5. Methods and Counting Crime
5.3 Conceptualisation
Dr. Wendelin Hume and Ashly Hanna, B.A.
As part of this second step, we need to create a mental picture of how we can find the answers to the research questions we have begun to develop and will now refine even further. Before exploring our research question through new research, we should continue to examine what research has already been done on this topic by others—both published and perhaps unpublished—and what theories or other ways of knowing, such as Indigenous ways of knowing, suggest the relationship between variables will be. This is the purpose of a literature review. You will notice that published academic research often includes a brief literature review of what other scholars have discovered on the topic. Consulting with an academic librarian can be helpful in performing a thorough literature review to include grey literature as well.
One basic way to conceptualise our research project broadly is to think about the cultural differences in how the world in general is viewed. From an Indigenous standpoint, typically all things are interconnected. All people and even animals, fish, birds, and plants are seen as interrelated. This way of seeing the world informs how we think and how we ask questions, and it impacts how we conduct research. From a stereotypical Western standpoint, on the other hand, things are viewed in a hierarchical and linear way with members of the dominant society at the top and everything else at different layers beneath them. As a result, research tends to name, label, describe, and then prescribe solutions from this vantage point, which tends to be self-serving (Redvers, 2019).
The debate about whether knowledge should include or exclude cultural components is central to understanding the difference between most Western research methods and most Indigenous research frameworks. Western research developed the use of the widely accepted empirical scientific method, in which knowledge is seen as objective and based on data that are independent of the feelings or values of the researcher: if it cannot be measured, it does not exist. However, many argue that true objectivity cannot be achieved and perhaps should not even be the goal of research. The fact that most research is conducted using the “objective” scientific method, while Indigenous ways of knowing are ignored, demonstrates a type of scientific colonialism, or abuse of power that Chilisa (2020, p. 7) defines as, “the imposition of the colonizer’s way of knowing and the control of all knowledge produced.”
Epistemology is the study of knowledge or ways of knowing, which is central to the practice of research. Epistemology delves into the nature of knowledge and truth. It challenges us to consider what it means to know something. How is knowledge distinguished from mere opinion or belief, and—importantly for social science—what are the ways by which we can derive or obtain knowledge? How might the latter differ across various cultures and contexts? Most Western researchers follow the Newtonian epistemology that “scientific knowledge has to provide an objective representation of the external world,” which it attempts to do by taking complex items and reducing them to their simplest components (Redvers, 2019, p. 43). In fact, objectivity and empiricism are deemed to be the cornerstones of Western research: researchers must be detached from the research process, and all data must be observable and measurable to exist and become a part of scientific inquiry.
A problem with this reductionist approach is that some frameworks—such as Indigenous frameworks—assume that we are all interconnected and so the whole is more than just its parts. Or, as Aristotle said, “the whole is more than the sum of its parts” (Redvers, 2019, p. 44). The Western view usually sees this knowledge as being situated outside of culture, but many Indigenous and other scholars insist that “knowledge” is within a cultural framework that may value or conversely marginalise who or what is counted as part of that “knowledge” (Walter & Andersen, 2016). However, as we conceptualise our research project moving forward, we will want to avoid using only a rigid Western view of the scientific method and be certain to learn from the Indigenous community helping us with the research while including relevant cultural components.
As we conceptualise our two research projects, we will want to continue to include the cultural components identified in step one, namely, Two-Eyed Seeing and the collaboration and cooperation between the researcher and the researched. Whatever method is chosen in the next step and for all future steps, we will want to be sure to involve the cultural community and maintain an open mind as they provide us with insights and feedback. We will strive to maintain a balance between scientific rigor and cultural inclusiveness while following ethical research practices and not bringing harm to our participants.
a written summary and overview of writings and other sources on a selected topic to gain an understanding of existing research relevant to the topic.
the state in which the transformation of knowledge production is controlled by the colonizers while other ways of knowing, namely Indigenous ways of knowing, are dismissed.
the study of knowledge or ways of knowing.
deals with ideas that are based on fact and free from bias or personal opinion.
a method of study based on tangible and observable facts, evidence, and research.


55 How Prokaryotes Get Energy
Learning Outcomes
- Describe the ways in which prokaryotes get energy and carbon for life processes
Prokaryote Metabolism
Like all living things, prokaryotes need energy and carbon. They meet these needs in a variety of ways. In fact, prokaryotes have just about every possible type of metabolism. They may get energy from light (photo) or chemical compounds (chemo). They may get carbon from carbon dioxide (autotroph) or other living things (heterotroph). Most prokaryotes are chemoheterotrophs. They depend on other organisms for both energy and carbon. Many break down organic wastes and the remains of dead organisms. They play vital roles as decomposers and help recycle carbon and nitrogen. Photoautotrophs are important producers. They are especially important in aquatic ecosystems.
Classification of Prokaryotes Based on Metabolism
Two major nutritional needs can be used to group prokaryotes. These are (1) carbon metabolism, their source of carbon for building organic molecules within the cells, and (2) energy metabolism, their source of energy used for growth.
In terms of carbon metabolism, prokaryotes are classified as either heterotrophic or autotrophic:
- Heterotrophic organisms use organic compounds, usually from other organisms, as carbon sources.
- Autotrophic organisms use carbon dioxide (CO2) as their only source or their main source of carbon. Many autotrophic bacteria are photosynthetic, and get their carbon from the carbon dioxide in the atmosphere. This process of capturing inorganic carbon and converting it to organic sugar molecules is known as carbon fixation.
Energy metabolism in prokaryotes is classified as one of the following:
- Phototrophic organisms capture light energy from the sun and convert it into chemical energy inside their cells.
- Chemotrophic organisms break down either organic or inorganic molecules to supply energy for the cell. Some chemotrophic organisms can also use their organic energy-supplying molecules as a carbon supply, which would make them chemoheterotrophs.
Organisms are then classified as follows:
- Photoheterotrophs are organisms that capture light energy to convert to chemical energy in the cells, but they get carbon from organic sources (other organisms). Examples are purple non-sulfur bacteria, green non-sulfur bacteria and heliobacteria.
- Chemoheterotrophs are organisms that get their energy source and carbon source from organic sources. Chemoheterotrophs must consume organic building blocks that they are unable to make themselves. Most get their energy from organic molecules such as sugars. This nutritional mode is very common among eukaryotes, including humans.
- Photoautotrophs are cells that capture light energy, and use carbon dioxide as their carbon source. There are many photoautotrophic prokaryotes, which include cyanobacteria. Photoautotrophic prokaryotes use similar compounds to those of plants to trap light energy.
- Chemoautotrophs are cells that break down inorganic molecules to supply energy for the cell, and use carbon dioxide as a carbon source. Chemoautotrophs include prokaryotes that break down hydrogen sulfide (H2S the “rotten egg” smelling gas), and ammonia (NH4). Nitrosomonas, a species of soil bacterium, oxidizes NH4+ to nitrite (NO2−). This reaction releases energy that the bacteria use. Many chemoautotrophs also live in extreme environments such as deep sea vents (extremophiles).
In Summary: How Prokaryotes Get Energy
Prokaryotes fulfill their carbon and energy needs in various ways. They may be photoautotrophs, chemoautotrophs, photoheterotrophs, or chemoheterotrophs.
| Nutritional mode | Energy source | Carbon source |
|---|---|---|
| Photoautotroph | Light | Carbon dioxide (or related compounds) |
| Photoheterotroph | Light | Organic compounds |
| Chemoautotroph | Chemical compounds | Carbon dioxide (or related compounds) |
| Chemoheterotroph | Chemical compounds | Organic compounds |


