Rime of the Ancient Mariner
Part IIt is an ancient Mariner,
And he stoppeth one of three.
`By thy long grey beard and glittering eye,
Now wherefore stopp'st thou me?
The bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
Mayst hear the merry din.'
He holds him with his skinny hand,
"There was a ship," quoth he.
`Hold off! unhand me, grey-beard loon!'
Eftsoons his hand dropped he.
He holds him with his glittering eye -
The Wedding-Guest stood still,
And listens like a three years' child:
The Mariner hath his will.
The Wedding-Guest sat on a stone:
He cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed Mariner.
"The ship was cheered, the harbour cleared,
Merrily did we drop
Below the kirk, below the hill,
Below the lighthouse top.
The sun came up upon the left,
Out of the sea came he!
And he shone bright, and on the right
Went down into the sea.
Higher and higher every day,
Till over the mast at noon -"
The Wedding-Guest here beat his breast,
For he heard the loud bassoon.
The bride hath paced into the hall,
Red as a rose is she;
Nodding their heads before her goes
The merry minstrelsy.
The Wedding-Guest he beat his breast,
Yet he cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed Mariner.
"And now the storm-blast came, and he
Was tyrannous and strong:
He struck with his o'ertaking wings,
And chased us south along.
With sloping masts and dipping prow,
As who pursued with yell and blow
Still treads the shadow of his foe,
And foward bends his head,
The ship drove fast, loud roared the blast,
And southward aye we fled.
And now there came both mist and snow,
And it grew wondrous cold:
And ice, mast-high, came floating by,
As green as emerald.
And through the drifts the snowy clifts
Did send a dismal sheen:
Nor shapes of men nor beasts we ken -
The ice was all between.
The ice was here, the ice was there,
The ice was all around:
It cracked and growled, and roared and howled,
Like noises in a swound!
At length did cross an Albatross,
Thorough the fog it came;
As it had been a Christian soul,
We hailed it in God's name.
It ate the food it ne'er had eat,
And round and round it flew.
The ice did split with a thunder-fit;
The helmsman steered us through!
And a good south wind sprung up behind;
The Albatross did follow,
And every day, for food or play,
Came to the mariner's hollo!
In mist or cloud, on mast or shroud,
It perched for vespers nine;
Whiles all the night, through fog-smoke white,
Glimmered the white moonshine."
`God save thee, ancient Mariner,
From the fiends that plague thee thus! -
Why look'st thou so?' -"With my crossbow
I shot the Albatross."
Part II
"The sun now rose upon the right:
Out of the sea came he,
Still hid in mist, and on the left
Went down into the sea.
And the good south wind still blew behind,
But no sweet bird did follow,
Nor any day for food or play
Came to the mariners' hollo!
And I had done a hellish thing,
And it would work 'em woe:
For all averred, I had killed the bird
That made the breeze to blow.
Ah wretch! said they, the bird to slay,
That made the breeze to blow!
Nor dim nor red, like God's own head,
The glorious sun uprist:
Then all averred, I had killed the bird
That brought the fog and mist.
'Twas right, said they, such birds to slay,
That bring the fog and mist.
The fair breeze blew, the white foam flew,
The furrow followed free;
We were the first that ever burst
Into that silent sea.
Down dropped the breeze, the sails dropped down,
'Twas sad as sad could be;
And we did speak only to break
The silence of the sea!
All in a hot and copper sky,
The bloody sun, at noon,
Right up above the mast did stand,
No bigger than the moon.
Day after day, day after day,
We stuck, nor breath nor motion;
As idle as a painted ship
Upon a painted ocean.
Water, water, every where,
And all the boards did shrink;
Water, water, every where,
Nor any drop to drink.
The very deep did rot: O Christ!
That ever this should be!
Yea, slimy things did crawl with legs
Upon the slimy sea.
About, about, in reel and rout
The death-fires danced at night;
The water, like a witch's oils,
Burnt green, and blue, and white.
And some in dreams assured were
Of the Spirit that plagued us so;
Nine fathom deep he had followed us
From the land of mist and snow.
And every tongue, through utter drought,
Was withered at the root;
We could not speak, no more than if
We had been choked with soot.
Ah! well-a-day! what evil looks
Had I from old and young!
Instead of the cross, the Albatross
About my neck was hung."
Part III
"There passed a weary time. Each throat
Was parched, and glazed each eye.
A weary time! a weary time!
How glazed each weary eye -
When looking westward, I beheld
A something in the sky.
