Practice of Insight Meditation: Types, Uses and Benefits

Practice of Insight Meditation: Types, Uses and Benefits The Liberating Practice of Insight Meditation The practice of meditation has many benefits for its practitioners. Apart from enabling the person to experience a sense of freedom from oneself and at the same time oneness with the self, meditation can also be used to govern essential aspects of life. This has led to the development of several forms of meditation, including mindfulness meditation and insight meditation. Among these two most commonly practiced forms of meditation, this module would focus on insight meditation and how the practice of insight meditation can lead to the liberation of the mind while being able to understand things you would have not been able to without its practice. The Meaning of Insight Meditation Insight meditation, also known as VipassanÄ  in Pali or VipaÅ›yanÄ Ã‚  in Sanskrit is a form of meditation practice with Buddhist origins. The word VipassanÄ  in the Pali language can be translated as being able to gain insight or to see clearly. These terms therefore are used to denote that insight meditation does indeed help an individual practicing it gain a deeper sense of knowledge of the reality of things and their true nature. The word VipassanÄ  in the Pali language can be translated as being able to gain insight or to see clearly. VipassanÄ  also has a synonym in the word paccakkha in the same Pali language (pratyaksa in Sanskrit). This term means seeing things before one’s eyes, expressing the perception of things based on experience. Owing from its roots in VipassanÄ , there is a direct experience (or seeing) that leads to the perception of things. This perception is what would allow meditators using VipassanÄ  to be able to derive meaning and knowledge from things, which can be said to be far better since they have experienced it. The practice of insight meditation is also done in cultures other than those originating from Pali and Sanskrit. In Tibet, VipassanÄ  has a counterpart in the word lhagthong. This term is formed through a combination of two shorter words lhag and thong. Lhag means something that is greater, superior or higher; while thong is used to denote the phrase to see, or to view. Therefore, the Tibetan meaning of Insight meditation can be seeing things in a superior way, or being able to look into the essential nature of things. This means that VipassanÄ  can also be expressed as being able to lucidly see things, or view them clearly. The Roots of VipassanÄ  VipassanÄ  has its roots in Buddhist and Yogic meditation practices, but it is not often mentioned in most suttas, although in the discourses and other old documents (most of which dates back to the time of the Buddha) written in the Pali language, terms such as samatha and VipassanÄ  existed. In these old writings, VipassanÄ  is used to denote clear-seeing, but then again the word itself is not directly quoted to be coming from the Buddha’s lips. What the Buddha is quoted to have used is the word jhana when he tells his disciples to meditate, although jhana is not similar to VipassanÄ  or any similar meditation techniques. Readers and scholars of the suttas claim that the suttas were not exactly the origin of the meaning of VipassanÄ  and its practice, although it is through the interpretation of the suttas that gave rise to the meaning of VipassanÄ . These interpretations were based on the debates in the ancient times about the teachings of the Buddha and how they are to be interpreted, classified and put into a hierarchy. This is expressed in the Visuddhimagga. How the Practice of VipassanÄ  Helps Gain Insight The manner in which VipassanÄ  is practiced is different from other Buddhist meditation practices in the modern times. It also has differences from other meditation forms that are not Buddhist in origins. This difference lies on one key aspect of VipassanÄ , and that is because of the inclusion of techniques that aims to develop insight in the individual practicing it. This development of insight includes the practice of one’s ability to contemplate on things, do an introspection in the meaning of these things, observe how his body experiences sensations, be able to meditate analytically and do observations on to this day-to-day life. In Theravada Buddhist practice VipassanÄ  meditaion is done together with the practice of mindfulness of breathing. Also, the impermanence of things and gaining insight into them is another key area of practice. This can be interpreted in the Four Foundations of Mindfulness as they appear in the Satipatthana sutta. These are: The kaya or body (also sometimes interpreted as breath); The vedana or the feeling tone of the person (mostly in terms of sensations); The citta or the consciousness (sometimes interchanged with mind); and The dhamma or the mind objects (phenomena). Moreover, practices leading to development of insight are also used to be able to meditate using VipassanÄ  are cited in the suttas. These consists of being able to practice mindfulness breathing and the capacity to contemplate on impermanence of things. Mindfulness of breathing. To be able to successful practice VipassanÄ , it is essential for the meditator to practice mindfulness of breathing first. This can be done by having the meditator watch his or her breathing patterns and notice them simply for what they are. This means that if he or she notices that the breaths are either long or short, these would be interpreted as such. Contemplation of permanence (Sampajaà ±Ãƒ ±a). This is usually done after the meditator has successfully practice mindfulness of breathing. It is based on the belief that if you are aware of the changes your body goes through as you carry out breathing, then you can understand how the sensations you have in your body are bound to arise and pass away with time. This means that there is impermanence in the bodily sensations. When these things are contemplated on, an awareness on their impermanence and relevance is born, and with it the development of a sense of self that is independent from these things. Stages in the Practice of VipassanÄ  The practice of VipassanÄ  has the aim to allow the meditator to gain different levels of insight into things which happens as a part of an ongoing process. This insight is deemed to be able to help in reaching a stage in which the sensations and feelings experienced in the body (the vedana) slowly dissolves into the consciousness and are replaced by subtle sensory flow throughout the body. This subtle flow of sensations is called the bhaà ¡Ã‚ ¹Ã¢â‚¬ ¦gÄ nupassanÄ  à ±Ã„ Ãƒ ¡Ã‚ ¹Ã¢â‚¬ ¡a in the (Pali language, and bhaà ¡Ã‚ ¹Ã¢â‚¬ ¦gÄ nupaņºyanÄ jà ±Ã„ na in Sanskrit) or the knowledge of dissolution. The final step into this distinct process is the possession of the meditator od mental purification. The meditator practicing VipassanÄ  is also expected to experience decreased levels of attachments (or bodily cravings) and fears or aversion. After this happens, the stage of saà ¡Ã‚ ¹Ã¢â‚¬ ¦khÄ rupekkhÄ Ãƒ ±Ã„ Ãƒ ¡Ã‚ ¹Ã¢â‚¬ ¡a (in Pali, or saà ¡Ã‚ ¹Ã†â€™skÄ ropekà ¡Ã‚ ¹Ã‚ £Ã„ jà ±Ã„ na in Sanskrit) will be attained, where the meditator would have a strong foundation of knowing that all formations or things are equal. This state of equanimity (or upekkha) can be considered as a state of Brahma in the Theravada Buddhist practice. The Benefits of Insight Meditation VipassanÄ  or insight meditation can help its practitioner in developing the ability to gain insight into things or phenomena and their sense of impermanence. This ability to see this truth is what makes it possible for the meditator to be liberated from such things permanently. The longer the time that a meditator practices insight meditation, the better the improvement that he or she will gain in the perception of his or her existence. This is what most Theravada practitioner refer to as the evolution of knowledge during practice. Coming from a different perspective, the practice of insight meditation also has benefits backed by science and medicine. In a study that were conducted among Western people who were practicing insight meditation, MRI images revealed thicker brain regions in these individuals. These thickened regions of the brain are noted to be those that are related to visual (or pertaining to seeing), auditory (or hearing), somatosensory, and even processing sensations and stimuli interoceptively. These changes are also seen to differ depending on how long the meditator practice