Environmental Protection Agency Assignment Example | Topics and Well Written Essays - 750 words

Environmental Protection Agency - Assignment Example Following implementation of the Clinger-Cohen Act, the Agency did not revise procedures under Chapter 17 of the Information Resources Management (IRM) Policy Manual to have the Chief Information Officer evaluate information technology program performance (EPA Needs). There are still further problems that are brought to light in the report. First, the EPA should have dictated and required that the Chief Information Officer should have been monitoring the performance alongside the performance goals of the agency. Another problem that has come about because of the lack of monitoring is the fact that proper documentation was not utilized. This created further miscommunication: "Consequently, OEI did not know that System Sponsors did not require System Managers to completely document risks associated with system development" (EPA Needs). Therefore, there is no process of setting goals to monitor projects as they are completed, and this makes it difficult to implement any decision making strategies. In order to solve this problem, several key recommendations have been suggested in the memo. ... be made for the projects, and the agency needs to make sure that those concepts are placed into the documentation and then reviewed by the System Owners. The EPA agreed with the concepts suggested and began to take specific steps in order to resolve the issue. The EPA responded the way that it did because it understands that information technology, especially in today's increasingly technological world, is a very important part of a company's overall performance. In order to make sure the EPA continues to be successful, it does need to monitor its spending, and this is something that the EPA recognizes as a fault. Some items they have considered are as follows: "The Clinger-Cohen Act of 1996 (Public Law 104-106) and Office of Management and Budget (OMB) Circular A-130 both require agency chief information officers to oversee information technology investments" (EPA Needs). Further improvements included the need for projects to develop timetables and for System Managers to complete detailed paperwork that allowed for updates on system development, as well as reviewing the projects' effectiveness and cost. The System Sponsors must also make certain that they are agreeing with or rejecting decision papers (EPA Needs). The overall lesson to learn when reviewing this case is the fact that IT operations, with today's every-increasing world dependence on technology, are very important (Six Stigma). Not using or monitoring technology effectively can hurt a company's leadership, ability to complete projects, and cost the company excessive amounts of money. Therefore, it is very important to make sure that this information is streamlined, maintained, and monitored in order to make sure that the projects are successful. As the world is changing and technology

Birthday Letters Essay Example for Free

Birthday Letters Essay In the three texts the characters that are presented as new women are also presented with a downfall, those who are presented as traditional women are seen to survive and do well. Within the three texts, Dracula, A Street Car Named Desire and Birthday Letters, the authors present the female characters within certain ways which allow us as the audience to look closely at the battle of equality between men and women and the rise of feministic views. However the battle isnt always apparent and some female characters allow themselves to be the inferior characters compared to the male characters who take on dominant roles within their relationships. Within the three texts a downfall of death is presented, this is always presented to those women who are presented as New Woman. Feminism is a movement for social, cultural, political and economic equality of men and women. It is a campaign against gender inequalities and it strives for equal rights for women. 1 Within the three texts we are presented with many female character types, A Street Car Named desire, allows its audience to compare and contrast its female characters. We are presented with Blanche who is on first appearances seen as a New woman ( A women of the late 19th century actively resisting traditional controls and seeking to fill a complete role in the world2) she lives by herself, has no male role controlling her life and makes her own decisions, however it isnt too much later that we learn a different aspect of Blanche, she becomes a character that needs a man to keep a roof over her head and food in her mouth. We are easily able to compare Blanche with her sister Stella, who is a women that presents traditional roles however some times does challenge these, Stella lives with Stanley and allow him to control her life, he tells her what to do and she takes on stereotypically traditional roles within the house. However we do see some New Woman actions within Stellas character such as when Stanley hurts her she runs away however this is then counter parted with Stella returning to Stanley. In the end it is Blanche that has the biggest downfall within the novel and we are left with the question of is this because she presents a post- feministic woman? This question can also be placed when looking at Dracula, Lucy is presented to the audience as a very sexually aware female she is also shown to have less traditional views on marriage why cant they let a girl marry three men or as many as want her and save all this trouble3, Lucy is also like Blanche presented with the biggest downfall within the novel, she is controlled by Dracula and even killed more than once. Sylvia Plath like Lucy and Blanche also are presented with death within the novel, Sylvia could be seen to have the biggest downfall of all three of the characters, it is not only physical but also a mental problem. Hughes talks of his and Sylvia Plath life journeys through his poetry and we come to understand the life style that they lived, Plaths death is central to Hughes poetry and we are able to understand the kind of women Sylvia is, she is shown as a weak women who needed her husband by her side, when he fails to do so she becomes weaker and commits suicide. However we can see the power that Plath had on Hughes due to the high impact that Sylvias suicide had on his poetry Years after your death4. Plaths downfall doesnt seem to be due to her position as a women it is presented within the opposite, she is a traditional women and this causes her problems. Dracula sees a downfall for its female characters in the way of death, Lucy is killed by a male character. Arthur Holmwood buries the stake deep in Lucys heart in order to kill the demon she has become and to return her to the state of purity and innocence he so values. The language with which Stoker describes this violent act is unmistakably sexual, and the stake is an unambiguous symbol for the penis. In this way, it is fitting that the blow comes from Lucys fianci , Arthur Holmwood. Lucy is not only being punished for being a vampire but also being available for seduction by Dracula himself, who we can recall has the power to only attack a willing victim. When Holmwood slays the demonic Lucy, he returns her to the role of a legitimate, monogamous lover, which reinvests his fianci e with her initial Victorian virtue, again degrading Lucys female role, needing a male character to take care of her to the end of her life. Lucy Westenra, is first presented to the audience as an out going, sexually aware, less traditional women. In many ways, Lucy is much like Mina Murry. She is a paragon of virtue and innocents, qualities that draw the attention of three men to her. However Lucy does differs from her friend in one key area, which makes her much of a New Women, Lucy is sexualised. Lucys physical beauty captures the attention of the three men, which is where she displays a comfort of playfulness about her desirability. This is displayed in an early letter to Mina when Lucy states why cant they let a girl marry three men, or as many as want her, and save her all this trouble. This presents the idea that Lucy has troubles that she cannot and will not meet, going against the New Women model. Stoker presents this simple, small idea of Lucys instability to a huge volume when he describes the undead Lucy as a creature of a ravenous sexual appetite. Lucy is presented as a dangerous threat to men and their self control, Lucys second death returns her to a harmless state presenting her again