Not Admitted

Not Admitted This year was the most competitive ever for MIT admissions. Admitting just 12% of applicants means that we had to turn away many, many incredible students. For those of you who fall into this category, this is an open forum for you to talk. Not Admitted Admitting such a small percentage of the applicant pool means that we unfortunately have to turn away many, many incredible students. For those of you who fall into this category, this is an open forum for you to talk. Not Admitted With an 8% increase in applications, this year was again the most competitive ever for MIT admissions. Admitting less than 12% of applicants means that we had to turn away many, many incredible students. For those of you who fall into this category, this is an open forum for you to talk. Not Admitted Admitting such a small percentage of the applicant pool means that we unfortunately have to turn away many, many incredible students. For those of you who fall into this category, this is an open forum for you to talk. Not admitted This year was the most competitive ever for MIT admissions. Admitting fewer than 13% of applicants means we had to turn away many, many incredible students. For those of you who fall into this category, this is an open post for you to talk. And, if you havent already, check out Bens latest post. Not Admitted There were a record number of applications for Early Action this year, which unfortunately means that we had to turn down a great number of incredible students. For those of you who fall into this category, this is an open forum for you to talk.

`` Happiness Is A Warm Planet `` By Thomas Gale Moore

â€Å"Happiness Is a Warm planet†, by Thomas Gale Moore is an article concerning global warming. In the article, Moore claims that â€Å"Global warming, if it were to occur, would probably be beneficial to most Americans†. The main points that Moore explains in the article are that everyone will benefit from the rising temperatures, the cost of fighting CO2 emissions cost too much,, and that America will pay the price from third world countries not being able to keep up with new conditions. Essentially, his idea is that global warming would have a positive outcome. He believes that nothing should be done to stop global warming. Moore s statements that global warming would be beneficial lacks evidence and reason. If nothing is done to stop global†¦show more content†¦Destructive storms, rising sea levels, and the problems with the Arctic heating up are just some of the multiple ways that global warming will hurt our planet. Moore mentioned in his article that h uman life would be better because of the warm temperatures. Yes, it is true that a lot of people do enjoy a warm day to a cold day, but what Moore seems to have left out is that for us to enjoy anything, we need to have an Earth that is not dangerous to human health. One of the first problems associated with climate change and human health is the toll extreme heat can take. It can cause heat strokes, dehydration, and cardiovascular issues. People living in more northern parts are at a higher risk for this because their bodies are not used to coping with high temperatures. Moore stated in this article that heating costs would go down, but forgot to mention the opposite of heating. Air conditioning would need to be installed to make homes an environment that people can live in without encountering the conditions listed above. Air quality is also a factor that would worsen if the temperatures continue to grow. Wildfires would become more common, which would lead to the air we breath be coming contaminated from pollutants. Water vapor levels will rise with global warming are expected and will increase the ground levelShow MoreRelatedStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesSelf-Assessment Library What’s My Emotional Intelligence Score? 115 An Ethical Choice Schadenfreude 120 Point/Counterpoint Sometimes Blowing Your Top Is a Good Thing 122 Questions for Review 121 Experiential Exercise Who Can Catch a Liar? 123 Ethical Dilemma Happiness Coaches for Employees 123 Case Incident 1 Is It Okay to Cry at Work? 124 Case Incident 2 Can You Read Emotions from Faces? 124 S A L S A L 5 Personality and Values 131 Personality 133 What Is Personality? 133 †¢ The Myers-BriggsRead MoreOne Significant Change That Has Occurred in the World Between 1900 and 2005. Explain the Impact This Change Has Made on Our Lives and Why It Is an Important Change.163893 Words   |  656 Pagesconcludes his rather pessimistic assessment of these key dimensions of the twentieth-century experience with cautionary explorations of key sources of our increased recognition and understanding of these processes and their implications for life on the planet, as well as with an overview of some of the measures that have been proposed for bringing them under control. Taken together, the thematic essays included in this collection provide the basis for fashioning a coherent, inclusive, and wide-ranging

The Myth Of Sisyphus By Albert Camus - 1281 Words

The Myth of Sisyphus is a philosophical essay authored by Albert Camus. Originally published in French in 1942 as Le Mythe de Sisyphe, It was translated into English by Justin O’Brien in 1955. Camus in this essay introduces his concept of the â€Å"absurd†. He talks of man s futile search for meaning, unity, and clarity. He states that for man the world becomes an unintelligible space which is devoid of God, moral ethics and eternal truths. In such a situation one is forced to contemplate ‘Is suicide the only way out hence?’ Camus is of the opinion that by revolting against the absurdity of life one can overcome absurdity. Camus goes on to discuss the similarities between Sisyphus and modern day man’s life. Sisyphus was punished by the God’s to eternally push a boulder up the hill just to see it roll back down. The essay concludes, The struggle itself [...] is enough to fill a man s heart. One must imagine Sisyphus happy. Camus addresses the issue of man’s aspirations for a better tomorrow, without realizing that each day brings him closer to his ultimate reality: death. Death is the ultimate reality of all mankind something one fails to acknowledge in one’s lifetime. The world once stripped of its ideal romanticism, is a strange, inhuman and foreign place. True knowledge is impossible and not everything can be reasoned or answered through science. From the moment absurdity is recognized, it becomes a passion, the most harrowing of all. Sisyphus as represented by Camus is aShow MoreRelatedThe Myth Of Sisyphus By Albert Camus1013 Words   |  5 PagesRob Campbell Mr. Foley Hon. World Lit-D Period 21 September 2017 An Existential Hero â€Å"The Myth of Sisyphus† by Albert Camus is a symbolic commentary on life s inherent meaning, or more specifically, the lack thereof and how one may come to terms with their fate. For centuries, philosophers have pondered upon the idea that there is not an intrinsic meaning in the universe. One major response to such a belief is Existentialism. The system of beliefs known as Existentialism states that through a combinationRead More Albert Camus The Myth of Sisyphus Essays814 Words   |  4 PagesAlbert Camus The Myth of Sisyphus Albert Camus essay, The Myth Of Sisyphus is an insightful analysis of the classic work, The Myth Of Sisyphus. In some regards Camus view of Sisyphus can seem quite accurate and in tune with the original text, but based on Camus interpretation of the justness of Sisyphus punishment, it is clear that the writer has some different ideas as well. Camus concludes that this punishment does not have the effect the Gods had intended, and ultimately theRead MoreThe Myth Of Sisyphus By Albert Camus Analysis1190 Words   |  5 PagesIn The Myth of Sisyphus and Other Essays, author and philosopher Albert Camus develops the theme of existentialism through his ideas of the absurd, suicide, and hope. By addressing prominent questions such as â€Å"what does it mean to live?