and also how long each day they spend practicing insight meditation. The thickening areas of the brain of those practicing insight meditation can be helpful in slowing the progression of cognitive decline especially in those experiencing it as part of the normal aging process. Requirements in the Practice of VipassanÄ  or Insight Meditation Starting any meditation practice is usually a challenge for meditators. It is essential that those who are teaching meditation be able to help bridge the gap between successful practice and the willing meditator. The key lies in having set clear guidelines and explanation of the steps needed to be taken to establish a good foundation for good meditation practice. Doing insight meditation or VipassanÄ  is therefore no exception. The following steps may be helpful in attaining good foundation in insight meditation. Find a special place. Insight meditation would require its practitioners to free their minds from all thoughts that would hinder it. A quiet place where the meditator can focus and do VipassanÄ  undisturbed would be best. This place may be a small corner in the house or inside the meditators room or even in his or her garden. As long as the place is free from all things that can have negative impact in the practice of good meditation, then it is okay. Feel comfortable. Most modern-day meditators come from environments that are high in stress and negative vibes. These things can work adversely if the person would want to practice meditation. Feeling comfortable not only with the environment and setting a special place of meditation is not enough. Being comfortable in themselves is also necessary. This can be achieved through cleaning the body first and the face before the start of meditation, or if there is still time before starting, a warm shower can do wonders in easing stresses and increasing the person’s comfort level. Ensure proper posture. Ideally, meditation does not require its practitioners to assume a certain position, but it would be quite difficult to focus and concentrate in just any position especially for beginning meditators. The suggested position for meditation in most literature would be the Lotus Position, although its modified Half-Lotus can also be used for those who have difficulty assuming the former. However, any position can be used as long as the back of the meditator is straight (or the spine is erect) and the manner of sitting or standing is not strained. This should be done while the person is completely alert of his surroundings, position and even breathing patterns. Just a word of caution, beginning meditators should be discouraged from assuming positions that can make them fall asleep as this would disrupt meditation. Free the mind. This can be started when the meditator seated comfortably and in peace and quiet. Relaxation is one of most important things to bear in mind when trying to free the mind of all the thoughts that has the tendency to intrude on the meditation process. Emptying the mind from all thoughts that have a negative implication on gaining insight is important to successful meditation. Observe breathing patterns. This is usually the first stage of insight meditation. Observing the way how a person breathes increases his or her level of awareness of changes that goes through the body with each breath. While doing this, awareness is gained in the nature of things, while freeing the mind from all things that clutter it. Regulate the breathing until it becomes as natural as it should. Smile. In most beginners practicing insight meditation, the presence of obtrusive thoughts and negative feelings would be unavoidable. Adding a positive feeling tone would help block these thoughts from disrupting the attainment of insight. Smiling is one way to this. When the meditator smiles, there is release of endorphins which can contribute to a general good feeling. When the meditator feels good, he or she becomes less stressed, more relaxed and meditation is better. Meditate. This is done when the meditator focuses on things and their nature in an effort to gain insight and have a clearer view of such things. More about this would be discussed in the succeeding modules. Extend the meditation process to loving kindness. This stage is optional for meditators. Experiencing loving kindness can be attained through eliminating all emotions related to envy, self-pity, anger and hatred towards others. This would allow the meditator to extend kindness, understanding and love for others and in the process extends this love not only to people but to the universe in general. The practice of loving kindness or metta bhavana requires first that the meditator learns to love himself and feel good about himself, while allowing the destruction of the selfish nature of oneself. Like other forms of meditation, this might be difficult to do at first, but continuous practice would help in mastering it. More Tips into the Practice of Insight Meditation Since the successful practice of insight meditation requires time and practice, it is important for anyone teaching or guiding meditators to stress the need for patience when the expected results of the meditators are not seen in the first few times meditation is tried. Also, since the ability to focus and free the mind is not easy on the first dew tries, ensuring that the environment is conducive enough is a must. The use of soft lights, mellow sounds (like the sounds of waves or raindrops, soft wind blowing, and nature) and music purposed for meditation can be used to create a warm, relaxing environment. Ambient noises such as the sound of machines being operated and phone ringing should be avoided. If possible, unplugging these devices is recommended. Keeping aromatherapy candles burning can also aid in relaxing and calming the mind of the meditator. Moreover, keeping candles burning can also aid in focusing since the flame from the candles can be used as objects of reference when freeing the mind and allowing the meditator to detach himself from his or her environment. The candle and its flame can also be used symbolically to denote the light of the doctrine from which insight meditation is based. In coaching the meditator on the practice of Insight Meditation, the teacher must also keep in mind that the tone of his or her voice and the manner in which the lectures are delivered matter greatly. For one to be able to be effective in teaching a practice such as meditation, he or she should have first hand knowledge and experience on its effects to oneself. Influencing the meditator positively should be one of the goals, as well as exuding the relative peace and calm that insight meditation can do to its practitioner. And lastly, it is also important that any one who wants to guide or teach meditation to be free from all forms of dogmatic and judgmental thoughts to avoid passing these on to the practitioner. Remember that meditation, especially VipassanÄ  teaches deeper sense of understanding, clarity on the nature of things, and most especially being at peace not only with oneself but with the universe as well. References: Henepola Gunaratana, Mindfulness in plain English, Wisdom Publications What is Theravada Buddhism?. Access to Insight. Access to Insight. Bikkhu Bodhi, The Connected Discourses of the Buddha Ajahn Brahm, Mindfulness, Bliss, and Beyond: A Meditators Handbook. Wisdom Publications, 2006 Thanissaro Bhikkhu, One Tool Among Many: The Place of Vipassana in Buddhist Practice Glickman, Marshall (1998), Beyond the Breath: Extraordinary Mindfulness Through Whole-Body Vipassana Meditation, Tuttle Publishing, ISBN 1-58290-043-4 Behaviour Management in Schools | Theories Behaviour Management in Schools | Theories Professional Issues: Learning Behavior Abstract This essay explores ways in which children can learn to behave appropriately in school, and so in society. The main aim was to critically analyse strategies which schools and individuals (teachers, support staff and children) use to manage behavior and to consider how behavior management might (or might not) lead to children learning generally appropriate behavior. For this purpose, information was gathered through a case-study report and through analysis of materials presented in books, course materials and professional publications. The results of this study show aspects of value in the many different models of behavior management currently in use. They also reveal several key deficiencies. More importantly, the need for an integrated approach (involving