Big brother assignment Example | Topics and Well Written Essays - 250 words - 1

Big brother - Assignment Example related to the technology advancement shows that the Americans are being monitored by the companies, and big businesses are through keeping phone-call records, tracking their cars and through the colored printed copies one can get from a shop or office, which is without people’s knowledge and is unethical as these data mining companies do not inform people before hatching their information and data through different sources and later they may use it for making justice acts or planning something hurtful for the person. Such situations become abusive and offending for people who are unaware of their daily life being on record by someone. 3. Even when it comes to protecting one’s information from data-mining and surveillance industries, through the information-technology security one should know that no system is foolproof. One should limit access of any sensitive information, use strong passwords, change and update them regularly. Keeping financial information private would help in a way. These things should be considered while talking on the phone or

The poems of Seamus Heaney and D.H.Lawrence Essay Example for Free

The poems of Seamus Heaney and D.H.Lawrence Essay The poets Seamus Heaney and D. H. Lawrence frequently describe their own childhood memories in their poems. Mid-Term Break and The Early Purges by Heaney, both show great examples of the way Heaney felt about many things, like death and relationships, as do the poems Piano and Discord in Childhood by D. H. Lawrence. Lawrence was born in 1885, the fourth child of five. His father was an irresponsible alcoholic, and Lawrence was born hating his father and shivered at his touch. Heaney, however, loved and hugely respected his family and especially his father. Heaney was born in 1939 at the start of WW2. He, unlike Lawrence, was the eldest of nine children, and was brought up and worked on his fathers farm, before being sent to a boarding school when he was twelve. Lawrences parents had a violent relationship one big bloody fight, because of his fathers temper. Lawrence was much closer to his mother because she was highly educated and they understood each other. Heaneys poem Mid-Term Break is all about the death of one of Heaneys younger brother. Heaney conveys many feelings in this poem, like growing up, childhood, memories, and death. He uses many modern techniques in this poem: caesura for emphasis on certain things, enjambment to create a sense of continuity running through the poem, alliteration, imagery and many more. Heaney also portrays a lot of memories in this poem. First the title: Mid, implies an interruption in his life and childhood, and an early introduction to adulthood, but also Break, is a harsh, tough word, that could mean the break in his brothers life and childhood. In the first stanza he mentions sitting all morning in the college sick bay. This was when he was awaiting to be driven home to his brothers funeral from his boarding school, and was feeling isolated and loneliness from the rest of the world. Heaney sees his father crying in the second verse. In the porch I met my father crying, this is also the first implication that the funeral is that of a member of the Heaney family. He also mentioned Big Jim Evans another big, strong role model, affected by the death. The next verse says: The baby cooed and laughed and rocked the pram, which is incongruous and doesnt fit in with everything else. Later, Heaneys hand was shaken by old men, and Heaney was embarrassed, because he should have been showing them respect. He was told: they were sorry for my trouble, which is clichi , and he felt a huge amount of responsibility when whispers informed strangers I was the eldest. Heaneys mother coughed out angry tearless sighs because she was either angry with herself for not looking after her son, or angry with the driver of the car that knocked him clear. In the poem, Heaney felt many things: embarrassment, sadness, and awkwardness. The last verse of the poem reveals the age of his dead brother. The alliteration and sharpness of the last line, really makes you realize how young he was, and how hard it must have been for the Heaney family. The last verse is also set apart from the rest of the poem, because it has only one line. This makes it even more important, because the reader will notice it more, and also pay more attention to it, and what it means. Heaneys other poem The Early Purges focuses on Heaney growing up through his childhood, and his journey to becoming an adult, and obtaining a different perspective on certain things. The Early Purges, is very significant. Early implies something that happened to Heaney when he was young early on in his life, and Purge means to rid yourself of impurities and sin. It also makes the poem sound as if it wont be endurable. This poem is about bad things that have happened to Heaney. It is all about death. As a young boy, Seamus Heaney helped to work on his fathers farm, and during that time he saw farm workers killing lots of defenceless, innocent animals. This is also bluntly written. Heaney was only six when he first saw kittens drown. He makes this very bold at the beginning of the poem. It is hard-hitting and appeals to the hearts of the readers, because kittens are, young, cute and vulnerable animals. Dan Taggart pitched them, the scraggy wee shits. The worker, Dan Taggart is the one doing the killing. He calls the kittens scraggy wee shits, which shows how little he cares about them. The kittens are described as making a frail metal sound, which again shows how young and weak these animals are. The sound also appeals to the aural senses, because the reader can easily imagine the sound and how horrible it must have been.

