Romeo and Juliet True Love Essay

Romeo and Juliet True Love Essay Shakespeares Romeo and Juliet, has many techniques such as iambic pentameter and sonnets to show the how strong love can be between two young people; caught in between a family feud which kept them from truly experiencing free will to love who they desired. Although the play is about the love affair of Romeo and Juliet, there are many other parts which show the two lovers being tied into other relationships like Juliet with Paris; where there is a traditional arranged marriage for more power and allies. Also lusting over somebody else, like Romeo with Roseline, this can be seen as more physical love and attraction. Both these key elements play a crucial part in the meeting between Romeo and Juliet. The prologue is imperative as it introduces the themes; love, trust, power and social status, to the audience. These all are shown through a sonnet which shows the love within the play; traditionally in the Elizabethan era, men would try to win the respect of the woman they desired, by either fighting for her or romantically proposing gifts, like sonnets, and publically demonstrating his desire. Within the prologue, the scene of the play is established; the audience become familiar with the ancient grudge of the Montagues and Capulets- there were so many problems that even the servants and grounds keepers would have disputes with each other. There are many types of love which can be seen throughout the play, of which include; sexual love, unrequited love, courtly love true love and love at first sight. The sexual love can be directly seen from Mercutio, he talks about experiences with women and what he assumes Romeo should be taking part in at his age. Mercutio uses crude and coarse language to describe women O Romeo that she were, O that she were/An open-arse, thou a poprin pear! which shows he does not take love seriously; it also suggests that he could have had a painful relationship. This has an impact on Romeo as he looks up to Mercutio as a role model, and therefore takes in his pain, this reflects upon his views about relationships. The nurse has the same views on love as Mercutio; she thinks of it as mostly physical- describing the physical features that are meant to attract Juliet to Paris. She talks about sexual innuendo with Juliet, about Paris, in a very forward way lady, such a man / As all the world Why, h es a man of wax. This shows that the nurse thinks of Paris as perfect wax suggests he can be made to suit all of Juliets needs as a husband, but also providing allies with the same dignity as the Capulets. Juliet and Paris relationship is unrequited and courtly love; its true from his side but not from hers. At first, before she has the meeting with Romeo and, Juliet was content with marrying Paris although she was still very young. As the only daughter of a powerful family Juliet would have been kept under supervision at all times, except for when she visited the church for confession- because of this meeting people her own age would be limited. The head of the family- her father- would have been in control of her future; selecting who she married and for the reasons she married- courtly love. Paris love for Juliet is very strong; he admires her from afar and proposes to her father about the marriage many times before he accepts for his daughter. Juliet probably would have married Paris if she had not have met Romeo at the Capulets masquerade ball; which Mercutio had convinced Romeo to attend secretly with him- he allowed Romeo to think that Roseline would be impressed with this gestu re of breaking rules for her. The connection between Romeo and Roseline is also unrequited love- he thinks that he loves her when in fact, the way he talks about her shows he is indeed, just lusting Is the day so young? / Ay me, sad hours seem long the tone of his expression when saying this can be perceived as a sad teenage boy who takes a liking to the popular girl who he knows he cannot have- In addition this sets a comparison for later in the play. Roseline plans on becoming a nun, which means she cannot have a relationship with a man; this still doesnt stop Romeo from being fond of her and loving her from afar; he says things like Aye me sad hours seem long, In sadness, cousin, I love a woman. The expression of this can be seen as sad because he states he has nothing better to do then wait for her; additionally this can be pictured as pathetic as he never informs Roseline of his infatuation for her. In act one scene one Romeo uses paradoxes to describe his feelings for Roseline O brawling love, O loving hate O heavy lightness which shows he is indecisive about his feelings for her; this illustrates to the audience how he is not truly in love with her as he cannot make his mind up. We may never know what the ancient feud is about between the Capulets and Montagues; whether it be a political difference or an eventful marriage between the two families before this generation; consequently the love connecting Romeo and Juliet is stronger, more powerful and- to an extent- purer. Under any other circumstances: Romeo not lusting for Roseline, Juliet not preparing to marry Paris and Mercutio not only thinking about physical love- the two lovers would have never have met. This is evident to the audience as the youth of the Montagues approach the Capulet household; Mercutio is struggling to break the love sickness of Romeo If love be rough with you, be rough with love rough implies if Romeo isnt receiving love from Roseline, he should seek out ways to make her love him, even though this wouldnt be true- as love in all respects isnt meant to be rough but soft. As we now know about the other relationships the young lovers are tied into; Shakespeare introduces the new relationship between Romeo and Juliet themselves to the audience. In act one scene five Shakespeare uses hyperbole to