school, home and the wider community) when applying behavioral policy is emphasised; these conclusions were supported by evidence from case-studies and from my own teaching experience. Reflecting wider concerns in society about the behavior of young people, the DFES has identified behavior management as one of its key policy areas. Each head-teacher is expected to have a system in place which: Promotes self-discipline and proper regard for authority among students Encourages good behavior and respect for others Ensures students standard of behavior is acceptable Regulates students conduct (DFES, 2007) Such a system, however, is necessarily only â€Å"part of the story†. Pupils’ behavior is influenced by a myriad of factors, including their interactions with staff, parents and wider society, their own personalities, their health problems and their learning environment (Fuller et al, 1994). Croll et.al (1985) stated that â€Å"the majority of teachers consider home background to be the most significant factor in problem behavior†. School policy cannot and does not aim to control all of these factors, rather it aims to provide a framework in which teachers, parents, support staff and students can work to eliminate â€Å"problem† behavior and promote positive relationships. There is great debate in the literature about the methods and final aims of achieving acceptable behavior standards in schools. Initially at least, behavior management is a simple requirement of effective teaching, in that behavior that disrupts the learning process conflicts with the basic aims of the teacher. How far, and how effectively, school discipline affects pupils’ behavior in wider society is unclear – and some researchers have argued that societal discipline is de facto the responsibility of all areas of society, and not just the education system. This paper critically examines a variety of different behavioral theories and policies, taken from the literature and from my own experience in teaching, and attempts to summarise the evidence supporting and undermining each case. Analysis in each case is based on two main criteria: Does the policy provide effective behavior control for classroom management? Does the policy influence extra-curricular behavior? This work is supported by reference to a case-study and to other relevant classroom experience, and concludes with a summary of the information gained. Section 1: Behavior in Schools: Theory and Practice This area of education is extensively referenced in the literature, but there are few summary documents that compare and contrast different approaches. This section provides critical analysis of some current policies and theories, and highlights the general importance of the results of each analysis. For clarity, work is divided in to that which focuses on behavior management, and that which focuses on developing responsibility. Policies that focus on Behavior Management -modifying behavior through regulation and discipline. The Work of B F Skinner (1974, 1976) The psychologist B F Skinner is credited with creating the first comprehensive theory of educational behavior management, based on the rewarding of positive behavior and the punishment of negative behavior. Skinner based his work on his broader theory that human behavior is determined by â€Å"positive reinforcement†, and adopted this idea to account for the more controlled environment of the classroom. Fundamentally, Skinner’s approach requires a set of clear and agreed classroom rules, and an associated rewards and punishments system. Breaking of a rule is recognised by application of a punishment, and particularly good work is reinforced by a reward. The nature of rewards and punishments varies with school, age group and teacher, but the former can include awarding stickers, merit slips and small prizes and the latter can include the imposition of extra work, detentions and so on. Psychologically, Skinner’s system is a form of ‘operant conditioning’, in which the teacher gives almost constant feedback to students in order to help them modify their behavior step-by-step. This theory (and derived theories and policies) account for a large proportion of currently operating behavior management systems in schools. Bigge (1976) and others have recorded observations that seem to support the use of Skinner’s system, and in my experience, the rewarding of positive behavior generally encourages subsequent good behavior in the classroom. I observed a classic example of this in a Midland’s secondary school, where a child (B) had difficulty in completing work in his mathematics lessons, and as a result, was frequently disruptive and ill-mannered. The classroom teacher reached an agreement with B that, if he concentrated on his work, asked for assistance when he needed it and did not misbehave, he would be awarded a merit slip for each successful lesson. Because of previous behavioral problems, B had never before been awarded merits, and adopted an enthusiastic approach to managing his behavior in order to achieve this. It will be noted that in this example, the teacher did not strictly follow Skinner’s formula in that B’s negative behavior was not punished. One problem linked with the negative reinforcement approach is that it can lead pupils to associate negativity with particular classroom situations – especially when misbehavior stems from deeper problems and is not simply malicious. The case study in section 2 provides a clear example of this occurring. The classroom teacher must use their judgement to decide on the appropriate course of action in individual cases. Particular caution in applying negative feedback is necessary when faced with attention-seeking behavior, where it may feed a child’s desire for attention and therefore be counter-productive. During a recent science lesson, a pupil (C) attempted to interrupt a class discussion that I was leading with irrelevant and attention-seeking remarks. As these remarks were not loud or rude, I decided to simply ignore this behavior, and concentrate on positively reinforcing the cooperative responses of other pupils. Within a very short time, C realised that her behavior was not going to be commented on, and joined in the discussion – allowing me to positively reinforce her contributions. The source material for this paper, â€Å"Behavior Management in Primary Classrooms†, comments on the use of ‘planned ignoring’ in primary schools: â€Å"This technique works for minimal off-task behavior that is designed to get teachers attention, such as rocking, tapping a p encil, annoying hand waving, handling objects, combing hair, etc†. I believe that positive reinforcement is generally more successful that negative deterrence, as the positive approach rewards a pupil’s own choice to behave, whereas the negative response is often seen as the teacher’s imposition of ‘rules’ on a pupil. This conclusion is reinforced by Wragg (1993), and by â€Å"behavior management†, where it is stated â€Å"It is important to underline that an over-emphasis on negative behavior destroys constructive atmosphere in the classroom†. That having been said, there are instances where negative reinforcement is necessary: punishment for bullying and direct rudeness and disruption can act as a deterrent to other members of the class, as well as establishing the teacher’s authority. Several authors (Tauber, 1988 and Gunter, 1997) defend the careful use of negative reinforcement, particularly in the case of students with specific learning disabilities. In terms of classroom management, then, Skinner’s work can be useful and practical if applied intelligently to some situations. But how far does it go towards positively modifying a pupil’s behavior in society? By encouraging positive behavior (i.e. in response to a prescribed code) and making pupils aware that disobedience will result in punishment, the policy can be said to introduce the idea of community responsibility. Aspects of positive reinforcement can be found in wider society, which strengthens Skinner’s original theory. However, the simplistic system necessitated by classroom needs does not directly compare with anything that children will encounter in wider life: positive actions are not always rewarded, and negative ones sometimes go unpunished. The main problem with adopting this policy is that it makes little or no allowance for pupil input, which makes it seem distant from their everyday lives. The reward and punishment system becomes an integral part of the school routine, but is â€Å"left at the school