with purity, assuring the men that things are exactly how they are suppose to be. Lucy presents the idea of the new woman to the reader, she is also represented as a creature when she is a vampire. Dracula succeeds in transforming Lucy and becomes a vampire vixen, Van Helsings men see no other option than to kill her, in order to return her to a purer, more socially respectable state. After Lucys transformation, the men keep a careful eye on Mina, worried they will lose yet another model of Victorian womanhood to the dark side. It is here seen that Lucy is a model female until she is turned into a vampire. Late in the novel, Dracula mocks Van Helsings crew, saying, Your girls that you all love are mine already; and through them you and others shall yet be mine. Here, the count voices a male fantasy that has existed since Adam and Eve were turned out of Eden that womens ungovernable desires leave men poised for a costly fall from grace. Women through out Dracula are shown as something that men own and something that can be used as a bargaining tool. Blanche like the female characters within Dracula is also presented as a object by Stanley when he attacks her, however when Blanche is with Mitch alone he treats her in a way that she expects as a New Woman Can I-uh-kiss you-good night? 5 with dignity and respect, this isnt however carried through out the whole novel. Blanche doesnt accept males help through out the play and tries to hide the things that she has done before, this adds to her downfall which allows her to become more and more depressed and pushing towards her downfall. Which we can also assume this happens to Plath, Hughes talks of their past and their lives together, this allows us as the audience to know what events happened to add to Plaths depression and her death. Looking at other sources we find out that Ted Hughes, had left her for another woman6which then pushes Plath to her suicide. This goes against the idea that the Downfall of woman is due to woman being post feminist woman. The three texts all see big punishment for its three leading ladies, this influences them in many ways and pushes them all towards their deaths. In the 1880s and the 1890s saw the publication of many studies in psychology and sexology. For example, Dr. Krafft-Ebing, a German sexologists medico-legal study Phychopahia Sexualis, documented hundreds of cases of divergent, deviant sexuality, listing, cataloguing and typing each individual. Under Sadism in Women, he describes case 42, a womens who sexual history prefigures that of Stokers Lucy: A married man presented himself with numerous scars of cuts on his arms. He told their origins as follows: When he wishes to approach his wife, who was young and somewhat nervous, he first had to make a cut in his arm. Then she would suck the wound, and during the act become violently excited sexually. Most critics agree that Dracula is, as much as anything else, a novel that feeds on the Victorian male imagination, particularly concerning the topic of female sexuality. In Victorian England, womens sexual behaviour was dictated by societys extremely rigid expectations. A Victorian woman effectively had only two options either she was a virgin or she was a wife and mother. If she was neither of these, she was considered a whore. A women never had the right to choose which kind of life style she wanted to have, she was simply labeled if she didnt conform, we can see this with Lucy when she must choose who she wants to marry she simple states that in her ideal world Why cant they let a girl marry three men, or as many as want her, and save all this trouble. 7 This is very degrading, Lucy, is stating that she wishes she didnt have to make a choice and she wishes that her life was all laid out for her, however it could be argued that she wants this because of her personality rather than her fate. By the time Dracula lands in England and begins to work his evil magic on Lucy Westenra, we understand that the impending battle between good and evil will depend upon female sexuality, both Lucy and Mina are less like real people than two-dimensional embodiments of virtues that have, over the ages, been coded as female. Both women are chaste, pure, innocent of the worlds evils, and devoted to their men. But Dracula threatens to turn the two women into their opposites, into women noted for their voluptuousness-a word Stoker turns to again and again-and unapologetically open sexual desire. Blanche within A Street Car Named Desire is also presented as a sexual desire from Mitch and even Stanley. Mitch likes her not only for her looks but who she is I like you to be exactly the way that you are8 Mitch doesnt think of Blanche in a sexual way until later on in the play. Blanches fear of death presents itself in the fear of her ageing and loosing her beauty. She refuses to tell anyone her own age why do you want to know9 Blanche seems to believe that by continually asserting her sexuality towards men especially those who are younger, she will be able to avoid death and return to the world of teenage bliss that she experienced before her husband committed suicide. However, beginning in Scene One, Williams suggests that Blanches sexual history is in fact a cause of her downfall. When she first arrives at the Kowalskis, Blanche says she rode a streetcar named Desire, then transferred to a streetcar named Cemeteries, which brought her to a street named Elysian Fields. This journey, the precursor to the play, allegorically represents the trajectory of Blanches life. The Elysian Fields are the land of the dead in Greek mythology. Blanches lifelong pursuit of her sexual desires has led to her eviction from Belle Reve, her ostracism from Laurel, and, at the end of the play, her expulsion from society at large. Sex and death are intricately and fatally linked within Blanches experiences through out the novel. In Scene One, Stanley throws a package of meat at his adoring Stella for her to catch. The action sends Eunice and the Negro woman into peals of laughter. Presumably, theyve picked up on the sexual innuendo behind Stanleys gesture. In hurling the meat at Stella, Stanley states the sexual proprietorship he holds over her. Stellas delight in catching Stanleys meat signifies her sexual infatuation with him. This also shows Stella in light of the new woman, however Stanley is the one initiating the sexual activity again pushing Stella back into her traditional role. Stella tries on many occasions pushing herself into the role of the new woman however Stanley always fails to allow her to do so. A Streetcar Named Desire presents a sharp critique of the way the institutions and attitudes of postwar America placed restrictions on womens lives. Williams uses Blanches and Stellas dependence on men to expose and critique the treatment of women during the transition from the old to the new South. Both Blanche and Stella see male companions as their only means to achieve happiness, and they depend on men for both their sustenance and their self-image. Blanche recognizes that Stella could be happier without her physically abusive husband, Stanley. Yet, the alternative Blanche proposes-contacting Shep Huntleigh for financial support-still involves complete dependence on men. When Stella chooses to remain with Stanley, she chooses to rely on, love, and believe in a man instead of her sister. Williams does not necessarily criticize Stella-he makes it quite clear that Stanley represents a much more secure future than Blanche does. Five: contextual information linking to the authors and the characters. The decade in which Stoker wrote and published Dracula was one of the unprecedented anxiety and uncertainty about the social roles, sexual nature and natural spheres of activity of men and women. As many women fought for a larger role in public life and a bigger challenge towards the traditions that define women as being, passive, domestic and naturally submissive, the debate opened to men and the males natural role. While Victorian feminists advanced on previous male preserves, crossing boarders and redefining categories, the more conservative press reacted by reiterating gender normalities, insisting that the essential differences between the sexes and their separate duties. Stoker deliberately located the gothic horror of Dracula in the late nineteenth century world of technological advances, gender instability and the rapid increase in conversation. Mina Travels with a portable typewriter which presents her with power and knowledge of a skill such as writing, which today we take for granted.

