cacophony to help readers picture and feel the situations or conditions they are describing. Sources â€Å"Euphony and Cacophony.†Encyclopedia Britannica. Online.Bureman, Liz. â€Å"Euphony and Cacophony: A Writer’s Guide.† The Write Practice. Online.Ladefoged, Peter; Maddieson, Ian (1996). â€Å"The Sounds of the Worlds Languages.†Oxford: Blackwell. p. 102. ISBN 0-631-19814-8.Abrams, M. H., â€Å"A Glossary of Literary Terms.†Wadsworth Publishing; 11 edition (January 1, 2014).   ISBN 978-1285465067

A Definition of the Literary Term, Cacophony

Similar to its counterpart in music, a cacophony in literature is a combination of words or phrases that sound harsh, jarring, and generally unpleasant. Pronounced Kuh-koff-uh-nee, the noun cacophony and its adjective form cacophonous, refer to the â€Å"musicality† of writing—how it sounds to the reader when spoken aloud.     Ã‚   Coming from a Greek word literally meaning â€Å"bad sound,† cacophony as used in both prose and poetry typically  produces its desired unharmonious effect through the repeated use of â€Å"explosive† consonants, like T, P, or K. The word cacophony itself is cacophonous because of its repetition of the â€Å"K† sound. On the other hand, some words like â€Å"screeching,† â€Å"scratching,† or â€Å"oozing† are cacophonies simply because they are unpleasant to hear. The opposite of cacophony is â€Å"euphony,† a mixture of words that sound pleasant or melodious to the reader. A common misconception is that any tongue-twister, like â€Å"She sells seashells by the seashore† is an example of cacophony. While cacophonous phrases can be tricky to pronounce, not every tongue-twister is a cacophony. For example, â€Å"She sells seashells by the seashore† is actually an example of sibilance—the repeated use of soft consonants to produce hissing sounds—and is thus more euphony than cacophony. Explosive Consonants: A Key to Cacophony In many cases, â€Å"explosive† consonants are the key ingredient of cacophony. Explosive or â€Å"stop† consonants are those after which all sound abruptly stops, producing tiny verbal explosions or â€Å"pops† when spoken aloud. The consonants B, D, K, P, T, and G are the consonants most commonly used in creating a cacophony. For example, imagine writing about a metal pot falling down a stairway. The pot would ping, ting, bong, dong, clang, and bang before going whack against your head. Other explosive consonants  or stop sounds include C, CH, Q, and X. Individual words, sentences, paragraphs, or entire poems are considered cacophonous when they contain explosive consonants occurring in relatively close succession. For example, in his classic poem â€Å"The Raven,† Edgar Allan Poe uses the â€Å"G† sound in a cacophony when he writes, â€Å"What this grim, ungainly, ghastly, gaunt, and ominous bird of yore.†Or in William Shakespeare’s â€Å"Macbeth,† the three witches’ chant of â€Å"Double, double toil and trouble,† repeats the â€Å"D† and â€Å"T† sounds to create a cacophony. However, this does not mean that every consonant must be explosive or that explosive sounds must come in rapid succession. Indeed, most cacophonies use other, non-explosive consonant sounds to add to the passage’s expression of uncomfortable discord. In contrast, euphony—the opposite of cacophony—uses soft consonant sounds, like â€Å"floral† or â€Å"euphoria,† or â€Å"cellar door,† which linguists consider the most pleasing combination of two words in the English language. Why Authors Use Cacophony In both prose and poetry, authors use cacophony to help bring life to their writing by making the sound of their words reflect or even mimic the subject, mood, or setting they are writing about. For example, cacophony might be used in writing about: The tolling of distant bells.The noise of a busy city street or classroom full of unruly children.The chaotic violence of a battleground.Dark emotions like guilt, regret, or sorrow.A world filled with fantasy and mysterious settings. By using cacophony and euphony—alone or together—authors can add tone and feeling to their writing in much the same way graphic artists use clashing and complementary colors to bring depth and emotion to their paintings.   Cacophony in Lewis Carroll’sâ€Å"Jabberwocky† In his 1871 novel, â€Å"Through the Looking-Glass, and What Alice Found There,† Lewis Carroll created perhaps the best-known example of cacophony by the inclusion of the classic poem, â€Å"Jabberwocky.