16 August 2002: Gilroy, The Subject was Roses
Gloucester Stage, Massachusetts. A play by Frank D. Gilroy
Israel Horovitz’s company in its twenty-third season. This company has survived far longer than most shoestring, wish-and-a-prayer companies do. Horovitz greets the audience himself, makes a few aggressive jokes about cell phones left on during the performance, puts the screws to the audience to buy $100-a-ticket raffle chances (first prize: $5000) — he got three takers, whose credit cards were immediately confiscated — and apologizes for taking so much of the audience’s time, already hot and impatient in this un-air-conditioned theatre seating perhaps 175 and just barely tolerable after five days of 90° + weather.
Finally, the play begins, and almost immediately it all seems to have been worth the wait. This is a crisp, tautly written family drama that swept the critics off their feet in 1965 in New York, winning a Pulitzer and other awards. It is currently enjoying a revival in various regional venues. Horovitz says he thinks it’s as good as Death of a Salesman and that the only reason it hasn’t achieved the reputation of Miller’s’s play is that Gilroy is not a self-advertiser like Miller. Irritating. The play is not in the same league with Miller’s’s, but it is a fine example of kitchen-sink realism all the same.
Timmy Cleary has arrived home from World War II (the scene is an apartment in the West Bronx, in May 1946) unscathed; but in the three days he spends with his unhappy, frustrated, warring parents he picks up a bodyful of shrapnel and by the end of the play is planning to move back out the next day. Gilroy’s take on dysfunctional families is that two is company and three is a crowd, and in the threesome it’s inevitable that two take sides and gang up on the third. In this case, the mother and the son gang up on the father, the son being used as a weapon by the wronged wife and mother, Nettie Cleary, to punish her wayward husband John. (The truth of Wilde’s Earnest comes true again here, in Gwendolen’s prescient remark: “I pity a woman married to a man called John. She will never know the entrancing pleasure of a single moment’s solitude.”) Nettie tends toward passive-aggressiveness, a mode of behavior that reaches its apex when she disappears for twelve hours, leaving father and son (and her own mother, who communicates her anxiety by telephone) frantically worried about her whereabouts. The father, John, is just plain aggressive, and as stubborn as any Irishman (his metaphor, not mine). The son is no match for these manipulative, self-destructive parents, but he has actually learned a certain amount of such strategic ploys from them. His way of operating is to hold out and hold out until he has achieved the desired disruptive effect and then to reverse himself and let the other two drown in their own bile. Ugly.
Gilroy is enough of a dramatist to keep this going for over two hours, but the mechanism can be heard creaking and groaning once in a while. It takes three very good performances to distract us from the bien faite dramaturgy of the play. (Today, the comprehensive put-down of dramaturgy of this kind is to label it “linear.”) Horowitz says he waited for some time to put the play on, until he could cast it adequately (of course, he himself had known for years that it was worth reviving). In any case, he has casted more than adequately, with Robert Walsh and Judith McIntyre, both well-known Boston area actors, in the roles of the parents and David Hale, a promising MFA candidate at the Actors’ Studio Drama School, as the returning non-hero Timmy. The direction by a Boston-area director, Eric C. Engel, is crisp and sure, and consistently sympathetic.
And therein lies the problem with this play. The real reason Gilroy’s play does not match Salesman is that Gilroy is ultimately a sentimentalist. His purpose is to make us love and forgive these awful people despite or because (finally, it doesn’t matter) they are so awful. The ending — the father’s wry, face-saving acceptance of his son’s precipitate departure — says it all: it elicits a knowing smile and a hearty chuckle from the audience. We can see they’ve been through a really tough time, but they are going to be all right. Timmy will move in with his former classmate in a cold-water flat on 22nd Street, and things will calm down a lot. Gilroy has sacrificed the responsibility of dealing with Timmy’s parents’ profound disaffection in favor of a heart-warming ending. This is decidedly not what Miller does in the climax or, for that matter, the epilogue of Death of A Salesman, where we see — in Miller’s solid mid-West but apposite metaphor — the “chickens come home to roost.” There is a huge difference between sympathetic engagement with the hero of a tragedy – Miller elicits such sympathy in abundance — and the cheaper, dime-store sentiment (“Oh, these poor people; they’re just like us”) that Gilroy finally attempts to extract from us. He disguises his purpose rather well for much of the play, by showing us just how ugly, venal, self-deluding, and emotionally deprived his subjects really are. Here, at the cusp of the twenty-first century, we tend to think how badly these people need a therapist. (We of course understand the dynamics of mutual slaughter in families in ways that the poor benighted adults of the sixties were only beginning to discover.)
But what we end up with is a feeling of having been cheated. A more experimental director might have tried working for much less sympathy for these three people than the playwright’s text would seem to be angling for. It would take a determined director to bring that kind of latter-day quasi-Brechtian objectivity to bear on this resolutely rosy-eyed play. (The title refers to the roses the son gives his mother and allows the father to claim was his idea.) But maybe that kind of deliberately disaffected approach could work, even through the smiles of the ending: we would need to be made to understand that the distance of 22nd Street from the West Bronx was not going to be enough to solve this family’s problems. A tall order, for directors and actors, but one worth attempting. As it is, this production, skillfully mounted though it is, ends up being a sort of museum piece, a charming act of homage to the halcyon sixties, when almost anything could be rescued if your idealism was potent enough. Too bad, now that we stand on the far side of 9/11, that such sentiments seem so “old hat.” For all the hoopla about this play, it has not worn well.


Sources & Suggestions for Further Research
Barrie Brill
Further Research
The sources for this period are rather sketchy and few in number. The Liber Historiae Francorum wass written by an unknown author who was close to the center of power in Neustria. The Continuations of the Chronicle of Fredegar consist of three parts: the first ten chapters are based on the Liber Historiae Francorum while the second part (chapters 11-33) covers the period until 751 was written for Count Childebrand, the brother of Charles Martel and then the next twenty chapters covering events down to 768 were written by Count Nibelung, the son of Childebrand. Arguments concerning the authorship of Fredegar Chronicle are numerous to the point of becoming a “cottage industry”. These sources are available in English translations as follows:
Bachrach, Bernard, S., trans., Liber Historiae Francorum. Lawrence, KS: Coronado Press, 1973.
Wallace-Hadrill, J. M., ed. And trans, The Fourth Book of the Chronicle of Fredegar: with its Continuations. London: Nelson, 1960.
The lives of the pontiffs for this period are found in: Davis, Raymond, The Lives of the Eighth-Century Popes (Liber Pontificalis). Liverpool University Press, 1992.
The Letters of Saint Boniface are also found in English translation in: Emerton, Ephraim, The Letters of Saint Boniface. New York: Columbia University of Records of Civilization, 1976; his Vita can be found in: Talbot, C. H., ed. The Anglo-Saxon Missionaries in Germany. New York: Sheed and Ward, 1954; along with those of Willibrord, Strum etc. His letters were extremely critical of conditions in the Frankish Church that he wanted to reform. Boniface probably darkened the picture in order to support his demands for reform.
Secondary Works:
The New Cambridge Medieval History, vol. II, c. 700-c. 900, ed. Rosamond McKitterick [Cambridge University Press, 1991]. See especially,Chapter 3, “Frankish Gaul to 814”, by Paul Fouracre.
Bachrach, Bernard, Merovingian Military Organization. St. Cloud, MN: University of Minnesota Press, 1972.
Fouracre, Paul, The Age of Charles Martel. New York: Pearson, 2000.
Gerberding, Richard, The Rise of the Carolingians and the Liber Historiae Francorum. Oxford: Clarendon Press, 1987.
Wallace-Hadrill, John M, The Long-haired Kings. London: Methuen, 1962.
Wood, Ian, The Merovingian Kingdoms, 450-471. London: Longman, 1994.
Sources
“Hincmar of Reims against Charles Martel” Letter from the Synod of Quierzy to Louis the German (858), MGH, Capitularia regnum Francorum, vol. II, ed. A. Boretius & V. Krause. Hanover, 1887.
“Extract from the History of the Bishops of Auxerre” Gesta pontificum Autissiodorensium, chapter XXVI. Ed. L.-M.-Duru in Bibliothèque historique de l’Yonne. Volume I. Auxerre, 1850.
“Echo of the Battle of Toulouse, 721” Liber Pontificalis, vol. I, edited by L. Duchesne. Paris: 1955.
“Council of Estinnes, 743” MGH, Concilia Aevi Karolini, Concilium Liftinense vol. I, Part I. Ed. A. Werminghoff. Hanover, 1906.
“The Battle of Poitiers as viewed by an anonymous Christian Mozarabic chronicler living in Cordoba” Chronique Mozârabe, dite de l’Anonyme de Cordoue, trans. By Ch.-M. de la Roncière, P. Contamine, R. Delort & M. Rouche, L’Europe au Moyen Age, vol. I. Paris: Armand Colin, 1970.
“Battle of Poitiers as viewed by the First Continuator of the Chronicle of Fredegar“ Fredegarii et aliorum chronica, ed. B. Krusch, MGH, Scriptores rerum Merovingicarum. Hanover, 1888.


IV. Diatonic Harmony, Tonicization, and Modulation
Prolonging Tonic at Phrase Beginnings with V⁶ and Inverted V⁷s
John Peterson
Key Takeaways
- Prolongation is a common feature of phrase beginnings in Western classical music.
- The most common way to prolong the tonic is by alternating tonic with V6 or inverted V7 chords.
Overview
Phrase beginnings in Western classical music typically feature a prolongation of tonic harmony to establish the home key. “Prolongation” just means that the harmony’s influence lasts longer than a single chord. Say, for example, that you bought a serving of ice cream that you wanted to enjoy over an extended period. One way to do it would be to take small bites to extend the length of time you’re eating. While this method would work, you might be eating ice cream soup by the end. Another way to do it would be to eat some, put it in the freezer, do some other activity, then come back and eat some more. You might say, “I’ve been eating ice cream all day,” even though you haven’t literally been eating ice cream every second of the day (as much as you might want to).
Something analogous happens in music. We could prolong the tonic’s importance at the beginning of a phrase by holding or repeating the chord (like taking small bites of the ice cream), as in
, but more interesting and rewarding is to use other chords between instances of the tonic (like putting the ice cream in the freezer and coming back to it later).
shows one instance of the most common way to prolong tonic at the beginning of a phrase: using inverted V7s between tonic triads. The tonic’s influence is felt more strongly because (1) it’s on stronger beats or hyperbeats than the V7, and (2) it appears at least once in root position, whereas the V7 is in a weaker inversion.
Writing Tonic Prolongations
The tonic prolongations covered in this chapter are the ones most commonly seen in Western classical music, and they all share several traits:
- They are three chords long
- The first and last chords are I or I6
- The middle chord is V6 or an inverted V7
- The V6 or inverted V7 resolves using the same principles we learned in Strengthening Endings with Cadential [latex]^6_4[/latex]
Prolonging with V6/5 and V6
[latex]\mathrm{V}^6_5[/latex] typically prolongs root position I in the progression [latex]\mathrm{I-V^6_5-I}[/latex] (typical writing procedure.
). This is because ti ([latex]\hat{7}[/latex]) is in the bass, and we know that ti ([latex]\hat{7}[/latex]) must resolve to do ([latex]\hat{1}[/latex]). As always, follow the
It’s also possible to prolong tonic with V6 rather than [latex]\mathrm{V}^6_5[/latex], though this is less common (
).
Prolonging with V4/2
[latex]\mathrm{V}^4_2[/latex] usually helps us move from root position to first inversion I in the progression [latex]\mathrm{I-V^4_2-I^6}[/latex] (typical writing procedure.
). This is because [latex]\mathrm{V}^4_2[/latex] has fa ([latex]\hat{4}[/latex]) in the bass, which must resolve to mi ([latex]\hat{3}[/latex]) since fa ([latex]\hat{4}[/latex]) is the chordal seventh. Again, follow the
Prolonging with V4/3
Most commonly, [latex]\mathrm{V}^4_3[/latex] helps us move from root position to first inversion I in the progression [latex]\mathrm{I-V^4_3-I^6}[/latex] (typical writing procedure.
). It occasionally prolongs root position tonic in the progression [latex]\mathrm{I-V^4_3-I}[/latex], but this isn’t very common ( ). These options are available because [latex]\mathrm{V}^4_3[/latex]’s bass note, re ([latex]\hat{2}[/latex]), may go either to do ([latex]\hat{1}[/latex]) or to mi ([latex]\hat{3}[/latex]). Again, follow the
Writing with [latex]\mathrm{V}^4_3[/latex] also offers one exception to the rule that the chordal seventh, fa ([latex]\hat{4}[/latex]), must resolve down (
). Here, fa moves up to sol ([latex]\hat4-\hat5[/latex]). This exception is made possible because the bass creates parallel tenths with the upper voice that takes the line mi–fa–sol ([latex]\hat3-\hat4-\hat5[/latex]).
Combining Progressions
By chaining together several of these tonic prolongation progressions, composers can extend the tonic’s influence for quite a while at the beginning of a phrase, as in
A part-written example is given in
Bass Line Summary
A summary of the four tonic-prolongation bass lines discussed in this chapter, along with their associated progressions, is given in
| Bass | Progression |
|---|---|
| do–ti–do ([latex]\hat{1}[/latex]–[latex]\hat{7}[/latex]–[latex]\hat{1}[/latex]) |
[latex]\mathrm{I}[/latex]–[latex]\mathrm{V}\begin{smallmatrix}6\\(5)\end{smallmatrix}[/latex]–[latex]\mathrm{I}[/latex] |
| do–re–mi ([latex]\hat{1}[/latex]–[latex]\hat{2}[/latex]–[latex]\hat{3}[/latex]) |
[latex]\mathrm{I}[/latex]–[latex]\mathrm{V}\begin{smallmatrix}4\\3\end{smallmatrix}[/latex]–[latex]\mathrm{I}^{6}[/latex] |
| do–re–do ([latex]\hat{1}[/latex]–[latex]\hat{2}[/latex]–[latex]\hat{1}[/latex]) |
[latex]\mathrm{I}[/latex]–[latex]\mathrm{V}\begin{smallmatrix}4\\3\end{smallmatrix}[/latex]–[latex]\mathrm{I}[/latex] |
| do–fa–mi ([latex]\hat{1}[/latex]–[latex]\hat{4}[/latex]–[latex]\hat{3}[/latex]) |
[latex]\mathrm{I}[/latex]–[latex]\mathrm{V}\begin{smallmatrix}4\\2\end{smallmatrix}[/latex]–[latex]\mathrm{I}^{6}[/latex] |
- Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7 (.pdf, .docx, recording). Asks students to write from Roman numerals and figures and complete a guided analysis. Download score.
When a given harmony’s influence lasts longer than a single chord. Usually this is accomplished by alternating the prolonged chord with other, less important chords.
1. Write the entire bass
2. Write the entire soprano to make a smooth melody that interacts well with the bass. Choose active notes for the soprano above dominant-function chords, and remember you do not always need to write left to right.
3. Write the inner voices by asking, "What notes do I already have? What notes do I still need? Considering spacing and resolution, what note placement would give me the smoothest motion?"