At first it seemed a little speck,
And then it seemed a mist;
It moved and moved, and took at last
A certain shape, I wist.
A speck, a mist, a shape, I wist!
And still it neared and neared:
As if it dodged a water-sprite,
It plunged and tacked and veered.
With throats unslaked, with black lips baked,
We could nor laugh nor wail;
Through utter drought all dumb we stood!
I bit my arm, I sucked the blood,
And cried, A sail! a sail!
With throats unslaked, with black lips baked,
Agape they heard me call:
Gramercy! they for joy did grin,
And all at once their breath drew in,
As they were drinking all.
See! see! (I cried) she tacks no more!
Hither to work us weal;
Without a breeze, without a tide,
She steadies with upright keel!
The western wave was all a-flame,
The day was well nigh done!
Almost upon the western wave
Rested the broad bright sun;
When that strange shape drove suddenly
Betwixt us and the sun.
And straight the sun was flecked with bars,
(Heaven's Mother send us grace!)
As if through a dungeon-grate he peered
With broad and burning face.
Alas! (thought I, and my heart beat loud)
How fast she nears and nears!
Are those her sails that glance in the sun,
Like restless gossameres?
Are those her ribs through which the sun
Did peer, as through a grate?
And is that Woman all her crew?
Is that a Death? and are there two?
Is Death that Woman's mate?
Her lips were red, her looks were free,
Her locks were yellow as gold:
Her skin was as white as leprosy,
The Nightmare Life-in-Death was she,
Who thicks man's blood with cold.
The naked hulk alongside came,
And the twain were casting dice;
`The game is done! I've won! I've won!'
Quoth she, and whistles thrice.
The sun's rim dips; the stars rush out:
At one stride comes the dark;
With far-heard whisper o'er the sea,
Off shot the spectre-bark.
We listened and looked sideways up!
Fear at my heart, as at a cup,
My life-blood seemed to sip!
The stars were dim, and thick the night,
The steersman's face by his lamp gleamed white;
From the sails the dew did drip -
Till clomb above the eastern bar
The horned moon, with one bright star
Within the nether tip.
One after one, by the star-dogged moon,
Too quick for groan or sigh,
Each turned his face with a ghastly pang,
And cursed me with his eye.
Four times fifty living men,
(And I heard nor sigh nor groan)
With heavy thump, a lifeless lump,
They dropped down one by one.
The souls did from their bodies fly, -
They fled to bliss or woe!
And every soul it passed me by,
Like the whizz of my crossbow!"
Part IV
`I fear thee, ancient Mariner!
I fear thy skinny hand!
And thou art long, and lank, and brown,
As is the ribbed sea-sand.
I fear thee and thy glittering eye,
And thy skinny hand, so brown.' -
"Fear not, fear not, thou Wedding-Guest!
This body dropped not down.
Alone, alone, all, all alone,
Alone on a wide wide sea!
And never a saint took pity on
My soul in agony.
The many men, so beautiful!
And they all dead did lie;
And a thousand thousand slimy things
Lived on; and so did I.
I looked upon the rotting sea,
And drew my eyes away;
I looked upon the rotting deck,
And there the dead men lay.
I looked to heaven, and tried to pray;
But or ever a prayer had gusht,
A wicked whisper came and made
My heart as dry as dust.
I closed my lids, and kept them close,
And the balls like pulses beat;
Forthe sky and the sea, and the sea and the sky,
Lay like a load on my weary eye,
And the dead were at my feet.
The cold sweat melted from their limbs,
Nor rot nor reek did they:
The look with which they looked on me
Had never passed away.
An orphan's curse would drag to hell
A spirit from on high;
But oh! more horrible than that
Is the curse in a dead man's eye!
Seven days, seven nights, I saw that curse,
And yet I could not die.
The moving moon went up the sky,
And no where did abide:
Softly she was going up,
And a star or two beside -
Her beams bemocked the sultry main,
Like April hoar-frost spread;
But where the ship's huge shadow lay,
The charmed water burnt alway
A still and awful red.
Beyond the shadow of the ship
I watched the water-snakes:
They moved in tracks of shining white,
And when they reared, the elfish light
Fell off in hoary flakes.
Within the shadow of the ship
I watched their rich attire:
Blue, glossy green, and velvet black,
They coiled and swam; and every track
Was a flash of golden fire.
O happy living things! no tongue
Their beauty might declare:
A spring of love gushed from my heart,
And I blessed them unaware:
Sure my kind saint took pity on me,
And I blessed them unaware.