† The poem, which at once fascinated and confounded the novel’s main character Alice, uses cacophony in the form of invented, unmelodious words spiked with the explosive constants T, B, K to paint  a picture of life in a fantastical world terrorized by a gang of menacing monsters. (Listen to Benedict Cumberbatch read the poem in this video.) Twas brillig, and the slithy tovesDid gyre and gimble in the wabe:All mimsy were the borogoves,And the momeraths outgrabe.Beware the Jabberwock, my son!The jaws that bite, the claws that catch!Beware the Jubjub bird, and shunThe frumious Bandersnatch! Carroll’s cacophony of confusion clearly worked on the novel’s main character Alice, who after reading the poem, exclaimed: â€Å"Somehow it seems to fill my head with ideas—only I don’t exactly know what they are! However, somebody killed something: that’s clear, at any rate.† Contrast Carrolls use of cacophony in â€Å"Jabberwocky† with the pleasurable euphony used by John Keats in his pastoral ode, â€Å"To Autumn.† Season of mists and mellow fruitfulness,Close bosom-friend of the maturing sun;Conspiring with him how to load and blessWith fruit the vines that round the thatch-eves run. Cacophony in Kurt Vonnegut’s â€Å"Cat’s Cradle† In his 1963 novel â€Å"Cat’s Cradle,† Kurt Vonnegut creates the fictional Caribbean island of San Lorenzo, the natives of which speak a vaguely recognizable dialect of English. The San Lorenzan dialect is dominated by the explosive consonant sounds of TSVs, Ks, and hard Ps and Bs.   At one point, Vonnegut translates the well-known nursery rhyme â€Å"Twinkle Twinkle Little Star† (albeit the version used in Alice in Wonderland) into Lorenzan: Tsvent-kiul, tsvent-kiul, lett-pool store,(Twinkle, twinkle, little star,)  Kojytsvantoor bat voo yore.(How I wonder what you are,)        Ã‚  Ã‚     Put-shinik on lo sheezobrath,(Shining in the sky so bright,)Kam oon teetron on lo nath,(Like a tea tray in the night,) Throughout the novel, Vonnegut  uses cacophony comically to illustrate the absurdities of subjects like science, technology, religion, and the arms race by creating characters like Zinka and Bokonon and invented words like sinookas and wampeters, which are decidedly cacophonic due to their use of explosive consonants. Cacophony in Jonathan Swift’s â€Å"Gullivers Travels† In his satirical novel on human nature â€Å"Gullivers Travels,† Jonathan Swift uses cacophony to  create a graphic mental image of the horrors of war. I could not forbear shaking my head, and smiling a little at his ignorance. And being no stranger to the art of war, I gave him a description of cannons, culverins, muskets, carbines, pistols, bullets, powder, swords, bayonets, battles, sieges, retreats, attacks, undermines, countermines, bombardments, sea fights, ships sunk with a thousand men†¦ In similar passages, combining sharp sounds of the explosive consonants C and K add a nature of ruggedness and violence to words like â€Å"cannons† and â€Å"muskets, while P and B add to the discomfort felt while reading words like â€Å"pistols† and â€Å"bombardments.† But Does Cacophony Always Work?   While it can clearly add color and tone to writing, cacophony can sometimes do more harm than good.   If used for no good reason or too often, it can distract and even aggravate readers, making it hard for them to follow the work’s main plot or to understand its intent. Indeed, many authors strive to avoid injecting â€Å"accidental cacophony† into their works. As the noted literary critic M. H. Abrams points out in his book, â€Å"A Glossary of Literary Terms,† a cacophony may be written, â€Å"inadvertent, through a lapse in the writers attention or skill.† However, he stresses, â€Å"cacophony may also be deliberate and functional: for humor, or else for other purposes.† Key Points A cacophony in literature is a combination of words or phrases that sound harsh, jarring, and generally unpleasant.The opposite of cacophony is â€Å"euphony,† a mixture of pleasant or melodious words.The repeated use of â€Å"explosive† or â€Å"stop† consonants like B, D, K, P, T, and G are often used to create a cacophony.Cacophony is used in both poetry and prose.Writers use cacophony to help readers picture and feel the situations or conditions they are describing. Sources â€Å"Euphony and Cacophony.†Encyclopedia Britannica. Online.Bureman, Liz. â€Å"Euphony and Cacophony: A Writer’s Guide.† The Write Practice. Online.Ladefoged, Peter; Maddieson, Ian (1996). â€Å"The Sounds of the Worlds Languages.†Oxford: Blackwell. p. 102. ISBN 0-631-19814-8.Abrams, M. H., â€Å"A Glossary of Literary Terms.†Wadsworth Publishing; 11 edition (January 1, 2014).   ISBN 978-1285465067

A Definition of the Literary Term, Cacophony