† and â€Å"what is my real identity?†, Camus emphasizes that the true â€Å"purpose† in life is to embrace the freedom of being able to choose how we define our lives, even if life ultimately has no mean ing. In this research paper, I wanted to further analyze Camus’ ideas,Read MoreFrench Existentialism: Albert Camus Myth of the Sisyphus687 Words   |  3 PagesFriedrich Nietzsche had a profound effect on French existentialism, and his influence is readily apparent in the works of Albert Camus and Jean Paul Sartre. Nietzsches teaching that reality is open to human making and imagination is nothing new; but Nietzsches contention that nearly the whole of human existence is framed by whatever stamp human beings place on it is a radical break with past classical and Enlightenment philosophy. Indeed, the fact that Nietzsches philosophy teaches that allRead MoreFrom Parallel Worlds in Franz Kafka ´s The Metamorphosis and Albert Camus ´ The Myth of Sisyphus798 Words   |  3 Pagessaying, â€Å"same stuff different story,† comes into play. Franz Kafka’s The Metamorphosis and Albert Camus’ The Myth of Sisyphus each have a protagonist that lives in an absurd world. Gregor Samsa and Sisyphus go through some type of change or punishment that makes their existence insignificant. Gregor Samsa becomes a metaphorical and physical â€Å"bug† to his family and must spend the rest life this way. Sisyphus is punished by the Gods and must spend the rest of his life pushing a massive boulder up aRead MoreEssay Theory of the Absurd1667 Words   |  7 Pagesover insignificant things and rejecting the notion of â€Å"logic.† Albert Camus, a major writer of the â€Å"Theatre of the Absurd†, construes the â€Å"Absurd† by completely varying this concept through the human personality, exemplified by The Stranger and â€Å"The Myth of Sisyphus.† Camus redefines the absurd by envisioning the â€Å"absurd† as a world consisting of â€Å"the struggle to find meaning where none exists† (Albert). In The Stranger, Camus writes about a man named Meursault, who one day is notified thatRead MoreThe Conundrum Of Existence : The Many Comparisons Of Manfred And Sisyphus1147 Words   |  5 PagesThe Conundrum of Existence: The Many Comparisons of Manfred and Sisyphus â€Å"As thy shadow on the spot, And the power which thou dost feel shall be what thou must conceal,† (Byron I. I. 229-231). Emotions quickly set the scene in Lord Byron’s dramatic poem, â€Å"Manfred†. The man, deranged from the feeling of immense guilt and peril of a first unnamed sin, makes his angst known from the very beginning. Yet, he seems to hide a deep secret. Byron’s poem â€Å"Manfred† provides the audience with a glimpse intoRead MoreEssay on The Myth of Sisyphus706 Words   |  3 PagesThe Myth Of Sisyphus   Ã‚  Ã‚  Ã‚  Ã‚  The myth of Sisyphus was a paper written by Albert Camus to show that life has no ultimate meaning. This goals of men and woman are false and in the end humans really accomplish nothing. Camus represented his idea of existentialism through the use of Sisyphus. This allows us to see a comparison of a mythical tale and the real world.   Ã‚  Ã‚  Ã‚  Ã‚  Albert Camus feeling towards existence was that humans were not supposed to be living in the world. Camus believed that there wasRead MoreExistentialism And The Absurd By Albert Camus1186 Words   |  5 Pageswork. In his various books, short stories, and plays, the French-Algerian writer Albert Camus relates to his philosophical beliefs: specifically existentialism and the absurd, as well as his connecting idea of rebellion. Camus’ most prominent works – such as the novels The Plague, The Stranger, The Rebel, and others – reflect these beliefs and ideas he held. Though he was and continues to be considered as one, Camus made a point of rejecting the label of an existentialist. Existentialism is essentiallyRead More The Human Condition Essay605 Words   |  3 Pagesdiscouraging? In Albert Camus’s â€Å"The Myth of Sisyphus,† Camus describes the correlation between Sisyphus’s fate and the human condition. In the selection, everyday is the same for Sisyphus. Sisyphus is condemned to rolling a rock up a mountain for eternity. Camus’s â€Å"The Myth of Sisyphus† forces one to contemplate Sisyphus’s fate, how it relates to the human condition, and how it makes the writer feel about her part in life. nbsp;nbsp;nbsp;nbsp;nbsp;Camus states â€Å"if this myth is tragic, that

Module a Free Essays

Whilst texts may be fictitious constructs of composers’ imaginations, they also explore and address the societal issues and paradigms of their eras. This is clearly the case with Mary Shelley’s novel, Frankenstein (1818), which draws upon the rise of Galvanism and the Romantic Movement of the 1800’s, as well as Ridley Scott’s film Blade Runner (1992), reflecting upon the increasing computing industry and the predominance of capitalism within the late 20th Century. Hence, an analysis of both in light of their differing contexts reveal how Shelley and Scott ultimately warn us of the dire consequences of our desire for omnipotence and unrestrained scientific progress, concepts which link the two texts throughout time. We will write a custom essay sample on Module a or any similar topic only for you Order Now Composed in a time of major scientific developments, including Galvani’s concept of electricity as a reanimating force, Shelley’s Frankenstein utilises the creative arrogance of the Romantic imagination to fashion a Gothic world in which the protagonist’s usurpation of the divine privilege of creation has derailed the conventional lines of authority and responsibility. Her warning of the dangers of such actions is encapsulated within Victor’s retrospective words of â€Å"how dangerous is the acquirement of knowledge†, whilst Shelley’s use of a fragmented epistolatory narrative adds a disturbing sense of truth, foreshadowing the dark consequences of Frankenstein’s actions. Moreover, her allusions to John Milton’s Paradise Lost evoke the poetic retelling of Satan’s fall from grace, wherein the daemon’s association with â€Å"the fallen angel† exacerbates the effects of Victor’s rejection, ultimately transforming its â€Å"benevolent nature† into a thirst for retribution. Together with its questioning of how Victor could â€Å"sport with life†, Shelley’s warning reverberates past the page, directly questioning the scientists of her era, including evolutionary theorist Erasmus Darwin, to reinforce the dangers of our humanity’s inherent yearning to play the role of the Creator. Such a warning also exists within Scott’s Blade Runner, hence linking the two texts throughout time, where the director echoes the rise of capitalist ideals and the Wall Street mantra, â€Å"greed is good†, through the symbolic dominance of Tyrell’s towering ziggurat, a reflection of both his desire for omnipotence and commercial power. Tyrell’s egocentric nature is epitomised within the religious connotations of his abode, including his voluminous bed, modeled after