WZH-MIT-Essay1-3-0920-ec Essay Example | Topics and Well Written Essays - 1500 words

WZH-MIT-Essay1-3-0920-ec - Essay Example I didn’t care to listen and accredit the much valued experience of my subordinates. A daily non-interactive reporting system was scheduled with scarce chance of consultation and negotiation. I didn’t recognize that in the trial to be an effective ‘authoritative’ leader, I turned my self to be a mere ‘authoritarian’ leader. As the interaction factor was lacking, there was no space for a healthy debate and no disagreement was expressed on the decisions made. I was also hesitant in taking help from subordinates even though I lacked the expertise in many of the technical and practical issues. Rather than looking for some wise capacity building ideas, I tried to masquerade my lack of knowledge with the authority I had, resulting in doubtful decisions. Things started to back fire as these decisions proved wrong and even led to the rejection of goods by clients. On this development, my supervisor intervened privately and we had a detailed discussion on my setbacks .He pointed out my drawbacks, and gently advised me on the qualities a good leader should have. In this process, I observed an ideal leader in him, as he heard and understood me, was inspiring and had respect for my thoughts and observations. Well blended with his experience, the discussion pointed out the lacking factors in the team and the leader. I realized the need of being more mature in leadership and collaborative team work. From there on, I ensured to accredit the experience of my team members and devised an effective communication with them. The morning meeting continued, but in a collective way discussing the issues and scopes, resulting in final plans to be put into practice. I made it a routine that each staff was heard to .The team was inspired to be bold in innovations, taking care of the quality standards. Subsequently, I developed integrity by improvising my technical understanding. All the required resources were ensured to the