Similar to its counterpart in music, a cacophony in literature is a combination of words or phrases that sound harsh, jarring, and generally unpleasant. Pronounced Kuh-koff-uh-nee, the noun cacophony and its adjective form cacophonous, refer to the â€Å"musicality† of writing—how it sounds to the reader when spoken aloud.     Ã‚   Coming from a Greek word literally meaning â€Å"bad sound,† cacophony as used in both prose and poetry typically  produces its desired unharmonious effect through the repeated use of â€Å"explosive† consonants, like T, P, or K. The word cacophony itself is cacophonous because of its repetition of the â€Å"K† sound. On the other hand, some words like â€Å"screeching,† â€Å"scratching,† or â€Å"oozing† are cacophonies simply because they are unpleasant to hear. The opposite of cacophony is â€Å"euphony,† a mixture of words that sound pleasant or melodious to the reader. A common misconception is that any tongue-twister, like â€Å"She sells seashells by the seashore† is an example of cacophony. While cacophonous phrases can be tricky to pronounce, not every tongue-twister is a cacophony. For example, â€Å"She sells seashells by the seashore† is actually an example of sibilance—the repeated use of soft consonants to produce hissing sounds—and is thus more euphony than cacophony. Explosive Consonants: A Key to Cacophony In many cases, â€Å"explosive† consonants are the key ingredient of cacophony. Explosive or â€Å"stop† consonants are those after which all sound abruptly stops, producing tiny verbal explosions or â€Å"pops† when spoken aloud. The consonants B, D, K, P, T, and G are the consonants most commonly used in creating a cacophony. For example, imagine writing about a metal pot falling down a stairway. The pot would ping, ting, bong, dong, clang, and bang before going whack against your head. Other explosive consonants  or stop sounds include C, CH, Q, and X. Individual words, sentences, paragraphs, or entire poems are considered cacophonous when they contain explosive consonants occurring in relatively close succession. For example, in his classic poem â€Å"The Raven,† Edgar Allan Poe uses the â€Å"G† sound in a cacophony when he writes, â€Å"What this grim, ungainly, ghastly, gaunt, and ominous bird of yore.†Or in William Shakespeare’s â€Å"Macbeth,† the three witches’ chant of â€Å"Double, double toil and trouble,† repeats the â€Å"D† and â€Å"T† sounds to create a cacophony. However, this does not mean that every consonant must be explosive or that explosive sounds must come in rapid succession. Indeed, most cacophonies use other, non-explosive consonant sounds to add to the passage’s expression of uncomfortable discord. In contrast, euphony—the opposite of cacophony—uses soft consonant sounds, like â€Å"floral† or â€Å"euphoria,† or â€Å"cellar door,† which linguists consider the most pleasing combination of two words in the English language. Why Authors Use Cacophony In both prose and poetry, authors use cacophony to help bring life to their writing by making the sound of their words reflect or even mimic the subject, mood, or setting they are writing about. For example, cacophony might be used in writing about: The tolling of distant bells.The noise of a busy city street or classroom full of unruly children.The chaotic violence of a battleground.Dark emotions like guilt, regret, or sorrow.A world filled with fantasy and mysterious settings. By using cacophony and euphony—alone or together—authors can add tone and feeling to their writing in much the same way graphic artists use clashing and complementary colors to bring depth and emotion to their paintings.   Cacophony in Lewis Carroll’sâ€Å"Jabberwocky† In his 1871 novel, â€Å"Through the Looking-Glass, and What Alice Found There,† Lewis Carroll created perhaps the best-known example of cacophony by the inclusion of the classic poem, â€Å"Jabberwocky.† The poem, which at once fascinated and confounded the novel’s main character Alice, uses cacophony in the form of invented, unmelodious words spiked with the explosive constants T, B, K to paint  a picture of life in a fantastical world terrorized by a gang of menacing monsters. (Listen to Benedict Cumberbatch read the poem in this video.) Twas brillig, and the slithy tovesDid gyre and gimble in the wabe:All mimsy were the borogoves,And the momeraths outgrabe.Beware the Jabberwock, my son!The jaws that bite, the claws that catch!Beware the Jubjub bird, and shunThe frumious Bandersnatch! Carroll’s cacophony of confusion clearly worked on the novel’s main character Alice, who after reading the poem, exclaimed: â€Å"Somehow it seems to fill my head with ideas—only I don’t exactly know what they are! However, somebody killed something: that’s clear, at any rate.† Contrast Carrolls use of cacophony in â€Å"Jabberwocky† with the pleasurable euphony used by John Keats in his pastoral ode, â€Å"To Autumn.† Season of mists and mellow fruitfulness,Close bosom-friend of the maturing sun;Conspiring with him how to load and blessWith fruit the vines that round the thatch-eves run. Cacophony in Kurt Vonnegut’s â€Å"Cat’s Cradle† In his 1963 novel â€Å"Cat’s Cradle,† Kurt Vonnegut creates the fictional Caribbean island of San Lorenzo, the natives of which speak a vaguely recognizable dialect of English. The San Lorenzan dialect is dominated by the explosive consonant sounds of TSVs, Ks, and hard Ps and Bs.   