that of Pope John Paul II, as well as his reference to Batty as â€Å"the prodigal son†. Such symbols are unnervingly subverted through both the foreboding Chiarscuro of flickering candle-light with shadow and his violent death at the hands of his own creation. Scott’s warning of the dangers of such a desire is also evident within the expansive shots of 2019 LA, revealing a dark and tenebrous world lit by the glow of corporate advertisements, a representation of a bleak future dominated by commercial dominance. Hence, by drawing upon elements of his context, including the growth of capitalism and the ‘trickle-down theory’ of Reagan’s era, Scott positions us to reassess the consequences of overstepping our boundaries. In addition, both texts’ warnings also encompass the dangers of unrestrained scientific progress, where Frankenstein further demonstrates the Romantic Movement’s influence on Shelley’s mindset, as her criticisms of the Age of Reason and Industrial Revolution reflect their denigration of rationality. The imagery of the â€Å"dead corpse† and repetitious use of â€Å"horror† upon the creation of the â€Å"miserable monster† establish a strong aura of death and despair around this scientific advancement, whilst Victor’s warning of Walton to â€Å"avoid ambitions of science and discoveries† encapsulates Shelley’s vilification of contributors to the Industrial Revolution, including renowned inventor James Watt. Moreover, Shelley stresses her warning through the protagonists’ connections with nature, where Victor’s â€Å"insensibility to its charms†, arising from his immersion in science, results in his â€Å"deep, dark and deathlike solitude†, with the heavy alliteration exemplifying his degraded sense of humanity. Conversely, the monster possesses greater â€Å"benevolence† and a more intimate connection with â€Å"the pleasant showers and genial warmth of spring†, with such characterisation capturing Shelley’s reflection of Romanticism’s idolisation of nature, cautioning us against the dehumanising effect of unrestrained scientific advancement. Blade Runner is no different, with Scott’s reflection of the explosion of technological progress during the 1980’s, including the rise of computing giants IBM and Microsoft, highlighting the dangers of such unrestrained progress. Most notable is the opening panoramic shot of blazing smokestacks which, together with the haunting synthetic pulses of the Vangelis soundtrack, establishes a festering miasma of technological overload, adding further semiotic weight to the film’s nightmarish dystopian agenda. Indeed, this portrayal of a decaying environment reflects the growing ecological awareness of the 1980’s, which, whilst different to Shelley’s Romantic values, is similarly employed to highlight the destruction of mankind due to technology. Moreover, Scott illuminates us to the dehumanising effects of such progress, foregrounded through Deckard’s â€Å"retiring† of the Replicant Zhora. Here, the stylistic placement of the transparent poncho places further emphasises the violence of her death, with slow-motion low angle shot conveying her heightened sense of humanity within her last painful moments. In contrast, Deckard’s emotionless features, together with the monotonous drone of the droid, suggests that our artificial creations will ultimately lead to the dehumanising of mankind, undermining our humanist framework and hence, warns us of the dire consequences of unchecked scientific progress. Thus, we can see how both Shelley and Scott reflect their zeitgeists in their texts, Frankenstein and Blade Runner, as they draw upon the societal concerns of their times in order to warn us of the consequences of overstepping our boundaries and unbridled technological advancement. Subsequently, it becomes evident that despite their temporal and contextual differences, both texts are in fact linked through their common concerns and concepts. How to cite Module a, Papers

Rousseau On Civil Religion Essay Example For Students

Rousseau On Civil Religion Essay Religion is a component of almost every society. Knowing this, one might look atthe function it serves. For Jean-Jacques Rousseau, religion, specifically acivil religion established by the Sovereign, is an instrument of politics thatserves a motivating function. In a new society people are unable to understandthe purpose of the law. Therefore, civil religion motivates people to obey thelaw because they fear some divine being. For a developed society, civil religionmotivates people to maintain the habit of obedience because they grow tounderstand and love the law. First of all, it is necessary to clarifyRousseaus ideas on religion. In Chapter Eight of On the Social Contract,Rousseau distinguishes four types of religion. The first of these is thereligion of man. According to Rousseau, this type of religion iswithout temples, alters or rites. It is limited to the purely internalcult of the supreme God and to the eternal duties of moralityis the pure andsimple religion of the Gospel, the true theism, and what can be called naturaldivine law (SC, Bk IV, Ch. 8) In addition, he describes the religion ofman as Christianity. However, it is different than the Christianity of todayin that it is focused on the Gospels and through this holy, sublime, truereligion, men, in being the children of the same God, all acknowledge oneanother as brothers, and the society that united them is not dissolved even indeath (SC, Bk IV, Ch. 8). Rousseau finds fault in this type of religion. TrueChristianity of this sort would require every citizen to be an equally goodChristian for peace and harmony to be maintained. In addition, Rousseau arguesthat it would be unlikely for every man to be concerned only with heavenlythings. He anticipated that a single ambitious man, a single hypocrite, aCataline, for example, or a Cromwell, he would quite undoubtedly gain an upperhand on his pious compatriots (SC, Bk IV. Ch. 8). Rousseau defines the secondtype of religion as the religion of the citizen. H e states, The other,inscribed in a single country, gives it its gods, its own titulary patrons. Ithas its dogmas, its rites its exterior cult prescribed by its laws. Outside thenation that practices it, everything is infidel, alien and barbarous to it. Itextends the duties and rights of man only as far as its alters(SC, Bk IV, Ch 8). Rousseau believes this type of religion is good because it unites the divinecult with love of the laws. On the other hand, this type of religion has thepotential to make men superstitious and intolerant. When the boundary betweenChurch and state is clouded, men may begin to believe they are performing abold action in killing anyone who does not accept its gods (SC, Bk IV, Ch 8). Rousseau points out a third type of religion which in his own words is morebizarre. He calls this religion of the priest and states in givingmen two sets of legislation, two leaders, and two homelands, it subjects them tocontradictory duties and prevents them from being simultaneously devout men andcitizens. An example of this type of religion is Roman Catholicism. RomanCatholics are subject to the law of the Church as well as the law of the state. They are subject to the authority of the pope as well as the authority of theleader of the state. Also, they are commanded subject to the rule of the Vaticanas well as the rule of their homeland. For Rousseau, religion of thepriest is so bad that it is a waste of time to amuse oneself by provingit. Whatever