Time Management: Putting Time On Your Side Essay -- essays research pa

Time Management: Putting Time on Your Side   Ã‚  Ã‚  Ã‚  Ã‚  Time is life. It is irreversible and irreplaceable. To waste one’s time is to waste one’s life, but mastery of time usage is mastery of life and making the most of it. Einstein once said, â€Å"There is no absolute relation in time between two events, but there is an absolute relation between space and time† (Sharp 1). Time is a mystery. It cannot be tied down by definition or confined inside a formula. Like gravity, it is a phenomenon that we can experience but cannot understand. We are aware of the ageing of our bodies, of the effects of the movements of our planet, and of the ticking of the clock. We learn a little about what we call the past and we know that change is built into our lives. But neither philosophers nor scientists have been able to analyze and explain all of the meaning of time. Not only have they failed to provide easy explanations, but their efforts sometimes seem to have made mystery more mysterious and to have shown us t hat our lack of understanding was even greater than we supposed.   Ã‚  Ã‚  Ã‚  Ã‚  Some philosophers argue that the passage of time is an important metaphysical fact, but one that can only be grasped by non-rational intuition. Others tell us that the flow of time is an illusion and that the future can no more be changed than the past. Some believe that future events come into existence as the present; the future becomes the actual â€Å"moment-in-being.†   Ã‚  Ã‚  Ã‚  Ã‚  When spending money, one presumably tries to balance their expenditures in such a way as to obtain the best possible yield. This means that one will probably refrain from spending all of their assets on a single commodity. Instead, one will distribute their expenditure over a variety of different goods and services. The optimum situation will have been reached when it is impossible to increase satisfaction by reducing expenditure in one field and making a corresponding increase in another. A more technical description of this condition of equilibrium would be to say that the marginal utility of one dollar must be the same in all different sectors of expenditures.   Ã‚  Ã‚  Ã‚  Ã‚  In the same manner, one tries to economize with their time resources. They must be so distributed as to give an equal yield in all sects of use. Otherwise, it would pay t... ...able units using periods of available time. Focus on the task at hand by mentally establishing successful outcomes and working back to identify the steps that lead there. Make a daily, prioritized schedule of tasks and events. Write things down for memory’s sake and to keep a clutter free mind. Time management is a skill that needs to be practiced, and once perfected, it will make light of any busy schedule for any busy person. Works Cited Sharp, Clifford. The Economics of Time. New York: John Wiley & Sons, Inc., 1981 Lakien, Alan. How to Get Control of Your Time and Your Life.   Ã‚  Ã‚  Ã‚  Ã‚  New York: David McKay Co., 1973 Schofield, Deniece. Confessions of an Organized Housewife.   Ã‚  Ã‚  Ã‚  Ã‚  Cincinnati, Ohio: Writer’s Digest Books, 1984 Linder, Staffan Burenstam. The Harried Leisure Class.   Ã‚  Ã‚  Ã‚  Ã‚  New York: Columbia University Press, 1970 Kozoll, Charles E. Coaches Guide to Time Management.   Ã‚  Ã‚  Ã‚  Ã‚  Champaign, Illinois: Human Kinetics Publishers, Inc., 1985 Mackenzie, Alec. The Time Trap. New York: Amacom, 1990 Winston, Stephanie. Getting Organized. New York: Warner Books, 1978 Time Management: Putting Time On Your Side Essay -- essays research pa Time Management: Putting Time on Your Side   Ã‚  Ã‚  Ã‚  Ã‚  Time is life. It is irreversible and irreplaceable. To waste one’s time is to waste one’s life, but mastery of time usage is mastery of life and making the most of it. Einstein once said, â€Å"There is no absolute relation in time between two events, but there is an absolute relation between space and time† (Sharp 1). Time is a mystery. It cannot be tied down by definition or confined inside a formula. Like gravity, it is a phenomenon that we can experience but cannot understand. We are aware of the ageing of our bodies, of the effects of the movements of our planet, and of the ticking of the clock. We learn a little about what we call the past and we know that change is built into our lives. But neither philosophers nor scientists have been able to analyze and explain all of the meaning of time. Not only have they failed to provide easy explanations, but their efforts sometimes seem to have made mystery more mysterious and to have shown us t hat our lack of understanding was even greater than we supposed.   Ã‚  Ã‚  Ã‚  Ã‚  Some philosophers argue that the passage of time is an important metaphysical fact, but one that can only be grasped by non-rational intuition. Others tell us that the flow of time is an illusion and that the future can no more be changed than the past. Some believe that future events come into existence as the present; the future becomes the actual â€Å"moment-in-being.†   Ã‚  Ã‚  Ã‚  Ã‚  When spending money, one presumably tries to balance their expenditures in such a way as to obtain the best possible yield. This means that one will probably refrain from spending all of their assets on a single commodity. Instead, one will distribute their expenditure over a variety of different goods and services. The optimum situation will have been reached when it is impossible to increase satisfaction by reducing expenditure in one field and making a corresponding increase in another. A more technical description of this condition of equilibrium would be to say that the marginal utility of one dollar must be the same in all different sectors of expenditures.   Ã‚  Ã‚  Ã‚  Ã‚  In the same manner, one tries to economize with their time resources. They must be so distributed as to give an equal yield in all sects of use. Otherwise, it would pay t... ...able units using periods of available time. Focus on the task at hand by mentally establishing successful outcomes and working back to identify the steps that lead there. Make a daily, prioritized schedule of tasks and events. Write things down for memory’s sake and to keep a clutter free mind. Time management is a skill that needs to be practiced, and once perfected, it will make light of any busy schedule for any busy person. Works Cited Sharp, Clifford. The Economics of Time. New York: John Wiley & Sons, Inc., 1981 Lakien, Alan. How to Get Control of Your Time and Your Life.   Ã‚  Ã‚  Ã‚  Ã‚  New York: David McKay Co., 1973 Schofield, Deniece. Confessions of an Organized Housewife.   Ã‚  Ã‚  Ã‚  Ã‚  Cincinnati, Ohio: Writer’s Digest Books, 1984 Linder, Staffan Burenstam. The Harried Leisure Class.   Ã‚  Ã‚  Ã‚  Ã‚  New York: Columbia University Press, 1970 Kozoll, Charles E. Coaches Guide to Time Management.   Ã‚  Ã‚  Ã‚  Ã‚  Champaign, Illinois: Human Kinetics Publishers, Inc., 1985 Mackenzie, Alec. The Time Trap. New York: Amacom, 1990 Winston, Stephanie. Getting Organized. New York: Warner Books, 1978

The Success of Thomas Hardys Novel The Return of the Native as a Trage

