Essay On Cowards Die Many Times, Before Their Death

Essay On Cowards Die Many Times, Before Their Death.This famous quotation occurs in Shakespeare's play Julius Caesar. It is part of a speech by Caesar in reply to Calpurnia warning that he should not move out of doors as evil omens point to some danger to his life. Caesar refuses to be perturbed by the puretents and declares that death has no terror for him. He is able to rise above cowardice because he ignores the dangers that threaten him. The word -fear-, he says, does not exist in his vocabulary. He throws a challenge at death and refuses to be frightened by it. He could never have been a great soldier if he had stood in fear of death.

Caesar's attitude to death is, indeed, the right one. Death is a necessary and inevitable end to life. Nobody has ever conquered death. Death comes to all -- kings and beggars, rich and poor.
princes in their palaces and paupers in their huts. Death lays its icy hand upon all creatures without distinction or discrimination. Knowing the omnipotence of death, it is the height of folly for a man to tremble with fear at the thought of it. It shows an utter lack of spirit to turn pale at the mention of death. It is extreme cowardice to shrink from the dangers of life and mark of bravery to face them.

A coward lives in constant dread; his heart sinks at the prospect of death which is like a sword of Damocles hanging over his head. The outbreak of war, a riot, the tremors of an earthquake. the prospect of a famine or a flood--all these make the coward shudder with fear because he thinks that he will be the first target for these instruments of death.

He eyes his food with suspicion because there might be poison in it. If he stands on the sea-shore or a river¬bank a wave of fear sweeps over him at the idea of being accidentally drowned. As he walks along a road, he is over-careful not to step down the pavement lest he should be run over by an omnibus. He knows that death pounces upon a man suddenly and in a variety, of ways and therefore his life a continuous nightmare. Every time he hears that someone else has died, he secretly congratulates himself on his own escape.

Such is the mental outlook of a coward. Surely he suffers a thousand times more pain and agony at the imaginary prospect of death than by the event itself. For he meets his death many times in his imagination and endures all the horror connected with it. He even goes on to imagine the sufferings that are in store for him beyond the grave.

A brave man, on the country, maintains an attitude of defence towards death. He realises the fact that death must come sooner or later and that it is no use denying this fact. For death is an essential part of the scheme of things; this venture of clay. this gross flesh must some day become a cold, insensitive and lifeless stock. It is therefore vain to pity oneself at the thought of death. Besides. with courage and resolution one may well evade death many times.

So these two lines from Shakespeare contain a profound lesson. Death is not a frightful monster; it is only a natural and necessary consummation of life. It is true that premature death is often tragic and that it is the prospect of dying before the time strikes terror into the hearts of most people. But if one is to die prematurely. no complaining or self-pity can alter the fact.

No one can foresee accidents, epidemics and other forms of sudden death. It is therefore meaningless to go about in perpetual fear of the evils that might happen. Surely it is wiser to preserve an attitude of tranquillity and serenity in the face of both good and evil.

Essay On The Face As An Index Of Character

Essay On The Face As An Index Of Character.A man's face, if we can read it aright, is generally and index to his character. We can tell what sort of man he is by the expression of his countenance, as we can tell the species of a shell-fish by its shell; for , as a shell-fish secretes its shell, so the soul secretes its physical face. It is we ourselves who make our faces and we make them gradually and unconsciously to express our inner character. Character is simply the sum total of confirmed habits; and as a habit is formed, it slowly writes its characteristic marks on the face, and gives its own look to the eyes.

It is harder to read character in the faces of young unformed children than in the faces of grown up men and women, though one can often detect meanness or frankness even in the face of a child; but the older people get, and the more fixed their habits, the easier it becomes to tell what sort of people they are,
from their faces.

Certain kinds of faces almost anyone can read. The character is written in capitals on the face. You cannot mistake the red and bloated face of the drunkard, the pride in the face of the arrogant, the crafty look in the eyes of the sneak. But it takes as trained and careful observer to read some faces, for some clever
people can make their faces like makes to hide their real selves.

The word" hypocrite- Literally means actor; and as an actor can make up his face so as to appear on the stage a different person, so can a hypocrite. A false-hearted man may have an apparently frank and open face; a cruel man may wear a deceptively kindly smile; a rogue may look very honest at first sight.