demonstrate the difference of feelings compared to earlier in the play- Beauty too rich for use, for earth too dear! Romeo is shown here metaphorically lifting Juliet up at first glance; he insinuates his true sincerity by using such words as beauty in comparison to talking about Roseline- who he has completely forgotten about by this point. This shows he could not have been truly in love with her. At the same time, Juliet captures the image of Romeo standing across the room looking at her; this causes her to lose her breath in surprise which could be seen as love at first sight. The fact that Romeo mirrors Juliets movements as she moves around the room, reveals that hes taking her lead- he does not know how to approach the situation as he has not experienced th is before. Shakespeare does this to show the innocence of the two characters- making it evident that this is a special, one in a lifetime experience. Had the feelings between them just been lust they would have not been so eager to find each other. At the point where Romeo is no longer visible, it is evident in Juliets face that the hope is lost; Shakespeare uses this expression to his advantage, by showing the audience the contrast between her facial appearance when Romeo is hidden and when he caresses her hand softly. This contrast shows true feelings she has- from hope to a feeling of loss and self hate for not finding him in time. The first thing Romeo says to Juliet is If I profane with my unworthiest hand- unworthiest reveals he does not think he is valuable for her; he is putting himself down to elevate her status, as with holy shrine and saints which are biblical references. During the Elizabethan times, religion played a significant part in everyday life- Shakespeare uses religious imagery and language to show Romeos true feelings for Juliet and the sincerity of them. Romeo refers to himself as a pilgrim which is inferior to his actual status; this confirms that he believes Juliet is too valuable and worthy for himself . So shows a snowy dove trooping with crows Shakespeare uses oxymorons to compare Juliet with the other females in the room; he refers to her as a dove among the crows, stating she is pure and beautiful this shows his genuine appreciation for her appearance. Romeo questions the love he thought he had for Roseline and love itself- did my heart love till now? this shows he is maturing and questioning what he feels truly; heart suggests that he didnt love Roseline with this in the first place as it could be a different feeling. Shakespeare also uses iambic pentameter as Romeo speaks about Juliet to show his desire and sincerity of words- this establishes trust in his feelings from the audience. Comparing the way Romeo talks about his love for Juliet, and how the nurse talks about love- in free verse- Shakespeare builds trust from the audience in Romeos judgements about his feelings of lust towards Roseline, and the true love he feels for Juliet, thus constructing the audiences perspectives that the feelings are genuine. Deeper into the play Romeo is seen devoting his ever growing love for Juliet-Act Two Scene Two is set on the Capulets land in their orchard behind Juliets quarters. Shakespeare chose this location to show the extent of the love Romeo has for Juliet, as this is exceedingly risky for an foe to be doing. O blessed, blessed night I am feared, being in the night, all this is but a dream Romeo knows it is reality, but still he refers to it as a dream- he continuously believes Juliet is a goddess; too good for him. Juliet is willing to give up everything for Romeo Deny thy father and refuse thy name she is even prepared to give up her family name and her family itself for him. Shakespeare uses things which the audience can relate to; family and the bloodline of the family were exceptionally important in the Elizabethan era, so Juliet declaring she would not be reluctant to leave her family and the comforts of her home to run away proves how much she cares for Romeo. Tis but thy name that is my enemy- Juliet refers to her own name to be her enemy and her curse- she questions why he has to be a Montague and proposes he changes his name. She also states that if he will not change his name, he should marry her; meaning she would change hers so that they no longer be feuding by name. Juliet worries about Romeo as he devotes his love to her; she contemplates what might happen if the Capulets guards find him- she is more practical within her love for him. Shakespeare uses soliloquy to show the audience Juliets true feelings for Romeo when on the balcony; the language used is that of a teenage girl writing in her diary- she talks about marrying him like in a fairytale, where everybody lives happily ever after even though she understands that this will never be the case. Half way through the couple devoting there love- by stating they will ignore the family names- the nurse calls for Juliet- the way the lovers pull back together and say how they love eac h other can be seen as the same as couples on the phone in modern times; you hang up this shows they do not feel able to be parted and jut want to hear each others voices longer. As the scene progresses the love between the young couple develops to true romantic love; this is evident as Shakespeare starts to use sincerer language and further fluent iambic pentameter. And Ill still stay, to have thee still forget, Forgetting any other home but this Romeo refers to Juliets home as his home in iambic pentameter; this shows he believes with her he is home. A home is meant to be safe and comforting; somewhere a person can be themselves with nobody to impress- by saying this Romeo is stating he feels completely at ease with Juliet even after such a short period of time with her. During this era, marriages where three quarters of the time for money and power; the people involved would gradually, if at all love