Themes in Hamlet Essay Example for Free

Themes in Hamlet Essay To what extent does Shakespeare deal with these themes in Hamlet? As consistent with all Shakespearean tragedies, Shakespeare uses the fatal flaws of the central characters to bring about their downfall which ultimately leads to their death. In Hamlet, deceit and betrayal initiates the failures of the main characters, particularly Prince Hamlet, King Claudius and Ophelia. These themes are pivotal to their actions and are used to expose the flaws of the characters that lead to their downfall and eventually, death. Shakespeare begins the play with the depressed, yet innocent Hamlet, who is in mourning for the recently dead king, his father. He is angry at his mother, for quickly marrying the new King, also his uncle. He feels betrayed by his mother because she was able to forget her previous husband so quickly and easily. He is melancholic because of his father’s death but more because of his mother’s â€Å"speedy marriage†. In his fury, he stereotypes all women as weak, â€Å"Frailty, thy name is woman. † He is uncomfortable with what he feels is an unacceptable situation and he senses, â€Å"It is not, nor can it come to, good. † Despite his negative feelings, his emotions are controlled and he does not even consider the possibility that his father was murdered and he is portrayed as blameless and wide open to deceit. Shakespeare creates the first twist of the play when Hamlet meets the ghost, his â€Å"father’s spirit†. The ghost divulges to a shocked Hamlet that his father was victim of â€Å"murder most foul† and urges the prince to â€Å"revenge his foul and most unnatural murder. The serpent that did sting thy father’s life now wears his crown,† thus revealing to Hamlet the betrayal and deceit of Claudius. Hamlet is outraged and disgusted by what he learns and promises the ghost, â€Å"Thy commandment all alone shall live within the book and volume of my brain. † He will seek nothing but revenge and he entrusts only the loyal Horatio and Marcellus with his sinister findings. Claudius murders his own brother and king to introduce the complex web of deceit and betrayal that make up the play. After Hamlet’s meeting with the ghost, Hamlet is convinced that he has been victim of betrayal and deceit as he refers to the spirit as â€Å"an honest ghost†. His previously controlled emotions reach boiling point and he is furious enough to call his mother a â€Å"most pernicious woman†. He is traumatised by the news and his emotions start to become uncontrolled causing Horatio to say, â€Å"These are but wild and whirling words, my lord. † Slowly, the idea of revenge overcomes all his thoughts and Shakespeare feeds idea of deceit and betrayal into his mind. Hamlet decides that the only way he can see through the deceit and confirm the murder claim is by deception himself. He decides to â€Å"put on an antic disposition† to enable him to spy on his uncle without arousing any suspicion. Ophelia, although innocent, is a character who is in the way of Hamlet without meaning to do any harm. Her father is the Lord Chamberlain who is capable of extracting all scraps of information from her, against her will. He is very loyal to the king and will pass on anything he knows to him. As a consequence, Ophelia cannot be trusted with the truth and is subjected to deceit and betrayal. Hamlet deceives her by deliberately acting mad to confuse her and telling her that he â€Å"loved her not†. This is a downright lie as is obvious towards the end of the play when he is distraught to discover her death and tells an equally distressed Laertes that â€Å"forty thousand brothers with all their quantity of love could not love her more than [he] did†. Hamlet betrays her by being cruel and sarcastic to her and making comments such as, â€Å"Get thee to a nunnery† to keep her away from him. Hamlet is forced to take this path because he knows she must not find out what he knows regarding his father’s death; otherwise he risks endangering his life from Claudius. Shakespeare uses all the deceit and betrayal to create a conflict of loyalty inside Ophelia and she is unsure whether she should stay true to her love Hamlet or obey her father. She betrays Hamlet by choosing to obey her father rather that staying loyal to Hamlet. Despite her feeble attempts to try to defend Hamlet by saying, â€Å"He hath importuned me with love in honourable fashion,† she cannot disobey her father. She is torn between a strong father and a strong lover but being the dutiful daughter she promises her father, â€Å"I shall obey, my lord,† when ordered to stay away from Hamlet and not to â€Å"give words or talk† to him. She deceives Hamlet when she allows Claudius and her father to spy on him by trying to engage him in conversation in the presence of the two men. Her decision to obey her father means she is completely reliant on him. Being a lady of her time, she does not have any independence and needs the support of a man which makes her vulnerable and ultimately a failure. Hamlet’s rudeness towards her and her betrayal of Hamlet makes her believe that he will not care for her again. When her father dies she feels as if she has lost everything and this drives her towards insanity and eventually, death. As is obvious from the beginning of the play, Hamlet’s main failure is that he is very indecisive and thinks about issues too much which lead to his downfall and ultimately, death. He is also quite lonely and throughout the course of the play, only Horatio remains loyal to the prince and Hamlet can talk to and trust only him. All others, including his girlfriend, Ophelia, betray him and he cannot speak freely with them. The lack of people to talk to means that thoughts build up in his mind and he is constantly thinking about issues, such as revenge and suicide, too much without being able to reach an appropriate decision. His main failure and fatal flaw is this inability to make quick decisions and take action before it is too late. Typically, Shakespeare shows Claudius’ main flaw and failure to be his ambition which is what possesses him to perform the evil deed of murdering the king. He confesses, â€Å"I am still possess’d of those effects for which I did the murder, my crown, mine own ambition and my queen. † He tries to convince himself that he cannot turn around and make up for what he has done because he has waded too far into the pool of evil. He offers what is really an empty prayer because his â€Å"words fly up† but â€Å"thoughts remain below† and he says, â€Å"Words without thoughts never to heaven go. † His failure is that he is too ambitious and greedy and he cannot bear to think about life without his throne and queen. He does not make any attempt to make up for what he has done because he does not want to which creates problems because eventually the truth is discovered and this brings about his downfall and death. All the actions of the main characters are shaped by Shakespeare through the themes of deceit, betrayal and failure. He uses the deceit and betrayal of Claudius and Ophelia to cause Hamlet himself to deceive and betray which enables him to discover the truth. Shakespeare uses the deceit and betrayal to bring out the failures of the characters that lead to their downfall and death.