As Hamlet says, " A man may smile and smile, and be a villain." I remember once being introduced to an old gentleman of most benign aspect, who appeared to be a benevolent and almost saintly old man; yet I knew he had been guilty of several ruthless and deliberate crimes!

But there is always something in the face that will betray such hypocrites to an acute observer; especially in the most expressive features, the eyes and the mouth. A look in the eyes, the way in which he shapes his mouth, may betray the hidden meanness, cruelty, craftiness or selfishness that lurk behind the friendly smile and the frank look. Certain it is that dishonesty, lust and cruelty, honesty, purity and kindness, all leave indelible marks on the face.

Essay On Discipline Means Success

Essay On Discipline Means Success, Anarchy Means Ruin.

Schoolboys and college students dislike the word -discipline". This is because to them it means simply punishment. When they are hind or kept in or otherwise punished, they are told it is in the interests of "discipline". But, though punishment is part of discipline, discipline means much more than this. This word comes from "disciple", a learner, pupil or follower of a teacher; and it means properly training. A disciple puts himself under a teacher to be trained and taught.

If a disciple is to learn anything from his teacher, he must be ready to obey him itild follow his instructions. The very essence of discipline is obedience. We may say that discipline means the learning to obey necessary rules of conduct. To be of any use in society, a child has to be trained by his parents and teachers from his earliest years. The first lesson he has to learn is the lesson of obedience. Then he has to be taught how to behave -- how to form good habits, and how to avoid wrong and unbecoming conduct.

The methods of such training are patient instruction, good example, and, \viten necessary, punishment. The child has to be taught how to behave well -- what he must do, and what he must not do. If he refuses to learn or disobeys orders, he has to be corrected by punishment of some sort. This teaches him that disobedience brings unpleasant consequences. He will learn still more from a good example set before him by his parents and teachers. He will then try to copy them and their behaviour.

When men wish to act together in societies or companies, they have to agree upon certain rules of conduct; and the enforcement of obedience to such rules is called discipline. A society that has no rules or that does not see that its rules are kept, Will soon fall to pieces. A regiment or any army without discipline is a mere mob. Even in games, rules and discipline are necessary. If a batsman refused to go out when he was bowled, or footballers defied the referee's whistle when he gave off-side or a foul, there would be a an end of cricket and football. In the same way no school or college could exist long without discipline..

Lastly, there is self-discipline -- the hardest task of all. Each of us has to learn how to govern and rule himself, how to control his passions, resist his evil desires, obey his conscience. "He that ruleth this spirit is greater than he that take city."

The Truth About Beauty Essay

The Truth About Beauty Essay.

The poetic saying emphasis the identity of beauty and truth. According to it. only truth represents beauty -- a fact which all human should take notice of in all their day-to-day thoughts, proclivities, human and social dealings, and works of art and science. There are such things as acted truths and acted lies and these have their impact in human life as important as those which arise from the spoken or the written word. Truth and falsehood are qualities that belong to the work of our hands, as well as words of our lips, and are often more eloquent to the eye than the word can be to ears.

They are expressed by our whole personalities, by our character, by our conduct, by our general conversation with our kith and kin, or friends in the world, and foes. Great truths are often communicated by works of art literature, sculpture, painting,cartoon, films or other effective media that permeates the human mind.

Every portrait painted is either a truth or a lie, or a mixture of the two. Its beauty depends on the degree of truth, and honesty dedicated in it. It also represents the character of the painter. An artist who puts his hearts and soul in his work, and applies tones of colour, themes and dedicated motifs, is able to produce a beautiful piece. If his objective is merely mercenary, simply to flatter the onlooker and paint for the sake of getting outward appreciation. in terms of more, his work cannot be called a piece of lasting beauty.

In social life, it would be quite futile and meaningless to state things of wisdom, religion, and all these, if they lack audience. If there is no real response, reception or desire to understand the profit by them. Launched into the empty space of the universe, with nobody to receive them, even beautifully notice doctrines or thesis may go waste.

We can never understand beauty as an isolated thing. self- supported, or hanging in the air. A thing of beauty always appears in a personal context. conditioned by the person who creates it, and for the persons or the era on which it is focused. In fact, beauty and truth, like arts .and science, form together a kind of common-wealth in which each serves the rest, and is, in turn, served by them. As we know all knowledge is one-all comprehensive and universal.