each other not truly but because they had. Shakespeare uses this to his advantage within the play, as some- if not most- people in the audience would have been involved in an arranged marriage. Shakespeare uses many ways of showing the sincerity of Romeo and Juliets true feelings for each other; the iambic pentameter plays a crucial role in showing the contrast in feelings they each feel each other and for Roseline and Paris and how different people view love, such as Mercutio and the nurse. They talk about love in free verse; they speak about the physical side of love rather than the emotional- which in comparison to the love Romeo and Juliet talks about; shows the sincerity of the love between them. The prologue informs the audience of the love between the two lovers before they even know each other exist, this shows that the relationship is what the play revolves around. The way Shakespeare has subtly used religion within the descriptions of Juliet from Romeos point of view assists in showing the pureness of his feeling towards her. The way enjambment has been used- when Romeo speaks about Juliet- shows how much he cares for her; he speaks as if it is a poem dedicated to her and its essential that he is able to convey all his thoughts and feelings before she stops listening.

Literary Semiotics

Literary Semiotics Quite often the terms semiotics and semiology are equal, so that often instead semiotics use semiology and vice versa. Ferdinand de Saussure speaks of the sign and the first makes the distinction between semiotics and semiology. Semiotics is the general theory of signs. Semiology study the functioning of the sign in the social practice. Today avoids this distinction and semiotics equate with semiology, ie, they are synonyms. GENERAL Semiotics: The sign does not exist only in language and literature, but in the film we have and tone as a sign, signs of the folk tradition (clouds as signs, etc.. . The sign is a general phenomenon that exists in all forms of human communication. With the help of the sign announce something. The sign communication across borders communion. It is believed that she sign communication has with animals, plants etc.. Within the general linguistic information and communication there is the literary form of communication between author and r eader, between the work and the reader etc.. Semiotics is shared:First Semantics – which focuses on the relationship between sign and signified; Second Pragmatics – is a discipline that focuses on the relationship between the sign and the reader; Third Syntax, syntax – is a discipline that focuses on the relationship between signs, eg. : Texts as signs books as characters. Semiotics makes several typologies and distinguishes several types of sign systems: First PRIRODOJAZICHNI SYSTEMS – define them as first-and include natural languages, ie national languages (English, French, etc. ).. These are the languages that are characterized by a specific practice use.In these systems each character is in relation to an object (reference) from the reality. Not all characters are specified, does not always mean only objects that exist, which are in reality, but there are also abstract, metaphysical signs that signify something that is not tangible, but still exist s in our consciousness. Second Artificial sign systems – Artificial signs we have in mathematics, science and so on. These signs are called artificial, because they agreed. These include road signs, sign language of the deaf, blind etc.. => Structure is a way of organizing systems.System and structure are inseparable. Third Secondary, secondary sign systems – usually build on existing linguistic systems and does not always refer to things that exist in nature. Literature uses natural language to translate literary, coding, etc. All secondary languages have pre-need of natural language and together constitute some already performed sign systems, such as. Literature. Secondary sign system eg. Myth – iconic, pictorial system. 4th Mixed HIBRIDIZIRANI SIGNS – eg. Essay which combines prirodojazichen system and a secondary sign system and pictorial system. th METAJAZICI – Metajazichni systems, metalanguage thoughts when one language describes another ki nd of language that is already built, eg. Theory of literature has described the literary language. There are meta-meta languages, such as literary criticism, literary methodology etc.. Semiotics distinguished: linguistic and nejazichni signs, verbal and non-verbal. Semiotics distinguishes several types of signs: First -Symbols – symbols are all coded signs and they denotativni. These signs have a high degree of codification and konvencionalnost. In these signs the relationship between the sign and the signified is kodiviciran.Second Sign-image – in these signs the relationship between sign and signified is vividly. Iconic signs konotivni signs. The model has features of artistic creation. Third Sign-INDEX – among them the relationship between sign and signified is causal. These signs are generally semiotic. Example: Where there is smoke there is fire. Among them there is a logical connection that occurs as a result of long-term perception. Eg. before an earthqu ake occurs, animals are disturbed, I felt mean. Also, prior to such disasters, we get information, warnings from other planets. All this belongs to indeksnoto information.Semiotics differs constant and variable signs. The sign indicates the object replaces the subject. Therefore, the sign is viewed by the subject marks. To sign appears must e apostoi need an item to be replaced, to signify. Roman Jakobson describes knizhenosta literary self-referential aesthetic message. Piece of literature at the same time can be referential (aesthetic) and referential. Znakovnosta literature does not exhaust WMO interest signified. The sign is a complex composition (signifier + signified). With signs serving entities, transferring