Patriarchy in India, China, Greece and Rome Essay -- Sociology, Classi

Most classical society’s political and social organization revolved around the idea of patriarchy, a male dominated social system. This system exacerbated the inherit difference between men and woman and assigned gender roles based on these observations. Men were generally regarded as superior to woman therefore given greater religious and political roles as well as more legal rights. As the natural inverse, women were subordinated and seen as week; their main roles reproductive and domestic. Information about patriarchy in the classical era, though abundant, was, for the most part, written by men, therefore history does not give us an accurate depiction of women’s viewpoints. Four societies of the classical era, India, China, Greece, and Rome, adopted a patriarchal system, however, due to many factors, each developed identifiable characteristics. Because they did not have a traditional role in government, women had work their way around the system to gain any type of political leverage. Empress Lu violated every cultural and social norm by retaining power as a regent throughout the reins of her son, grandson and adopted grandson. Tradidtionaly regents ruled from behind the scenes while the emperor himself was unable to make decisions, usualy due to age or heath complications, however Empress Lu eradicated any competitors for the thrown. As the end of her reign was nearing, she expected her nephews to succeed her. Even as the first empress, not unfamiliar with disrupting tradition, she left the emperorship to the next male in her bloodline (Doc. 5) not a female. Though Empress Lu defied all expectations of women, her power as an Empress was still undisputed due to the Mandate of Heaven, an idea originating in the Shang dynasty.... ...c. 4). This is an example of one of the seven unequal relationships in Confucianism. Much of the social structure of classical China was based on Confucian ideals (Doc. 3). In Greece the relationship between a husband and wife also very unequal due to her young age and lack of education. Alone a woman had no political rights and limited legal powers therefore is was necessary for a husband to provide for his wife much like a father would (Doc. 6) A woman would learn house hold management and eventually produce heirs. These two similar systems of social roles was not a benevolent system. It did not take into account the welfare of individuals, particularly woman who had little power to leave in a bad marital situation. However by insuring that people know their place, which kept them in line, classical societies were more prosperous and able to run more smoothly.