Truth is thing that is divine in nature, and its majesty would be affronted if we connect it too closely with our human lives. Some of us have, therefore, surrounded truth with a kind of theoretical idolatory, which has had to usual result of making both the idol and the idolator insignificant.

Truth is a beautiful operation, a dynamic thing which does its beneficent work in a personal and social context. On the other hand, a lie is an offensive operation, performed by one man upon other. It resembles robbery and theft. Just as rubbery' cannot be committed without a victim, so lies cannot be told without a victim to be deceived or beguiled. A lie is an offence against logic. It is an offence against the persons to whom it is addressed,

Whatever else truth may be, there is no doubt as to its being valuable, not merely in the sense that it is good to look at, but also it does good to those who see it, known it and act upon it. Truth is, in other words a value, not residing inertly in the personality that utters, it, or the work of art that expresses it. It operates rhythmically, making a difference for the better, to every mind which accepts it. On the opposite end is the lie that makes the personality of the teller, as well as of the listener, blurred.

The formost contention between truth and lie extends its dimension when we identify truth with beauty, as Keats so emphatically does in the quotation of this essay. All we do in this case is to change the name of the operating power. An idle beauty is no more conceivable than an idle truth. Indeed, beauty is never more falsely conceived than when we think of its as deserving to be looked at. People who look at beauty never see it. They see it when it operates upon them, moves them, stirs them, sentimentalises them.

Like Truth, Beauty is dynamic and vital; no wonder they look to be identical. That truth is beauty and beauty truth, is most significantly illustrated by the beauty that lies in the creative arts. The truth when depicted in a piece of art -- a painting, a poem, a musical lyric or a symbolic dance, become a personified beauty. The painter, the poet. the musician or the dancer, makes the truth so beautiful that it permeates the whole being of the viewer, the reader, the listener or the audience.

It spreads in the whole personality of each individual, his heart, brain, the hormones, the eyes and the ears. It not only inspires but also sentimentalises. It leaves a life-long impression on the mind, provided the audience is receptive and the message conveyed by the artists is infinitely true.

Essay On Truth is Beauty And Beauty is Truth

Essay On Truth is Beauty And Beauty is Truth.
The poetic saying emphasis the identity of beauty and truth. According to it. only truth represents beauty -- a fact which all human should take notice of in all their day-to-day thoughts, proclivities, human and social dealings, and works of art and science. There are such things as acted truths and acted lies and these have their impact in human life as important as those which arise from the spoken or the written word. Truth and falsehood are qualities that belong to the work of our hands, as well as words of our lips, and are often more eloquent to the eye than the word can be to ears.

They are expressed by our whole personalities, by our character, by our conduct, by our general conversation with our kith and kin, or friends in the world, and foes. Great truths are often communicated by works of art literature, sculpture, painting,cartoon, films or other effective media that permeates the human mind.

Every portrait painted is either a truth or a lie, or a mixture of the two. Its beauty depends on the degree of truth, and honesty dedicated in it. It also represents the character of the painter. An artist who puts his hearts and soul in his work, and applies tones of colour, themes and dedicated motifs, is able to produce a beautiful piece. If his objective is merely mercenary, simply to flatter the onlooker and paint for the sake of getting outward appreciation. in terms of more, his work cannot be called a piece of lasting beauty.

In social life, it would be quite futile and meaningless to state things of wisdom, religion, and all these, if they lack audience. If there is no real response, reception or desire to understand the profit by them. Launched into the empty space of the universe, with nobody to receive them, even beautifully notice doctrines or thesis may go waste.

We can never understand beauty as an isolated thing. self- supported, or hanging in the air. A thing of beauty always appears in a personal context. conditioned by the person who creates it, and for the persons or the era on which it is focused. In fact, beauty and truth, like arts .and science, form together a kind of common-wealth in which each serves the rest, and is, in turn, served by them. As we know all knowledge is one-all comprehensive and universal.

Truth is thing that is divine in nature, and its majesty would be affronted if we connect it too closely with our human lives. Some of us have, therefore, surrounded truth with a kind of theoretical idolatory, which has had to usual result of making both the idol and the idolator insignificant.