breaks up social unity is worthless. All institutions that placeman in contradiction to himself are of no value (SC, Bk IV, Ch 8). BecauseRousseau finds serious faults with the first three types, he calls for people toadhere to a fourth kind of religion. He defines this as civil religion. Heasserts that it is the Sovereigns duty to require a purely civilprofession of faith and to establish the dogmas of a civil religion. Rousseauelaborates on this by stating, The dogmas of the civil religion ought to besimple, few in number, precisely worded, without explanations or commentaries. .u4dc9689304c2feafcfc141702851af4a , .u4dc9689304c2feafcfc141702851af4a .postImageUrl , .u4dc9689304c2feafcfc141702851af4a .centered-text-area { min-height: 80px; position: relative; } .u4dc9689304c2feafcfc141702851af4a , .u4dc9689304c2feafcfc141702851af4a:hover , .u4dc9689304c2feafcfc141702851af4a:visited , .u4dc9689304c2feafcfc141702851af4a:active { border:0!important; } .u4dc9689304c2feafcfc141702851af4a .clearfix:after { content: ""; display: table; clear: both; } .u4dc9689304c2feafcfc141702851af4a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u4dc9689304c2feafcfc141702851af4a:active , .u4dc9689304c2feafcfc141702851af4a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4dc9689304c2feafcfc141702851af4a .centered-text-area { width: 100%; position: relative ; } .u4dc9689304c2feafcfc141702851af4a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4dc9689304c2feafcfc141702851af4a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4dc9689304c2feafcfc141702851af4a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u4dc9689304c2feafcfc141702851af4a:hover .ctaButton { background-color: #34495E!important; } .u4dc9689304c2feafcfc141702851af4a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4dc9689304c2feafcfc141702851af4a .u4dc9689304c2feafcfc141702851af4a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4dc9689304c2feafcfc141702851af4a:after { content: ""; display: block; clear: both; } READ: International Business - Coca EssayThe existence of a powerful, intelligent, beneficent divinity that foresees andprovides; the life to come; the happiness of the just; the punishment of thewicked; the sanctity of the social contract and of the laws. These are thepositive dogmas. As for the negative dogmas, I am limiting them to just one,namely intolerance (SC, Bk IV, Ch 8). Furthermore, the Sovereign can banish anyman who does not believe these tenets. However, one is not banished for beingimpious, but rather, for being unsociable. Keeping this in mind, one can addressthe reasons why Rousseau feels a civil religion is necessary. For Rousseau, thistype of religion motivate s people in two distinct ways. First of all, for peoplein emerging societies, it creates fear and awe of a power larger than the state(Dent, 1988). Rousseau characterizes people in these new societies as incapableof understanding the real purpose and principles of law (SC, Bk II, Ch 6). Inturn, he fears that the ignorance of the masses will interfere with theirobedience of civil law. Recognizing the dilemmas associated with instituting asystem of laws in a new society, Rousseau places most of the burden on theLegislator (Trachtenberg, 1993). It becomes the Legislators duty to guide thepeople towards the common good. However, pointing the people in the direction ofthe common good will not just come as a result of the the Legislators highintellect nor his sound reasoning ability. Instead, the Legislator will have toappeal to a higher force, that the people are more comfortable with and trustingof (Rosenblatt, 1997). Rousseau states, Since, therefore, the legislator isincapable of usin g either force or reasoning, he must of necessity have recourseto an authority of a different order, which can compel without violence andpersuade without convincing (SC, Bk II, Ch 7). In this passage Rousseau isreferring in to the use of religion as an instrument of politics. Religionbecomes a means of motivating people to subject themselves willingly to the law(Trachtenberg, 1993). It appeals to the mans primitive instinct of survival. Motivation arises out of the fear and awe people have of divine power over them(Trachtenberg, 1993). They not only see the potential of civil sanctions, butthey also the fear heavenly retribution. Likewise, they see compliance with thelaw as a means of receiving the favor and blessing of God (Dent, 1988). According to one author, religion remedies the effect of the cognitivedeficit the Legislator encounters with a new people (Trachtenberg, 1993). However, the function of civil religion evolves simultaneously with thedevelopment of society. As a society changes and becomes more aware of thedirection of the common good, the purpose of civil religion shifts. Once thelaws have been implemented, citizens begin to learn through experience that itis to their advantage to live under the law (Trachtenberg, 1993). They no longerneed to be manipulated into obedience. This is not to say that civil religionloses its value and falls by the way side. Instead, it becomes a different kindof motivator. It is not used as a mechanism to impose obedience of the law, butrather, a means to maintain obedience to the law (Dent, 1988). Rousseau writes,For it is of great importance to the state that each citizen have a religionthat causes him to love his duties. But the dogmas of that religion are of nointerest either to the state or its members, except to the extent that thesedogmas relate to morality and to the duties which the one who professes them isbound to fulfill toward others (SC, Bk IV, Ch 8). This passage describes whatRousseau envisions society to be like. He suggests that civil religion willcreate an invariable bond between people and the law (Lemos, 1977). According toRousseau, the law, by its very nature has force, however when linked to religionthis force is increased (Trachtenberg, 1993). It is evident that one will haveduties in society regardless of the presence of religion (Dent, 1988). Simplyput, they are a requirements of civil association. However, it is not requiredthat citizens love these duties. This is where civil religion fits in. It is ameans of creating the love people have for their duties and moralresponsibilities. This love of the law is unlike that created by the religionof the citizen (Dent, 1988). While both provide a strong link between theindividual and the law, a civil religion does not turn the state into the objectof adoration. Nor does a civil religion emphasize intolerance. In fact itemp hasizes just the opposite point of view. Rousseau states, tolerance shouldbe shown to all those that tolerate others, so long as their dogmas containnothing contrary to the duties of a citizen (SC, Bk IV, Ch 8) In turn, theSovereign is not concerned with whether or not the dogmas of the civil religionare right or wrong but instead with the moral, social, and politicalconsequences it brings forth (Trachtenberg, 1993). Clearly, one can see thatRousseau takes seriously the function of religion in society. He outlines fourvery different types of religions in his texts but calls for adherence to onlyone, civil religion. He sees this type of religion as a serving a motivatingfunction. For people in emerging societies who are unable to understand thepurpose of law, civil religion motivates them to obey out of fear. For those indeveloped societies, the motivation to obey the laws comes from a love anddevotion to the law.