The Success of Thomas Hardy's Novel The Return of the Native as a Tragedy On the first chapter of this novel Egdon Heath is presented as an untameable force "unmoved during so many centuries, through the crisis of so many things, that it could only be imagined to await one last crisis - the final overthrow". Thus, from the very beginning of the novel we can expect an outcome of tragic possibilities. Similarly to ancient Greek tragedies, the action in "The Return of the Native" takes place during a restricted period of time. Usually, in Greek tragedies the plot developed within 24 hours, while Hardy limits himself to the space of 5 books, which represents an exact time of 1 year and a day. Although the novel extends to a 6th book; the main action and the tragedy itself is developed within the first five books. As its title indicates, the sixth book, "Aftercourses" was added to please the readers of the magazine in which his novel was published, in order to put a more closed end to the series. He provided them with a happy ending; as Thomasin and Venn end up marred. However, in its 1912 edition, Hardy included a footnote at the end of the book in which he stated that it was left to the reader to choose whichever ending he/she preferred. Ironically, Hardy declared "à ¢Ã¢â€š ¬Ã‚ ¦and those with an austere artistic code can assume the more consistent conclusion to be the true one". By this, Hardy suggests that the real appraisers of tragedy would conclude on the tragic ending as the most fitting; consistency being also considered by Aristotle as an essential element for tragedy. As a result, similar also to Shakespearian tragedies, which were divided into five acts, the action in Hardy's novel is set up in the first... ... of place, time and other tragedy conventions; the way the plot develops with a sense of foreboding in the novel's consequences, convert this book into a classic of the genre. The relentless mood and development, the numerous lucky (or unlucky) coincidences that are later to determine the future of the characters and the way people continually strive to change the way things are, combine the prefect ingredients of a tragedy. As often in Greek tragedies, fate plays an essential role and the people in the novel can't escape it because it would only keep coming back. Chance seems to dictate the destiny of the characters, playing around with their lives as if they were mere pieces on a chess board. The forces of the heath seem to inflict some sort of control on the characters, fulfilling the Greek tragedy convention of gods playing around with humans' lives. The Success of Thomas Hardy's Novel The Return of the Native as a Trage The Success of Thomas Hardy's Novel The Return of the Native as a Tragedy On the first chapter of this novel Egdon Heath is presented as an untameable force "unmoved during so many centuries, through the crisis of so many things, that it could only be imagined to await one last crisis - the final overthrow". Thus, from the very beginning of the novel we can expect an outcome of tragic possibilities. Similarly to ancient Greek tragedies, the action in "The Return of the Native" takes place during a restricted period of time. Usually, in Greek tragedies the plot developed within 24 hours, while Hardy limits himself to the space of 5 books, which represents an exact time of 1 year and a day. Although the novel extends to a 6th book; the main action and the tragedy itself is developed within the first five books. As its title indicates, the sixth book, "Aftercourses" was added to please the readers of the magazine in which his novel was published, in order to put a more closed end to the series. He provided them with a happy ending; as Thomasin and Venn end up marred. However, in its 1912 edition, Hardy included a footnote at the end of the book in which he stated that it was left to the reader to choose whichever ending he/she preferred. Ironically, Hardy declared "à ¢Ã¢â€š ¬Ã‚ ¦and those with an austere artistic code can assume the more consistent conclusion to be the true one". By this, Hardy suggests that the real appraisers of tragedy would conclude on the tragic ending as the most fitting; consistency being also considered by Aristotle as an essential element for tragedy. As a result, similar also to Shakespearian tragedies, which were divided into five acts, the action in Hardy's novel is set up in the first... ... of place, time and other tragedy conventions; the way the plot develops with a sense of foreboding in the novel's consequences, convert this book into a classic of the genre. The relentless mood and development, the numerous lucky (or unlucky) coincidences that are later to determine the future of the characters and the way people continually strive to change the way things are, combine the prefect ingredients of a tragedy. As often in Greek tragedies, fate plays an essential role and the people in the novel can't escape it because it would only keep coming back. Chance seems to dictate the destiny of the characters, playing around with their lives as if they were mere pieces on a chess board. The forces of the heath seem to inflict some sort of control on the characters, fulfilling the Greek tragedy convention of gods playing around with humans' lives.

Monopolistic vs Oligopolistic Essay

Monopolistic and Oligopolistic are pretty much the same except for the size of the manufacturing companies. In simple terms, a monopoly is where there is a single seller in the marketing industry and an oligopoly is where there is small group of sellers in the same field in marketing industries. When it comes to a monopolistic competition, this is where a market structure has a large number of sellers, each of which is relatively small and posse a very small market share. An oligopoly market is where there are fewer large producers who are present in the industry world and account for most of the output in the industry, there are many small firms but these few large firms dominate and have concentrated market shares. Oligopoly also has more barriers to entry than a monopolistic. I would say that Comcast the cable company is a Monopolistic competition in the market right now. The reason I say this, is because there is not much options for entertainment when it comes to cable. Comcast has made their name around the country, providing what other companies are not. Making them a monopoly amounts other companies. I would consider breakfast cereal companies an oligopoly because there are four breakfast cereal manufactures that I know of, Kellogg, Post, Quaker and General Mills. Because there are only four companies competing to make breakfast cereal, they are called an oligopoly. Whereas, only one company competing to provide cable TV to the customers, they are called monopoly.

English Renaissance Drama Essay Example

English Renaissance Drama Essay Example English Renaissance Drama Essay English Renaissance Drama Essay Essay Topic: The Bean Eaters Twelfth Night English Renaissance play grew out of the established Medieval tradition of the enigma and morality dramas. These public eyeglassess focused on spiritual topics and were by and large enacted by either choristers and monastics. or a town’s shopkeepers ( as subsequently seen fondly memorialized by Shakespeare’s mechanicals’ in A Midsummer Night’s Dream ) . At the terminal of the 15th century. a new type of drama appeared. These short dramas and revels were performed at baronial families and at tribunal. particularly at holiday times. These short amusements. called Interludes . started the move off from the didactic nature of the earlier dramas toward strictly secular dramas. and frequently added more comedy than was present in the medieval predecessors. Since most of these vacation revels were non documented and play texts have disappeared and been destroyed. the existent dating of the passage is hard. The first extant strictly secular drama. Henry Medwall’s Fulgens and Lucres. was performed at the family of Cardinal Morton. where the immature Thomas More was functioning as a page. Early Tudor interludes shortly grew more luxuriant. integrating music and dance. and some. particularly those by John Heywood. were to a great extent influenced by Gallic travesty. Not merely were dramas switching accent from learning to entertaining. they were besides easy altering focal point from the spiritual towards the political. John Skelton’s Magnyfycence ( 1515 ) . for illustration. while on the face of it resembling the mediaeval fable dramas with its characters of Virtues and Vices. was a political sarcasm against Cardinal Wolsey. Magnyfycence was so incendiary that Skelton had to travel into the sanctuary of Westminster to get away the wrath of Wolsey. The first history dramas were written in the 1530’s. the most noteworthy of which was John Bale’s King Johan. While it considered affairs of morality and faith. these were handled in the visible radiation of the Reformation. These dramas set the case in point of showing history in the dramatic medium and laid the