At one point, Vonnegut translates the well-known nursery rhyme â€Å"Twinkle Twinkle Little Star† (albeit the version used in Alice in Wonderland) into Lorenzan: Tsvent-kiul, tsvent-kiul, lett-pool store,(Twinkle, twinkle, little star,)  Kojytsvantoor bat voo yore.(How I wonder what you are,)        Ã‚  Ã‚     Put-shinik on lo sheezobrath,(Shining in the sky so bright,)Kam oon teetron on lo nath,(Like a tea tray in the night,) Throughout the novel, Vonnegut  uses cacophony comically to illustrate the absurdities of subjects like science, technology, religion, and the arms race by creating characters like Zinka and Bokonon and invented words like sinookas and wampeters, which are decidedly cacophonic due to their use of explosive consonants. Cacophony in Jonathan Swift’s â€Å"Gullivers Travels† In his satirical novel on human nature â€Å"Gullivers Travels,† Jonathan Swift uses cacophony to  create a graphic mental image of the horrors of war. I could not forbear shaking my head, and smiling a little at his ignorance. And being no stranger to the art of war, I gave him a description of cannons, culverins, muskets, carbines, pistols, bullets, powder, swords, bayonets, battles, sieges, retreats, attacks, undermines, countermines, bombardments, sea fights, ships sunk with a thousand men†¦ In similar passages, combining sharp sounds of the explosive consonants C and K add a nature of ruggedness and violence to words like â€Å"cannons† and â€Å"muskets, while P and B add to the discomfort felt while reading words like â€Å"pistols† and â€Å"bombardments.† But Does Cacophony Always Work?   While it can clearly add color and tone to writing, cacophony can sometimes do more harm than good.   If used for no good reason or too often, it can distract and even aggravate readers, making it hard for them to follow the work’s main plot or to understand its intent. Indeed, many authors strive to avoid injecting â€Å"accidental cacophony† into their works. As the noted literary critic M. H. Abrams points out in his book, â€Å"A Glossary of Literary Terms,† a cacophony may be written, â€Å"inadvertent, through a lapse in the writers attention or skill.† However, he stresses, â€Å"cacophony may also be deliberate and functional: for humor, or else for other purposes.† Key Points A cacophony in literature is a combination of words or phrases that sound harsh, jarring, and generally unpleasant.The opposite of cacophony is â€Å"euphony,† a mixture of pleasant or melodious words.The repeated use of â€Å"explosive† or â€Å"stop† consonants like B, D, K, P, T, and G are often used to create a cacophony.Cacophony is used in both poetry and prose.Writers use cacophony to help readers picture and feel the situations or conditions they are describing. Sources â€Å"Euphony and Cacophony.†Encyclopedia Britannica. Online.Bureman, Liz. â€Å"Euphony and Cacophony: A Writer’s Guide.† The Write Practice. Online.Ladefoged, Peter; Maddieson, Ian (1996). â€Å"The Sounds of the Worlds Languages.†Oxford: Blackwell. p. 102. ISBN 0-631-19814-8.Abrams, M. H., â€Å"A Glossary of Literary Terms.†Wadsworth Publishing; 11 edition (January 1, 2014).   ISBN 978-1285465067

Martin Luther King Jr. Violence Essay - 1205 Words

Violence â€Å"The practice of violence, like all action, changes the world, but the most probable change is to a more violent world† (Arendt pg 80). Violence is contagious, like a disease, which will destroy nations and our morals as human beings. Each individual has his or her own definition of violence and when it is acceptable or ethical to use it. Martin Luther King Jr., Walter Benjamin, and Hannah Arendt are among the many that wrote about the different facets of violence, in what cases it is ethical, the role we as individuals play in this violent society and the political aspects behind our violence. Martin Luther King Jr. was a brilliant man who preached non-violence to his followers during the fight of equality in deeply†¦show more content†¦She talks about power of the masses, stating that power is not attainable by the individual but only by masses. Arendt opens her book by directly saying we are the most violent century known to man, always trying to be bigger an d better than another country in this arms race. She talks about the ways in which our society views violence and says humans are naturally violent. Arendt is clearly against war in this book as being unjustifiable and says that war, and violence regarding to politics, is not a means to an end because if we look back in our history we have been fighting war after war with no end. The end will never come; so how then, can one justify the violence of war? In the book, she argues that many of the traits