The Tempest Persuasive Essay Example For Students

The Tempest Persuasive Essay The Tempest was written in the early Stuart period in England when masques were becoming exceedingly popular, and were often performed at weddings to honor marriages. The Tempest is heavily influenced by elements of the masque, and can be performed with the same purposes as one, although it is far too rich to be classified simply into that genre of plays. In masques the use of spectacle was extensive. The Tempest reflects this in many ways. The very first scene, Act I scene i, is that of a ship in action, and requires elaborate special effects to convey a sense of realism. The banquet scene in Act III scene iii requires a quaint device to make it vanish, and also makes extensive use of costume, dance and music, as the spirits enter in the form of shapeless creatures and Ariel is the form of a harpy. The masque within the play in Act IV requires elaborate costumes for the goddesses and, ideally, machinery for Juno to descend as deus ex machina with. It also involves great amounts of s ong and dance. The entire play makes extensive use of music, with Ariels songs and Prosperos charms as well as the sweet airs of the island itself. Being non-human, Caliban, Ariel and the spirits require elaborate costume to make them appear so, and the court party members are decked in their finest court apparel, having just been at Claribels wedding, so that Miranda is taken aback by the brave new world / That hath such creatures int on seeing them. The elements of pastoral comedy in The Tempest are also linked to those of the masque. A natural man, Caliban, exists. So do a pair of noble young lovers, Ferdinand and Miranda, who are brought together in the pastoral setting of an island, unaffected by the corruptive influences of civilisation, making Miranda an innocent and undeceitful young woman. She has had no time for vainer hours, as other princesses would have, leading to vanity, but has been educated by Prospero, showing she is innocent rather than ignorant. She is uncoquetti sh and direct in her advances to Ferdinand in Act III scene ii, and yet is filial, worrying about disobeying her father in what she feels is right. It is her virtue and innate nobility that make Ferdinand mistake her, on their first encounter, as most sure the goddess of this island. Ferdinand is also virtuous, having the chivalry to bear logs for Prospero as punishment simply because he has been defeated and having the ability to let the pure white virgin snow upon my heart / Abate the ardour of my liver. The chastity of the two lovers points toward the need for reason to rule passion for a harmonious relationship. This is reinforced again by the masque, in which the unruly Vesus and Cupid are omitted, and instead include Ceres, Juno and Iris, goddesses of the harvest, reflecting mans harmony with nature; marriage, reflecting the importance of marriage vows; and the rainbow, reflecting the harmony of nature. The presence of the goddesses themselves in the masque reflects the elemen t of divine intervention in the masque. In masques, it was common for characters from Grco-Roman mythology to be featured, blessing the couple. Divine intervention is also manifested in Ariel, who can only do good, as seen by the fact that he could not work for Sycorax. He is subordinated to Prospero, as well as all the other spirits, weaving in the concept of the supernatural. Ariel also alludes to mythology in his attirements as a seanymph and harpy. However, it would be wrong to classify The Tempest as a masque, as although it contains many elements of the masque, it features a structured plot with an exploration of controversial ideas and themes, such as that of nature versus nurture in Caliban and Antonio, and that of disruption of social hierarchy. Masques tended to rely more on spectacle and moral than on plot; the plot was often weak or non-existent. Through this, we can see that Shakespeare incorporated elements of the masque into that of his conventional plays, producing a play that can be well-regarded in both respects. The Tempest contains certain antimasque elements, such as the conspiracies for murder. Antonio and Sebastian prove that even with all the benefits of noble birth and civilised education, evil men can be produced. This is against traditional masque ideas of nobility. Antonios act of usurping Prospero, and their intention to murder Alonso and usurp his throne, give the play tragic elements as well, as they value their personal benefits over those of society. The mock court party also has antimasque qualities, as the rough humour of their folly in attempting to be rulers tickles us in a base way. However, their intent to murder Prospero also presents a dark side of the play, and Caliban is a base, dull, uncivilised brute rather than the innocent and noble natural nice man of Spenser. The fact that he can appreciate the music while many of the people from civilisation cannot points to the fact that he does have a degree of the purity whi ch is destroyed by civilisation, but otherwise, we are little inclined to admire him. The struggle of Prospero to assert his reason over his passion, planning for the future rather than succumbing to his temptations for revenge, are also against the idea of the masque. Prospero, as the central character, has little to do with the elements of the masque at all, as the main concern of the plot is his education of the people on the island and his own education as a result of this. Thus, it would be impossible to claim that The Tempest is a masque, but possible to claim it has much to owe the masque. It is a masque to the limited extent that it contains most of the elements of the masque, but this is transcended by the fact that it contains much more that is not, making it a better and more profound play. In The Tempest, it would seem that no two characters could be further apart than Prospero, the right duke of Milan, and Caliban, the salvage and deformed slave. They represent two diff erent extremes on the social spectrum: that of the natural ruler, and the naturally ruled. Their positions on the social hierarchy are largely due to the fact that Caliban responds almost wholly to passions, feelings of pleasure his senses, while Prospero is ruled more by his intellect and self-discipline his mind. However, the fight that Prospero has against his own natural tendency to ignore the discipline of his intellect, and give in to pleasures such as vanity and self-indulgence, cannot be ignored. Caliban was born of a witch; Prospero is a magician. However, the types of magic practised by Sycorax and Prospero differ greatly: Sycorax, in many respects a traditional witch, worked within Nature and as a part of it. She worked with devils and the lowest orders of spirits. Prospero, on the other hand, exercises his magic by means of strict discipline and study, rising above the natural order by means of his greater knowledge, and actually coercing spirits of a fairly high rank, such as Ariel, to do his bidding and control other spirits for him. In the Arts which both represent, Prospero certainly reflects the world of the mind. And Sycorax does not? However, in the use of his Art, Prospero reveals himself as not wholly disciplined. okay Prospero enjoys using the power of his Art, as he tells us in his monologue just before his forgiveness of the court party graves at my command opd By my so potent Art. He has also shown that he enjoys using it to show off, as he did during the masque