The selfsame moment I could pray;
And from my neck so free
The Albatross fell off, and sank
Like lead into the sea."
Part V
"Oh sleep! it is a gentle thing,
Beloved from pole to pole!
To Mary Queen the praise be given!
She sent the gentle sleep from heaven,
That slid into my soul.
The silly buckets on the deck,
That had so long remained,
I dreamt that they were filled with dew;
And when I awoke, it rained.
My lips were wet, my throat was cold,
My garments all were dank;
Sure I had drunken in my dreams,
And still my body drank.
I moved, and could not feel my limbs:
I was so light -almost
I thought that I had died in sleep,
And was a blessed ghost.
And soon I heard a roaring wind:
It did not come anear;
But with its sound it shook the sails,
That were so thin and sere.
The upper air burst into life!
And a hundred fire-flags sheen,
To and fro they were hurried about!
And to and fro, and in and out,
The wan stars danced between.
And the coming wind did roar more loud,
And the sails did sigh like sedge;
And the rain poured down from one black cloud;
The moon was at its edge.
The thick black cloud was cleft, and still
The moon was at its side:
Like waters shot from some high crag,
The lightning fell with never a jag,
A river steep and wide.
The loud wind never reached the ship,
Yet now the ship moved on!
Beneath the lightning and the moon
The dead men gave a groan.
They groaned, they stirred, they all uprose,
Nor spake, nor moved their eyes;
It had been strange, even in a dream,
To have seen those dead men rise.
The helmsman steered, the ship moved on;
Yet never a breeze up blew;
The mariners all 'gan work the ropes,
Where they were wont to do;
They raised their limbs like lifeless tools -
We were a ghastly crew.
The body of my brother's son
Stood by me, knee to knee:
The body and I pulled at one rope,
But he said nought to me."
`I fear thee, ancient Mariner!'
"Be calm, thou Wedding-Guest!
'Twas not those souls that fled in pain,
Which to their corses came again,
But a troop of spirits blest:
For when it dawned -they dropped their arms,
And clustered round the mast;
Sweet sounds rose slowly through their mouths,
And from their bodies passed.
Around, around, flew each sweet sound,
Then darted to the sun;
Slowly the sounds came back again,
Now mixed, now one by one.
Sometimes a-dropping from the sky
I heard the skylark sing;
Sometimes all little birds that are,
How they seemed to fill the sea and air
With their sweet jargoning!
And now 'twas like all instruments,
Now like a lonely flute;
And now it is an angel's song,
That makes the heavens be mute.
It ceased; yet still the sails made on
A pleasant noise till noon,
A noise like of a hidden brook
In the leafy month of June,
That to the sleeping woods all night
Singeth a quiet tune.
Till noon we quietly sailed on,
Yet never a breeze did breathe;
Slowly and smoothly went the ship,
Moved onward from beneath.
Under the keel nine fathom deep,
From the land of mist and snow,
The spirit slid: and it was he
That made the ship to go.
The sails at noon left off their tune,
And the ship stood still also.
The sun, right up above the mast,
Had fixed her to the ocean:
But in a minute she 'gan stir,
With a short uneasy motion -
Backwards and forwards half her length
With a short uneasy motion.
Then like a pawing horse let go,
She made a sudden bound:
It flung the blood into my head,
And I fell down in a swound.
How long in that same fit I lay,
I have not to declare;
But ere my living life returned,
I heard and in my soul discerned
Two voices in the air.
`Is it he?' quoth one, `Is this the man?
By him who died on cross,
With his cruel bow he laid full low
The harmless Albatross.
The spirit who bideth by himself
In the land of mist and snow,
He loved the bird that loved the man
Who shot him with his bow.'
The other was a softer voice,
As soft as honey-dew:
Quoth he, `The man hath penance done,
And penance more will do.'
Part VI
First Voice
But tell me, tell me! speak again,
Thy soft response renewing -
What makes that ship drive on so fast?
What is the ocean doing?
Second Voice
Still as a slave before his lord,
The ocean hath no blast;
His great bright eye most silently
Up to the moon is cast -
If he may know which way to go;
For she guides him smooth or grim.
See, brother, see! how graciously
She looketh down on him.
First Voice
But why drives on that ship so fast,
Without or wave or wind?
Second Voice
The air is cut away before,
And closes from behind.
Fly, brother, fly! more high, more high!
Or we shall be belated:
For slow and slow that ship will go,
When the Mariner's trance is abated.