Truth is a beautiful operation, a dynamic thing which does its beneficent work in a personal and social context. On the other hand, a lie is an offensive operation, performed by one man upon other. It resembles robbery and theft. Just as rubbery' cannot be committed without a victim, so lies cannot be told without a victim to be deceived or beguiled. A lie is an offence against logic. It is an offence against the persons to whom it is addressed,

Whatever else truth may be, there is no doubt as to its being valuable, not merely in the sense that it is good to look at, but also it does good to those who see it, known it and act upon it. Truth is, in other words a value, not residing inertly in the personality that utters, it, or the work of art that expresses it. It operates rhythmically, making a difference for the better, to every mind which accepts it. On the opposite end is the lie that makes the personality of the teller, as well as of the listener, blurred.

The formost contention between truth and lie extends its dimension when we identify truth with beauty, as Keats so emphatically does in the quotation of this essay. All we do in this case is to change the name of the operating power. An idle beauty is no more conceivable than an idle truth. Indeed, beauty is never more falsely conceived than when we think of its as deserving to be looked at. People who look at beauty never see it. They see it when it operates upon them, moves them, stirs them, sentimentalises them.

Like Truth, Beauty is dynamic and vital; no wonder they look to be identical. That truth is beauty and beauty truth, is most significantly illustrated by the beauty that lies in the creative arts. The truth when depicted in a piece of art -- a painting, a poem, a musical lyric or a symbolic dance, become a personified beauty. The painter, the poet. the musician or the dancer, makes the truth so beautiful that it permeates the whole being of the viewer, the reader, the listener or the audience.

It spreads in the whole personality of each individual, his heart, brain, the hormones, the eyes and the ears. It not only inspires but also sentimentalises. It leaves a life-long impression on the mind, provided the audience is receptive and the message conveyed by the artists is infinitely true.

Essay On Slow And Steady Wins The Race

Essay On Slow And Steady Wins The Race.

We are told in one of Aesop's fables how the hare and the tortoise once agreed to run a race against each other. The swift footed hare ridiculed as preposterous the idea that he could possibly be beaten by his opponent. At the beginning of the race he started off at a great speed and soon left the tortoise far behind. Presently, looking round and finding that his adversary was out of sight, he thought he might as well lie down and have a sleep, and did so. Meanwhile the tortoise had been plodding steadily on.

After a long time he came up to the place where the hare was sleeping, and went on past his adversary until he was near the goal. At this point the hare, waking up, saw the tortoise within a few yards of the winning post. He made a desperate effort to get there before him but was unable to overtake him in time to save the race. The moral of the story is that steady perseverance is more successful than short outbursts of fitful energy.

We often see this truth illustrated in the competitions of students at schools and colleges, and in the severer struggles of later life. A young student of remarkable talents commence the year at college with a firm resolution to work fifteen hours a day and so outstrip all his competitors. For some time he keeps his resolution, until he begins to feel the exhaustion that is the natural result of his extravagant exertions.

He then begins to reflect how much he is in advance of other students, and thinks he may indulge in a rest to recruit his exhausted powers. The rest is so agreeable that he prolongs it until when he compares notes with his friends, he is astounded to find that those who have been working steadily for a moderate amount of hours every day. are now well in front of him.

In later life, also, we find as a generally rule, that steady persevering men produce greater results than those who work. however energetically, by fits and starts. It is doubtful, however, whether this rule can be applied to the majority of famous authors. No doubt many instances, even from this class of men, may be
quoted in its support.

Mr. Beckford at the age of twenty worked continuously for three days and two nights, at the end of which time he had finished the brilliant novel called Vathek. But he was punished for his neglect of the laws of health by a severe illness, and in the remainder of his long life produced no literary work of great value. Byron composed his finest poems with wonderful rapidity, while he felt under the sway of inspiration. But his poetry suffered: and all. critics are agreed that his poems would have been much finer than they are if he had the patience to perfect them by painstaking revision.

In the case of men of extraordinary and irregular genius, it is difficult to conceive that they could have produced greater works by binding themselves down to the observance of methodical rules in the distribution of their time. On the other hand there are other men of great talents, nay. of the highest genius, who, like Kant, the German metaphysician, have found that steady labour for a fixed number of hours every day by no means checked the flow of inspiration.