he provided for Ferdinand and Miranda, which he indulged in even when Calibans plot and the court party both urgently required his attention. Although we are not given details of Calibans birth, it seems likely that a creature as subhuman in appearance as Caliban was not born of a human union. It has been postulated that, to quote Prospero, he was got by the devil himself upon thy wicked dam, from a union between Sycorax and an incubus (an extremely attractive male apparit ion with intention to tempt). Caliban was therefore a creature born from passion, the offspring of an unholy pleasure. Prospero was not only of noble birth; he was also born to be the ruler of the city-state of Milan. Nobility, in Elizabethan times, carried with it heavy implications: it was expected that Prospero would be intellectually superior, and that he would exercise as great discipline over himself as he was expected to exercise over others, in his role of leadership. From their ancestry, Prospero is likely to be more ruled by his intellect, and Caliban by his love of pleasure. In the history of each character before the opening of The Tempest, there is a further contrast. Calibans original love for Prospero and Miranda, and his later misdemeanour and subsequent hatred for them, illustrate his fundamental reliance on his senses. Caliban loved Prospero and Miranda because they made much of me; and his response to this was purely sensual in his recollections: Thou strokst me, wouldst give me / Water with berries int. What Caliban responded to, more than anything else, was the sensation of pleasure that being loved and petted gave him. The action that caused Caliban to be removed from this position and punished was his attempt to rape Miranda, another example of how Caliban seeks pleasure. (Prosperos position on sexual relations is quite opposite he tells Ferdinand repeatedly not to take advantage of his daughter, and hammers the message home with the masque.) True but why? Make the full contrast clear. Prospero, on the other hand, enjoyed his original position as duke of Milan largely because he was able to study to his hearts content. This seems to indicate a particular reliance on the powers of the mind quite opposite to Calibans fault but in actual fact, Prosperos neglect of his duties and self-indulgence in pushing the matters of the state all to Antonio must be censured, and laid at the door of his lack of self-discipline. Prospero did these thi ngs because he enjoyed them so much and like Caliban, he was punished. Which is to say he did not fulfill his responsibilities. Be more direct. However, it must be noted that Prospero was able to learn from his mistake, disciplining himself into the study of magic only so far as it would restore himself, and Milan, to a state of rightful leadership. The decision to give up his magic at the end of the play can be attributed only to intellectual discipline; Prosperos understanding that for the good of his people and himself, he must give up that which gives him pleasure. It is not quite so one dimensional. During The Tempest itself, Prospero and Caliban have two very different purposes. Prospero intends to resolve the injury that was done to Miranda and himself, bloodlessly, by the use of his Art. Calibans dearest wish is to depose Prospero by killing him and, rather than resuming rule of the island himself, submit to the rule of Stephano. Prosperos purpose does indeed include passio n he wishes to take revenge on his false brother, and wants the dukedom returned to himself and Miranda. However, Prospero clearly manages to conquer his personal vendetta against Antonio, as evidenced by his forgiveness of him at the end, and his decision not to ruin Antonio by giving away his plot to kill Alonso. Besides, his personal desire to have his dukedom back is acceptable, because part of this desire is a wish to see the dukedom back in the hands of a ruler who cares for the people, not given to a ruler like Antonio, whose main interest is always himself. Prospero may be thinking in terms of self, but as long as he also keeps this lofty purpose in mind, we may say that the world of the mind has more power over him. good Calibans purpose in attaching himself to Stephano and plotting to kill Prospero is almost wholly passionate. The reason that Caliban believes Stephano to be a worthy ruler, indeed, a god, is that Stephano is the custodian of liquor, a substance that appeal s to his senses. His favourable response to Stephano is like his previous response to Prospero that someone who makes him feel good must be good. Likewise, his attempt at achieving revenge on Prospero is largely in retribution for the punishment Prospero has visited upon his senses. well said However, though Calibans desire for revenge is certainly not cerebral, his passions in it are not entirely sensual either. The crafty manner in which he persuades Stephano to aid him in his plan, by mentioning Prosperos riches and Mirandas beauty, shows the presence of some mental ability; as does his attempted tact in trying to keep Stephanos mind upon bloody thoughts. Furthermore, one of his grievances against Prospero is that he stole the island that was, by birthright, Calibans, and imprisoned Caliban upon it. This is part of the little evidence we have that Caliban operates using more than his senses and passions. However, Calibans mind is subject to his senses, much as Prosperos passions are subject to his mind. Calibans underlying motives are still passionate. His indignation at having his inheritance usurped loses its weight when we realise that, of his own free will, he will let Stephano rule showing himself to be naturally ruled, not ruler. At the end of the play, when he recognises that his choice of Stephano as a ruler was foolish, it is not mental reasoning that has led him to this conclusion, but the evidence of his senses and experience. Caliban has mind enough to function as part of society, but training him to become part of that society cannot be abstract, like Prosperos failed attempt at educating him with Miranda Calibans education must be practical and hammered home with his own senses. Neither Prospero nor Caliban cannot be said to be wholly mind or sensual passion, but Caliban does rely largely on his senses, and by the end of the play, Prosperos mind has achieved a great extent of control over his passions. text passage: Act I, Sc ii, lines 79-1 16. From Being once perfected how to grant suits to To most ignoble stooping Paying close attention to tone imagery, comment on the presentation of Prospero and important ideas in the play raised here. We are presented with the highly emotional and angst-filled account of past times in Milan narrated by the main protagonist of The Tempest, Prospero. The turbulence in his tale reminds us of the equally disturbing tempest in the previous scene with its general mood of disorder and destruction. Although there are no physical indication of violence as in the last scene, Prosperos report is coloured with such images. It is here, in Act 1 Scene 2 that we learn that Prosperos art had conjured up the tempestuous storm. Mirandas piteous heart demands a salvation for the poor souls onboard the ship but her father, the great magician, Prospero promises that, theres no harm done. He proclaims, tis time and sets out to explain his motive for raising The Tempest that is the driving force of the entire play. As he speaks of the past, Prospero is no doubt reliving every single detail in the dark backward and absym of time. He