The Learning Gap
An important part of the instructional design process is identifying the desired results and instructional goals of learning. The difference between the learner’s current state and the desired state is the “learning gap.”
Types of Learning Gaps
For some adult learners, the desired state could be to successfully complete a high school equivalency exam. However, adult learners have many other wants and motivations. When designing instruction for adult learners, it is important to consider that many have high-level entry skills and existing knowledge. After considering a learner’s current state (i.e. reading ability, time, money, life experience, formal education attained, etc.) and their desired state, a number of learning gaps could affect your learner’s success. The list below describes possible types of gaps (Dirksen, 2012). Pause for a minute to consider what they might mean in terms of the persona we have been considering.
- Knowledge Gaps – Some students simply do not know or have not been exposed to the right information.
- Skills Gaps – Some students know the information, but have not had sufficient practice to be able to perform successfully.
- Motivation Gap – When knowledge and skills are present you may need to consider attitude and motivation.
- Environmental Gap – There are a surprising number of potential environmental roadblocks for ABE learners. Where do they study? Do they have the right tools? Do they have enough time?
- Communication Gap – At times the biggest gap is not knowledge, skill, or motivation. When thinking about learning gaps make sure to consider that the right messages are being sent between instruction and learner.


Biopsychology
Introduction to Nature and Nurture
What you’ll learn to do: explain how nature, nurture, and epigenetics influence personality and behavior
How do we become who we are? Traditionally, people’s answers have placed them in one of two camps: nature or nurture. The one says genes determine an individual while the other claims the environment is the linchpin for development. Since the 16th century, when the terms “nature” and “nurture” first came into use, many people have spent ample time debating which is more important, but these discussions have more often led to ideological cul-de-sacs rather than pinnacles of insight.
New research into epigenetics—the science of how the environment influences genetic expression—is changing the conversation. As psychologist David S. Moore explains in his newest book, The Developing Genome, this burgeoning field reveals that what counts is not what genes you have so much as what your genes are doing. And what your genes are doing is influenced by the ever-changing environment they’re in. Factors like stress, nutrition, and exposure to toxins all play a role in how genes are expressed—essentially which genes are turned on or off. Unlike the static conception of nature or nurture, epigenetic research demonstrates how genes and environments continuously interact to produce characteristics throughout a lifetime.
Learning Objectives
- Investigate the historic nature vs. nurture debate and describe techniques psychologists use to learn about the origin of traits
- Explain the basic principles of the theory of evolution by natural selection, genetic variation, and mutation
- Describe epigenetics and examine how gene-environment interactions are critical for expression of physical and psychological characteristics
Licenses and Attributions (Click to expand)
CC licensed content, Original
- Modification, adaptation, and original content. Provided by: Lumen Learning. License: CC BY: Attribution
CC licensed content, Shared previously
- DNA image. Provided by: Wikimedia. Located at: https://simple.wikipedia.org/wiki/DNA_methylation#/media/File:DNA_methylation.jpg. License: CC BY-SA: Attribution-ShareAlike
- The End of Nature Versus Nurture. Authored by: Evan Nesterak. Located at: http://thepsychreport.com/books/the-end-of-nature-versus-nurture/. Project: The Psych Report. License: CC BY-NC-SA: Attribution-NonCommercial-ShareAlike


Mixing and Testing Concrete
Topic 2 – Mixing and Testing Concrete
Concrete’s finished quality is determined by the water/cement ratio (W/C). If mixing by hand the proportions of cement to aggregate are 1:5. The amount of water needed to achieve the correct W/C ratio is added to the mix as well. The lower the ratio the more durable the finish but the less workable the concrete. The amount of aggregate you put in a mix has little to do with the strength of concrete. As you add more aggregate to the mixer, the mix becomes dryer and harder to place, but the strength does not change (provided there is enough cement paste to fill the spaces between the aggregates).
The advantages of ready mixed concrete are:
- Uniform product
- Convenience
- Economy
Source: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcT7yGobllC55YbAx0ztFbpeKpXxe87L-SkepQ&usqp=CAU
Water should not be added to a ready-mix order as it will reduce the quality of the mix, increase wait time, and take longer to finish. In hot weather, dampening the subgrade will slow down evaporation without affecting the workability of the mix.
A slump test is used to measure the consistency of the mix and should be done to ensure the proper slump has been delivered.
Concrete should be tested to ensure certain design properties are in the mix. The concrete is sampled at different intervals during placement. The samples are taken from a wheelbarrow instead of the chute or forms and stored in test cylinders. Tests include:
- Air entrainment tests
- Compressive strength tests
- Wear resistance test
- Permeability tests.
Concrete strength is based on a curing time of 28 days. Sample tests are taken during placement, stored and then tested to see if the mixture has the desired strength at different stages in the curing time.
https://www.flickr.com/photos/mtacc-esa/50887549448
For additional information review Principles and Practices of Commercial “Concrete Work.” (P 233)
Review Instruction Sheet (IS) on Brightspace:
CONC 100/122, p. 17 – 39:
- IS 3.2 Water-Cement Ratio and Mixing a Trial Batch
- IS 3.3 Ready-Mixed Concrete
- IS 3.4 Concrete Mixing Using a Mixer
- IS 3.5 Terminology Used in Concrete Construction
- IS 1.2 Testing Concrete


26 Mitochondria and Chloroplasts
Mitochondria
Mitochondria (singular = mitochondrion) are often called the “powerhouses” or “energy factories” of a cell because they are responsible for making adenosine triphosphate (ATP), the cell’s main energy-carrying molecule. The formation of ATP from the breakdown of glucose is known as cellular respiration. Mitochondria are oval-shaped, double-membrane organelles (Figure 1) that have their own ribosomes and DNA. Each membrane is a phospholipid bilayer embedded with proteins. The inner layer has folds called cristae, which increase the surface area of the inner membrane. The area surrounded by the folds is called the mitochondrial matrix. The cristae and the matrix have different roles in cellular respiration.
In keeping with our theme of form following function, it is important to point out that muscle cells have a very high concentration of mitochondria because muscle cells need a lot of energy to contract.
Like mitochondria, chloroplasts also have their own DNA and ribosomes. Chloroplasts function in photosynthesis and can be found in eukaryotic cells such as plants and algae. Carbon dioxide (CO2), water, and light energy are used to make glucose and oxygen in photosynthesis. This is the major difference between plants and animals: Plants (autotrophs) are able to make their own food, like glucose, whereas animals (heterotrophs) must rely on other organisms for their organic compounds or food source.
Like mitochondria, chloroplasts have outer and inner membranes, but within the space enclosed by a chloroplast’s inner membrane is a set of interconnected and stacked, fluid-filled membrane sacs called thylakoids (Figure 2). Each stack of thylakoids is called a granum (plural = grana). The fluid enclosed by the inner membrane and surrounding the grana is called the stroma.
The chloroplasts contain a green pigment called chlorophyll, which captures the energy of sunlight for photosynthesis. Like plant cells, photosynthetic protists also have chloroplasts. Some bacteria also perform photosynthesis, but they do not have chloroplasts. Their photosynthetic pigments are located in the thylakoid membrane within the cell itself.
Theory of Endosymbiosis
We have mentioned that both mitochondria and chloroplasts contain DNA and ribosomes. Have you wondered why? Strong evidence points to endosymbiosis as the explanation.
Symbiosis is a relationship in which organisms from two separate species live in close association and typically exhibit specific adaptations to each other. Endosymbiosis (endo-= within) is a relationship in which one organism lives inside the other. Endosymbiotic relationships abound in nature. Microbes that produce vitamin K live inside the human gut. This relationship is beneficial for us because we are unable to synthesize vitamin K. It is also beneficial for the microbes because they are protected from other organisms and are provided a stable habitat and abundant food by living within the large intestine.
Scientists have long noticed that bacteria, mitochondria, and chloroplasts are similar in size. We also know that mitochondria and chloroplasts have DNA and ribosomes, just as bacteria do. Scientists believe that host cells and bacteria formed a mutually beneficial endosymbiotic relationship when the host cells ingested aerobic bacteria and cyanobacteria but did not destroy them. Through evolution, these ingested bacteria became more specialized in their functions, with the aerobic bacteria becoming mitochondria and the photosynthetic bacteria becoming chloroplasts.
References
Unless otherwise noted, images on this page are licensed under CC-BY 4.0 by OpenStax.
Text adapted from: OpenStax, Concepts of Biology. OpenStax CNX. May 18, 2016 http://cnx.org/contents/b3c1e1d2-839c-42b0-a314-e119a8aafbdd@9.10