Little Richard’s Influence on Rock ‘N’ Roll History Essay

Rock and roll music emerged as a part of American teen culture during the notably conservative time period in the country’s history which shortly followed the traumatic events of World War II. Being that the genre’s target audience was white teenagers, many Americans- already overwhelmed and on-edge due to the anti-communist movement inspired by the Cold War- were apprehensive about the influence that this up-and-coming style of music might have on their country’s future. America’s youth openly accepted rock and roll’s racially integrated culture of performers and embraced the relatively lewd nature of many songs and performances associated with the genre, much to the dismay of their elders. Richard Wayne Penniman (better known by his stage name, Little Richard) had an important influence on the history of rock and roll music because of his unconventional stage presence and explicit sexuality. Artists such as Little Richard aggressively pushed the envelope, defied social norms and generated controversy. Richard, along with a few fellow pioneers, helped to define rock and roll in its early years, and paved the way for rock and rollers of future generations. Penniman’s work left an everlasting impression on the musical genre and culture that is rock and roll. Considering the time in America’s history during which Little Richard appeared on the rock and roll scene, it is completely appropriate to attribute much of his fame and influence to his unconventional stage presence. The rising popularity of television during the 1950’s fundamentally changed the music industry by presenting artists with an entirely new way to market themselves (or be marketed). Being televised meant that the overall look and presence of an artist played a more crucial role in stimulating audiences; the focus of listeners was no longer solely the sound of the music being produced. Prior to T. V. , music fans were only able to enjoy the sounds of their favorite artist by way of radio and the purchasing of records. In many cases, this meant that if a fan had never seen a live performance or record-jacket photo of a particular artist, it’s possible that they had never seen said artist at all and possessed only a general idea (if any) of what that artist looked like. As television sets became an increasingly popular household item for middle-class American families, â€Å"live performances assumed a new importance for performers of rock ‘n’ roll music, and individual artists and vocal roups sought to cultivate visual characteristics or mannerisms that would set them apart from others and encourage listeners to remember them†¦ but no performer in the early years of rock ‘n’ roll was as visually flamboyant as Little Richard,† (Schloss, Starr, and Waterman 1-75). A fan’s perception of an artist or group became subject to their opinion of the overall image of the performance. At this point in time, listening to the music of a completely respectable, clean cut, well dressed African-American was still considered inappropriate by a sizeable portion of white American society- particularly those living in the South and those beyond their teenage years. Many of these people were hesitant to accept racial integration, and tended to proceed cautiously when (or, more appropriately, if) they chose to do so. These are the same people that were unrightfully, but understandably, so frightened by performers like Little Richard. In order to differentiate himself from other rockers of the time, Richard usually wore heavy make-up and sported his famous pompadour hair style. As a former drag queen, Richard was fully aware of the type of reaction his look would draw from audiences; it’s the reaction he hoped to receive. Though, at the time, society as a whole was unsure of how to react to the statement his image made, â€Å"the†¦ ambiguity of Little Richard’s sexual identity†¦ paved the way for the image of performers such as David Bowie, Elton John, and Prince,† (Schloss, Starr, and Waterman 1-75). Just in case his eccentric outward appearance was not enough to gain the disapproval of parents across the nation, Little Richard put on an absolutely wild stage performance which included dramatic eye rolling and his simultaneous hip gyrating and piano playing. In order to dance and play piano at the same time, Little Richard stood (not sat) in front of the instrument- yet another feature of his performance that was specific to him. Little Richard aimed to gain the attention of his fans by creating an entirely original and exciting performance act. In order to do so, Richard created an image that was totally outside of society’s definition of normal, respectable, and safe. His image was only half of his act, though. It’s unlikely that there were many ‘respectable’ white, American parents around in the 1950’s that were comfortable with the idea of Little Richard having any type of influence over the generation deemed the ‘future’ of their country, much less over their specific children. If there had been anyone left straddling that fence, however, contemplating just how harmful a 24-year-old performer with a whacky haircut and face full of make up could really be, it would be safe to assume that they had never actually heard the man sing. The lewd, scandalous lyrics that completed Little Richard’s unorthodox self-presentation would have provided the final push that landed the aforementioned fence straddler on the opposite side of Richard’s performance, and confirmed the popular idea that â€Å"rock’s musical characteristics indicated a general decline in American taste,† (Schloss, Starr, and Waterman 1-75). While teenagers danced to the sounds of the modified twelve-bar blues accompanying Richard’s shouting vocal style and countertenor whoops, parents instinctively cringed in disapproval of the blatantly suggestive lyrics. Hit songs by Little Richard such as â€Å"Tutti-Frutti,† (Penniman, 1955) and â€Å"Long Tall Sally,† (Penniman, 1956) contained lyrics that were generally non-specific, but overall relatively sexual for the time. Richard’s scandalous appearance, behavior, and song lyrics embodied a sexual tension that managed to both intrigue teenage audiences, and inspire fellow performers. It is this same sexual tension that made society at large not only generally uncomfortable, but also concerned about what other ludicrous notions rock and roll would try to impose upon American culture in the future. Little Richard used rock and roll as a platform to rattle the cages of the music industry, and change society’s concept of what was acceptable, what was normal, and most of all what was popular. It was Richard’s unique image and abrasive song content that simultaneously intrigued and shocked American society in the early 1950s. American teenagers of this time appreciated the power of Little Richard’s performance and embraced Little Richard as the new spirit of rock and roll. Unfortunately, â€Å"in 1957 Richard denounced his work and joined the church†¦clos[ing] his most creative period,† (Oxford University Press). Although the momentum of his influence eventually slowed, it never quite stopped. Rock and roll performers such as Jerry Lee Lewis, the Beatles, and the American Creedence Clearwater Revival all provide examples of music inspired by the work of Little Richard, proving the power of his influence and solidifying the lasting impression that he left on rock and roll.