seems to have vengeance on his mind right now. Old wounds are cruelly re-opened and he re-experiences the bitterness of betrayal by is false brother and the pain of what had happened twelve year since. At the same time, he is also stirring up lost memories in Mirandas remembrance. We see Shakespeares magic at work as well while he deftly weaves the plot into his audiences mind. Every time Prospero calls Miranda to attention, Shakespeare speaks through the lips of his creation to his audience, Thou attendst not? Taking on the voice of father, magician and prince of power, the bard leads us straight into the crux of The Tempest of Prosperos voice. The usurped Duke of Milan speaks of the usurper, Antonio most vividly, using myriad images. We picture Antonios brilliance in politics as Prospero tells of how his brother being once perfected how to grant suits , how to deny them, who t advance and which to trash for over-topping supplanted him. He presents us with a hunting image as he acknowledges Antonios skill compliments him. Prospero uses a number of images in his speech to let us see Antonio as a political animal. He shows us how having both the key of the officer and office Antonio gained supporters and got rid of opposers. This double image aptly portrayed how he not only secured the authority entrusted to him; he also had the ability to assert that power to his own means set all hearts ith state to what tune pleasd his ear. At the same time, we notice that the play is one that rings of music, this is only one instance where music is mentioned. It is a recurring motif. He maneuvers his way into nature when he informs Miranda (and the audience) of the ivy which hid my princely trunk and suckd my vendure out ont. We see in our minds eye the devious Antonio who sucked the power out of his brothers welcoming hands and so, his life, leaving only a dry shell. Through the use of such imagery, Shakespeare unfolds the passionate tale of usurpation before the wondrous Miranda and us, the audience. The wise Prospero speaks of how he had laid himself wide open to harm in being transported and rapt in secret studies. Neglecting worldly ends, all dedicated to closeness and the bettering of his mind he entrusted Milan into the hands of his treacherous brother and in doing so, awakd an evil nature in his false brother. Not contented with his position, Antonio new created the creatures that were mine, changd em or else new formd em and confederates with King of Naples to bend Milan to most ignoble stooping. It is obvious that Prospero was not conscious of what Antonio was doing and so, we, the sympathetic listeners feel for him although we know that he is partly at fault for his downfall. Prosperos anger and feelings of vengeance is understandable but we know that theres no harm done. At the same time, as we listen to the usurped fling charge after charge at the amoral usurper like the sea waves beating relentlessly at the yellow sands, Shakespeare questions the Prosperos usurpation of the creatures of the island Caliban and Ariel. We find out later that the powerful mage subjects the most delicate monster, Caliban to most ignoble stooping and even the fine apparition, Ariel is not spared from the magic of Prospero who has him at his beck and call. They cry for liberty but do they receive it from the usurped master? This is another of the important ideas raised in the play. Miranda listens attentively to her father as he relives how he had placed his trust mistakenly on Antonio, like a good parent and how it beget of him a falsehood in its contrary. He needs will be absolute Milan. This convoluted image reminds us of how the unknowing Caliban had placed his trust and loved thee and showed thee all the qualities o th isle. The situation of Prospero twelve year since mirrors that of the abhorred slave , Caliban. Meanwhile, it also presents Antonio and Prospero as complex political creatures surviving in the realism of politics. The usurped did not refrain from usurping others in a different place and time. Here, we see the men as truly brothers because they are alike in their usurpation. The only difference lies in Prosperos benevolence in his decision towards reconciliation. We are given enough to be sure that Antonio will never consider the very idea because he made a sinner of his own memory. The man created and shaped his own reality to suit his means and this is another recurring motif in the play. We have seen how the people are unable to see through the illusion of the tempest and sometimes, they just do not understand their own reality because they do not want to see it. Prospero has made use of that weakness to recover his dukedom as he brings the plotters, Antonio, Sebastian and Alonso to the island for a lesson. We will meet the king of Naples who despairs of ever find ing his beloved son, Ferdinand after The Tempest and refuses to entertain the hope of seeing him again but we know he does in the end. Power, all prerogative had gone into the plotters heads and this veils the actual reality to become another reality in the mind. We encounter another motif in the play, that of fathers. We know that although the fathers (Prospero and Antonio) are enemies, they will forget their differences in the union of their child (Ferdinand and Miranda) eventually. This tale that would cure deafness is the stepping stone of the entire play and we are presented with a multi-faceted Prospero the magician who usurps, the wronged who was usurped, the avenger, the father, the master, the duke. Can we really define him? Shakespeare leaves that intriguing thought in our minds as we take leave of this account full of imagistic qualities and themes. The Tempest, written in 1611, was one of William Shakespeares last plays. It has a combination of superb characters, intere sting settings, and a good plot line—all held together by the running theme of magic, and its ever-present importance. A closer examination of the magic in The Tempest, and the publics view of magic at the time, will give insight as to Shakespeares choice of magic as a theme, and why it has made the play so successful and timeless. Magic presented itself to Shakespeare as a controversial topic, as it had been the persecution of those believed to perform black magic, (witches) that had been at the forefront of societal concerns since 1050. However, after 500 years of witch-hunts, a turning point occurred in 1584, at the publication of Reginald Scots The Discouerie of Witchcrafte (The Discovery of Witchcraft). This book was the first major book to denounce witch-hunts and their ringleaders, and unquestionable the first book in English to actually hypothesize about the methods of these so-called witches. It contained one chapter of approximately twenty pages describing what we m ight view as unsophisticated, old-time magic tricks. One would assume that it was this text, and texts succeeding this (The Art of Juggling, written by Samuel Ridd in 1610 also presented a few how-tos of magic) were probably not only what suggested the idea of using magic as a them to Shakespeare, but in addition, provided methods as to how the magic in the play might be accomplished. Despite the fact that in retrospective analysis it is fairly clear that witches were nothing more that magicians with a slightly different presentation, audiences were not always aware of –and those that were, were rarely convinced by—the two aforementioned texts. Witches were still persecuted and witch-hunts did not actually stop until the end of the