99
Chloe Robinette
What’s the hardest thing about college? Maybe you just said grades, but my answer would be freedom. For some of you it is your first time without any guardian and that can seem like the best thing ever. I’m here telling you that’s not always true. Freedom can cause so much trouble especially for first year college students. So, I am going to tell you why I feel like this is very important and how to overcome this.
First, I want to share with you some statistics about freedom and how they affect college life. According to educationaldata.org the percentage of first year college students that drop out after a year is 30%. That may not sound like a lot, but it can be when you fall within that number. Now what is the cause of these dropouts? According to Beverly Bird’s article on college students and the statics on drop out rates in 2017. She says, “Of those who must take remedial classes to get off the ground academically, 75 percent will not make it to graduation. As many as 50 percent of students who must take introductory “weed out” courses at colleges and universities fail those courses.” Why? Normal they don’t handle the freedom that they are given well the first year. This can be because, lack of time management, discipline, or even “going wild”. Don’t worry though because through this entire passage I am going to help you make sure you don’t do those things.
Second, I want to share some stories with you about people who have almost failed because they didn’t know how to deal with their new freedom. The first person I interviewed didn’t want me to tell everyone his name but let me use his story. He started college in 2018, and he came from a more sheltered family. After he had been there for a few months he got kicked out, for failing. He shared with me that it wasn’t because he had tried his hardest and it wasn’t enough. It was because he had partied and didn’t even bother to check on any class while he was there. He also noted that he wasn’t coming back to college just because he doesn’t know how to manage his freedom. The second story is about a Guy named Jessie. He graduated from Morehead State University. He had a different story than the last. His family wasn’t that strict but still expected him home by a reasonable time every night. He went away to college but only struggled for the first week or so. He learned within that first week of school he needed to set some rules for himself and he did. He got a planer, made set times to get his work done, and still made time for a social life. He said, “making a schedule for life and school is the best thing you can do if you want to have good grades and still talk to your friends.” The next story I want to share is my own, I am a freshman writing this and I would be lying if I said the transition is easy. I came from more of a sheltered family who wouldn’t let me go out past 6 or7 o’clock. When I got to college everything changed, I could stay out as late as I wanted, and no one would say a thing. It was a turning point for me when I would stay up late and have to be at work by 8 then do homework the rest of the day. I would feel so bad and be so exhausted that I decided to take a step back and look at what I was doing. I knew I needed to start setting up plans for the nights and days. I got a planer and started writing down assignments and when they were due. That way I got them done and made sure I turned them in, on time, even if it was 11:59 when I hit the submit button. I even made a set time to go to bed so I could still go to class, then work, then get my homework done. I was still tired at the end of the day don’t get me wrong, but I was less “dead” when I did everything.
Last thing I want to talk about is just some of the solution you can make so freedom doesn’t control you in college. Some things that you can do are, make a planner, make your own curfew, and even take a few steps back. You can get a planner almost anywhere, just take some time every week and go through what you want done and when. Chart that down on the planner but also add a block of free time so you know you will be able take breaks or just have the extra time for anything else. Then you my ask how to know what time to set your curfew. This will be different for everyone and depend on how much sleep you need to feel good for the day. For me I have to have plenty of sleep, but others may have to have less or even more. Finally, ask when is it time to take a step back? That is when you are constantly tired and are not getting your schoolwork done. All you need to do is stop and think why I am tired. Is it because I am staying out too late, running around more than I am doing homework, or am I just not trying like I should? Then find a plan to overcome it and take action, no one else will do it for you, you have to.
In conclusion you can see how freedom can try to take over your whole life at college, but you can’t let it. You can tell that if you let it, you may not get to come back the next year or every again. All you have to do is the simple three things: make a planer, make your own curfew, and take a step back when it is necessary. I know so many people who use these things that pass college and end up coming back the next year. So, I hope you find this useful while starting your first year and also are able to flourish and accomplish your dreams and great things.
Work Cited
Bird, Beverly. “What Percentage of College Students Fail Their First Semester?” The Classroom | Empowering Students in Their College Journey, 26 Sept. 2017, www.theclassroom.com/percentage-college-students-fail-first-semester-7610.html.
Bustamante, Jaleesa. “College Dropout Rate [2020]: by Year + Demographics.” EducationData, 06 Nov. 2019, educationdata.org/college-dropout-rates.
Skogerboe, Liz. “Balance Freedom and Responsibility in College – College Raptor.” College Raptor Blog, 7 Oct. 2020, http://www.collegeraptor.com/find-colleges/articles/tips-tools-advice/balance-freedom-responsibility-college/.


84 Flight from Mecca to Medina
Learning Objective
- Explain the basis for opposition to Muhammad
Key Points
- As Islam spread in Mecca, the ruling tribes began to oppose Muhammad’s preaching and his condemnation of idolatry.
- The Quraysh tribe controlled the Kaaba and drew their religious and political power from its polytheistic shrines, so they began to persecute the Muslims and many of Muhammad’s followers became martyrs.
- When Muhammad’s wife Khadijah and uncle Abu Talib both died in 619 CE, Abu Lahab assumed leadership of the Banu Hashim clan and withdrew the clan’s protection from Muhammad.
- In 622 CE, Muhammad and his followers migrated to Yathrib in the Hijra to escape persecution, renaming the city Medina in honor of the prophet.
- Among the first things Muhammad did to ease the longstanding grievances among the tribes of Medina was draft a document known as the Constitution of Medina.
Terms
Banu Hashim clan
One of Mecca’s prominent families and part of the Quraysh tribe.
Mecca
The birthplace of Muhammad and the site of Muhammad’s first revelation of the Quran, this city is regarded as the holiest city in the religion of Islam.
Hijra
The migration or journey of the Islamic prophet Muhammad and his followers from Mecca to Medina in June 622 CE.
Medina
Muhammad’s destination during the Hijra, which became the power base of Islam in its first century (renamed from Yathrib).
Muhammad Starts Preaching
During the first three years of his ministry, Muhammad preached Islam privately, mainly among his near relatives and close acquaintances. According to Muslim tradition, Muhammad’s wife Khadija was the first to believe he was a prophet. She was followed by Muhammad’s ten-year-old cousin Ali ibn Abi Talib, close friend Abu Bakr, and adopted son Zaid. According to Islamic belief, in the fourth year of Muhammad’s prophethood, around 613, he was ordered by God to make his propagation of this monotheistic faith public. Muhammad’s earliest teachings were marked by his insistence on the oneness of God, the denunciation of polytheism, belief in the last judgment and its recompense, and social and economic justice.
Most Meccans ignored and mocked him, though a few became his followers. There were three main groups of early converts to Islam: younger brothers and sons of great merchants; people who had fallen out of the first rank in their tribe or failed to attain it; and the weak, mostly unprotected foreigners.
Opposition in Mecca
According to Ibn Sad, one of Muhammad’s companions, the opposition in Mecca started when Muhammad delivered verses that condemned idol worship and polytheism. However, the Quran maintains that it began when Muhammad started public preaching. As Islam spread, Muhammad threatened the local tribes and Meccan rulers because their wealth depended on the Kaaba. Muhammad’s preaching was particularly offensive to his own Quraysh tribe because they guarded the Kaaba and drew their political and religious power from its polytheistic shrines.
The ruling tribes of Mecca perceived Muhammad as a danger that might cause tensions similar to the rivalry of Judaism and Bedouin Polytheism in Yathrib. The powerful merchants in Mecca attempted to convince Muhammad to abandon his preaching by offering him admission into the inner circle of merchants and an advantageous marriage. However, Muhammad turned down both offers.
At first, the opposition was confined to ridicule and sarcasm, but later morphed into active persecution that forced a section of new converts to migrate to neighboring Abyssinia (present day Ethiopia). Upset by the rate at which Muhammad was gaining new followers, the Quraysh proposed adopting a common form of worship, which was denounced by the Quran.
Muhammad himself was protected from physical harm as long as he belonged to the Banu Hashim clan, but his followers were not so lucky. Sumayyah bint Khabbab, a slave of the prominent Meccan leader Abu Jahl, is famous as the first martyr of Islam; her master killed her with a spear when she refused to give up her faith. Bilal, another Muslim slave, was tortured by Umayyah ibn Khalaf, who placed more and more rocks on his chest to force his conversion, until he died.
Death of Khadijah and Abu Talib in 619 CE
Muhammad’s wife Khadijah and uncle Abu Talib both died in 619 CE, the year that became known as the “year of sorrow.” With the death of Abu Talib, Abu Lahab assumed leadership of the Banu Hashim clan. Soon after, Abu Lahab withdrew the clan’s protection from Muhammad, endangering him and his followers. Muhammad took this opportunity to look for a new home for himself and his followers. After several unsuccessful negotiations, he found hope with some men from Yathrib (later called Medina). The Arab population of Yathrib were familiar with monotheism and were prepared for the appearance of a prophet because a Jewish community existed there as well. They also hoped, by the means of Muhammad and the new faith, to gain supremacy over Mecca; the Yathrib were jealous of its importance as the place of pilgrimage. Converts to Islam came from nearly all Arab tribes in Medina; by June of the subsequent year, seventy-five Muslims came to Mecca for pilgrimage and to meet Muhammad.
The Delegation from Medina
A delegation from Medina, consisting of the representatives of the twelve important clans of Medina, invited Muhammad as a neutral outsider to serve as the chief arbitrator for the entire community. There was fighting in Yathrib (Medina) mainly involving its Arab and Jewish inhabitants for around a hundred years before 620. The recurring slaughters and disagreements over the resulting claims, especially after the battle of Bu’ath, in which all the clans were involved, made it obvious that the tribal conceptions of blood feud and an eye for an eye were no longer workable unless there was one man with authority to adjudicate in disputed cases. The delegation from Medina pledged themselves and their fellow citizens to accept Muhammad into their community and physically protect him as one of their own.
The Hijra in 622 CE
The Hijra is the migration of Muhammad and his followers from Mecca to Medina, 320 kilometers (200 miles) north, in 622 CE. Muhammad instructed his followers to emigrate to Medina until nearly all of them left Mecca. According to tradition, the Meccans, alarmed at the departure, plotted to assassinate Muhammad. In June 622, when he was warned of the plot, Muhammad slipped out of Mecca with his companion, Abu Bakr.
On the night of his departure, Muhammad’s house was besieged by the appointed men of Quraysh. It is said that when Muhammad emerged from his house, he recited the a verse from the Quran and threw a handful of dust in the direction of the besiegers, which prevented them seeing him. When the Quraysh learned of Muhammad’s escape, they announced a large reward for bringing him back to them, alive or dead, and pursuers scattered in all directions. After eight days’ journey, Muhammad entered the outskirts of Medina, but did not enter the city directly. He stopped at a place called Quba, some miles from the main city, and established a mosque there. After a fourteen-days stay at Quba, Muhammad started for Medina, participating in his first Friday prayer on the way, and upon reaching the city was greeted cordially by its people.
Muhammad in Medina
Among the first things Muhammad did to ease the longstanding grievances among the tribes of Medina was draft a document known as the Constitution of Medina, “establishing a kind of alliance or federation” among the eight Medinan tribes and Muslim emigrants from Mecca. The document specified rights and duties of all citizens and the relationship of the different communities in Medina (including between the Muslim community and other communities, specifically the Jews and other “Peoples of the Book”). The community defined in the Constitution of Medina, Ummah, had a religious outlook, also shaped by practical considerations, and substantially preserved the legal forms of the old Arab tribes.
The first group of pagan converts to Islam in Medina were the clans who had not produced great leaders for themselves but had suffered from warlike leaders from other clans. This was followed by the general acceptance of Islam by the pagan population of Medina, with some exceptions.
Reconciliation and Consolidation of the Islamic State
Around 628 CE, the nascent Islamic state was somewhat consolidated when Muhammad left Medina to perform pilgrimage at Mecca. The Quraysh intercepted him en route and made a treaty with the Muslims. Though the terms of the Hudaybiyyah treaty may have been unfavorable to the Muslims of Medina, the Quran declared it a clear victory. Muslim historians suggest that the treaty mobilized the contact between the Meccan pagans and the Muslims of Medina. The treaty demonstrated that the Quraysh recognized Muhammad as their equal and Islam as a rising power.