Que He Hecho Yo Para Merecer Esto Film Studies Essay

Que He Hecho Yo Para Merecer Esto Film Studies Essay Her only companions are her household appliances. Theyre the sole witnesses to her pain, her solitude and her anxieties. Theyre also the only witnesses of the murder she commits. Expand on this comment from Almodà ³vars interview with Strauss explaining the full significance of this statement to the characterisation of Gloria in  ¿Quà © he hecho yo para merecer esto!! (1984). In  ¿Quà © he hecho yo para merecer esto!!, the household appliances are, as Almodà ³var states, Glorias companions. They are also, quite simply, the bane of her existence. They stand for the incessant amount of housework within which she is constantly immersed, the deterioration in the relationships she shares with her husband and children, and the modern lifestyle that has failed to deliver its lucrative promises. This duality that the household appliances present for Gloria will be explored in the ensuing essay. The first time the viewer sees Gloria in connection with her household appliances is when she fills her washing machine with clothes. The next direct liaison between housewife and appliance is seen when she puts a pan into the oven. In both instances the camera is positioned so as to show the appliances, in effect, taking the point of view and looking back at her. Almodà ³var explains this choice of camera angle: I framed the shots from within these domestic appliances because I wanted to tell the story from the perspective of the objects that were a part of her daily life. Indeed, the subjective shots from inside the household appliances suggest Gloria is being observed by the objects. Moreover, the camera frames Glorias face in a close-up for several seconds at a time a view which is rarely seen throughout the entire film and it is in these instances that the viewer can properly see Glorias wrinkles, her frowning lips, her eye bags. All this infers that it is only the appliances that are able to comprehend her pain, her solitude, and her anxieties, whereas her husband, or anyone else for that matter, could not care less. Her only companions are indeed her household appliances. On the other hand, the viewer could deduce the opposite at the same time by analysing this same mise-en-scà ¨ne. These sequences feature an unconventional reverse-angle shot amidst a conventional kitchen setting: only the reverse shot is shown; we do not see Glorias point of view that one would normally expect of the washing machine as she loads it with clothes. While this non-naturalistic use of the reverse-angle shot is startling as it creates a distancing effect for the viewer, it is not entirely unfamiliar, since TV commercials for clothes washers and fried-chicken recipes long ago appropriated this particular editing figure (DLugo, Pedro Almodovar, p. 40). Almodà ³var explains in his interview with Philippe Rouyer and Claudine Vià ©, I wanted to show the flip side of all these ads that always tout the happiness brought by domestic appliances but never the misery that envelops the housekeeper, the lack of pleasure that these appliances bring. (Willoquet-Maricondi, Pedro Almodà ƒ ³var: Interviews, p. 75) Almodà ³var indeed succeeds in demonstrating this concept since there is no sense of happiness in Glorias look as she puts in the laundry; the quotidian, routine nature of loading the washing machine can be clearly perceived here in her indifferent expression. In the ads of yesteryear however, the housewife using the washing machine would have a bright toothy smile plastered onto her face, as if to suggest that she could not be happier doing anything else since the machine has made her life so easy. In fact, this spoof of old commercials seen in these sequences sets the genre of the entire film itself. Despite its eclecticism and resultant hybrid nature,  ¿Quà © he hechoà ¢Ã¢â€š ¬Ã‚ ¦!! suggests in general a satire of a sitcom about a beleaguered housewife. Its frenzied pace makes the film run hastily, and the close-quarters framing, where the viewer is shown the constant movement of actors in and out of the frame, recreates the look of the television screen. As Marcia Pally writes,  ¿Quà © he hechoà ¢Ã¢â€š ¬Ã‚ ¦!! plays directly off the traditions of daytime TV without quoting any particular sitcom or soap (Willoquet-Maricondi, Pedro Almodà ³var: Interviews, p. 86). These appliances definitely do not in any way make her life any easier: the chicken that she had put into the oven for dinner becomes burnt, causing her husband to curse at her. It is then she who eats the burned parts this effectively being an example of how it is the housewife who sacrifices herself for her family. In this respect, it can be deduced that the household appliances do more harm than good to her. In this latter scene, the oven undoubtedly manifests itself as a contributing source of tension and conflict between the married couple. Moreover, after the shot from within the washing machine, she impatiently shoos away her son Toni from the kitchen when he comes to ask her help with his homework. In the next shot, the viewer sees Toni walk into the living room and it his grandmother who asks him how his homework is coming along, and offers to lend him a hand. True, she gives him all the wrong the answers, but that is beside the point: Toni and his grandmother spend a lot of time together, discussing their future plans when they go back to their pueblo, walking in the streets and the park, going to the cinema, etc. To this end, in terms of film editing, the contrast between the relationships between Toni and Gloria, and Toni and his abuela, are especially emphasised due to the juxtaposition of these two scenes. Gloria has been far too busy doing her housework to notice her sons grow up over the years. This is demonstrated near the end of the film when Toni hands her some of his savings. She tells him, Hijoà ¢Ã¢â€š ¬Ã‚ ¦ quà © poco te conozco; she obviously has been unaware of what he does and where he goes everyday. When the bus pulls away, we are shown a mid-shot of Gloria for more than 45 seconds as she walks back home. The length and type of shot allows us to fully comprehend Glorias facial expressions which is markedly chock full of emotion: tearful and distressed, it appears that it has just dawned upon her what she has missed all these years being a housewife, and now it appears to be too late as both sons have left. It could be thus said that her only companions are her household appliances by virtue of the very fact that her household appliances are her companions! The fact that she is addicted to amphetamines such as washing detergent could not convey any clearer this point that she has an unhealthy relationship with her household