seventeenth century. Therefore, Shakespeares use of magic was controversial, compounded by the fact that Prospero was presented in a largely good light—a move probably made as a political statement, as it is known that Shakespeares pl ays were sometimes written to include political suggestions to King James. However, when Prospero relinquished his powers at the end of the play, those that did believe in the witch-hunts were satisfied. Everyone was happy. After considering the contention that the masque scene was added for the purposes of compliment to Elizabeth and Fredericks marriage, one could conclude that Shakespeare learned more about magic after he wrote The Tempest. The reasoning follows. One could only assume that Shakespeare would have tried to make the magic in the play as fooling and magical as possible. Although there were two magic effects in the play, one of them –the spirit music—would not have fooled even the most unsophisticated and nave audiences. Even before the era of Harry Houdini, or even the wandering street magicians of the 1700s, audiences were not fooled by music being played offstage. It is the other effect, that of the banquet disappearance that, well executed, would have fooled Shakespeares audiences, and would even have a shot of passing muster today. However, this banquet sequence was in the masque scene, theoretically added two years after the original writing of the play. The question that begs to be answered therefore, is why didnt Shakespeare fund some other way of including a more sophisticated magic effect into the play? The most logical answer would be that he learned more about magic and witch techniques after he wrote the play. Maybe at first he was unable to grasp the explanations in the Scot text, or maybe he didnt even read it before the original writing—possibly it was just called to his attention, and he was unable to lay his hands on a copy until after he wrote the play Whether or not Shakespeare ever read the Scot text in its entirety, or whether or not the banquet disappearance was added before or after the original writing, neither is relevant to magics central importance to the play. Obviously, magic could grab audiences of Shakespeares time. As it happens, magic had been grabbing audiences since 2500 BC (according to a depiction of a magician on the Beni Hassan tomb in Egypt) and magic continues to grab audiences today. It caught Shakespeares eye, and has made the play timeless, and theatrically entertaining. 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Appealing to Tradition Fallacy

Appealing to Tradition Fallacy Fallacy Name: Appeal to AgeAlternative Names:argumentum ad antiquitatemAppeal to TraditionAppeal to CustomAppeal to Common PracticeCategory: Appeals to Emotion and Desire Explanation of the Appeal to Age Fallacy The Appeal to Age fallacy goes in the opposite direction from the Appeal to Novelty fallacy by arguing that when something is old, then this somehow enhances the value or truth of the proposition in question. The Latin for Appeal to Age is argumentum ad antiquitatem, and the most common form is: 1. It is old or long-used, so it must better than this new-fangled stuff. People have a strong tendency towards conservatism; that is to say, people have a tendency to preserve practices and habits which seem to work rather than replace them with new ideas. Sometimes this may be due to laziness, and sometimes it may simply be a matter of efficiency. In general, though, its probably a product of evolutionary success because habits which allowed for survival in the past wont be abandoned too quickly or easily in the present. Sticking with something that works isnt a problem; insisting on a certain way of doing things simply because its traditional or old is a problem and, in a logical argument, it is a fallacy. Examples of the Appeal to Age Fallacy One common use of an Appeal to Age fallacy is when trying to justify something which cant be defended on actual merits, like, for example, discrimination or bigotry: 2. Its standard practice to pay men more than women so well continue adhering to the same standards this company has always followed.3. Dog fighting is a sport thats been around for hundreds if not thousands of years. Our ancestors enjoyed it and it has become part of our heritage.4. My mother always put sage in the turkey stuffing so I do it too. While its true that the practices in question have been around for a long time, no reason for continuing these practices are given; instead, its simply assumed that old, traditional practices should be continued. There isnt even any attempt to explain and defend why these practices existed in the first place, and thats important because it might reveal that the circumstances which originally produced these practices have changed enough to warrant dropping those practices. There are quite a few people out there who are under the mistaken impression that the age of an item, and that alone, is indicative of its value and usefulness. Such an attitude is not entirely without warrant. Just as it is true that a new product can provide new benefits, it is also true that something older may have value because it has worked for a long time. It isnt true that we can assume, without further question, that an old object or practice is valuable simply because it is old. Perhaps it has been used a lot because no one has ever known or tried any better. Perhaps new and better replacements are absent because people have accepted a fallacious Appeal to Age. If there are sound, valid arguments in defense of some traditional practice, then they should be offered, and it should be demonstrated that it is, in fact, superior to newer alternatives. Appeal to Age and Religion Its also easy to find fallacious appeals to age in the context of religion. Indeed, it would probably be hard to find a religion which doesnt use the fallacy at least some of the time because its rare to find a religion which doesnt rely heavily on tradition as part of how it enforces various doctrines. Pope Paul VI wrote in 1976 in Response to the Letter of His Grace the Most Reverend Dr. F.D. Coggan, Archbishop of Canterbury, concerning the Ordination of Women to the Priesthood: 5. [The Catholic Church] holds that it is not admissible to ordain women to the priesthood for very fundamental reasons. These reasons include: the example recorded in the Sacred Scriptures of Christ choosing his Apostles only from among men; the constant practice of the Church, which has imitated Christ in choosing only men; and her living teaching authority which has consistently held that the exclusion of women from the priesthood is in accordance with Gods plan for his Church. Three arguments are offered by Pope Paul VI in defense of keeping women out of the priesthood. The first appeals to the Bible and isnt an Appeal to Age fallacy. The second and third are so explicit as fallacies that they could be cited in textbooks: we should keep doing this because its how the church has constantly done it and because what church authority has consistently decreed. Put more formally, his argument is: Premise 1: The constant practice of the Church has been to choose only men as priests.Premise 2: The teaching authority of the Church has consistently held that women should be excluded from the priesthood.Conclusion: Therefore, it is not admissible to ordain women to the priesthood. The argument may not use the words age or tradition, but the use of constant practice and consistently create the same fallacy.