7.2 Cardiovascular Technologist
Brandon Censon MPH, CPH, RRT-NPS, CPFT, CPT
A cardiovascular technologist (CVT), also referred to as a vascular or cardiovascular technician, is a professional who uses medical imaging equipment, such as ultrasound, to assess the heart for conditions that may impair its function. These conditions may involve issues with the heart’s valves or the vessels that carry blood to and from the heart. The cardiovascular technician is often responsible for preparing the patient and equipment for a given procedure. Beforehand, CVTs collect vital signs and record a brief patient history. During a procedure, they may also operate some of the necessary equipment. Cardiovascular technologists work closely with physicians, often assisting them in surgical suites during various procedures.
Disease Dissection: Mitral Valve Regurgitation
Mitral valve regurgitation is a common heart condition that affects the mitral valve, located on the left side of the heart between the left atrium and left ventricle. This condition occurs when blood from the left ventricle leaks back into the left atrium during contraction of the left ventricle (Mount Sinai, 2016). As the blood leaks back into the left atrium, the pressure in the atrium and the pulmonary veins (the vessels that carry blood from the lungs to the heart) rises. Over time, this elevated pressure can cause fluid to accumulate in the lungs.
Mitral valve regurgitation often begins mildly and progresses slowly. Common symptoms include shortness of breath, irregular heart beat, swelling in the feet and ankles, and heart palpitations.
Treating mitral valve regurgitation may involve medications or more invasive procedures, such as surgery. In cases of severe regurgitation, a procedure known as heart catheterization may be performed, where a catheter is used to repair or replace the mitral valve. A cardiovascular technologist prepares the sterile equipment and catheter for these procedures.
Academic Requirements and Career Pathway
The academic requirements for cardiovascular technologists include the completion of an associate degree program that includes didactic training and hands-on clinical training. After completing the associate degree, students may take certification exams from either Cardiovascular Credentialing International (CCI) or the American Registry of Diagnostic Medical Sonographers (ARDMS). Students can also pursue a bachelor’s degree, which may make them more competitive and lead to higher salaries.
The career pathway for cardiovascular technologists is divided into four main specialty areas:
- Cardiology technologists assist physicians during catheter implant procedures.
- Echocardiography technologists use ultrasound equipment to evaluate a patient’s heart.
- Electrocardiography technologists perform cardiac stress tests, conduct EKGs, and fit patients for holter monitors.
- Vascular technologists assist physicians in evaluating a patient’s blood flow and detecting abnormalities.
Known as an Electrocardiogram. A device that records the electrical signals from the heart. It is often used to evaluate heart conditions.
A portable EKG device that attaches to a patient for long term cardiac monitoring while outside of a clinic.