we see in ourselves regarding violence, we see in animals, except animals do not have the ability to reason. Arendt states that, â€Å"violence is neither beastly nor irrational- whether we understand these terms in ordinary language of the humanists or in accordance with scientific theories† (62). The author makes is very clear that when we fail to use our ability to reason and instead introduce violence, we are only repeating our past of being a violent being in which the mean s to our end keeps getting further and further away. Dr. King, Walter Benjamin, and Hannah Arendt all speak of violence in terms of gaining social and political change, Dr. King preaches non violence and loving your enemyShow MoreRelated Martin Luther King Jr. Essay637 Words   |  3 Pages Martin Luther King, Jr. was perhaps one of the most influential person of our time. As the father of modern civil rights movement, Dr.Martin Luther king, Jr., is recognized around the world as a symbol of freedom and peace. Born January 15, 1929, King was the son of an Atlanta pastor. King accomplished many achievements during his life. He graduated from Morehouse as a minister in 1948 and went on to Crozer Theological seminary in Chester, Pa., where he earned a divinity degree. 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A Heavy Metal Retrospective The Top 15 Metallica Songs of All Time by Metallica free essay sample

Metallica was formed in 1981 by the collective genius of James Hetfield (rhythm guitar, lead vocals) and Lars Ulrich (drummer), and the duo has never looked back ever since. Although suffering line-up changes due to the untimely death of Cliff Burton (bass guitar) and the departure of Dave Mustaine and Jason Newsted (lead guitar and bass guitar respectively) the band has prospered through these past three decades to bring the world some of the greatest music, spanning genres from thrash metal to hard rock. With the release of their ninth studio album, Death Magnetic in September of 2008, the band has proven their ability to stay relevant in the face of a rapidly changing musical audience while still bringing hardcore fans the heavy metal nostalgia that they crave. So without further ado, I countdown the fifteen greatest Metallica songs of all time†¦ 15) â€Å"Sweet Amber† – This is probably the most controversial song to appear on my list. Coming off of the St. Anger album, most fans probably won’t even recognize this song by name due to the fact that the St. Anger album in its entirety was chastised for its departure from the sound of previous albums. However, after having given the album time to grow on me, I can honestly say that this track in particular deserves its spot at number fifteen. That having been said, St. Anger is definitely one of Metallica’s weaker installments, bearing only a handful of even semi-notable tracks. 14) â€Å"Fuel† – Used as the intro song for NASCAR televised broadcasts from 2001 till 2003, this track earn its place at number fourteen due to the adrenaline rush it instills in the listener. 13) â€Å"Leper Messiah† – Not quite as swift and frantic as other early Metallica tracks, â€Å"Leper Messiah† still retains the same original Metallica feel through impressive vocals and a powerful rhythm guitar section. Even listening to it now, I still get chills during some of the chorus lines: â€Å"time for lust, time for lie†¦time to kiss your life goodbye.† Something about the grit in Hetfield’s voice is just particularly well displayed in this song. â€Å"Bow to Leper Messiah.† 12) â€Å"The Four Horsemen† – The original songwriting credits of this track are still disputed. Dane Mustaine (former lead guitarist of Metallica) has made the assertion that he in fact wrote the song, going so far as to rerecord it with his band, Megadeth, giving the song new lyrics and entitling it â€Å"Mechanix†. Despite this bit of controversy, â€Å"The Four Horsemen† is still a superb song in all respects, and easily earns a spot at number twelve. 11) â€Å"No Leaf Clover (SM)† – In 1999, Metallica collaborated with the San Francisco Symphony Orchestra to perform renditions of their hit songs that had been fused with an orchestral backing. Along with their original songs, the two groups also created two original songs to be played exclusively at their SM gigs. One of these tracks, â€Å"No Leaf Clover†, is a testament to the beautiful union of heavy metal and classical orchestra. 10) â€Å"That Was Just Your Life† – With the release of Death Magnetic in 2008, Metallica showed that they still had the ability to put out fantastic music. â€Å"That Was Just Your Life† is easily the sickest track off of that album with one of the catchiest choruses of any Metallica song to date, putting it at number ten. 9) â€Å"No Remorse† – Number nine on this list is a throwback to the Kill ‘Em All album, Metallica’s first official studio release (which also featured â€Å"The Four Horsemen†). Raw and incredibly edgy, this album set the tone for all consecutive releases by establishing Metallica as a heavy hitter in the Bay Area metal scene. 