appliances; just like any drug addiction, it spells the deterioration of her relationship with her family. To Almodà ³var, the sequences which are reminiscent of commercials also have another implication: Advertisingà ¢Ã¢â€š ¬Ã‚ ¦ is the only medium which makes these objects alive and even endows them with personalities. There are a huge number of commercials in which the main character is a yoghurt carton, directed as if it were a real character, lit by the cameraman as if it were a genuine star. Im very interested by this aspect of advertising. The value it gives to objects and the way it turns them into characters. Indeed, the fact that the viewer sees Gloria, the subject of the shot, from the point of view of the washing machine and the oven makes it appear as if the household appliances are autonomous beings who have some sort of command and higher authority over Gloria, bidding her to live her life around opening this door, filling that compartment with detergent, pushing this button, turning that knob, and so on. These shots are disturbing and slightly alarming when seen in this light, but this is certainly the underlying reason why Gloria is so downtrodden by her career as a housewife, slowly crumbling under the weight of the travails that everyday life dictates. On a deeper level still, these household appliances, independent of their commercial-like representation in the film, are a constant reminder of this modern standard of living in which Gloria and her family inhabit. This mise-en-scà ¨ne reflects the migration motif of the narrative. The plot and mise-en-scà ¨ne of  ¿Quà © he hechoà ¢Ã¢â€š ¬Ã‚ ¦!! is reminiscent of a specifically Spanish tradition of black comedies from the fifties and early sixties such as Josà © Antonio Nieves Condes Surcos. Indeed, it is a film which Almodà ³var himself acknowledges as one of the cinematic inspirations for  ¿Quà © he hechoà ¢Ã¢â€š ¬Ã‚ ¦!!. Grounded in the socioeconomic conditions of the period, these films focused on the plight of urban dwellers. They struggled to survive in a city that was unable to provide jobs and housing to a population swollen by recent arrivà ©es from the economically even more desperate provinces in search of the consumerist culture that had been the promise of Francos economic policies (DLugo, Pedro Almà ³dovar, p. 41). Contrary to Almodà ³vars often-cited declarations about making films as if Franco never existed,  ¿Quà © he hechoà ¢Ã¢â€š ¬Ã‚ ¦!! depicts a world created by the urban non-planning of the Franco years, growing out of a policy that actively sought by passive neglect of urban social services to discourage immigration to the corrupt cities (Carr and Fusi, The Rural Exodus in Spain: Dictatorship to Democracy, pp. 66-70). Like the characters from those earlier films, both Gloria and her husband have come from the pueblo, the pueblo to which her mother-in-law and older son Toni will return at the end of the film. The post-Franco city has failed them, as it fails Gloria, despite their apparently greater material well-being in a world of timesaving home appliances, the consumer paradise of contemporary Spain. As Almodà ³var succinctly puts it in his summary of the film, [Gloria] would like to become a member of the consumer society, but only manages to consume herself, day by day. Nevertheless, as Almodà ³var states in the quote in the question above, the only witnesses to her murder are not beings but her refrigerator and gas stove. The only other witness, the lizard, is killed. Obviously due to their inanimate nature, they cannot reveal the truth to the policemen, but because they do not, thus seems to suggest that they sympathise and even tacitly approve of the murder of her brutish husband. In this regard, the household appliances are indeed her companions, and perhaps passive accomplices in the crime. The characterisation of Gloria is also conveyed through the use of still camera shots. Almodà ³var acknowledges that although this technique was determined rather by the restricted nature of the sets, the tripod was perfect for the film; it added a great deal of tension. Generally, tracking shots tend to soften the action while the tripod hardens it. I wanted to stay inside the house because it was Glorias only universe. Hence it is the house that is the setting for much of the film as if the house, and everything within it, were a protagonist itself. This inevitably connects the household with Gloria, as if they were on equal footing, and thus reinforcing Almodà ³vars statement that her only companions are her household appliances. Moreover, this tension that the use of the tripod brings for the viewer serves to intensify the sense of anxiety and stress that Gloria the housewife undergoes perpetually as she exists within her universe. In the attempted suicide scene, on the other hand, Almodà ³var uses almost a long tracking shot. He starts with a shot of Gloria and then moves to an elaborate tracking shot, with the camera surveying her entire field of vision before returning to her. I really wanted to use an original shot. The effect if pretty deep, it renders what is most intimate in a human being. I wanted to show that the moment she becomes free, free from any obligation, she comes back home and finds it so neat and ordered that she feels terrible, because theres nothing for her to do. Her life has no meaning. She worked for her family her entire life, never taking time to do something for herself, to have hopes. She feels the emptiness created by everybodys departure, a huge abyss opens under her (Willoquet-Maricondi, Pedro Almodà ³var: Interviews, p. 75). This 360-degree pan from her point of view registers the emptiness of the home. It appears that Glorias entire life has been about nothing but cooking and cleaning and serving her family. The film starts with Gloria as a housewife and thus, as far as the viewer is concerned, she might as well have been a housewife forever prior to that. It follows thus that when there is no longer a need to use her household appliances to serve her family, she has lost her raison detre. This is indeed what leads her to want to commit suicide at the end of the film. It must be obvious after this discussion that when Almodà ³var describes the household appliances as Glorias companions, he does not mean to suggest that they are her friends. Although they are the only entities that pay her any attention whatsoever, she is enslaved to them, and this is clearly detrimental to her relationships with her husband and children. Moreover, the household appliances represent the modern way of living for Gloria and her family, and as such reveal the lack of fundamental change despite the intervening years of the so-called economic miracle and the end of Francoism.

Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb Ess

â€Å"Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb†   Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb† is a movie that portrays the situation during the Cold War in comical fashion. The movie is about the United State’s attempt to recall the planes ordered by the paranoid General Ripper to attack the Soviet Union and essentially save the planet from destruction. Producer and director Stanley Kubrick, basing the movie on the novel Red Alert intended the movie to be a straightforward drama but was unable to without using crucial scenes of the story that seemed to give the movie a more comical view of the plot.   Ã‚  Ã‚  Ã‚  Ã‚  The first scene of the movie is the mid-air refueling of a fighter plan, where the refueling is depicted as a sort of sexual intercourse. The movie then shifts over to Burpleson Air Force base where General Jack D. Ripper, played by Sterling Hayden, gives his planes flying over the USSR the order to attack. When President Merkin J. Muffley, one of three characters played by Peter Sellers, finds out about this, he calls a meeting with his advisors in the War Room of the Pentagon to discuss possible solutions to the problem. General â€Å"Buck† Turgidson, played by George C. Scott, is called to attend this meeting and arrives late. Also attending the meeting is Dr. Strangelove, played by Peter Sellers, a German scientist with a robotic arm that insists on rising in Nazi salute.   Ã‚  Ã‚  Ã‚  Ã‚  At the meeting, the viewers find out...