Previous knowledge of the novel Essay

From your reading of Chapters 1, 2 and 26 of â€Å"Jane Eyre†, as well as any previous knowledge of the novel you might have, write about the links you begin to see between that text and Charlotte Perkins Gilman’s â€Å"The Yellow Wallpaper†. â€Å"The Yellow Wallpaper† was written by Charlotte Perkins Gilman in 1892 for a number of specific purposes, including the author’s desire to raise awareness of the condition post-partum depression, from which she suffered, and to illustrate her views on the patriarchal nature and the inequality of Victorian society, particularly with relation to marriage. Perhaps most importantly, Gilman wanted to expose the flaws in the male treatments propositioned for post-partum depression and other similar conditions; treatments from which she herself ailed even more than from her ‘nervous disorder’ when waylaid in bed, much like the narrator of her novella – albeit to a less extreme end. By contrast, Charlotte Bronti ‘s â€Å"Jane Eyre† has no such definite intentions, but acts most prominently as a bildungsroman and a partial autobiography, which leads to a very different treatment of characters as constructs rather than as Gilman’s use of them as representations. While Bronti ‘s characters in â€Å"Jane Eyre† cannot be labelled with much more precision than Mr. Rochester’s standing as a Byronic hero, the characters in â€Å"The Yellow Wallpaper† are clearly intended for various purposes. The most obvious examples are John, the narrator’s husband, who embodies the Victorian male and the Victorian physician, and the narrator herself, who is intended to represent all of womankind subjected to the aforementioned Victorian male doctor. A commonality between the two novels exists in their inclusion of characters exhibiting madness. There can be drawn many similarities between the two differing presentations, including an obvious physical manifestation of insanity. In â€Å"The Yellow Wallpaper†, as the narrator falls into madness – and particularly at the end of the novel when she has succumbed to it entirely – Gilman depicts her ‘creeping by daylight’ about her room, ‘crawling’ on the floor, ’round and round and round’, after having the narrator herself earlier assert that ‘most women do not creep by daylight’, therefore proleptically implying something abnormal about herself. In â€Å"Jane Eyre†, this same physicality is used by Bronti in her presentation of Bertha Mason Rochester, as she is first introduced to Jane and to the readers ‘on all fours†¦ like some strange wild animal’. Bertha is said to have ‘snatched and growled’, and ‘laid her teeth to [Mr. Rochester’s] neck’, which is an animalistic image also shown by Gilman when she has her narrator say she ‘bit off a little piece’ of her bed. Both authors are in this way very deliberate in creating the metaphor of their insane characters being animals; Bronti refers to Bertha through her narrator Jane as a ‘beast’, a ‘wild animal’ and a ‘clothed hyena’, and besides these more obvious physical links, there are also allusions to hair ‘wild as a mane’, ‘a fierce cry’, an instance in which the woman ‘bellowed’, and her ‘stature almost equalling her husband’, who is built athletically, so this comparison therefore reinforces Bronti ‘s presentation of Bertha as something of a behemoth – her name even bears a visual similarity to the words ‘beast’ or ‘bear’. There are several other parallels discernable between Bronti ‘s Bertha and Gilman’s narrator, for example in â€Å"Jane Eyre† Bertha commits the mortal sin of suicide by jumping out of an upstairs window after burning down the house in her final act of freedom, while in â€Å"The Yellow Wallpaper†, Gilman’s narrator is far more trapped than the character of Bertha, so she can only express a desire to ‘jump out of the window†¦ but the bars are too strong even to try’, and before that Gilman had had her narrator state: ‘I thought seriously of burning the house – to reach the smell’. Both identical actions are used by the two authors to illustrate their characters’ insanity and an implicit breaking down of social norms; and especially a desire for suicide that goes against the core of human nature in our intrinsic survival instinct, which was a deviation seen before in the presentation of the two women as animals rather than human beings. Bertha is referred to by Bronti through Jane Eyre as an ‘it’, solidifying this idea of her insanity rendering her inhuman. However, the marked difference between the protagonist of â€Å"The Yellow Wallpaper† and one of the antagonists of â€Å"Jane Eyre† is indeed the fact that Bertha has the freedom to carry out her insane thoughts, while Gilman has created in her novella such an image of imprisonment that her own character fails to complete either undertaking. This idea is crucial to Gilman’s message of women’s entrapment in a Victorian patriarchal society, and therefore contributes to the novella’s effectiveness. On the other hand, since â€Å"Jane Eyre† was not written with such a definite intention as â€Å"The Yellow Wallpaper†, the actions of Bertha are designed to contribute to the plot of the novel more than to convey a message about the treatment of women, the mentally insane or the handicapped, though the latter readings could also be taken. A more obvious difference between the two novels is that it is the autodiegetic narrator we can assume to be called Jane of â€Å"The Yellow Wallpaper† that exhibits insanity, thereby directly demonstrating to the reader the lack of cohesion in her mind, while in â€Å"Jane Eyre† Bertha’s insanity is regarded by the readers through the eyes of Bronti ‘s eponymous narrator. Additionally, while the reader experiences the breakdown of the narrator’s mind from sanity to its loss in the former text, in the latter the only experience given to the reader of Bertha is of her already mentally degraded, with no transformation shown, and little information given about her prior to the exhibition of her allegedly genetic insanity. Bronti emphasises the fact that the reader is not given the whole story of her character Bertha through the interesting manipulation of her narrator. Despite the fact that Jane Eyre is an autodiegetic narrator, the same as that of â€Å"The Yellow Wallpaper†, in the scene in which she is presented with Bertha, and indeed in ensuing scenes featuring Mr. Rochester’s first wife, Jane Eyre becomes more of a homodiegetic narrator – simply conveying the events before her but clearly on the edges of a much deeper story and a more extensive narrative than she has the ability or knowledge to recount.