Hamlet – Act V
ACT V
SCENE I. A churchyard.
Enter two Clowns with spades, &c.
FIRST CLOWN.
Is she to be buried in Christian burial, when she wilfully seeks her own salvation?
SECOND CLOWN.
I tell thee she is, and therefore make her grave straight. The crowner hath sat on her, and finds it Christian burial.
FIRST CLOWN.
How can that be, unless she drowned herself in her own defence?
SECOND CLOWN.
Why, ’tis found so.
FIRST CLOWN.
It must be se offendendo, it cannot be else. For here lies the point: if I drown myself wittingly, it argues an act: and an act hath three branches. It is to act, to do, and to perform: argal, she drowned herself wittingly.
SECOND CLOWN.
Nay, but hear you, goodman delver,—
FIRST CLOWN.
Give me leave. Here lies the water; good. Here stands the man; good. If the man go to this water and drown himself, it is, will he nill he, he goes,—mark you that. But if the water come to him and drown him, he drowns not himself.
SECOND CLOWN.
But is this law?
FIRST CLOWN.
Ay, marry, is’t, crowner’s quest law.
SECOND CLOWN.
Will you ha’ the truth on’t? If this had not been a gentlewoman, she should have been buried out o’ Christian burial.
FIRST CLOWN.
Why, there thou say’st. And the more pity that great folk should have countenance in this world to drown or hang themselves more than their even Christian. Come, my spade. There is no ancient gentlemen but gardeners, ditchers, and grave-makers: they hold up Adam’s profession.
SECOND CLOWN.
Was he a gentleman?
FIRST CLOWN.
He was the first that ever bore arms.
SECOND CLOWN.
Why, he had none.
FIRST CLOWN.
What, art a heathen? How dost thou understand the Scripture? The Scripture says Adam digg’d. Could he dig without arms? I’ll put another question to thee. If thou answerest me not to the purpose, confess thyself—
SECOND CLOWN.
Go to.
FIRST CLOWN.
What is he that builds stronger than either the mason, the shipwright, or the carpenter?
SECOND CLOWN.
The gallows-maker; for that frame outlives a thousand tenants.
FIRST CLOWN.
I like thy wit well in good faith, the gallows does well. But how does it well? It does well to those that do ill. Now, thou dost ill to say the gallows is built stronger than the church; argal, the gallows may do well to thee. To’t again, come.
SECOND CLOWN.
Who builds stronger than a mason, a shipwright, or a carpenter?
FIRST CLOWN.
Ay, tell me that, and unyoke.
SECOND CLOWN.
Marry, now I can tell.
FIRST CLOWN.
To’t.
SECOND CLOWN.
Mass, I cannot tell.
Enter Hamlet and Horatio, at a distance.
FIRST CLOWN.
 The houses he makes last till doomsday. Go, get thee to Yaughan; fetch me a stoup of liquor.
[Exit Second Clown.]
[Digs and sings.]
In youth when I did love, did love,
Methought it was very sweet;
To contract, O, the time for, a, my behove,
O methought there was nothing meet.
HAMLET.
Has this fellow no feeling of his business, that he sings at grave-making?
HORATIO.
Custom hath made it in him a property of easiness.
HAMLET.
’Tis e’en so; the hand of little employment hath the daintier sense.
FIRST CLOWN.
[Sings.]
But age with his stealing steps
Hath claw’d me in his clutch,
And hath shipp’d me into the land,
As if I had never been such.
[Throws up a skull.]
HAMLET.
That skull had a tongue in it, and could sing once. How the knave jowls it to th’ ground, as if ’twere Cain’s jawbone, that did the first murder!
HORATIO.
It might, my lord.
HAMLET.
Or of a courtier, which could say ‘Good morrow, sweet lord! How dost thou, good lord?’ This might be my lord such-a-one, that praised my lord such-a-one’s horse when he meant to beg it, might it not?
HORATIO.
Ay, my lord.
HAMLET.
Why, e’en so: and now my Lady Worm’s; chapless, and knocked about the mazard with a sexton’s spade. Here’s fine revolution, an we had the trick to see’t. Did these bones cost no more the breeding but to play at loggets with ’em? Mine ache to think on’t.
FIRST CLOWN.
[Sings.]
A pickaxe and a spade, a spade,
For and a shrouding-sheet;
O, a pit of clay for to be made
For such a guest is meet.
[Throws up another skull.]
HAMLET.
There’s another. Why may not that be the skull of a lawyer? Where be his quiddits now, his quillets, his cases, his tenures, and his tricks?  Hum. This fellow might be in’s time a great buyer of land, with his statutes, his recognizances, his fines, his double vouchers, his recoveries. Is this the fine of his fines, and the recovery of his recoveries, to have his fine pate full of fine dirt? Will his vouchers vouch him no more of his purchases, and double ones too, than the length and breadth of a pair of indentures? The very conveyances of his lands will scarcely lie in this box; and must the inheritor himself have no more, ha?
HORATIO.
Not a jot more, my lord.
HAMLET.
Is not parchment made of sheep-skins?
HORATIO.
Ay, my lord, and of calf-skins too.
HAMLET.
They are sheep and calves which seek out assurance in that. I will speak to this fellow.—Whose grave’s this, sir?
FIRST CLOWN.
Mine, sir.
[Sings.]
O, a pit of clay for to be made
For such a guest is meet.
HAMLET.
I think it be thine indeed, for thou liest in’t.
FIRST CLOWN.
You lie out on’t, sir, and therefore ’tis not yours.
For my part, I do not lie in’t, yet it is mine.
HAMLET.
Thou dost lie in’t, to be in’t and say it is thine. ’Tis for the dead, not for the quick; therefore thou liest.
FIRST CLOWN.
’Tis a quick lie, sir; ’t will away again from me to you.
HAMLET.
What man dost thou dig it for?
FIRST CLOWN.
For no man, sir.
HAMLET.
What woman then?
FIRST CLOWN.
For none neither.
HAMLET.
Who is to be buried in’t?
FIRST CLOWN.
One that was a woman, sir; but, rest her soul, she’s dead.
HAMLET.
 We must speak by the card, or equivocation will undo us. By the Lord, Horatio, these three years I have taken note of it, the age is grown so picked that the toe of the peasant comes so near the heel of the courtier he galls his kibe.—How long hast thou been a grave-maker?
FIRST CLOWN.
Of all the days i’ th’ year, I came to’t that day that our last King Hamlet o’ercame Fortinbras.
HAMLET.
How long is that since?
FIRST CLOWN.
Cannot you tell that? Every fool can tell that. It was the very day that young Hamlet was born,—he that is mad, and sent into England.
HAMLET.
Ay, marry, why was he sent into England?
FIRST CLOWN.
Why, because he was mad; he shall recover his wits there; or if he do not, it’s no great matter there.
HAMLET.
Why?
FIRST CLOWN.
’Twill not be seen in him there; there the men are as mad as he.
HAMLET.
How came he mad?
FIRST CLOWN.
Very strangely, they say.
HAMLET.
How strangely?
FIRST CLOWN.
Faith, e’en with losing his wits.
HAMLET.
Upon what ground?
FIRST CLOWN.
Why, here in Denmark. I have been sexton here, man and boy, thirty years.
HAMLET.
How long will a man lie i’ th’earth ere he rot?
FIRST CLOWN.
Faith, if he be not rotten before he die,—as we have many pocky corses nowadays that will scarce hold the laying in,—he will last you some eight year or nine year. A tanner will last you nine year.
HAMLET.
Why he more than another?
FIRST CLOWN.
Why, sir, his hide is so tann’d with his trade that he will keep out water a great while.  Here’s a skull now; this skull hath lain in the earth three-and-twenty years.
HAMLET.
Whose was it?
FIRST CLOWN.
A whoreson, mad fellow’s it was. Whose do you think it was?
HAMLET.
Nay, I know not.
FIRST CLOWN.
A pestilence on him for a mad rogue! A pour’d a flagon of Rhenish on my head once. This same skull, sir, was Yorick’s skull, the King’s jester.
HAMLET.
This?
FIRST CLOWN.
E’en that.
HAMLET.
Let me see. [Takes the skull.] Alas, poor Yorick. I knew him, Horatio, a fellow of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kiss’d I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? Quite chop-fallen? Now get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour she must come. Make her laugh at that.—Prythee, Horatio, tell me one thing.
HORATIO.
What’s that, my lord?
HAMLET.
Dost thou think Alexander looked o’ this fashion i’ th’earth?
HORATIO.
E’en so.
HAMLET.
And smelt so? Pah!
[Throws down the skull.]
HORATIO.
E’en so, my lord.
HAMLET.
To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander till he find it stopping a bung-hole?
HORATIO.
’Twere to consider too curiously to consider so.
HAMLET.
No, faith, not a jot. But to follow him thither with modesty enough, and likelihood to lead it; as thus. Alexander died, Alexander was buried, Alexander returneth into dust; the dust is earth; of earth we make loam; and why of that loam whereto he was converted might they not stop a beer-barrel?
Imperious Caesar, dead and turn’d to clay,
Might stop a hole to keep the wind away.
O, that that earth which kept the world in awe
Should patch a wall t’expel the winter’s flaw.
But soft! but soft! aside! Here comes the King.
Enter priests, &c, in procession; the corpse of Ophelia, Laertes and Mourners following; King, Queen, their Trains, &c.
The Queen, the courtiers. Who is that they follow?
And with such maimed rites? This doth betoken
The corse they follow did with desperate hand
Fordo it own life. ’Twas of some estate.
Couch we awhile and mark.
[Retiring with Horatio.]
LAERTES.
What ceremony else?
HAMLET.
That is Laertes, a very noble youth. Mark.
LAERTES.
What ceremony else?
PRIEST.
Her obsequies have been as far enlarg’d
As we have warranties. Her death was doubtful;
And but that great command o’ersways the order,
She should in ground unsanctified have lodg’d
Till the last trumpet. For charitable prayers,
Shards, flints, and pebbles should be thrown on her.
Yet here she is allowed her virgin rites,
Her maiden strewments, and the bringing home
Of bell and burial.
LAERTES.
Must there no more be done?
PRIEST.
No more be done.
We should profane the service of the dead
To sing sage requiem and such rest to her
As to peace-parted souls.
LAERTES.
Lay her i’ th’earth,
And from her fair and unpolluted flesh
May violets spring. I tell thee, churlish priest,
A minist’ring angel shall my sister be
When thou liest howling.
HAMLET.
What, the fair Ophelia?
QUEEN.
[Scattering flowers.] Sweets to the sweet. Farewell.
I hop’d thou shouldst have been my Hamlet’s wife;
I thought thy bride-bed to have deck’d, sweet maid,
And not have strew’d thy grave.
LAERTES.
 Hold off the earth a while,
Till I have caught her once more in mine arms.
[Leaps into the grave.]
Now pile your dust upon the quick and dead,
Till of this flat a mountain you have made,
To o’ertop old Pelion or the skyish head
Of blue Olympus.
HAMLET.
[Advancing.]
 This is I,
Hamlet the Dane.
[Leaps into the grave.]
LAERTES.
[Grappling with him.] The devil take thy soul!
HAMLET.
Thou pray’st not well.
I prythee take thy fingers from my throat;
For though I am not splenative and rash,
Yet have I in me something dangerous,
Which let thy wiseness fear. Away thy hand!
KING.
Pluck them asunder.
QUEEN.
Hamlet! Hamlet!
All.
Gentlemen!
HORATIO.
Good my lord, be quiet.
[The Attendants part them, and they come out of the grave.]
HAMLET.
Why, I will fight with him upon this theme
Until my eyelids will no longer wag.
QUEEN.
O my son, what theme?
HAMLET.
I lov’d Ophelia; forty thousand brothers
Could not, with all their quantity of love,
Make up my sum. What wilt thou do for her?
KING.
O, he is mad, Laertes.
QUEEN.
For love of God forbear him!
HAMLET.
’Swounds, show me what thou’lt do:
Woul’t weep? woul’t fight? woul’t fast? woul’t tear thyself?
Woul’t drink up eisel? eat a crocodile?
I’ll do’t. Dost thou come here to whine?
To outface me with leaping in her grave?
Be buried quick with her, and so will I.
And if thou prate of mountains, let them throw
Millions of acres on us, till our ground,
Singeing his pate against the burning zone,
Make Ossa like a wart. Nay, an thou’lt mouth,
I’ll rant as well as thou.
QUEEN.
This is mere madness:
And thus awhile the fit will work on him;
Anon, as patient as the female dove,
When that her golden couplets are disclos’d,
His silence will sit drooping.
HAMLET.
Hear you, sir;
What is the reason that you use me thus?
I lov’d you ever. But it is no matter.
Let Hercules himself do what he may,
The cat will mew, and dog will have his day.
[Exit.]
KING.
I pray thee, good Horatio, wait upon him.
[Exit Horatio.]
[To Laertes]
Strengthen your patience in our last night’s speech;
We’ll put the matter to the present push.—
Good Gertrude, set some watch over your son.
This grave shall have a living monument.
An hour of quiet shortly shall we see;
Till then in patience our proceeding be.
[Exeunt.]
SCENE II. A hall in the Castle.
Enter Hamlet and Horatio.
HAMLET.
So much for this, sir. Now let me see the other;
You do remember all the circumstance?
HORATIO.
Remember it, my lord!
HAMLET.
Sir, in my heart there was a kind of fighting
That would not let me sleep. Methought I lay
Worse than the mutinies in the bilboes. Rashly,
And prais’d be rashness for it,—let us know,
Our indiscretion sometime serves us well,
When our deep plots do pall; and that should teach us
There’s a divinity that shapes our ends,
Rough-hew them how we will.
HORATIO.
That is most certain.
HAMLET.
Up from my cabin,
My sea-gown scarf’d about me, in the dark
Grop’d I to find out them; had my desire,
Finger’d their packet, and in fine, withdrew
To mine own room again, making so bold,
My fears forgetting manners, to unseal
Their grand commission; where I found, Horatio,
Oh royal knavery! an exact command,
Larded with many several sorts of reasons,
Importing Denmark’s health, and England’s too,
With ho! such bugs and goblins in my life,
That on the supervise, no leisure bated,
No, not to stay the grinding of the axe,
My head should be struck off.
HORATIO.
Is’t possible?
HAMLET.
Here’s the commission, read it at more leisure.
But wilt thou hear me how I did proceed?
HORATIO.
I beseech you.
HAMLET.
Being thus benetted round with villanies,—
Or I could make a prologue to my brains,
They had begun the play,—I sat me down,
Devis’d a new commission, wrote it fair:
I once did hold it, as our statists do,
A baseness to write fair, and labour’d much
How to forget that learning; but, sir, now
It did me yeoman’s service. Wilt thou know
The effect of what I wrote?
HORATIO.
Ay, good my lord.
HAMLET.
An earnest conjuration from the King,
As England was his faithful tributary,
As love between them like the palm might flourish,
As peace should still her wheaten garland wear
And stand a comma ’tween their amities,
And many such-like ‘as’es of great charge,
That on the view and know of these contents,
Without debatement further, more or less,
He should the bearers put to sudden death,
Not shriving-time allow’d.
HORATIO.
How was this seal’d?
HAMLET.
Why, even in that was heaven ordinant.
I had my father’s signet in my purse,
Which was the model of that Danish seal:
Folded the writ up in the form of the other,
Subscrib’d it: gave’t th’impression; plac’d it safely,
The changeling never known. Now, the next day
Was our sea-fight, and what to this was sequent
Thou know’st already.
HORATIO.
So Guildenstern and Rosencrantz go to’t.
HAMLET.
Why, man, they did make love to this employment.
They are not near my conscience; their defeat
Does by their own insinuation grow.
’Tis dangerous when the baser nature comes
Between the pass and fell incensed points
Of mighty opposites.
HORATIO.
Why, what a king is this!
HAMLET.
Does it not, thinks’t thee, stand me now upon,—
He that hath kill’d my king, and whor’d my mother,
Popp’d in between th’election and my hopes,
Thrown out his angle for my proper life,
And with such cozenage—is’t not perfect conscience
To quit him with this arm? And is’t not to be damn’d
To let this canker of our nature come
In further evil?
HORATIO.
It must be shortly known to him from England
What is the issue of the business there.
HAMLET.
It will be short. The interim is mine;
And a man’s life’s no more than to say ‘One’.
But I am very sorry, good Horatio,
That to Laertes I forgot myself;
For by the image of my cause I see
The portraiture of his. I’ll court his favours.
But sure the bravery of his grief did put me
Into a tow’ring passion.
HORATIO.
Peace, who comes here?
Enter Osric.
OSRIC.
Your lordship is right welcome back to Denmark.
HAMLET.
I humbly thank you, sir. Dost know this waterfly?
HORATIO.
No, my good lord.
HAMLET.
Thy state is the more gracious; for ’tis a vice to know him. He hath much land, and fertile; let a beast be lord of beasts, and his crib shall stand at the king’s mess; ’tis a chough; but, as I say, spacious in the possession of dirt.
OSRIC.
Sweet lord, if your lordship were at leisure, I should impart a thing to you from his Majesty.
HAMLET.
I will receive it with all diligence of spirit. Put your bonnet to his right use; ’tis for the head.
OSRIC.
I thank your lordship, ’tis very hot.
HAMLET.
No, believe me, ’tis very cold, the wind is northerly.
OSRIC.
It is indifferent cold, my lord, indeed.
HAMLET.
Methinks it is very sultry and hot for my complexion.
OSRIC.
Exceedingly, my lord; it is very sultry,—as ’twere—I cannot tell how. But, my lord, his Majesty bade me signify to you that he has laid a great wager on your head. Sir, this is the matter,—
HAMLET.
I beseech you, remember,—
[Hamlet moves him to put on his hat.]
OSRIC.
Nay, in good faith; for mine ease, in good faith. Sir, here is newly come to court Laertes; believe me, an absolute gentleman, full of most excellent differences, of very soft society and great showing. Indeed, to speak feelingly of him, he is the card or calendar of gentry; for you shall find in him the continent of what part a gentleman would see.
HAMLET.
Sir, his definement suffers no perdition in you, though I know, to divide him inventorially would dizzy th’arithmetic of memory, and yet but yaw neither, in respect of his quick sail. But, in the verity of extolment, I take him to be a soul of great article and his infusion of such dearth and rareness as, to make true diction of him, his semblable is his mirror and who else would trace him his umbrage, nothing more.
OSRIC.
Your lordship speaks most infallibly of him.
HAMLET.
The concernancy, sir? Why do we wrap the gentleman in our more rawer breath?
OSRIC.
Sir?
HORATIO.
Is’t not possible to understand in another tongue? You will do’t, sir, really.
HAMLET.
What imports the nomination of this gentleman?
OSRIC.
Of Laertes?
HORATIO.
His purse is empty already, all’s golden words are spent.
HAMLET.
Of him, sir.
OSRIC.
I know you are not ignorant,—
HAMLET.
I would you did, sir; yet in faith if you did, it would not much approve me. Well, sir?
OSRIC.