Human Resources Management †Downsizing Essay

I. Introduction In this era of globalisation, where the competition in the market has become drastic, human capital is deemed to be the most important factor to the integration as well as strategy of enterprises among any other factors (Waddel, Cummings, & Worley, 2007). Since retaining and sustaining workforce is undeniably crucial to corporate integration, learning the trend and comprehending the will of employees is crucial to any enterprise’s survival. Taking scenario in Australia, the authors’ objective in this article is to emphasize the importance of older workers’ contributions to workplaces and employers are suggested unbiasedly re-adjusting their attitude and policies in order to effectively utilise the productivity of older workers. II. Article Analysis a. Researches Methodology In this article, secondary researches e.g. surveys, researches from others’ studies†¦ were used primarily. In terms of quantitative researches, the article mainly gathered data from Australian Bureau of Statistics (ABS); Department of Education, Employment and Workplace Relations (DEEWR); and Organisation for Economic Co-operation and Development (OECD). Its data validity can be strongly substantiated as both ABS and DEEWR are under the management of Australian government; and OECD is also a renowned international economic organisation which promotes economy and social well-being of people globally. Hence, its information validity is also confirmed. Noticeably, authors also use their past studies as references, for example, their paper: â€Å"Retaining and Sustaining the Competence of Older Workers: An Australian Perspective†, written in 2009. This raises the question about the credibility of such reference. Moreover, several references seem to be out-dated, for ex ample, â€Å"Sociology† by Giddens in 1997, or the survey’s data of McIntosh’s paper in 2001. b. Significance of the Findings The findings in the article are relatively clear and straightforward, yet what they truly provide to readers are beyond mere facts. It is the broad knowledge that is provided allowing readers to come up with their own judgement about the issue. The article first presents the idea to readers that an increasing wave of older workers will be coming up in the future due to the shortage of young worker and the consequences of the financial crisis in the early 2008. It is true that because of such crisis, people’s superannuation is heavily affected and therefore even elders will very likely try to go back to the labour market and look for works (Bekaert & Hodrick, 2009). Nevertheless, what the authors aim to achieve is not only to present the trend to the readers, but to raise the employers’ awareness so that they do not look down to older workers as â€Å"last resorts† as they will very likely become a major workforce in the future. The authors claimed that older workers undoubtedly will become crucial to the Australia economy in the near future. Yet there is proof presented in the article that indicates the existence of the negativity of employers’ attitude toward older workers. This claim is also valid as according to a HR report from Thompson Reuters, a research was conducted and realized that only 25% of the number of employers being asked tried to convince Baby Boomers to stay back when they resigned, compared to 40% for Generation X and Generation Y (HR Report, 2008). On the other hand, the article also provides to readers a completely opposite proof which shows that employers hold no grudge against older workers. Such claim is also substantiated by an article by Forbes, in which, a survey of 500 hiring managers was conducted and resulted that 60% of hiring managers would likely to hire older workers, compared to 20% of those would hire Millenials, who were born just before the millennium, from 1981 through 2000 (Adams, 2012). III. Strength and Weakness/Limitation of the article c. The strength of the article Basically, the article targets readers who are working in Human Resources field. It has done its part by successfully conveying the idea to readers by using sets of well organised evidences and firm hypothesises. The article also proposed a rational strategy that, according to the authors, would not only help employers to not waste human capital, but also support the older employees’ employability by changing the attitude of employers in the workplace. The data and references used in the article were relevant to the discussed area. Each and every statement in the article is backed with credible sources; therefore it makes readers feel confident and safe when they acquire the knowledge from the article. On top of that, not only it provides evidences which support only its hypothesis, but also it provides evidences that are completely contradictory to its hypothesis, for example, the case in the study of McIntosh in 2001 where the attitude of employers toward older workers was n ot negative at all. This helps readers to have broader view and shows that the authors were unbiased when writing this article. d. Weakness and Limitation of the article Since the article was taking the scenario happening in Australia, its world-wide applicability is questionable. Although the article also uses some foreign data, for example, McIntosh’s research which was conducted with the U.S’s labour forces, it is still very limited. As mentioned, authors also used their part studies as references; hence, this raises questions about such sources’ credibility. Furthermore, the year which the article was written was 2011, yet there are a few references that were written a long time ago, â€Å"Sociology† written by Giddens in 1997 is an example. This also raises the question about the sources’ up-to-date applicability. One of its strong points turns out to be its weakness. Each and every statement in the article is backed up with a study; therefore it somewhat gives readers a feeling that very few ideas in the article were original. IV. Conclusion According to (Waddel, Cummings, & Worley, 2007), in the process of globalisation, it requires enterprises to constantly adapt and develop in the way that would maximize their intrinsic value. The article has shown readers the proof that older workers is one promising and valuable source of high-quality workforce, yet evidences show that a lot of employers are still age-biased. On that ground, it is recommended that employers should not take this matter lightly anymore. Instead, they are suggested starting to change their attitude toward the older worker, re-adjust the workplace’s policies in order to maximize and sustain the productivity of older workers. Based on the hypothesis and findings of the article above, linking to the case study â€Å"High Flyers†, even though Silvertail is trying to build a newer and younger image, it should not get rid of older cabin crew by persecuting and being harsh on them. Rather than that, Silvertail should approach more positively by looking at their actual performance, including their motivation, and then re-allocate the job for them so that the integration and strategy of the company would be aligned. According to (Adams, 2012), older workers are superior in many fields e.g. positive work ethic, problem solving, leadership, reliability, professionalism, etc†¦ Rather than wasting a good source of human capital, using it wisely is always optimal. Bibliography (n.d.). Retrieved December 20, 2012, from http://deewr.gov.au/ (n.d.). Retrieved December 20, 2012, from http://www.oecd.org/ Australian Bureau of Statistics: About Us. (2012, November 13). Retrieved December 14, 2012, from Australian Bureau of Statistics: http://abs.gov.au/websitedbs/D3310114.nsf/Home/About+Us?opendocument#from-banner=GT Adams, S. (2012, September 9). Older Workers, There’s Hope: Study Finds Employers Like You Better Than Millennials. Retrieved December 13, 2012, from Forbes: http://www.forbes.com/sites/susanadams/2012/09/24/older-workers-theres-hope-study-finds-employers-like-you-better-than-millennials/ Bekaert, G., & Hodrick, R. (2009). Internation Financial Management. Boston: Peason. HR Report. (2008, September 17). Employers ‘ignoring’ older workers. Retrieved December 15, 2012, from Thompson Reuters: http://sites.thomsonreuters.com.au/workplace/2008/09/17/employers-ignoring-older-workers/ Manpower Research and Statistics Department. (2007) . A Statistical Profile of Older Workers. Singapore: Ministry of Manpower. Waddel, D., Cummings, T. G., & Worley, C. G. (2007). Organisation Development and Change. Asia Pacific. (3rd ed.). South Melbourne, Victoria, Australia: Cengage Learning Australia.