to other entities, which means that there must be an agreement.In literature, there is a higher level of esthetics, but this does not exclude pragmatism. While eg. in journalism, a higher degree of pragmatism, but it does not necessarily mean that there is no aesthetic. There is intertextuality. For example, the parody – there parodiziranje literary work that already exists, we mythema, whose basic text comes from another, previously written text hipotekst. Even in the literature have metajazichnost yet dominate vtorostepenosta. It should be noted and the consideration that relates to the fact that there is a difference between literary and linguistic systems.Some systems faster change, others more slowly. Systems include konvencionalizirani relations imply a certain constancy legality. Speech is practice the kind of language use. Linguistic system is slowly changing. A change in the system of language comes when occurring changes in the conventional system. The change in the lexicon is not a real change in the language, but the change in syntax is a real change, because the syntax is a mirror of the language, it is the soul, the essence of language. In the 20th century resulting rapid and radical changes in literary systems, and in language systems can not change for centuries.Literary system as a secondary Literary Semiotics Systems vary in degree modelativnata power. Systems have a high degree of first instance modelativna power and appeal have lower degree modelativna power. Literature is not that important (secondary) sign system. In the literature, the language system is reorganized in a different way, because prirodojazichniot system is already encoded, he once again coded in the literature, which means that the literary system is doubly coded. = CODE = Code means is prohibited and what is not. The term â€Å"code† is not a purely literary term, but comes from egzaknite sciences (mathematics, computer science).Code shows us the optimal boundary between the forbidden and permitted. Modelativnata power is the ability to present a subject in the form of linguistic or literary figure. The model is a picture of the items indicating displays a single character. Model of the object is displayed in a text can be closer to the world that displays, but can be distant. Therefore, some characters are considered to be relatively more realistic poreferencijalni, open to predmetmetot and others are considered less referential, hermetic and more confined to the subject.Structure prirodojazichniot sign implies a direct connection between the sign and the referent. A literary system that relationship between the sign and the object is indirect, and even invisible. When reading the signs, the whole array of interpretenti that are sorted from other sign with any reader pbuduva whole range of different images, each reader think differently. For example, the term â€Å"Company† each poimuva different: one has a no house, stone house, ruined house, a beautiful house, a house-snail, small house, white house etc.. Models, the image of the subject in the literature represents what must exist, what can be absent.Ordinary language signs poreferencijalni, because the connection between the sign and the m atter may be provieri, and in literature it has not. Some literary characters completely reject referentiality and identify as nereferencijalni or auto-referential. They completely distracted by the relationship between the sign and object, life, the world, etc.. But after Mallarme annulling all those links, they are invisible, and even signs can not signify anything other than themselves. These marks signify themselves and thus resolve the question of the definition of the sign that always means something that exists outside of them.These characters have their origin and their long-lasting tradition. Repealed logical connections between them, or at least invisible at first glance. There are literary characters to a greater extent referential and such that auto-referential, that encourage thinking the sign, except the exact information they want to offer something more to the subject, ie the world who represent; those signs tend to have a broader, more universal information how orga nized life and the world. In the literary system is activated principle sozvuchnost musicality, that activates the eneral signification semiotichnost, which plays a major role in the formation of literary texts that it does not matter what you say, but how you say. There are two completely identical words. Ordinary linguistic signs are distinguished by a high degree of symmetry between the object and the sign by which that object is marked. These signs are harder legible because they distort the image of a world that is marked with this sign; while doing so because of the asymmetry between the sign and the object, ie the world; not think of anything specifically. Literary system is: First secondary, secondary;Second double coded; Third iconic, picturesque, with a high degree modelativnost; 4th relationship between the object and the sign is asymmetric; 5th shows interest in the character and high degree of auto-and at the same time and communication and information. It is believed t hat all these properties of the literary system, its structure shows in a nutshell – the tropics. It is believed that ordinary language tends to conventionalize be used automatically, but literary-art information tends to be something more than mere information. In this sense, ordinary expressions have low informativnost.The purpose of literature is constantly questioned images umrtvile forgotten language, and it achieves when they express will deliver another new context and text and no more primates using automated. What's old, already seen, automated, predictable, does not carry much information. But when you make a transformation, modification context, the degree of unpredictability gives it