"I woke, and we were sailing on
As in a gentle weather:
'Twas night, calm night, the moon was high;
The dead men stood together.
All stood together on the deck,
For a charnel-dungeon fitter:
All fixed on me their stony eyes,
That in the moon did glitter.
The pang, the curse, with which they died,
Had never passed away:
I could not draw my eyes from theirs,
Nor turn them up to pray.
And now this spell was snapped: once more
I viewed the ocean green,
And looked far forth, yet little saw
Of what had else been seen -
Like one that on a lonesome road
Doth walk in fear and dread,
And having once turned round walks on,
And turns no more his head;
Because he knows a frightful fiend
Doth close behind him tread.
But soon there breathed a wind on me,
Nor sound nor motion made:
Its path was not upon the sea,
In ripple or in shade.
It raised my hair, it fanned my cheek
Like a meadow-gale of spring -
It mingled strangely with my fears,
Yet it felt like a welcoming.
Swiftly, swiftly flew the ship,
Yet she sailed softly too:
Sweetly, sweetly blew the breeze -
On me alone it blew.
Oh! dream of joy! is this indeed
The lighthouse top I see?
Is this the hill? is this the kirk?
Is this mine own country?
We drifted o'er the harbour-bar,
And I with sobs did pray -
O let me be awake, my God!
Or let me sleep alway.
The harbour-bay was clear as glass,
So smoothly it was strewn!
And on the bay the moonlight lay,
And the shadow of the moon.
The rock shone bright, the kirk no less,
That stands above the rock:
The moonlight steeped in silentness
The steady weathercock.
And the bay was white with silent light,
Till rising from the same,
Full many shapes, that shadows were,
In crimson colours came.
A little distance from the prow
Those crimson shadows were:
I turned my eyes upon the deck -
Oh, Christ! what saw I there!
Each corse lay flat, lifeless and flat,
And, by the holy rood!
A man all light, a seraph-man,
On every corse there stood.
This seraph-band, each waved his hand:
It was a heavenly sight!
They stood as signals to the land,
Each one a lovely light;
This seraph-band, each waved his hand,
No voice did they impart -
No voice; but oh! the silence sank
Like music on my heart.
But soon I heard the dash of oars,
I heard the Pilot's cheer;
My head was turned perforce away,
And I saw a boat appear.
The Pilot and the Pilot's boy,
I heard them coming fast:
Dear Lord in heaven! it was a joy
The dead men could not blast.
I saw a third -I heard his voice:
It is the Hermit good!
He singeth loud his godly hymns
That he makes in the wood.
He'll shrieve my soul, he'll wash away
The Albatross's blood."
Part VII
"This Hermit good lives in that wood
Which slopes down to the sea.
How loudly his sweet voice he rears!
He loves to talk with marineers
That come from a far country.
He kneels at morn, and noon, and eve -
He hath a cushion plump:
It is the moss that wholly hides
The rotted old oak-stump.
The skiff-boat neared: I heard them talk,
`Why, this is strange, I trow!
Where are those lights so many and fair,
That signal made but now?'
`Strange, by my faith!' the Hermit said -
`And they answered not our cheer!
The planks looked warped! and see those sails,
How thin they are and sere!
I never saw aught like to them,
Unless perchance it were
Brown skeletons of leaves that lag
My forest-brook along;
When the ivy-tod is heavy with snow,
And the owlet whoops to the wolf below,
That eats the she-wolf's young.'
`Dear Lord! it hath a fiendish look -
(The Pilot made reply)
I am afeared' -`Push on, push on!'
Said the Hermit cheerily.
The boat came closer to the ship,
But I nor spake nor stirred;
The boat came close beneath the ship,
And straight a sound was heard.
Under the water it rumbled on,
Still louder and more dread:
It reached the ship, it split the bay;
The ship went down like lead.
Stunned by that loud and dreadful sound,
Which sky and ocean smote,
Like one that hath been seven days drowned
My body lay afloat;
But swift as dreams, myself I found
Within the Pilot's boat.
Upon the whirl where sank the ship
The boat spun round and round;
And all was still, save that the hill
Was telling of the sound.
I moved my lips -the Pilot shrieked
And fell down in a fit;
The holy Hermit raised his eyes,
And prayed where he did sit.
I took the oars: the Pilot's boy,
Who now doth crazy go,
Laughed loud and long, and all the while
His eyes went to and fro.
`Ha! ha!' quoth he, `full plain I see,
The Devil knows how to row.'