gate† in the same way that uniform rules are not seen as applying outside of the classroom. b) Developments of Skinner’s work. Many refinements to the original theory have been suggested in professional literature. Some of the most important are summarised below: -Butcher (2001) assessed Skinner’s contribution to education, and discussed its integration in to other, more recent work. She states that â€Å"some contemporary educators might object to using rewards and punishments to shape behavior†, but asserts that, with the support of teachers who are willing to assess the individual discipline situation, such an approach is still useful. -Jack (1996) investigated the implementation of a number of different classroom management strategies (including Skinner’s), and found that differences in teachers’ approaches had a defining effect on the success of a strategy. -Emmer (1980) investigated the importance of the first few weeks of the school year in establishing a positive classroom management stance, and highlighted â€Å"the central role of rule setting† in successful teaching: this aspect of Skinner’s theory had not previously been comprehensively reviewed. -BATPAC (Wheldall et.al, 1985), or the â€Å"Behavioral Approach to Teaching Primary Aged Children† is a model developed from Skinner’s work by researchers at Birmingham University. I have had experience of implementing this scheme, as my LEA (Nottinghamshire) adopted it as a supporting training measure between 2001 and 2004. The guidance leaflet for the course states that BATPAC (and the secondary equivalent, BATSAC) form â€Å"a rather behaviorist approach, emphasizing the now-familiar Praise and Reward approach of positive teaching, intended for use by trained tutors only†(NCC, 2004). BATPAC is intended to be a tool for experienced teachers to further their classroom management skills, and not a stand-alone solution. This is probably due to the fact that it does not provide solutions for dealing with anything but mildly bad behavior, although it does provide an updated version of Skinners Behaviorist Approach that makes use of internet an other ICT resources. -â€Å"Building a Better-Behaved School† (Galvin et.al, 1989) is another model that builds on behaviorist beginnings. The authors state that the impact of a good behavior policy â€Å"largely comes through being clear, teaching appropriate behavior and giving positive feedback when pupils are behaving appropriately. It is an extension of Skinner in that it focuses on actually teaching positive behavior, instead of just rewarding it. Galvin’s model is the first that attempts to deal with the pupil’s need to learn about appropriate behavior, and therefore starts to meet the second of the criteria mentioned in this paper’s introduction, â€Å"influencing extra-curricula behavior†. However, there is little feedback available as to the reception that this model has received, and further work is necessary before it can be recommended as a positive development. This small selection of published work is an indicator of the extent and success that Behavior Modification models have met with in recent years. However, there are a number of criticisms that can be made of Skinner’s original work, and therefore of the models derived from it. The chief criticism is that the behaviorist model assumes that pupils act as â€Å"units†; that is, that they will all respond to punishment or praise in the same way. This is obviously not the case, and is an important flaw; hence the earlier comments about teachers needing to adopt the system to meet individual needs. The problem with this is that individual teachers also vary in how they apply behavior policy, which can lead to inconsistencies within a school environment. There is little else as destructive to a co-ordinated policy as inconsistency, as neither pupils or staff have a firm base mark for determining what is acceptable or unacceptable behavior. During my first year of teaching, I ran a mathematics support class as part of a primary school’s numeracy strategy. After two weeks, I was asked to meet with a class teacher, and on discussing our approaches to behavior management, it transpired that the class teacher insisted on silence during written work, whilst I encouraged on-task talk as a form of peer-led learning. It was obviously unfair to the class in question that the definition of â€Å"acceptable behavior† changed between classrooms, but such variation is a simple reality in everyday schooling. Thus, whilst the work of Skinner and other behaviorists is a useful part of an integrated classroom management strategy, it cannot be considered comprehensive. Because of its limitations, other researchers have developed alternative approaches to behavior policy, with a focus on the broader personal development of the student rather than on responding to behavior ‘as it happens’. The next section discusses some of these alternative approaches. Policies that focus on Developing Responsibility -developing a system of behavior through experience and personal growth. Assertive Management One of the oldest alternative approaches that developed from the Behavior Management model is the Assertive Management theory advocated by the Canters (1976). Whilst accepting the idea of positive and negative reinforcement as tools for teaching, this theory advocates â€Å"teaching pupils to accept the consequences of their actions in a form of rewards and punishments†. In other words, teachers reinforce their use of behavior management by explaining why a particular behavior is ‘good’ or ‘bad’. A school psychology handbook sums up the Canter’s approach as â€Å" based on the findings that effective teachers are assertive teachers who can express their classroom expectations clearly and firmly and take appropriate action should pupils not meet expectations†. (Dosani, 2007). The major development that assertive management incorporates is the provision of a stated link between a pupil’s behavior and its consequences – a vital step towards encouraging young people to develop a responsible approach to behavior in wider society. As with previous theories, however, individual teachers will vary in their application of this behavior management tool, which could lead to inconsistencies within a school. A further development, examined in the next paragraph, attempts to remedy this by proposing an assertive management policy that is school-wide. Positive Assertive Management This approach is similar in practice to assertive management, but with the important difference that it involves pupils in the decision-making process: the school behavior policy is discussed, agreed and modified in response to pupil’s ideas. The benefits of this approach are twofold: firstly, pupils gain a clear understanding of the aims of the school behavior policy by linking rules to reasons. Secondly, and more broadly, Positive Assertive Management imitates wider society’s use of ‘rules’: the people they affect have an input in to their formation and implementation. Tassell (2001) states that, under this system, Pupils have to learn that when they have freedom to choose what they want to do, they have to accept responsibility for that choice and the ensuing consequences. Positive Assertive Management can perhaps best be summed up by stating that, whereas earlier theories taught children how to behave, this theory teaches them why to behave, and thus is more likely to be applicable in their wider lives. In terms of staff and timetable requirements, this behavior policy is more demanding than alternatives, and it requires a co-ordinated approach on behalf of the school management team. There is also the question of the extent to which pupils should be allowed to influence school policy and discipline: this will obviously vary with the age and maturity of the pupils involved. This first section has not been an attempt to cover all the many possible models of classroom behavior management in use today. Rather, it has provided an overview of two of the main theoretical approaches, and has investigated developments therein. The next section looks at the implementation of behavior management policies on a practical level, and again assesses their potential to influence pupils’ wider behavior. Section 2: Empirical Experience and Evidence As stated in the introduction, every LEA and each school is expected to maintain a behavior policy, designed to integrate all staff in to a common approach to classroom management. The key aspects of such a policy are: Decision-making: The head-teacher is ultimately responsible for the policy, and thus will maintain overall control. Heads of subject and the senior management / governing team will also have a prominent role to play. There must also be scope for feedback from staff, pupils and parents. Rules and Sanctions: These must be defined in advance so that both teachers and pupils know where they stand. Role delegation: This includes defining the role of teachers and assistants in a learning situation, and also describing the responsibilities of wider staff. As Rogers (2000) noted: Effective behavior management is essential to the smooth running of a school and in the creation of an environment where everyones rights and responsibilities are addressed. A balance between fundamental rights and responsibilities is at the heart of behavior management. a) Example of a Classroom management policy In my current school (a large secondary in the Midlands), the head-teacher encourages development and discussion of behavior policy by nominating a different member of the senior management team to lead â€Å"classroom management† every year, whilst still maintaining overall control to ensure continuity. New members of staff are given a training session that defines their roles within the policy. Individual classroom teachers are allowed to decide the extent to which teaching assistants and trainees will assist them in this area, and provide a written statement to the head explaining their decision. On a basic level, behavior in each lesson is monitored by a system of ‘Rewards’ ( R’s) and ‘Consequences’ (C’s). Each student has a diary with a small space for every lesson of the school year. If the lesson has progressed well, they are permitted to write a small ‘R’ in the relevant space. In the case of misbehavior, there is a defined system of consequences, graded for severity, which will be similarly recorded: C: Recorded in the diary discussed with form teacher later C1: 5-minute break detention. C2: 30-minute lunchtime detention C3: After school detention: parents informed C4: Withdrawal from lessons, parents informed and invited to school. Posters detailing the â€Å"R’s and C’s† system are prominently displayed in all classrooms. The school also adopts a â€Å"positive reinforcement† system to recognise good behavior, with a school-wide merits system, linked to a reward scheme (e.g. 10 merits in a term = a free school trip). Although merely a brief introduction, this summary gives an idea of how aspects of many different theories, as well as the ideas of many relevant staff, can be collated in to a school behavior policy. Example of classroom behavior management This paper was written with reference to a case-study, involving a Child (A) with behavioral problems. A shows attention-seeking behavior in the classroom environment, which observation suggests may stem from difficulties with the understanding of written and spoken instructions, and feelings of insecurity owing to these difficulties. The study details the response of the teaching assistant supporting A, who uses a combination of techniques (notably positive reinforcement and planned ignoring) to manage difficult situations. Of particular interest are the assistant’s comments regarding the general school behavior policy. The negative reinforcement applied by the class teacher in response to A’s behavior is seen as destructive rather than constructive, a conclusion supported by Wragg (1993) The failure of communication within the school and between the school and parents is also recognised; child A’s behavior problems are reoccurring because of a lack of parental support: in such a situation, school policy does not modify behavior, merely punishes it. The case study is a useful illustration of the point that a management system can achieve no long-term changes in pupil behavior without the support of other staff and parents. The writer concludes that â€Å"The majority [of parents in this school] show little responsibility towards developing good behavior and positive attitudes in their children, making the effective management of behavior extremely difficult†. Summary It is unlikely that there will ever be a â€Å"universal† school behavior management policy, owing to the vast differences that individuals (both staff and students) bring to the system. However, some degree of common theoretical underpinning is necessary in a nationalised education system, and the work of behaviorists and other classroom management researchers provides a number of potentially useful tools for school policy-makers. The work of Skinner, and of subsequent researchers, has provided useful background information pertinent to classroom management, but practical experience and training are a necessary part of successfully implementing any policy or model. Conclusions Given the brevity of this study, any conclusions reached can not be said to be conclusive, rather they are indicative of broad trends. From the research carried out during this paper’s completion, it can be concluded that: Behavior management is an integrated process, and must involve input from all relevant groups if it is to be successful. The extent to which schools can influence the wider behavior of their pupils depends on the degree of internal management consistency, the level of pupil involvement and the cooperation of parents. Theoretical behavior models require intelligent adaptation by practitioners to ensure that behavior management policies produce the best possible results for all concerned. Fundamentally, successful behavior management relies on the recognition that pupils are individuals, and must be treated as such. It is the responsibility of the classroom teacher and their support staff to intelligently apply their schools’ behavior policy to the benefit of all in their learning environment. â€Å"More important than the curriculum is the question of the methods of teaching and the spirit in which the teaching is given† – Bertrand Russell. Bibliography Bigge, M (1976): â€Å"Learning theories for teachers†.  Harper Row. Chapters 1 and 2. Blandford, S (1998 ): â€Å"Managing Discipline in Schools†Ã‚  Routledge Falmer, Chapter 8. Butcher, K (2001): â€Å"Exploring the foundations of middle-school classroom management†. Childhood Education, 78 (2), 84 – 90. Canter and Canter (1976): â€Å"Assertive Discipline†.  Canter Associates (Publisher), 2001. Cohen, J [et.al] (1993): â€Å"Handbook of School-Based Interventions: Resolving Student Problems and Promoting Healthy Educational Environments†.  Jossey Bass Wiley, Page 3. Croll, P [et.al] (1985): â€Å"One in Five: The Assessment and Incidence of Special Educational Needs†. DFES (2007): â€Å"Behavior and Discipline in Schools†. Retrieved on 10/07/07 from: www.parentscentre.gov.uk/behaviouranddiscipline/behaviouranddisciplineinschool Dosani, S (2007): â€Å"Managing a Challenging Class†.  Buckinghamshire Schools Educational Psychology Service, Vol 5, Page 1. Emmer, E (1980):â€Å"Effective Classroom Management at the Beginning of the School Year†. 80 (5), 219 – 231. Fuller, B [et.al] (1994): â€Å"Raising School Effects whilst ignoring culture?†.  Review of Educational Research, 64 (1), 119 – 157. Galvin, P [et.al] (1990): â€Å"Building a Better-Behaved School†. Logman. Gunter, P (1997): â€Å"Negative Reinforcement in Classrooms†.  Teacher Education and Special Education, 20 (3), 249 – 264. Jack, S (1996): â€Å"An analysis of the relationship of teachers reported use of classroom management strategies on types of classroom interactions†.  Journal of Behavioral Education, 6 (1), 67 – 87. NCC Course Handout (2004): â€Å"Nottinghamshire Behavior Support Plan, 2001 – 2004†.  Appendix A-2. Rathvon, N (2003):â€Å"Effective School Interventions: Strategies for Enhancing Academic Achievement and Social Competence†.  Brunner-Routledge. Rockwell, S (2006):â€Å"You can’t make me! From Chaos to Cooperation in the Elementary Classroom†. Sage Publications, Chapter 1. Skinner, B (1974): â€Å"About Behaviorism†.  Random House. Tassell, 2001 â€Å"Classroom Management†. Retrieved on 10/07/07 from:  http://www.brains.org/classroom_management.htm Tauber, R (1988): â€Å"Overcoming Misunderstanding about the Concept of Negative Reinforcement.†. Teaching of Psychology, 15 (3), 152 – 3. Wheldall, K [et.al] (1985): â€Å"The Behavioral approach to teaching package (BATPACK)†. Positive Products. Wolfgang, C (2001):â€Å"Solving discipline and classroom management problems†.  John Wiley Sons. Wragg, E (1993): â€Å"Primary Teaching Skills†. Pages 18 – 37 and 58 – 88.  Routledge.