clear that there is some degree of artistic expression. What is stereotypically can perform literary function only when you are questioned and it will say something new, unknown, unpredictable.In literary communication is very important reader that fits into his measure expectation is already known, conventional, and what exceeds this measure is shocking and purely literary. To develop the system, it should be constantly introduce changes that will have a radical character. It is believed that the literary system is a complex system, because it is simultaneously modelativen iconic communicative, informative etc.. STRUCTURE AND LITERARY-artistic structure The term structure is taken from disciplines that have the exact character. This term means the constitution, construction, structure, composition.Can speak of a connection between the structure and the system (composition pragma). Pragma-linguistic semantic __ decorative what is encountered in all literary genres. Literary form is prezentativen. There is a prejudice that oako speaks of structure, must be taken only strucuturalist method. Strucuturalist method of studying literature immanent – within, regardless of external factors. Structure – nestatichna. This term has its prehistory and predstru kturalistichkiot method. Promotes the emergence of Saussure, then in Prague structuralists in 30 years (Roman Jakobson).The structure is a way of organizing a race, when you are thinking of something dynamic, live outdoors. But it always is a minimum order, which can be viewed transhistoric outside of literature. It shows anthropology and linguistics. Distinguished two levels of understanding society. Archetypal structures – which manifests Oedipus, infanticide, Phaedra, and it asa eglavno negative occurrence. They are constantly renewing, changing WMO their name, the essence is the same. When speaking of the structure, not thinking assemblies, but the relationship between these parts that are different relations.The structure is latent given, you need to be activated to express a given relationship. It is not a material category, but a correlation between at least two parts, as part of one great whole. There must be a ratio of that unit which is higher than those who own par ts. The label may not mean anything. Even the sign is a higher instance. It establishes relations between the sign and the signified. The context shows us how the text structures and includes the subject, as well as the channel through which they passed.The structure is separable elements that make up the parts that build a third instance. It is not equal to the sum of those parts. The idea of structure has its own continuum from Plato onwards. When speaking of a literary work of art can not change the way the author laid the parts. Work itself has a rigid structure, there is coherence. Any literary work of art has a minimum structure, within a text is completed. Structure does not exhaust in terms of the text itself, but continues in the relations between texts that are external.The internal structure is latent, but in proportion with the reader that changes its character. Structure becomes external, opens to a text read in a social context of a given epoch. It opens towards the c ategory of value, ie toward non-literary categories participating in the reader and the author. The text-reader-author is different in the written and oral tradition. In oral literature there is a collective, multidisciplinary artist, oral text is intended for a different kind of reception kolektiviet (holidays protakularni religious rites). The novel is an individual kind.It introduces a new relation to the adoption of the text (information and understanding). In everyday communication relationships are different speakers-reader known. In the literary work of art speaks of aesthetic structure – art. That does not mean that it is polisemantichka multifunctional (educational, ethnic, linguistic, fun, social). Linguistic literary system implies certain conventions. The literary structure is composed of text and context (genre code metajazichnosta all types of channels, psychological, biographical, biological factors).Literary structure implies something conditionally given (tex t). Contextual factors – open. The text is the primary datum in the literature. He builds with just reading and valued. Ultimately, it ends in a new value. Text Literary and artistic text Textus Lat. textus = texture, fabric, specific kind of tissue taken from the material environment and ported in the literature. Text – a literary work of art and represents graphic zvukoven part of the work. It is unchangeable part, material, literary and artistic work that is more complex, consisting of immaterial part style.Literary-may be in oral and written (literary) form. Text changes its status through history is part of the moral language conventions. The text is also linked to the development of human civilization. Associated with civilization signs. Each text is articulated and systematized, it is to communicate with him. The author (individual or collective) and the sign, by linking the text for a long time, and the reader was switched off. Today is considered that the read er can influence those literary conventions. Differences between the literary work of art and literary and artistic text.The text is considered an open category, sign, while the work is closed category, the whole classic with reduced significance. It is a theory of Roland Barthes and structuralists in France. Variability of the text seen in the oral tradition. Textuality is as fixed as a material part of the work. Each text serves not only to inform, but also to communicate. Text as a cultural and artistic means authorship readers act vrednvuanje denial and others. Cultural and artistic text linking at least two dimensions – historical and artistic ontological. There are literary and non-literary texts.