Elemental Composition of the Human Body by Mass

Elemental Composition of the Human Body by Mass This is a table of the elemental composition of the human body by mass for a 70 kg (154 lb) person. The values for any particular person may be different, especially for the trace elements. Also, the element composition does not scale linearly. For example, a person who is half the mass may not contain half the amount of a given element. The molar amount of the most abundant elements is given in the table. You may also wish to view the element composition of the human body in terms of mass percent. Reference: Emsley, John, The Elements, 3rd ed., Clarendon Press, Oxford, 1998 Table of Elements in the Human Body by Mass oxygen 43 kg (61%, 2700 mol) carbon 16 kg (23%, 1300 mol) hydrogen 7 kg (10%, 6900 mol) nitrogen 1.8 kg (2.5%, 129 mol) calcium 1.0 kg (1.4%, 25 mol) phosphorus 780 g (1.1%, 25 mol) potassium 140 g (0.20%, 3.6 mol) sulfur 140 g (0.20%, 4.4 mol) sodium 100 g (0.14%, 4.3 mol) chlorine 95 g (0.14%, 2.7 mol) magnesium 19 g (0.03%, 0.78 mol) iron 4.2 g fluorine 2.6 g zinc 2.3 g silicon 1.0 g rubidium 0.68 g strontium 0.32 g bromine 0.26 g lead 0.12 g copper 72 mg aluminum 60 mg cadmium 50 mg cerium 40 mg barium 22 mg iodine 20 mg tin 20 mg titanium 20 mg boron 18 mg nickel 15 mg selenium 15 mg chromium 14 mg manganese 12 mg arsenic 7 mg lithium 7 mg cesium 6 mg mercury 6 mg germanium 5 mg molybdenum 5 mg cobalt 3 mg antimony 2 mg silver 2 mg niobium 1.5 mg zirconium 1 mg lanthanum 0.8 mg gallium 0.7 mg tellurium 0.7 mg yttrium 0.6 mg bismuth 0.5 mg thallium 0.5 mg indium 0.4 mg gold 0.2 mg scandium 0.2 mg tantalum 0.2 mg vanadium 0.11 mg thorium 0.1 mg uranium 0.1 mg samarium 50 g beryllium 36 g tungsten 20 g