foundation for what would subsequently be elevated by Marlowe and Shakespeare into the English History Play. or Chronicle Play. in the latter portion of the century. Not merely was the Reformation taking clasp in England. but the air currents of Classical Humanism were brushing in from the Continent. Interest grew in the classics and the dramas of classical antiquity. particularly in the universities. Latin texts were being Englysshed and Latin poesy and dramas began to be adapted into English dramas. In 1553. a headmaster named Nicholas Udall wrote an English comedy titled Ralph Roister Doister based on the traditional Latin comedies of Plautus and Terence. The drama was the first to present the Latin character type stat mis gloriosus ( braggart soldier ) into English dramas. honed to flawlessness subsequently by Shakespeare in the character of Falstaff. Around the same clip at Cambridge. the comedy Gammer Gurton’s Needle . perchance by William Stevens of Christ’s College. was diverting the pupils. It paid closer attending to the construction of the Latin dramas and was the first to follow the five-act division. Writers were besides developing English calamities for the first clip. influenced by Greek and Latin authors. Among the first forays into English calamity were Richard Edwards’ Damon and Pythias ( 1564 ) and John Pickering’s New Interlude of Vice Incorporating the History of Horestes ( 1567 ) . The most influential author of classical calamities. nevertheless. was the Roman playwright Seneca. whose plants were translated into English by Jasper Heywood. boy of dramatist John Heywood. in 1589. Seneca’s plays incorporated rhetorical addresss. blood and force. and frequently shades ; constituents which were to calculate conspicuously in both Elizabethan and Jacobean play. The first outstanding English calamity in the Senecan mold was Gorboduc ( 1561 ) . written by two attorneies. Thomas Sackville and Thomas Norton. at the Inns of Court ( schools of jurisprudence ) . Apart from following Senecan conventions and construction. the drama is most of import as the first English drama to be in clean poetry. Blank poetry. non-rhyming lines in iambic pentameter. was introduced into English literature by sonneteers Wyatt and Surrey in the 1530’s. Its usage in a work of dramatic literature paved the manner for Marlowe’s mighty line and the keen poesy of Shakespeare’s dramatic poetry. With a new swayer on the throne. Queen Elizabeth I. who enjoyed and encouraged the theatrical humanistic disciplines. the phase was set for the organic structure of dramatic literature we today name Elizabethan Drama. The Social and Political Climate In 1600. the metropolis of London had a population of 245. 000 people. twice the size of Paris or Amsterdam. Playwriting was the least personal signifier of authorship. but clearly the most profitable for literary work forces since the demand was so great: 15. 000 people attended the wendy houses hebdomadally. What is frequently exploited in the dramas is the tenseness between a Court civilization and a commercial civilization. which in bend reflected the tenseness between the City authorities and the Crown. The period from 1576 ( day of the month of the first public theater in London ) to 1642 ( day of the month that the Puritans closed the theaters ) is alone in its end product and quality of literature in English. The monarchy rested on two claims: that it was of godly beginning and that it governed by consent of the people. The period was one of great passage. This period of history is by and large regarded as the English Renaissance. which took topographic point about 100 old ages subsequently than on the continent. The period besides coincides with the Reformation. and the two epochs are of class reciprocally related. Imposed upon the Elizabethans was a societal hierarchy of order and degree- very much medieval constructs that existed more in signifier than in substance. The society of Shakespeare’s clip had in many ways broken free of these rigidnesss. It was non that people were rejecting the yesteryear ; instead. a new more stiff order was replacing the old. This was set into gesture during Henry VIII’s reign in the 1530s when he assumed more power than had hitherto been known to the monarchy. The Act of Supremacy of 1534 gave to Henry the power of the Church every bit good as temporal power. By Shakespeare’s clip the province had asserted its right in trying to derive authorization in secular and religious affairs likewise. The alleged Tudor myth had sought to warrant actions by the Crown. and choices for the monarchy. as God-sanctioned: to queer those determinations was to transgress. because these people were selected by God. The population of the City quadrupled from Henry VIII’s reign to the terminal of Shakespeare’s life ( 1616 ) . therefore adding to the necessity for civil control and jurisprudence. The disintegration of the monasteries had caused much civil agitation. and the homeless monastics and nuns had been forced to come in the work force. Thus the employment. or unemployment. job was severe. Puritanism. which foremost emerged early in Elizabeth’s reign. was a minority force of clerics. Members of Parliament. and others who felt that the Anglican Reformation had stopped abruptly of its end. Puritans used the Bible as a usher to carry on. non merely to faith. but to political and societal life. and since they could read it in their ain linguistic communication. it took on for them a greater importance than it had of all time held. They stressed peculiarly the thought of retrieving the Sabbath twenty-four hours. The struggle between the Puritans and the players of the theatre- who performed for the larger crowds that would turn out for productions on the Sabbath- was established early. The Elizabethan Worldview The English Renaissance began with the importing of Italian art and doctrine. Humanism. during the reign of Henry VIII. Henry Howard. Earl of Surrey. imported and translated classical Hagiographas. such as Virgil’s Aeneid. the first English work to utilize Blank Verse. Surrey and Sir Thomas Wyatt in their sonnets besides imitated classical authors such as Petrarch. and are credited as Fathers of the English Sonnet. While the Great Chain of Being ( an thought suggested from antiquity ; all that exists is in a created order. from the lowest possible class to flawlessness. God Himself ) was still asserted. the antonym. the world of upset. was merely as prevalent. Not surprisingly. a favourite metaphor in Shakespeare’s plants is the universe upside down. much as Hamlet nowadayss. The analogical manner was the predominating rational construct for the epoch. which was inherited from the Middle Ages: the analogical wont of head. with its correspondences. hierarchies. and microcosmic-macrocosmic relationships. survived from the Middle Ages to the Renaissance. Levels of being. including human and cosmic. were habitually correlated. and correspondences and resemblances were perceived everyplace. Man was a go-between between himself and the existence. An analogy of being likened adult male to God ; nevertheless. the Reformation sought to alter this position. stressing man’s fallen nature and darkness of ground. The analogy can be seen in the London theater. correlating the disparate planes of Earth ( the phase ) . snake pit ( the cellarage ) . and heaven ( the heavens. projecting above the top of the phase ) . Degree. precedence. and topographic point were afforded all elements. depending on their distance from flawlessness. God. Because he possessed both psyche and organic structure. adult male had a alone topographic point in the chain- the extremes of human potency are everyplace apparent in the play of the English Renaissance. Natural devolution. in contrast to our optimistic thought of advancement. was everyplace in grounds too- the crude Edenic golden age was unrecoverable. and the predicted terminal of the universe was at hand. With alterations in the ways that adult male looked at his existence. upseting finds suggested mutableness and corruptness: the terrorizing consequence of new stars. comets. etc. . added to a pessimism that anticipated marks of decay as revelatory omens of nearing cosmopolitan disintegration. Hierarchically. the human psyche was threefold: the highest. or rational psyche. which adult male on Earth possessed unambiguously ; the animal. or appetitive psyche. which adult male shared with lower animate beings ; and the lowest. or vegetive ( vegetable ; alimentary ) psyche. concerned chiefly with reproduction and growing. The psyche was facilitated in its work by the body’s three chief variety meats. liver. bosom. and encephalon: the liver served the soul’s vegetal. the bosom its vital. and the encephalon its carnal faculties- motive. chief virtuousnesss. etc. Man himself was formed by a natural combination of the four elements: the dull elements of Earth and water- both be givening to fall to the centre of the universe- and air and fire- both be givening to lift. When the elements mixed they shaped man’s disposition. Each component possessed two of the four primary qualities which combined into a humour or human disposition: Earth ( cold and dry: melancholy ) . H2O ( cold and moist: phlegmatic ) ; air ( hot and moist: sanguine ) ; fire ( hot and dry: choleric ) . Like his psyche and his temper. man’s organic structure obsessed cosmic affinities: the encephalon with the Moon ; the liver with the planet Jupiter ; the lien with the planet Saturn. Assigned to each of the stars and the domain of fixed stars was a hierarchy of immaterial liquors. angels or devils. On Earth. the fallen angels and Satan. along with such supernatural forces as enchantresss. continued to allure adult male and lead him on to transgress. Familiar to Shakespeare and his coevalss were the Aristotelean four causes: the concluding cause. or aim or stop for which a alteration is made ; the efficient cause. or that by which some alteration is made ; the stuff cause. or that in which a alteration is made ; and formal cause. or that into which something is changed. Renaissance concern with causing may be seen in Polonius’ laboring of the efficient cause of Hamlet’s lunacy. For this consequence faulty comes by cause ( 2. 2. 101-03 ) . In the Aristotelean position. alteration involves a integrity between possible affair and actualized signifier. Change is therefore a procedure of going. affected by a cause which acts determinately towards a end to bring forth a consequence. Implicit in the Elizabethan worldview was the Aristotelean thought of causing as embracing potency and act. affair and head. The London dramatist’s pre-Cartesian existence. so. tended to retain a sense of the sense of purpose of natural objects and their topographic point in the godly strategy. Towards the mid-seventeenth century a major cleft between the medieval-Renaissance world-view and the modern universe position took topographic point. effected by Renee Descartes ( 1596-1650 ) . Cartesian dualism separated off head from affair. and psyche from body- not a new thought. but reformulated so that the theologians’ philosophies became the philosophers’ ; the jobs of Predestination were all of a sudden the jobs of Determinism. For Descartes. all nature was to be explained as either idea or extension ; hence. the head became a strictly intelligent substance. the organic structure a soulless mechanical system. Descartes’ doctrine held that one can cognize merely one’s ain clear and distinguishable thoughts. Objects are of import merely in so far as adult male brings his ain judgements to bear upon them. Cartesian incredulity and subjectivism led to the rejection of the old centuries’ Aristotelean positions. as meaningless or obscure. Harmonizing to Aristotle. to cognize the cause of things was to cognize their nature. For the Middle Ages and the Renaissance. objects influenced each other through common affinities and aversions. Elizabethans accepted the correspondences of understandings and aversions in nature. including a homeopathic impression that like remedies like. Well into the 17th century. alchemical. hermetical. astrological. and other pre-scientific beliefs continued to exercise. even on the heads of distinguished scientists. a discernable influence. Concerned with the demand to believe. in an age of inchoate uncertainty. theater audiences frequently witnessed in calamities such battles to prolong belief: Hamlet has a demand to swear the Ghost ; Lear has a wracked concern for celestial powers ; and Othello feels a despairing necessity to continue his belief in Desdemona- when I love thee non. / Chaos is come again ( 3. 3. 92-3 ) . For Othello and Lear. belief is saneness. Theologically. in the ulterior 16th century. godly Providence seemed progressively to be questioned. or at least to be regarded as more bafflingly cryptic. The mediaeval sense of security was in a procedure of transmutation. Those alterations coincided with such fortunes as the Renaissance resurgence of Epicureanism. which stressed the indifference of the powers above to man’s concerns. In its topographic point was a particular personal power. which was emphasized in the plants of Machiavelli ( 1469-1527 ) and other Renaissance authors. Such alterations in the dealingss of adult male and his divinity necessarily provided a clime for calamity. wherein both godly justness ( as in King Lear ) and meaningful action ( as in Hamlet ) seemed every bit unachievable. Lear appears to oppugn the forces above man’s life. and Hamlet the powers beyond his decease. Hamlet’s undertaking is farther complicated. for illustration. by his meaningless pursuit for action- from a Reformation standpoint- of works toward redemption. The way to redemption. of great concern to most Elizabethans. was non through plants or virtue but by cryptic godly election. The post-Reformation adult male. alienated from the nonsubjective construction of the traditional Church. every bit good as from the release of the confessional. with a burdened and isolated scruples. turned his guilt inward. The Renaissance epistemic crisis emphasized the impression of the relativity of perceptual experience. nowadays in the appearance-versus-reality motive recurrent through Renaissance play. The Renaissance dramatists’ works mark a passage between absolute natural jurisprudence bestowed by God. and relativistic natural jurisprudence. recognized by adult male. The Playhouses The old Medieval phase of place-and-scaffolds. still in usage in Scotland in the early 16th century. had fallen into neglect ; the sort of impermanent phase that was dominant in England about 1575 was the booth phase of the marketplace- a little rectangular phase mounted on trestles or barrels and open in the sense of being surrounded by witnesss on three sides. The phase proper of the booth phase by and large measured from 15 to 25 ft. in breadth and from 10 to 15 ft. in deepness ; its tallness above the land averaged a turn 5 ft. 6 in. . with extremes runing every bit low as 4 ft. and every bit high as 8 ft. ; and it was backed by a cloth-covered booth. normally unfastened at the top. which served as a tiring-house ( short for attiring house. where the histrions dressed ) . In the England of 1575 there were two sorts of edifices. designed for maps other than the playing of dramas. which were adapted by the participants as impermanent out-of-door wendy houses: the animal-baiting rings or game houses ( e. g. Bear Garden ) and the hostel. Presumably. a booth phase was set up against a wall at one side of the pace. with the audience standing in the pace environing the phase on three sides. Out of these natural wendy houses grew two major categories of lasting Elizabethan wendy house. public and private. In general. the public wendy houses were big out-of-door theaters. whereas the private wendy houses were smaller indoor theaters. The maximal capacity of a typical public wendy house ( e. g. . the Swan ) was about 3. 