Charles Dickens

Dickens is using figures of speech to make pictures in the readers head and he is therefore helping people imagine the things he is telling about. One would say that Dickens is using metaphors to put a picture on his story and to make everyone feels how awful and terrible Coketown is. â€Å"Coketown was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it; but, as matters stood it was a town of unnatural red and black like the painted face of a savage. He also uses the same word again and again to make his negative impression of the factory clear. â€Å"It contained several large streets all very like one another, and many small streets still more like one another, inhabited by people equally like one another (†¦)†. After reading the story you almost smell the smoke and see the clouds of smoke in front of you. â€Å"It was a town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever, and never got uncoiled. When you have read that description of the smoke you can feel it everywhere around you like a snake sneaking around because of the metaphor Dickens is making. Another metaphor you can find is when Dickens has to describe the steam-engine. He does that by using a huge animal like an elephant to make people imagine how enormous the engine is. â€Å"(†¦) and where the piston of the steam-engine worked monotonously up and down, like the head of an elephant in a state of melancholy madness† Finally you can conclude that Dickens uses a lot of metaphors and figures of speech to make the reader fells how it is being in Coketown.

What Is A Trip To The Colombian Embassy - 1059 Words

The first time I feel in this country was when I went to the US Colombian embassy, standing in the square of the embassy there is a really giant flag of the United States, I didn’t see it at the first time but just the sound of the flag waiving let me look up and see it, and, well in that moment I thought a lot of things about what I had watched in the TV, action and futurist movies, the most of times, soldiers with the US flag on parades. That vision transport to me immediately to all that and I feel in other land. It is true that your mind can flight faster than any ship. Well however the story of the trip is less romantic. To flight from Colombia to US, is not as easy as should be, in my case, I will go travel as a resident so I must†¦show more content†¦It was nice to say good bye from there. Next day the time to flight to US coming, but flight is more common than past days when the airplanes were fabulous machines with some mystic, no, now flight is difficult, you have to pass through the paperwork, scanners, the dogs smelling you, and your luggage, long lines of people; well, two hours later you finally reach the door of the plane so the mystic is gone. I was flying with an economy ticket but the people in first class do the same process so, the difference between us may be that officials uses pedigree dogs with them, and may be they don’t take off the shoes before boarding, of course passing the first class area we see that the seats are more comfortable and they don’t have to pay for dinner and it’s much more than a small can of drink and a potato chips bag. For a six hours flight that’s makes me think why I didn’t use the card for a 30 dollars meal. The landing in New York is pretty excited, I didn’t stop to see through the window looking the new, pretty and interesting city, this is so flat the land I mean, the big roads are just go straight with not too many curves, the neighborhoods blocks are almost in a perfect net, I didn’t see the big buildings on the big apple,Show MoreRelated65 Successful Harvard Business School Application Essays 2nd Edition 147256 Words   |  190 Pagespositive that this book will also inspire nontradi.... tional applicants because they will realize that there is no such thing as a standard applicant at Harvard Business SchooL We encourage you to bear in mind that your profession is not what makes the essay special. What makes you special is how you make the big (or small) decisions in life and how they have led to your growth. The only common strain in the successful essaysis that applicants have clearly xi Introduction described why each experience