Drum Major App

Drum Major Audition 1. What specific skills do you posses that qualify you as a drum major. What qualifies me as a drum major is the experience that I have within this band program. Being a section leader for the past two years has given me a much better understanding of show and music, along with advanced understanding of marching technique and fundamentals. 2. Describe your level of musicianship and instrumental pedagogy skills. From the start of my music career at Cryar, I've always been the top Tuba player. Even throughout Junior High-school and Even so far in High-school, I've been in Wind Ensemble.Being in the Wind Ensemble shows my musical ability, along with my musical understanding. Being in the Wind Ensemble gives me a opportunity to study and prepare more difficult music that I would find being in any other band. 3. Describe your level of marching fundamentals competency. My level of marching, I would say, is one of the more advanced in the band; I'm basing this statement on the fact that I've already had three years of marching experience, but not just marching experience, I've also had two years of teaching marching to underclassmen.With this experience I believe puts me ahead of other students in the band, because I was the only Sophomore section leader. 4. Describe your level of drill design (and execution of) understanding. My level of drill design and understanding is advanced compared to others in the band. Since Sophomore year I've been presented with the drill charts, that normal students would only see outside of rehearsal. So I have a fairly good understanding how to dress forms and how to fix forms that might not be working as well as it should be. 5. List and describe the points of attention . Feet The heels of the marchers feel should be touching, and their toes separated so that the gap at the intersection of the heels at a 45 degree angle. Along with the position of the feet, the weight of the marcher should be balanced solely on the ball of the foot. If this is done correctly then the marcher should be able to bounce up and down on their feet without shifting their weight. b. Knees The marchers knees should be in a comfortable bend. The worst thing for a marcher to do is lock their knees when they are in attention.This could lead to a possible blackout of the marcher due to the cut of of blood to the brain. c. Hips The marchers hips should flat to front, and should also be pushed and tilted forward slightly. The hips is one of the most important parts of a good marcher, it's what separates the musician from the athlete. This is a important thing to remember later when we start marching. d. Arms The Marchers arms should be at a slight, comfortable bend. With their hands resting on the sides of the legs, wear the seam of their shorts should be. The elbows should be facing directly backwards, not outward to any degree.The hands should be in a loose fist with their thumb facing directly downward in line with the se am on their shorts. e. Shoulder The marchers shoulders should be in a line with the heals of their feet and their hips. They should be relaxed but bold. This can be achieved by raising the shoulder to the ears, pulling them back, and relaxing them downward. This will portray a stronger individual. f. Head The marchers head should be held high. So that they are looking directly forward. There should be absolutely no movement what so ever while the marcher is in attention.Not to adjust hair, or wipe sweat, regardless to circumstance, if you are in attention, you are not moving. 6. List and describe the points of forward march. a. Head The head should remain flat to front or back at all times,unless directed otherwise. b. Shoulders The marchers shoulders should always be facing flat to front or back, unless directed otherwise. They should also be in the same position that they were in the attention position. c. Hips The marchers hips should be facing the direction in which the marcher is marching.The hips should also be in the same position that they were in while in attention. d. Legs The legs go through many different check points during the forward march. The first point is the first step. The first step will always be taken with the left foot. The leg should be extended forward until it is straight, at this point the heel of the left foot should be touching the ground. After the initial impact of the heel on the ground, the marcher will â€Å"Roll Through† , this can be accomplished by imagining you are squeezing every last bit of toothpaste out of a toothpaste bottle.By the time the foot has finished rolling through, the right leg should have started its progress forward, and should be right next to the left leg, with the foot parallel to the ground hovering as close to the ground as possible. As the left foot rolls through to the tip of the toes, the marcher should be repeating that same process with their right foot. This process should be continued until the end of a set, or a still portion of the drill. The marcher will stop marching forward be either changing directions to backwards marching, or stopping.When the marcher is stopping, they will step forward with their right food, and roll through starting at the toe this time, at the correct angle of attention, and then smoothly place their left foot into the attention position. 7. List and describe the points of backward march. a. Head The head should remain flat to front or back at all times,unless directed otherwise. b. Shoulders The marchers shoulders should always be facing flat to front or back, unless directed otherwise. They should also be in the same position that they were in the attention position. c. HipsThe marchers hips should be facing the direction in which the marcher is marching. The hips should also be in the same position that they were in while in attention. d. Legs The legs will go through many different check points throughout the backwards marching pr ocess. The first check point is the first step. The marcher, beginning from their attention position, will lift their right heel of the ground just enough so that their left foot is dangling by their side. The marcher will then swing the left leg backwards, without bending their knee, and touch their ball of their foot behind them.Once the back foot has been firmly planted onto the ground, the marcher will then repeat the process with their right food, and continue repeating this process until directed by a director. 8. List and describe the points of a slide march. While the marcher is slide marching their lower body will remain the same, such as marching check points, the only difference between slide marching and regular marching is the direction the upper body is facing in comparison to the lower body. When the marcher is standing in attention horns up(we will describe later) their first check point is their hips.The marcher will rotate their hips 45 degrees to the left or right , according to the directions of the directors. Along with the rotation of the hips the whole rest of the upper body will move with the hips, but the feet will not move. The next step is the shoulders, the shoulders; the shoulders will then complete the rotation started at the hips with another 45 degree turn of the shoulders in the same direction that the hips had just moved. From here the marchers shoulders should be at a 90 degree angle in comparison to the feet which should be facing forward.From this point the marcher will be able to repeat the steps in the forward and backwards march instructions to begin the slide marching process. Something that should always be remembered is that while the marcher is marching in the slide position, they should always have their horn in the same position that they would as if they were marching normal. 9. Describe the horns up position in detail. From the attention position, the marcher will be addressed â€Å"'clap,clap,clap,clap' band hor ns up† this sequence of commands represents a common counting pattern of marching band, 1,2,3,4,5,6,7,8.Notice that there is only seven commands, the 8 count of the addressed sequence is the time in which the marcher will very quickly put their horns up, and as the horn comes up the marcher will make a very short but loud ‘Tsst' sound. The position of the hands in horns up position is as follows. The marchers fist will be right in front of the marchers mouth, the left hand should be in a fist and the right hand should be covering the left hand. The marchers thumbs should resemble an ‘X' shape in front of their mouth, this is to represent the mouthpiece.After proper hand position is established, the marcher should pay attention that their wrists are not bent in any place. The wrist should always be completely straight. The marchers elbows should be bent at a 90 degree angle. The rest of the marchers body will remain the same as it is in attention position. To transi tion from horns up to horns down, the marcher will just rotate their fists so that the ‘X' is facing directly up. 10. Describe how to dress a line.During marching season, there will be many times that you will be marching in a line, these are very important parts in a show, because perfect lines stand out to people who are experienced and also inexperienced with marching shows. a. Forward. If you are marching in a line that is in front of you, you should see nothing but the person directly in front of you. b. Side to side. If you are in a line that is side to side you should use your peripheral vision to address the line, if you can see someone other than the person directly to your left or right, you aren't in the line, and must adjust immediately. 1. Describe how to dress a curve. The curve is very essential to the type of marching band that we are today. Curves is what separates our band from military marching bands. Curves can be anywhere in a marching show, and for them t o impressive there should always be equal spacing and a smooth flow from person to person. To dress a curve the marcher should always have each set memorized, and while we are dressing each set individually, should memorize the way the curve looks, and to hit it every time no matter what.If you see the curve rolling smoothly from person to person, the curve is correct. If there is a bump in a curve, such as someone jutting out, this person needs to reevaluate is set placement. 12. Describe how to dress a diagonal. Diagonals, just like lines, are an essential part of marching bands. The way a marcher will dress diagonals is the pretty much the same way one would dress a line. By looking down the diagonal that the marcher is in, and making sure that no one else is visible except the person right immediately next in the line.