000 witnesss ; that of a typical private wendy house ( e. g. . the Second Blackfriars ) . about 700 witnesss. At the public playhouses the bulk of witnesss were groundlings who stood in the soil pace for a penny ; the balance were sitting in galleries and boxes for two pence or more. At the private wendy houses all witnesss were seated ( in cavity. galleries. and boxes ) and paid tanner or more. In the beginning. the private wendy houses were used entirely by Boys’ companies. but this differentiation disappeared about 1609 when the King’s Men. in abode at the Globe in the summer. began utilizing the Blackfriars in winter. Originally the private wendy houses were found merely within the City of London ( the Paul’s Playhouse. the First and Second Blackfriars ) . the public playhouses merely in the suburbs ( the Theatre. the Curtain. the Rose. the Globe. the Fortune. the Red Bull ) ; but this differentiation disappeared about 1606 with the gap of the Whitefriars Playhouse to the West of Ludgate. Public-theatre audiences. though socially heterogenous. were drawn chiefly from the lower classes- a state of affairs that has caused modern bookmans to mention to the public-theatre audiences as popular ; whereas private-theatre audiences tended to dwell of gentlemen ( those who were university educated ) and aristocracy ; select is the word most normally opposed to popular in this regard. James Burbage. male parent to the celebrated histrion Richard Burbage of Shakespeare’s company. construct the first lasting theater in London. the Theatre. in 1576. He likely simply adapted the signifier of the baiting-house to theatrical demands. To make so he built a big unit of ammunition construction really much like a baiting-house but with five major inventions in the standard signifier. First. he paved the ring with brick or rock. therefore paving the cavity into a yard. Second. Burbage erected a phase in the yard- his theoretical account was the booth phase of the market place. larger than used before. with stations instead than trestles. Third. he erected a lasting tiring-house in topographic point of the booth. Here his head theoretical account was the transition screens of the Tudor domestic hall. They were modified to defy the conditions by the interpolation of doors in the room accesss. Presumably the tiring-house. as a lasting construction. was inset into the frame of the wendy house instead than. as in the older impermanent state of affairs of the booth phase. put up against the frame of a baiting-house. The gallery over the tiring-house ( presumptively divided into boxes ) was capable of functioning diversely as a Lord’s room for privileged or high-paying witnesss. as a music-room. and as a station for the occasional public presentation of action above as. for illustration. Juliet’s balcony. Fourth. Burbage built a cover over the rear portion of the phase. called the Heavens . supported by stations lifting from the pace and surmounted by a hut. And fifth. Burbage added a 3rd gallery to the frame. The theory of beginning and development suggested in the preceding agreements with our main pictural beginning of information about the Elizabethan phase. the De Witt drawing of the inside of the Swan Playhouse ( c. 1596 ) . It seems likely that most of the unit of ammunition public playhouses- specifically. the Theatre ( 1576 ) . the Swan ( 1595 ) . the First Globe ( 1599 ) . the Hope ( 1614 ) . and the Second Globe ( 1614 ) - were of about the same size. The Second Blackfriars Playhouse of 1596 was designed by James Burbage. and he built his wendy house in the upper-story Parliament Chamber of the Upper Frater of the priory. The Parliament Chamber measured 100 ft. in length. but for the wendy house Burbage used merely two-thirds of this length. The room in inquiry. after the remotion of dividers spliting it into flats. measured 46 ft. in breadth and 66 ft. in length. The phase likely measured 29 ft. in breadth and 18 ft. 6 in. in deepness. The Staging Conventions In the private theaters. act-intervals and music between Acts of the Apostless were customary from the beginning. A music-room was at first missing in the public wendy houses. since public-theatre public presentations did non originally use act-intervals and inter-act music. About 1609. nevertheless. after the King’s work forces had begun executing at the Blackfriars every bit good as at the Globe. the usage of inter-act music seems to hold spread from the private to the public wendy houses. and with it seemingly came the usage of utilizing one of the tiring-house boxes over the phase as a music-room. The play was conventional. non realistic: poesy was the most obvious convention. others included asides. monologues. male childs playing the functions of adult females. conflicts ( with merely a few participants ) . the daylight convention ( many scenes are set at dark. though the dramas took topographic point in mid-afternoon under the sky ) . a convention of clip ( the clock and calendar are used merely at the dramatist’s discretion ) . the convention of eavesdropping ( many characters overhear others. which the audience is secluded to but the overheard characters are non ) . and motion from topographic point to topographic point as suggested by the book and the audience’s imaginativeness. Exits were strong. and when everyone departed the phase. a alteration of scene was indicated. There was comparatively small scenery. Scenery was largely implicative ; for illustration. one or two trees standing in for a whole wood. The elaborate costumes- for which companies paid a great trade of money- supplied the colour and pageantry. Minimal scenery and limited costume alterations made the passages between scenes lightning-fast and kept the narrative traveling. There was frequently dancing before and after the play- at times. during. like the peasants’ dance in Shakespeare’s Winter’s Tale. Jigs were frequently given at the terminal of public presentations. a usage preserved still today at Shakespeare’s Globe. The gigue at the theater were non ever mere dances. they were sometimes comprised of vocals and bawdy knockabout travesties filled with commentaries on current events. Possibly the most celebrated gigue was the 1 performed by Will Kemp. the buffoon in Shakespeare’s company. over a nine twenty-four hours period in 1599. on the route from London to Norwich. It was published in 1600 as Kemps nine twenty-four hourss wonder. After 1600. the bawdry gigue fell into derision and disdain and were merely performed at theaters such as the Red Bull. which catered to an audience appreciative of the lowest wit and most violent action. The buffoons were the great stars of the Elizabethan phase prior to the rise of the celebrated tragedians of the late 1580s. such as Edward ( Ned ) Alleyn and Richard Burbage. Every company had a top buffoon along with the tragedian?hakespeare? company was no exclusion: Richard Tarleton was the buffoon until his decease in 1588. Will Kemp was the buffoon until forced out of the company in 1599. to be replaced by another celebrated buffoon. Robin Armin. The buffoons non merely performed the aforesaid gigue. but besides played many of the great amusing characters ; Kemp most likely played Peter in Romeo and Juliet and Dogberry in Much Ado About Nothing. Armin the parts of Feste in Twelfth Night and the Fool in King Lear. From modern-day paperss. we know there were over a 1000 histrions in England between 1580-1642* . Most were hapless. starving actors . but a few twelve were able to do names for themselves and go stockholders in their several companies. and do a good life. The repertory system was demanding esides playing six yearss a hebdomad. a company would be in continual dry run in order to add new dramas and to review old 1s in their agenda. A participant would likely larn a new function every hebdomad. with 30 to forty functions in his caput. No minor effort. particularly sing that an histrion would merely acquire his lines and cues ( in a rolled up parchment. his roll . from which we get the word role ) . non a whole book! Over a period of three old ages. a tragedian such as Edward Alleyn. lead participant for the Admiral’s Men. would larn non merely 50 new parts but besides retain twenty or more old functions.