Essay on D. H. Lawrence and Baby Tortoise

Essay on D. H. Lawrence and Baby Tortoise Essay on D. H. Lawrence and Baby Tortoise Sammie Godfrey D.H. Lawrence ! D.H. Lawrence was born in Eastwood, Nottinghamshire, England, on September 11, 1885. He attended Beauvale Board School (now renamed Greasley Beauvale D. H. Lawrence Primary School in his honor). He became the first local pupil to win a County Council scholarship to Nottingham High School in Nottingham. He left in 1901, working as a junior clerk at Haywood's surgical appliances factory, but a severe case of pneumonia ended this career. Lawrence went on to become a full-time student and received a teaching certificate from University College, Nottingham, in 1908. He created sixteen poems in his lifetime including Baby Tortoise, Moonrise, and How Beastly the Bourgeois Is. With a long life of suffering from tuberculosis, Lawrence died in 1930 in France, at the age of 44. ! Lawrence wrote during 20th-century English literature. I have read Baby Tortoise, Trees in the Garden, and Whales Weep Not! Baby Tortoise addresses being born alone to fend for yourself and how hard it is to be on your own. The poem says â€Å"The first day to heave your feet little by little from the shell, Not yet awake, And remain lapsed on earth, Not quite alive. Lawrence speaks about life and how beautiful it is even from birth. Trees in the garden addresses beauty in nature. The poem says â€Å"And the ghostly, creamy coloured little tree of leaves white, ivory white among the rambling greens how evanescent, variegated elder, she hesitates on the green grass as if, in another moment, she would disappear with all her grace of foam!† He talks about how beautiful nature is and that it could