Gothic Tales and Edgar Allan Poe Essay

Compare ‘The Tell-Tale Heart’ with ‘The Black Cat’. How, in these tales, does Poe draw on the Gothic tradition and take us into the tormented, diseased minds of his narrators In both ‘The Tell-Tale Heat’ and ‘The Black Cat’ there are many gothic effects used. For example, the gruesome concealment of the victims is described in a deadpan but detailed manner. In The Black Cat our narrator describes all of his options and then illustrates exactly how he carried it out, â€Å"†¦I easily dislodged the bricks, and, having carefully deposited the body†¦Having procured mortar, sand, and hair†¦I prepared a plaster which could not be distinguished from the old†¦Ã¢â‚¬  Then in The Tell-Tale Heart he describes this concealment procedure again, † I took up†¦ the flooring†¦then replaced the boards so cleverly so cunningly the no human eye†¦could have detected anything wrong†¦nothing to wash out†¦no blood-spot whatever.† Both narrators seem proud at their astute covering-up of the innocent victims. The gruesome lexis, mixed with the matter-of-fact tone gives off a horrifyingly insane, b ut calm feel to the passage. Also the motives for the killing seemed irrational and over emotional in both stories. This is another typical Gothic characteristic. In The Tell-Tale Heart he says â€Å"I loved the old man†¦never wronged me†¦never given me insult†¦One of his eyes resembled that of a vulture†¦take the life of the old mad, and thus rid myself of the eye forever.† His incentive was unreasonable; he states that there is no other reason than his eye. In The Black Cat his reason for the first killing of his cat Pluto was â€Å"perverseness†¦for no other reason than because he knows he should not?† In this part of the passage it seems strange as he seems to be excusing himself for the sin he is about to narrate to us. Then also at the end of the story when he kills his wife because she stopped him from killing the second cat he says, â€Å"†¦this blow was arrested by the hand of my wife. Goaded, by the interference, into a rage more than demoniacal †¦buried the axe in her brain. She fell dead upon the spot.† The lexis used here is brutal and infernal, typical of Gothic writers â€Å"rage more than demoniacal† references to the devil highlight the white hot anger surging inside the twisted narrator. The use of an unreliable, villainous storyteller was not a typical Gothic feature at the time but it has greatly influenced future authors who write in the Gothic style. In both tales the narrators give off an intensely nervous energy by using repetition and strong, unruly lexis. The first line of The Tell-Tale Heart sets the tone for the whole story instantly â€Å"TRUE!-nervous-very, very dreadfully nervous I had been and am; but why will you say that I a mad?† The dashes break up the sentences making them erratic; this is helped by the uneven sentence structure and the fusion of long and short clauses to make the whole pace of the story jerky and uneven. A typical Gothic feature that appears in only The Tell Tale Heart and not The Black Cat is the use of the night. The narrator describes how â€Å"†¦that every night, just at twelve, I looked in upon him while he slept.† Also the murder itself was committed at night and the use of the disguise of darkness gives an eerie feel to the piece and emphasis the Gothic tone of the story. However in The Black Cat the story was described through the day and the night and the murders of both the narrator’s wife and cat were during the day. Although this was not traditionally Gothic, and the description of the gruesome death caused some sections of the story to be more in the genre of horror. An element of Gothic literature that was in The Black Cat and not The Tell Tale Heart was the use of â€Å"omens†, obviously the title itself was a bad omen at the time and the other story had no omens, other than the heart beat motif that causes the narrator to confess his sins to the police. The title itself was not the only omen used in The Black Cat; Poe writes about two other obvious omens in this tale. Firstly the large imprint of â€Å"the figure of a gigantic cat†¦ There was a rope about the animal’s neck†, this was left on the wall the night after our narrator had killed his cat, this is not a figment of his imagination though as other people around can see it; later on however the narrator describes a mark of white hair, which shows â€Å"the image of a hideous -of a ghastly thing -of the GALLOWS!† This is more likely to be an illusion as the remorse builds up inside him. But he describes it as â€Å"†¦terrible engine of Horror and of Crime -of Agony and of Death!† The lexis used here is full of anger and is very strong. The capitalisation of the more significantly brutal words personifies these aspects and emphasises the narrator’s fear of the cat and of guilt. Poe uses many different techniques to suck the reader into the mind of his narrators. For example in the The Tell Tale Heart he describes his â€Å"disease† to the reader and excuses his actions. â€Å"The disease has sharpened my senses, not destroyed, not dulled them.† This line shows how the narrator is quite openely conceited. His insanity is revealed to us in a number of ways, firstly the deadpan tone of many parts of the passage give the reader an eery feeling of calm, that causes a disturbing sensation, such as when the narrator is describing his method of concealing his victim’s corpse, â€Å"I took up three planks†¦deposited all†¦then replaced the boards†¦Ã¢â‚¬  This use of everyday lexis â€Å"deposited† almost makes us forget that he is talking about a corpse, it makes the whole procedure sound mundane, which gives the impression of madness but also numbness to the narrator. Secondly, his lunacy is exposed to us as the character of the narrator is unravelled through the story. Throughout, hints are dropped as to the overconfidence of our narrator, repetition of various phrases. â€Å"†¦what had I now to fear?† and then again when the officers arrived, â€Å"for what had I to fear?† This reiteration of egotism makes us feel as if the narrator is reassuring himself that he is confident, and suggests to the reader that he has inexplicable insecurities lying beneath his cool exterior. Also in The Tell Tale Heart Poe uses many capitalised words and short, broken phrases to speed up the pace of parts of the account. â€Å"They heard! — they suspected! — they KNEW!† This shows how truly nervous and petrified the narrator is, and with the staggered, gaunt sentence structure makes the reader feel the same way, even if not to the same extent. A way in which The Black Cat’s method of pulling the reader into the mindset of a murderous narrator is near the beginning we are given some background about the narrator’s life. In The Tell Tale Heart we were given no information about setting or circumstance to help us detail our image. I find that this helps more as we have more pictures painted to us and these can then feed our imagination to produce a far more complex, but realistic understanding of the narrator’s mental situation. â€Å"I was especially fond of animals,† This line is quite ironic, as we learn from the rest of the story he seems to, infact, have a severe problem with cats. The way in which Poe implies the insanity of the narrator is in the language used to describe his cats. â€Å"†¦sagacious to an astnoishing degree† His strange attachment to the cat gave the narrator an untrustworthy and evil feel. Then when he describes his motives for hanging his first cat, Pluto, this insinuates utter, pschotic madness, â€Å"the spirit of PERVERSENESS†¦have we not a perpetual inclination†¦to violate that which is Law† This strange, confused motive gives the narrator a trace of humanity, but more of a childlike malevolence which emitts an air of wickedness. This infantile but wicked narrator, I find, is more chilling than the more simple, insane and evil narrator in The Tell Tale Heart, because of its uncanny likeness to reality. A similarity between The Black Cat and The Tell Tale Heart is that both narrators have a sense of superiority about them and this strong impression of narcissism makes the reader feel overwhelmed by malice and also builds up a strong feeling of resentment to their disagreeable characters. In both stories, the narrators end with a confession to their terrible deeds, both obviously caused by insolence and bravado. Another feature that is in The Black Cat but not The Tell Tale Heart is the sense of paranoia given off by the narrator, about the mark of white hair on his second cat’s chest, â€Å"†¦the mark†¦of which I have spoken†¦assumed a rigorous distinctness of outline†¦the image of a hideous- of a ghastly thing – of the GALLOWS!† This paranoia of an omen about the sadistic murder of Pluto blatently lays out the narrator’s madness and causes the reader to feel possibly more sympathetic, but more likely, to feel more estranged from the narrator. In conclusion I found the ways in which we were drawn into the psychotic mind of our killers were more effective in The Black Cat, as some were more subtle, but the more obvious one’s were easier to spot and gave a more definite and outlined picture of the narrator’s psyche. However, I found that the typical Gothic features used in The Tell Tale Heart made it more Gothic than in The Black Cat and also made the tale more chilling, even if not as gruesome or detailed as The Black Cat.