Field Marshal Jeffery Amherst in the French Indian War

Field Marshal Jeffery Amherst in the French Indian War Jeffery Amherst - Early Life Career: Jeffery Amherst was born January 29, 1717, in Sevenoaks, England. The son of lawyer Jeffery Amherst and his wife Elizabeth, he went on to become a page in the household of the Duke of Dorset at age 12. Some sources indicate that his military career began in November 1735 when he was made an ensign in the 1st Foot Guards. Others suggest that his career began as a cornet in Major General John Ligoniers Regiment of Horse in Ireland that same year. Regardless, in 1740, Ligonier recommended Amherst for promotion to lieutenant. Jeffery Amherst - War of the Austrian Succession: Through the early years of his career, Amherst enjoyed the patronage of both Dorset and Ligonier. Learning from the gifted Ligonier, Amherst was referred to as his dear pupil. Appointed to the generals staff, he served during the War of the Austrian Succession and saw action at Dettingen and Fontenoy. In December 1745, he was made a captain in the 1st Foot Guards and given a commission as a lieutenant colonel at large in the army. As with many of the British troops on the Continent he returned to Britain that year to aid in putting down the Jacobite Rebellion of 1745. In 1747, the Duke of Cumberland took overall command of British forces in Europe and selected Amherst to serve as one of his aides-de-camp. Acting in this role, he saw further service at the Battle of Lauffeld. With the signing of the Treaty of Aix-la-Chapelle in 1748, Amherst moved into peacetime service with his regiment. With the outbreak of the Seven Years War in 1756, Amherst was appointed to be the commissariat for the Hessian forces that had been gathered to defend Hanover. During this time, he was promoted to colonel of the 15th Foot but remained with the Hessians. Jeffery Amherst - The Seven Years War: Largely fulfilling an administrative role, Amherst came to England with the Hessians during an invasion scare in May 1756. Once this abated, he returned to Germany the following spring and served in the Duke of Cumberlands Army of Observation. On July 26, 1757, he took part in Cumberlands defeat at the Battle of Hastenbeck. Retreating, Cumberland concluded the Convention of Klosterzeven which removed Hanover from the war. As Amherst moved to disband his Hessians, word came that the convention had been repudiated and the army was re-formed under Duke Ferdinand of Brunswick. Jeffery Amherst - Assignment to North America: As he prepared his men for the coming campaign, Amherst was recalled to Britain. In October 1757, Ligonier was made overall commander-in-chief of British forces. Disheartened by Lord Loudons failure to seize the French fortress of Louisbourg on Cape Breton Island in 1757, Ligonier made its capture a priority for 1758. To oversee the operation, he chose his former pupil. This was a stunning move as Amherst was relatively junior in the service and had never commanded troops in battle. Trusting Ligonier, King George II approved the selection and Amherst was given the temporary rank of major general in America. Jeffery Amherst - Siege of Louisbourg: Departing Britain on March 16, 1758, Amherst endured a long, slow Atlantic crossing. Having issued detailed orders for the mission, William Pitt and Ligonier ensured that the expedition sailed from Halifax before the end of May. Led by Admiral Edward Boscawen, the British fleet sailed for Louisbourg. Arriving off the French base, it encountered Amhersts arriving ship. Reconnoitering the shores of Gabarus Bay, his men, led by Brigadier General James Wolfe, fought their away ashore on June 8. Advancing on Louisbourg, Amherst laid siege to the town. After series of fights, it surrendered on July 26. In the wake of his victory, Amherst considered a move against Quebec, but the lateness of the season and news of Major General James Abercrombies defeat at the Battle of Carillon led him to decide against an attack. Instead, he ordered Wolfe to raid French settlements around the Gulf of St. Lawrence while he moved to join Abercrombie. Landing in Boston, Amherst marched overland to Albany and then north to Lake George. On November 9, he learned that Abercrombie had been recalled and that he had been named commander-in-chief in North America. Jeffery Amherst - Conquering Canada: For the coming year, Amherst planned multiple strikes against Canada. While Wolfe, now a major general, was to attack up the St. Lawrence and take Quebec, Amherst intended to move up Lake Champlain, capture Fort Carillon (Ticonderoga) and then move against either Montreal or Quebec. To support these operations, Brigadier General John Prideaux was dispatched west against Fort Niagara. Pushing forward, Amherst succeeded in taking the fort on June 27 and occupied Fort Saint-Frà ©dà ©ric (Crown Point) in early August. Learning of French ships at the northern end of the lake, he paused to build a squadron of his own. Resuming his advance in October, he learned of Wolfes victory at the Battle of Quebec and of the citys capture. Concerned that the entirety of the French army in Canada would be concentrated at Montreal, he declined to advance further and returned to Crown Point for the winter. For the 1760 campaign, Amherst intended to mount a three-pronged attack against Montreal. While troops advanced up the river from Quebec, a column led by Brigadier General William Haviland would push north over Lake Champlain. The main force, led by Amherst, would move to Oswego then cross Lake Ontario and attack the city from the west. Logistical issues delayed the campaign and Amherst did not depart Oswego until August 10, 1760. Successfully overcoming French resistance, he arrived outside of Montreal on September 5. Outnumbered and short on supplies, the French opened surrender negotiations during which he stated, I have come to take Canada and I will take nothing less. After brief talks, Montreal surrendered on September 8 along with all of New France. Though Canada had been taken, the war continued. Returning to New York, he organized expeditions against Dominica and Martinique in 1761 and Havana in 1762. He was also forced to send troops to expel the French from Newfoundland. Jeffery Amherst - Later Career: Though the war with France ended in 1763, Amherst immediately faced a new threat in the form of a Native American uprising known as Pontiacs Rebellion. Responding, he directed British operations against the rebelling tribes and approved a plan to introduce smallpox among them through the use of infected blankets. That November, after five years in North America, he embarked for Britain. For his successes, Amherst was promoted to major general (1759) and lieutenant general (1761), as well as accumulated a variety of honorary ranks and titles. Knighted in 1761, he built a new country home, Montreal, at Sevenoaks. Though he turned down command of British forces in Ireland, he accepted the position of governor of Guernsey (1770) and lieutenant-general of the Ordnance (1772). With tensions rising in the colonies, King George III asked Amherst to return to North America in 1775. He declined this offer and the following year was raised to the peerage as Baron Amherst of Holmesdale. With the American Revolution raging, he was again considered for command in North America to replace William Howe. He again refused this offer and instead served as commander-in-chief with the rank of general. Dismissed in 1782 when the government changed, he was recalled in 1793 when war with France was imminent. He retired in 1795 and was promoted to field marshal the following year. Amherst died August 3, 1797, and was buried at Sevenoaks. Selected Sources Canadian Biography: General Jeffrey AmherstJeffrey Amherst Biography