And now, all in my own country,
I stood on the firm land!
The Hermit stepped forth from the boat,
And scarcely he could stand.
O shrieve me, shrieve me, holy man!
The Hermit crossed his brow.
`Say quick,' quoth he `I bid thee say -
What manner of man art thou?'
Forthwith this frame of mine was wrenched
With a woeful agony,
Which forced me to begin my tale;
And then it left me free.
Since then, at an uncertain hour,
That agony returns;
And till my ghastly tale is told,
This heart within me burns.
I pass, like night, from land to land;
I have strange power of speech;
That moment that his face I see,
I know the man that must hear me:
To him my tale I teach.
What loud uproar bursts from that door!
The wedding-guests are there:
But in the garden-bower the bride
And bride-maids singing are;
And hark the little vesper bell,
Which biddeth me to prayer!
O Wedding-Guest! this soul hath been
Alone on a wide wide sea:
So lonely 'twas, that God himself
Scarce seemed there to be.
O sweeter than the marriage-feast,
'Tis sweeter far to me,
To walk together to the kirk
With a goodly company! -
To walk together to the kirk,
And all together pray,
While each to his great Father bends,
Old men, and babes, and loving friends,
And youths and maidens gay!
Farewell, farewell! but this I tell
To thee, thou Wedding-Guest!
He prayeth well, who loveth well
Both man and bird and beast.
He prayeth best, who loveth best
All things both great and small;
For the dear God who loveth us,
He made and loveth all."
The Mariner, whose eye is bright,
Whose beard with age is hoar,
Is gone; and now the Wedding-Guest
Turned from the bridegroom's door.
He went like one that hath been stunned,
And is of sense forlorn:
A sadder and a wiser man
He rose the morrow morn.
Background Information
The Rime of the Ancient Mariner was written by Samuel Taylor Coleridge from 1797 to 1798, and originally published in the Lyrical Ballads in 1798 but officially published in 1815. The Rime of the Ancient Mariner is the longest poetry in modern english to date, and also the most influential of the Romanticism Movement. It starts out as a Mariner in a wedding ceremony telling the husband a story of the Mariner himself. The crew with the Mariner was bound for a voyage to the Arctic and is trapped in thick ice, until an Albatross comes and leads them out of trouble. The Mariner shoots the bird down, and even without the leading bird, the crews luck still increases out of the Arctic, but after a while, their fortune turns for the worse. The sun dries up all their water quickly and new challenges and mystic creatures threatens the crew, and one by one the crew dies. The Mariner remained councious and watches all the weird animals crawl past the ship and the ship wrecks on a barrier. The Mariner is rescued by a Hermit and its boy, and now he bids farewell to the husband after telling him the story of which will help the husband make better decisions, for a wiser man.
Samuel Taylor Coleridge was born on October 21, 1772 in Ottery St. Mary, Devon, England and perished on July 25, 1834, in Highgate England. Samuel Taylor Coleridge was a literary critic, poet, and a philosopher, and a devote christian and founding member of the Romanticism Movement. He was born to a rather "wealthy" family and is well educated by his father, Reverend John Coleridge, and attended Christ's Hospital and then to Jesus College. During that time, he has contact with his future Romanticist colleagues, Lord Byron and Percy Shelley, and within that time period, he was discovered that he has a serious bipolar disorder and difficulty controlling his emotions; he rendered to the use of opium to decrease the effects of the disorder and gained a reputation has a opium addict. Samuel Taylor Coleridge is most famously remembered for his influential Romantic poems, the Rime of the Ancient Mariner, and Kubla Khan, with the publication of Biographia Literaria.1. a) Which main topic does the artifact relate to? In what ways?
Human Expression through the Arts, because poetry was used to express humane feelings and certainly in the Romanticism Movement.
b) Which other main topics does it also relate to?
The Human Mind and Romanticism and Realism.
2. Why did you choose this artifact, and how much time did you spend creating and/or processing it?
I choose this artifact because it was written by a creator of the Romaticism Movement in the 19th Century and its influence on future works in the 19th Century.
3. What insights and understanding have you gained from the creation and/or processing of this artifact?
Samuel Taylor Coleridge's anxiety and pressure in his life is the main influence is writing the poetry. He suffers from bipolar disorder, and the poem reflects the social problems in early 19th Century Britain.
4. Does this artifact reflect your best work and/or ideas? Why, or why not?
As according to Romanticism, the poem Rime of the Ancient Mariner is a classic example, and my interpretation of the poem is pretty good.