8) â€Å"Damage Inc.† – As the embodiment of thrash metal, this track signifies all that was right with the 80’s metal scene. Nobody knew exactly what the fabled Damage Incorporated did, but it didn’t matter: it was quick, it was brutal, and it was perfect for headbanging. What more could you ask for? 7) â€Å"Frayed Ends of Sanity† – Although the entire †¦And Justice For All album is infamous for the lack of a prominent bass guitar sound (supposedly due to Metallica hazing their new bass player at the time, Jason Newsted), â€Å"Frayed Ends of Sanity† can still be called a magnificent track. The song touches on the subject of being driven into irrational insanity, and the mental struggle of coping with one’s own delusions. 6) â€Å"Battery† – This song is one of the most frequently covered Metallica tracks, and for good reason. â€Å"Battery† needs little explanation of why it’s great; suffice to say that if you haven’t heard it yet, you’re really missing out. It features not only one of the most amazing Metallica solos in their repertoire, but a mind blowing acoustic intro as well. Interestingly enough, German a capella group, Van Canto has done a rather amusing rendition of â€Å"Battery† (available for viewing on YouTube). Definitely worth checking out if you’re already familiar with the song. 5) â€Å"Ride The Lightning† – The title track off of Metallica’s second studio album, â€Å"Ride The Lightning† is the final Metallica song to feature Dave Mustaine in the songwriting credits. Despite his many problems with drug addiction and alcoholism during his time in Metallica, it’s quite clear that Mustaine had no issue writing grade-A quality metal. â€Å"Ride The Lightning† is a masterpiece from start to finish, putting it at number five. 4) â€Å"One† – Achieving quite a bit of notoriety through the video game medium of Guitar Hero 3, â€Å"One† has been placed with the unfortunate stigma of being â€Å"that Metallica song†. The song that if you say you really enjoy, you are immediately questioned to determine if you really like Metallica, or if you only like them because they have a cool song featured on a well known video game. While this can be somewhat annoying at times, â€Å"One† is a phenomenal part of the †¦And Justice For All album, and is well deserving of being the fourth greatest Metallica song of all time. 3) â€Å"The Call of Ktulu† – Who would have thought that Metallica was capable of writing a stunning instrumental? While the presence of James Hetfield’s vocals are sorely missed, the instrumental work on â€Å"The Call of Ktulu† is absolutely stupendous, and that’s what earns it the right to be in the number three spot. 2) â€Å"Master of Puppets† – It is extremely difficult for me to put this song at number two. Perhaps it’s my awareness of the cliche of this song ending up as number one on a lot of â€Å"best of Metallica† lists, but something is restraining me from giving it the number one spot. But don’t let that detract at all from this song; this track is, unquestionably, the anthem of any heavy metal enthusiast. I listen to this song when I wake up in the morning, I listen to it during car rides, I even try to listen to it during boring class lectures if my teacher is particularly unobservant. This song is engrained into the blood of the metal community, and although it isn’t quite number one, it’s a darn close second. 1) â€Å"Enter Sandman† †¦I only jest. While Enter Sandman (off of The Black Album) is often herald as representing the band’s most significant mainstream success, it is far from being their number one track. The true greatest Metallica song of all time is†¦ 1) â€Å"Fade To Black† – This song came as a shock to many early Metallica fans, as it sounded nothing like anything they had ever written beforehand. It did away with the fast-passed riffs and harsh vocals, substituting them with something a lot softer by Metallica standards. This resulted in a song that alienated quite a bit of their hardcore fanbase. It’s my firm belief that those hardcore fans are blind to the heart behind this song, especially considering it’s significance following the passing of former bassist, Cliff Burton. Admittedly it’s not the ruthless escapade to be expected from the same people who gave us tracks like â€Å"Hit The Lights† and â€Å" Fight Fire With Fire†, but that’s fine in my eyes. It doesn’t try to replicate the sound of its predecessors, it stands on it’s own as the greatest Metallica song of all time, and possibly even the greatest song to come out of the entire metal genre.