Porphyrias Lover And My Last Duchess Comparison - 789 Words

Meaning Of Brownings Porphyrias Lover and My Last Duchess (An Analysis of Comparing and Contrasting Brownings poems called Porphyrias Lover and My Last Duchess) Robert Browning was a Victorian poet. He portrayed an understanding of gender rules in his poems. Browning’s poems are similar to a puzzle, which makes the reader have to figure out what is really being said in the poem. Browning wrote two famous dramatic monologue poems called Porphyrias Lover and My Last Duchess. His poems create a high intensity of emotion for the reader. In the poems Porphyrias Lover and My Last Duchess, Robert Browning displayed several similarities and differences. In the poems Porphyrias Lover and My Last Duchess, Browning displays several†¦show more content†¦Selfishness is displayed throughout these two poems because the two men are both extremely all about themselves. The man in Porphyrias Lover is constantly expressing how he wants his next wife to act, specifically to please him. â€Å"I gave commands; Then all smiles stopped together.† (lines 45 46). These two lines from the text is describing how selfish and demanding the man was in the poem My Last Duchess. He wanted his next wife to be the â€Å"perfect† woman for him, and listen to all of his commands. Jealousy is also a similar conflict in each of the poems. Browning displays both of the men in the two poems to appear jealous of the women. In Porphyrias Lover, the man is portrayed to be jealous of how happy his wife always appeared to be before she died. In My Last Duchess, the text implied how the man was jealous of the other men the women had been seeing, as he assumed she was seeing other men. In the two poems My Last Duchess and Porphyrias Lover, the two poems have several differences. In Porphyrias Lover, the man didn’t appear to be truly in love with his last wife. The speaker criticized her throughout the poem on how happy she was all the time. On the other hand, the man in My Last Duchess, appeared to be truly in love with the woman because he never criticized anything she did. He described her and everything she did. â€Å"Be sure I looked up at her eyes, Happy and proud†(lines 27 Show MoreRelatedMy Last Duchess And Porphyrias Lover Comparison858 Words   |  4 Pagesmind through his poems. Specifically, his two poems My Last Duchess, and Porphyria’s Lover. These two texts share some startling similarities, and some thoughtful differences. â€Å"Social comparison is important.† (Festinger) Browning’s two poems My Last Duchess and Porphyria’s Lover follow a similar idea, and in the following text, will be compared in three m ain areas. The first area of discussion is who is telling the story. In My Last Duchess, the narrator is a vastly wealthy Duke, who lives inRead MoreA Comparison of Porphyria’s Lover and My Last Duchess by Robert Browning1188 Words   |  5 PagesA Comparison of Porphyria’s Lover and My Last Duchess by Robert Browning The two poems ‘Porphyria’s lover’ and ‘my last duchess’ by Robert Browning shows a dramatic monologue. Dramatic monologue is a story that is told by one person; which means you only get one point of view; in the two poems they are based on the narrator’s crisis, his feelings and his way of thinking; and you have to believe it because that is the only view your going to encounter. In dramaticRead MoreEssay on A Comparison Between My Last Duchess and Porphyrias Lover2909 Words   |  12 PagesA Comparison Between My Last Duchess and Porphyrias Lover Works Cited Missing Robert Browning was one of the greatest poets of the nineteenth century and is still considered one of the major poets of the Victorian era. He was born in 1812 and married the privately educated poet, Elizabeth Browning, in 1846. They eloped to Florence, Italy, where his wife gaveRead MoreComparison of ‘Porphyria’s Lover’ and ‘My Last Duchess’ Essay1232 Words   |  5 Pages‘Porphyria’s Lover’ and ‘My Last Duchess’ are both poems by the Victorian poet Robert Browning. In this essay I will compare these two poems to find similarities and differences. Both of these poems can be used read from different points of view and they could also be used to show how society treated women in the Nineteenth Century: as assets, possessions. Both of these poems are what are known as a dramatic monologue as well as being written in the first person. The whole poem is only one stanzaRead MoreA Comparison of the Dramatic Monologues of Porphyrias Lover and My Last Duchess by Robert Browning665 Words   |  3 PagesA Comparison of the Dramatic Monologues of Porphyrias Lover and My Last Duchess by Robert Browning Robert Browning (1812-89) was, with Alfred Lord Tennyson, one of the two most celebrated of Victorian poets. His father was a bank clerk, and Browning educated himself by reading in the family library. He published many verse dramas and dramatic monologues (poems, like My Last Duchess, in which a single character speaks to the reader), notably the collections Men and WomenRead MoreEssay about A Comparison of My Last Duchess and Porphyrias Lover1182 Words   |  5 PagesMy Last Duchess is a poem about an arrogant and extremely powerful Duke who is describing his deceased Duchess. From the word last in the title it is implied that the duke has had more than one duchess. In this poem, the Duke is extremely egotistic. He says, I choose never to stoop. The duchess would look at everyone in the world as being equal no matter what class they are. The duke however cannot do this. He is too worried about his appearance. Porphyrias Lover is a poem in whichRead MoreCompare My Last Duchess And Porphyrias Lover1098 Words   |  5 PagesLove That Kills (Comparing and Contrasting of â€Å"My Last Duchess† and â€Å"Porphyria’s Lover†) While reading the poems â€Å"My Last Duchess† and â€Å"Porphyria’s Lover† by Robert Browning, there is a large possibility that you may be left haunted by the words that were written on the paper. â€Å" This is not to say that he was blandly optimistic, as he is sometimes portrayed. He wrote fully about the world s cruelty and vice and was quite frank that he had himself had no divine revelation. Nevertheless, he resolvedRead MorePorphyrias Lover And My Last Duchess Comparison Essay1440 Words   |  6 PagesComparison between Porphyrias Lover and My Last Duchess Browning had a place with the Victorian Age, an age where adore coincided with disarray, religion, and distress. Taking care of business, Browning is a writer of affection. His works delineate the different shades of feeling, regardless of whether it is the smooth stream of perfect otherworldly love in The Last Ride Together or the complexities of brain and nature of affection in Porphyrias Lover and My Last Duchess. To draw an examinationRead More Robert Browning and the Power of the Dramatic Monologue Form1432 Words   |  6 Pagespoets, allows the writer to engage more directly with his reader by placing him in the role of listener. Robert Browning utilised the form to a famously profound effect, creating a startling aspect to his poetry. In poems such as â€Å"Porphyria’s Lover,† and â€Å"My Last Duchess,† for example, Browning induces a feeling of intimacy by presenting the reader as the ‘confidant’ to the narrator’s crimes; in â€Å"Soliloquy of the Spanish Cloister,† the reader is more a witness to the narrator’s increasing instabilityRead More Relationships Between Women and Men in Brownings Poems Essay2589 Words   |  11 PagesBrowning’s poems including: My Last Duchess, a dramatic monologue in which the Duke speaks to an imaginary listener about a painting of his last duchess. Porphyria’s Love, another dramatic monologue where Porphyria’s lover speaks to himself about his Love surrounded by anxiety for Porphyria and how he overcomes it. Meeting at Night, which dramatizes the excitement and intensity of passion, the feeling of tense anticipation as the poet travels to meet his lover. However, Parting at Morning