I dare not confess that, lest I should compare with him in excellence; but to know a man well were to know himself.
OSRIC.
I mean, sir, for his weapon; but in the imputation laid on him, by them in his meed he’s unfellowed.
HAMLET.
What’s his weapon?
OSRIC.
Rapier and dagger.
HAMLET.
That’s two of his weapons. But well.
OSRIC.
The King, sir, hath wager’d with him six Barbary horses, against the which he has imponed, as I take it, six French rapiers and poniards, with their assigns, as girdle, hangers, and so. Three of the carriages, in faith, are very dear to fancy, very responsive to the hilts, most delicate carriages, and of very liberal conceit.
HAMLET.
What call you the carriages?
HORATIO.
I knew you must be edified by the margin ere you had done.
OSRIC.
The carriages, sir, are the hangers.
HAMLET.
The phrase would be more german to the matter if we could carry cannon by our sides. I would it might be hangers till then. But on. Six Barbary horses against six French swords, their assigns, and three liberal conceited carriages: that’s the French bet against the Danish. Why is this all imponed, as you call it?
OSRIC.
The King, sir, hath laid that in a dozen passes between you and him, he shall not exceed you three hits. He hath laid on twelve for nine. And it would come to immediate trial if your lordship would vouchsafe the answer.
HAMLET.
How if I answer no?
OSRIC.

HAMLET.
Sir, I will walk here in the hall. If it please his Majesty, it is the breathing time of day with me. Let the foils be brought, the gentleman willing, and the King hold his purpose, I will win for him if I can; if not, I will gain nothing but my shame and the odd hits.
OSRIC.
Shall I re-deliver you e’en so?
HAMLET.
To this effect, sir; after what flourish your nature will.
OSRIC.
I commend my duty to your lordship.
HAMLET.
Yours, yours.
[Exit Osric.]
He does well to commend it himself, there are no tongues else for’s turn.
HORATIO.
This lapwing runs away with the shell on his head.
HAMLET.
He did comply with his dug before he suck’d it. Thus has he,—and many more of the same bevy that I know the drossy age dotes on,— only got the tune of the time and outward habit of encounter; a kind of yeasty collection, which carries them through and through the most fanned and winnowed opinions; and do but blow them to their trial, the bubbles are out,
Enter a Lord.
LORD.
My lord, his Majesty commended him to you by young Osric, who brings back to him that you attend him in the hall. He sends to know if your pleasure hold to play with Laertes or that you will take longer time.
HAMLET.
I am constant to my purposes, they follow the King’s pleasure. If his fitness speaks, mine is ready. Now or whensoever, provided I be so able as now.
LORD.
The King and Queen and all are coming down.
HAMLET.
In happy time.
LORD.
The Queen desires you to use some gentle entertainment to Laertes before you fall to play.
HAMLET.
She well instructs me.
[Exit Lord.]
HORATIO.
You will lose this wager, my lord.
HAMLET.
I do not think so. Since he went into France, I have been in continual practice. I shall win at the odds. But thou wouldst not think how ill all’s here about my heart: but it is no matter.
HORATIO.
Nay, good my lord.
HAMLET.
It is but foolery; but it is such a kind of gain-giving as would perhaps trouble a woman.
HORATIO.
If your mind dislike anything, obey it. I will forestall their repair hither, and say you are not fit.
HAMLET.
Not a whit, we defy augury. There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come; if it be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man has aught of what he leaves, what is’t to leave betimes?
Enter King, Queen, Laertes, Lords, Osric and Attendants with foils &c.
KING.
Come, Hamlet, come, and take this hand from me.
[The King puts Laertes’s hand into Hamlet’s.]
HAMLET.
Give me your pardon, sir.
This presence knows, and you must needs have heard,
How I am punish’d with sore distraction.
What I have done
That might your nature, honour, and exception
Roughly awake, I here proclaim was madness.
Was’t Hamlet wrong’d Laertes? Never Hamlet.
If Hamlet from himself be ta’en away,
And when he’s not himself does wrong Laertes,
Then Hamlet does it not, Hamlet denies it.
Who does it, then? His madness. If’t be so,
Hamlet is of the faction that is wrong’d;
His madness is poor Hamlet’s enemy.
Sir, in this audience,
Let my disclaiming from a purpos’d evil
Free me so far in your most generous thoughts
That I have shot my arrow o’er the house
And hurt my brother.
LAERTES.
I am satisfied in nature,
Whose motive in this case should stir me most
To my revenge. But in my terms of honour
I stand aloof, and will no reconcilement
Till by some elder masters of known honour
I have a voice and precedent of peace
To keep my name ungor’d. But till that time
I do receive your offer’d love like love,
And will not wrong it.
HAMLET.
I embrace it freely,
And will this brother’s wager frankly play.—
Give us the foils; come on.
LAERTES.
Come, one for me.
HAMLET.