Free Essays on The Way Of The World

â€Å"The Way of the World† as a Restoration Comedy: Restoration Comedy is a type of Restoration Drama, which is related with the manners and attitudes of the characters and what the audience laugh at them after the pursuit of sex and money. In a way, the Comedy of Manners is a witty, and cerebral form of dramatic comedy that depicts and often satirizes the manners and affectations of a contemporary society. A comedy of manners is concerned with social usage and the question of whether or not characters meet certain social standards. The plot of such a comedy, usually concerned with an illicit love affair or similarly scandalous matter, is subordinate to the play's brittle atmosphere, witty dialogue, criticism and commentary on human foibles. â€Å"The Way of the World† which is written by William Congreve, is a restoration comedy play with its witty dialogues between the characters, criticism of the upper class people’s manners and also satiric and effective scenes such as lady and maid; unmasking scene of male libertine and proviso scene that ends in a lyrical celebration of unity. â€Å"The Way of the World† (1700), in fact â€Å"a world of wit and pleasure inhabited by persons of quality and deformed neither by realism nor by farce† (Congreve, p.401) which has come to be regarded as one of the great comedies in the English language. The plays of Congreve are considered the greatest achievement of Restoration comedy. They are comedies of manners, depicting an artificial and narrow world as explained above, peopled by characters of nobility and fashion, to whom manners, especially gallantry, are more important than morals such as Mirabell, Lady Wishfort, and Fainall. No doubt, Congreve’s view of mankind is amused and cynical. His characters are constantly engaged in complicated intrigues, usually centering around money like Mirabell, which involve mistaken identities like Mrs.Marwood, the signing or not signing of legal documents, ... Free Essays on The Way Of The World Free Essays on The Way Of The World â€Å"The Way of the World† as a Restoration Comedy: Restoration Comedy is a type of Restoration Drama, which is related with the manners and attitudes of the characters and what the audience laugh at them after the pursuit of sex and money. In a way, the Comedy of Manners is a witty, and cerebral form of dramatic comedy that depicts and often satirizes the manners and affectations of a contemporary society. A comedy of manners is concerned with social usage and the question of whether or not characters meet certain social standards. The plot of such a comedy, usually concerned with an illicit love affair or similarly scandalous matter, is subordinate to the play's brittle atmosphere, witty dialogue, criticism and commentary on human foibles. â€Å"The Way of the World† which is written by William Congreve, is a restoration comedy play with its witty dialogues between the characters, criticism of the upper class people’s manners and also satiric and effective scenes such as lady and maid; unmasking scene of male libertine and proviso scene that ends in a lyrical celebration of unity. â€Å"The Way of the World† (1700), in fact â€Å"a world of wit and pleasure inhabited by persons of quality and deformed neither by realism nor by farce† (Congreve, p.401) which has come to be regarded as one of the great comedies in the English language. The plays of Congreve are considered the greatest achievement of Restoration comedy. They are comedies of manners, depicting an artificial and narrow world as explained above, peopled by characters of nobility and fashion, to whom manners, especially gallantry, are more important than morals such as Mirabell, Lady Wishfort, and Fainall. No doubt, Congreve’s view of mankind is amused and cynical. His characters are constantly engaged in complicated intrigues, usually centering around money like Mirabell, which involve mistaken identities like Mrs.Marwood, the signing or not signing of legal documents, ...