5. Rate this artifact on a scale of -5 to 5(0 is neutral) for the following 4 criterion:
a) Impact on the quality of your Portfolio
b) Impact on your level of happiness/enjoyment
c) Impact on your learning
d) Level of creativity and originality
4, because the poem reflects deeply on Romanticism.
6. Any additional comments.
None.
Artifact 10: The Rural Exodus
Main Events - Cause and Effect Analytical Writing
In the incoming ages of industrialization and the era of the machine, there was a vital issue that was applied through the vast stages of development implemented by the British Government. That is the limit of spreading of people, or called urbanization. During the 19th Century of the British Commonwealth , home working was dominated by factories, hand weaving was eclipsed by spinning Jennies, and tradition was shadowed by the futuristic ideas; but how is the public going to get to work, to prove, and to raise the comparability of the British Economy? Urbanization is the rush of population from the rural area into the crowded streets, and eventually to the dawn of cities. What makes them, the people, the workers, the politics, so interested, is because of the push and pull theory; that the public no longer is able to support itself outside the technology shield of factories, and that to survive, they must find a way into the future, into the world of machine domination.
No one was able to expect what would happen in a matter of decades in the arid land of the British. From the years from 1801 to 1812, the involuntary change that occurred within the period shall destiny the pace of technology. On the brink of economy collapse, the home working theory was a peaceful, creative, and traditional way of making money, but in went the machines. Factories soared, machines approached, the home workers had nothing to do but to face the truth and march their children, their wives, into the lines of employment. This didn’t satisfy the tradition-based egoists, and they launched a futile resist towards the mighty British organization called the Luddites. They failed, and the whole nation was restored under the rule of machines and factories. This looked like the perfect beautiful plan for the majesty, yet one problem zinged out, how are they going to get to work?
The majority of the population was consisted on the fertile farmlands in small village on the United Kingdom
The interest and job creation wasn’t the most important part that attracted the workers like a bear to honey, but it was the push and pull theory that “forced” them to colonize the suburbs of cities. What is the push and pull theory? Once there was a group of textile workers, and for them in the 1801, home working was the real thing, and that factories were nonexistent by the time. But in a span of decades, 1812 provided the change that they didn’t want. Factories were the fashion of the time and that the home workers were muttering for new ideas to resist the interest of working in factories. Eventually their living environment dropped to unbearable standards, and they were forced to go live in small areas and work in factories. Another way is the “pull” method, where a group of unemployed workers lived on the rural grounds in countryside Britain
The Push and Pull theory was a success and the citizens of the British Commonwealth forced and attracted workers from the rural community to the dawn of cities. As for them, the real challenge would face with the rapid development of community and culture within the city. Urbanization brought in new jobs, new life, new chances, and a brand new change that would go on and spread through the international waters and infest the cultures outside Britain
1. a) Which main topic does the artifact relate to? In what ways?
The Construction of the Modern City: Urbanization, because the essay talks about the emptying of the rural countryside and the entering of cities and the push and pull theory.
The Construction of the Modern City: Urbanization, because the essay talks about the emptying of the rural countryside and the entering of cities and the push and pull theory.
b) Which other main topics does it also relate to?
Gender Roles and the Liberation of Women, Class Consciousness, The Universe as Seen through a Telescope.
Gender Roles and the Liberation of Women, Class Consciousness, The Universe as Seen through a Telescope.
2. Why did you choose this artifact, and how much time did you spend creating and/or processing it?
I was forced to (teacher assignment), and that I spent about 2 hours typing out this essay.
I was forced to (teacher assignment), and that I spent about 2 hours typing out this essay.
3. What insights and understanding have you gained from the creation and/or processing of this artifact?
I learned that the push and pull method brought the city to its height and the increase of entrepreneurs and job vacancies in the countryside.
I learned that the push and pull method brought the city to its height and the increase of entrepreneurs and job vacancies in the countryside.
4. Does this artifact reflect your best work and/or ideas? Why, or why not?
I believe so, because this was my refined final draft.
I believe so, because this was my refined final draft.
5. Rate this artifact on a scale of -5 to 5(0 is neutral) for the following 4 criterion:
a) Impact on the quality of your Portfolio
b) Impact on your level of happiness/enjoyment
c) Impact on your learning
d) Level of creativity and originality
Probably a 4, because the quality was good, plenty of information.a) Impact on the quality of your Portfolio
b) Impact on your level of happiness/enjoyment
c) Impact on your learning
d) Level of creativity and originality