LAERTES.
You mock me, sir.
HAMLET.
No, by this hand.
KING.
Give them the foils, young Osric. Cousin Hamlet,
You know the wager?
HAMLET.
Very well, my lord.
Your Grace has laid the odds o’ the weaker side.
KING.
I do not fear it. I have seen you both;
But since he is better’d, we have therefore odds.
LAERTES.
This is too heavy. Let me see another.
HAMLET.
This likes me well. These foils have all a length?
[They prepare to play.]
OSRIC.
Ay, my good lord.
KING.
Set me the stoups of wine upon that table.
If Hamlet give the first or second hit,
Or quit in answer of the third exchange,
Let all the battlements their ordnance fire;
The King shall drink to Hamlet’s better breath,
And in the cup an union shall he throw
Richer than that which four successive kings
In Denmark’s crown have worn. Give me the cups;
And let the kettle to the trumpet speak,
The trumpet to the cannoneer without,
The cannons to the heavens, the heavens to earth,
‘Now the King drinks to Hamlet.’ Come, begin.
And you, the judges, bear a wary eye.
HAMLET.
Come on, sir.
LAERTES.
Come, my lord.
[They play.]
HAMLET.
One.
LAERTES.
No.
HAMLET.
Judgment.
OSRIC.
A hit, a very palpable hit.
LAERTES.
Well; again.
KING.
Stay, give me drink. Hamlet, this pearl is thine;
Here’s to thy health.
[Trumpets sound, and cannon shot off within.]
Give him the cup.
HAMLET.
I’ll play this bout first; set it by awhile.
[They play.]
Come. Another hit; what say you?
LAERTES.
A touch, a touch, I do confess.
KING.
Our son shall win.
QUEEN.
He’s fat, and scant of breath.
Here, Hamlet, take my napkin, rub thy brows.
The Queen carouses to thy fortune, Hamlet.
HAMLET.
Good madam.
KING.
Gertrude, do not drink.
QUEEN.
I will, my lord; I pray you pardon me.
KING.
[Aside.] It is the poison’d cup; it is too late.
HAMLET.
I dare not drink yet, madam. By and by.
QUEEN.
Come, let me wipe thy face.
LAERTES.
My lord, I’ll hit him now.
KING.
I do not think’t.
LAERTES.
[Aside.] And yet ’tis almost ’gainst my conscience.
HAMLET.
Come for the third, Laertes. You do but dally.
I pray you pass with your best violence.
I am afeard you make a wanton of me.
LAERTES.
Say you so? Come on.
[They play.]
OSRIC.
Nothing neither way.
LAERTES.
Have at you now.
[Laertes wounds Hamlet; then, in scuffling, they change rapiers, and Hamlet wounds Laertes.]
KING.
Part them; they are incens’d.
HAMLET.
Nay, come again!
[The Queen falls.]
OSRIC.
Look to the Queen there, ho!
HORATIO.
They bleed on both sides. How is it, my lord?
OSRIC.
How is’t, Laertes?
LAERTES.
Why, as a woodcock to my own springe, Osric.
I am justly kill’d with mine own treachery.
HAMLET.
How does the Queen?
KING.
She swoons to see them bleed.
QUEEN.
No, no, the drink, the drink! O my dear Hamlet!
The drink, the drink! I am poison’d.
[Dies.]
HAMLET.
O villany! Ho! Let the door be lock’d:
Treachery! Seek it out.
[Laertes falls.]
LAERTES.
It is here, Hamlet. Hamlet, thou art slain.
No medicine in the world can do thee good.
In thee there is not half an hour of life;
The treacherous instrument is in thy hand,
Unbated and envenom’d. The foul practice
Hath turn’d itself on me. Lo, here I lie,
Never to rise again. Thy mother’s poison’d.
I can no more. The King, the King’s to blame.
HAMLET.
The point envenom’d too!
Then, venom, to thy work.
[Stabs the King.]
OSRIC and LORDS.
Treason! treason!
KING.
O yet defend me, friends. I am but hurt.
HAMLET.
Here, thou incestuous, murderous, damned Dane,
Drink off this potion. Is thy union here?
Follow my mother.
[King dies.]
LAERTES.
He is justly serv’d.
It is a poison temper’d by himself.
Exchange forgiveness with me, noble Hamlet.
Mine and my father’s death come not upon thee,
Nor thine on me.
[Dies.]
HAMLET.
Heaven make thee free of it! I follow thee.
I am dead, Horatio. Wretched Queen, adieu.
You that look pale and tremble at this chance,
That are but mutes or audience to this act,
Had I but time,—as this fell sergeant, death,
Is strict in his arrest,—O, I could tell you,—
But let it be. Horatio, I am dead,
Thou liv’st; report me and my cause aright
To the unsatisfied.
HORATIO.
Never believe it.
I am more an antique Roman than a Dane.
Here’s yet some liquor left.
HAMLET.
As th’art a man,
Give me the cup. Let go; by Heaven, I’ll have’t.
O good Horatio, what a wounded name,
Things standing thus unknown, shall live behind me.
If thou didst ever hold me in thy heart,
Absent thee from felicity awhile,
And in this harsh world draw thy breath in pain,
To tell my story.
[March afar off, and shot within.]
What warlike noise is this?
OSRIC.
Young Fortinbras, with conquest come from Poland,
To the ambassadors of England gives
This warlike volley.
HAMLET.
O, I die, Horatio.
The potent poison quite o’er-crows my spirit:
I cannot live to hear the news from England,
But I do prophesy th’election lights
On Fortinbras. He has my dying voice.
So tell him, with the occurrents more and less,
Which have solicited. The rest is silence.
[Dies.]
HORATIO.
Now cracks a noble heart. Good night, sweet prince,
And flights of angels sing thee to thy rest.
Why does the drum come hither?
[March within.]
Enter Fortinbras, the English Ambassadors and others.
FORTINBRAS.
Where is this sight?
HORATIO.
What is it you would see?
If aught of woe or wonder, cease your search.
FORTINBRAS.
This quarry cries on havoc. O proud death,
What feast is toward in thine eternal cell,
That thou so many princes at a shot
So bloodily hast struck?
FIRST AMBASSADOR.
The sight is dismal;
And our affairs from England come too late.
The ears are senseless that should give us hearing,
To tell him his commandment is fulfill’d,
That Rosencrantz and Guildenstern are dead.
Where should we have our thanks?
HORATIO.
Not from his mouth,
Had it th’ability of life to thank you.
He never gave commandment for their death.
  All this can I
Truly deliver.
FORTINBRAS.
Let us haste to hear it,
And call the noblest to the audience.
For me, with sorrow I embrace my fortune.
I have some rights of memory in this kingdom,
Which now to claim my vantage doth invite me.
HORATIO.
Of that I shall have also cause to speak,
And from his mouth whose voice will draw on more.
But let this same be presently perform’d,
Even while men’s minds are wild, lest more mischance
On plots and errors happen.
FORTINBRAS.
Let four captains
Bear Hamlet like a soldier to the stage,
For he was likely, had he been put on,
To have prov’d most royally; and for his passage,
The soldiers’ music and the rites of war
Speak loudly for him.
Take up the bodies. Such a sight as this
Becomes the field, but here shows much amiss.
Go, bid the soldiers shoot.
[A dead march.]
[Exeunt, bearing off the bodies, after which a peal of ordnance is shot off.]


Pedagogical Discussions
Pedagogical Discussions is an annual workshop series that introduces a new theme each academic year. For the academic year 2023-24, ELITE is presenting a series of six workshops focused on Trends in Higher Education. These workshops will cover a range of topics, including adopting a human-centered approach to digital learning environments, utilizing data analysis to inform decision-making, mastering the art of storytelling, and upskilling and continuing education. Click on the following link to learn more about these fascinating trends and to prepare for this thought-provoking series of discussions.
Friday, September 22
10-11 a.m.
Pedagogical Discussion # 1: Trends in Higher Education: Adopting a Human-centered Approach in a Digital Learning Environment
Building a sense of belonging in college courses is important for student success, and this includes online, remote, and hybrid courses. But how can instructors build that sense of belonging in a digital environment? Come to this one-hour roundtable discussion and share ideas on inclusive instruction in online and remote courses.
- Explain what inclusive instruction looks like in online and remote courses.
- Share ideas with colleagues on how to build a sense of belonging in digital learning environments.
Friday, October 13
1-2 p.m.
Pedagogical Discussion # 2: Trends in Higher Education: Analyzing and Acting on Data to Advance the College’s Mission
In the coming years, colleges are going to need to make data-informed decisions in the areas of student recruitment and retention, student success, and faculty and staff well-being. Colleges will need to know how to collect and interpret this data to make wise decisions. Please attend this one-hour roundtable discussion and share your ideas on data analytics in higher education in the coming years.
- Explain why making data-informed decisions in higher education is more important than ever.
- Share their ideas on how Montgomery College can leverage data to make sound decisions.
Friday, November 10
2-3 p.m.
Pedagogical Discussion # 3: Trends in Higher Education: Supporting the College through Storytelling
Promoting higher education institutions can pose significant challenges in today’s competitive industry. It is essential not only to understand the specific interests of our target student demographic but also to effectively showcase how Montgomery College can bring students’ dreams and aspirations to life. To attract new students, we must craft a compelling narrative that accentuates our comprehensive value and unique characteristics. In essence, it is crucial for our faculty and staff to become proficient storytellers, adept at sharing Montgomery College’s tale. Join us for a stimulating one-hour roundtable discussion where we can exchange ideas on innovative approaches to promote Montgomery College’s unique story.
- Express how telling the College’s story can enhance enrollment.
- Share ideas with colleagues on how to tell our story effectively.