Jones Electrical Essay Example for Free

Jones Electrical Essay Jones Electrical Distribution is a small company involved in wholesales of electrical devices and appliances. Even though Jones Electrical has been able to turn a profit over the past few years, they have noticed a shortage of cash when attempting to take advantage of trade discounts. Their current bank is unable to extend financing over $250,000, and Jones believes they will need considerably more to finance their operations. Therefore, Nelson Jones has decided to search for additional debt financing by discussing his options with a larger regional bank. Jones Electrical Distribution has been able to compete on the basis of competitive pricing, effective inventory management, and aggressive sales force. But even though the company seems to be operating successfully, its ineffective collections policy has drained the company’s cash leaving it in dire need of additional financing. In order to afford to continue taking advantage of trade discounts Jones Electrical Distribution needs to tighten its cash collection procedures. Another course of action is to take out a bank loan for $350,000 to finance his operations, which is the main conflict Nelson Jones is facing. The increase in accounts receivable and inventory in 2005 and 2006 were caused by the sales growth of $2.24 million in 2006. The effective annual rate of interest, if Jones pays on the due date rather than on the 10 day discount, is 27.24%. The $350,000 should be sufficient for 2007. Jones could reduce that by buying securities and other outside funding. Jones will have to cut spending without having to cut sales with his new larger line of credit.

Shakespeares Hamlet - Hamlet’s Villain, King Claudius Essay -- GCSE E

Hamlet’s Villain, King Claudius      Ã‚  Ã‚   In the drama Hamlet Shakespeare has concocted a multi-dimensional character in the person of King Claudius. It is the intent of this essay to analyze and probe all the various aspects of this curious personality.    Ward and Trent in The Cambridge History of English and American Literature consider Shakespeare’s options in designing the character of Claudius:    There were at least two ways in which an ordinary, or rather more than ordinary, dramatist might have dealt with this other â€Å"majesty of Denmark.† He could have been made a crude dramatic villain—a crowned â€Å"Shakebag† or â€Å"Black Will,† to use the phraseology of his creator’s own day. He could have been made pure straw—a mere common usurper. And it would appear that he has actually seemed to some to be one or other of these two. Neither of them is the Claudius which Shakespeare has presented; and those who take him as either seem to miss the note which, putting sheer poetic faculty once more aside, is the note of Shakespeare. It is not to be supposed that Shakespeare liked Claudius; if he did, and if he has produced on respectable readers the effect above hinted at, he certainly was as ineffectual a writer as the merest crà ©tin, or the merest crank, among his critics could imagine. But neither did he dislike Claudius; he knew tha t, in the great Greek phrase, it was the duty of creators to â€Å"see fair†Ã¢â‚¬â€[char]—in the handling of their creations. It would appear that the successor of Hamlet I might have been a very respectable person, if his brother had not possessed a kingdom and a queen that he wanted for himself. (vol.5, pt.1, ch.8, sec.16, no.53)    Literary criticism varies in its evaluation of Claudius. The â€Å"very... .... San Diego: Greenhaven Press, 1996. Rpt. from Shakespeare’s Women. N.p.: n.p., 1981.    Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html    Ward & Trent, et al. The Cambridge History of English and American Literature. New York: G.P. Putnam’s Sons, 1907–21; New York: Bartleby.com, 2000 http://www.bartleby.com/215/0816.html    West, Rebecca. â€Å"A Court and World Infected by the Disease of Corruption.† Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from The Court and the Castle. New Haven, CT: Yale University Press, 1957.    Wilkie, Brian and James Hurt. â€Å"Shakespeare.† Literature of the Western World. Ed. Brian Wilkie and James Hurt. New York: Macmillan Publishing Co., 1992.               

Critique of the Ramayana Modern Prose Translation Essay

In a just world, Mr. R. K. Narayan’s estate would be responsible for reimbursing seventeen-fifty, plus applicable taxes, to all those who purchased the Penguin Classics 2006 publication of his book, The Ramayana: A Shortened Modern Prose Version of the Indian Epic. Stated clearly on the back of the cover is the promise that R. K. Narayan â€Å"recounts [The Ramayana] with the narrative flair of a master novelist’’. The back cover lied. Narayan’s re-telling condenses the epic poem so much to the point of nearly listing a series of events. No matter the inspiration, Narayan’s The Ramayana is still a story, and should therefore be able to stand on it’s own as a captivating tale—with further literary research or expansion being used to enhance it’s appeal, not explain it. Arguably, the ‘narrative flair’ of this re-telling is little more expressive than unsolicited summaries found on the Internet, and without further literary aide or instruction, does not stand as a solid piece of literature. What is worse, is that instead of allowing a greater breadth of readers to relate and experience tale of the Ramayana, new readers are alienated by it’s convoluted atmosphere. While the task is grand, Narayan’s translation is not listed as an aide to a larger, more in-depth version; it is still a novel and as such needs to be able to stand strong in its own right when evaluated alone. People who have no prior knowledge of the original Sanskrit story, and who have not been raised with the Hindu epic as a part of their life, should be able to pick up this book, read it, and—regardless of how far the tale may go in global history—be able to enjoy one hundred and fifty one pages of literature, without having any prior knowledge, or requiring further research. Having more knowledge, and doing more research on the original epic tale should increase what readers are able to receive from the book, but it should not be necessary in order to understand it. As it stands, without knowing the original tale, new readers are left with very little literary flow and a patchy depiction of what is supposed to be a lush world. At one point, while Bharatha and Rama argue as to who should be the rightful king, their entire episode is related with: â€Å" The argument went on at a highly academic and philosophical level, the entire assembly watching with respect. (Narayan 60) That assertion does not express a deep academic and philosophical argument, but rather states that one was occurring; the reader doesn’t get to experience what transpired between the brothers, or garner any emotion from it. It goes on to almost quite literally depict the event with a he-said/he-said monotony: So be it; if I have the authority—then I confer it on you as the ruler,† said Bharatha at one stage. â€Å"On my command as the ruler, if you desire to think so, you shall be the King. † It went on thus. Rama went on repeating that there could be no word higher than that of a father; no conduct other than obedience to it. Throughout he referred to Kaikeyi in the gentlest terms and always as â€Å"mother†. (Narayan 61) The listed manner in which the plot is unfolded by Narayan’s re-telling is barely more narrative as a piece of literature than an excerpt from that of the free online encyclopedia Wikipedia: Bharatha refuses to profit from his mother’s wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father’s orders to the letter, refuses to return before the period of exile. However, Bharatha carries Rama’s sandals, and keeps them on the throne, while he rules as Rama’s regent. (Wikipedia Contributors) There is very little more efficiency or flair in Narayan’s telling, and in fact, Wikipedia depicts the stages of the long tale with better clarity; if the prose is not going to be linguistically lush and evocative, it may as well be clear (Wikipedia is not only clear, but free of charge as well). It is of course not a simple task to undertake translating an epic poem from a rhythmic language, into prose with a language devoid of the same musicality. However, to the novice reader of The Ramayana, they would not know the difficulty of the task, and thus—however harsh it may seem— should not be a factor in the reviewing of the story as it stands alone. Narayan was by no means an incapable writer, and as winner of numerous awards and accolades—not the least of which being multiple nominations for the Nobel Prize in Literature (Rajnish Wattas), he does not need defending that he has great ability as a writer, yet the bottom line remain that when it is stripped of further discussion, research, and introductions, The Ramayana: A Shortened Modern Prose Version of the Indian Epic just does not stand on it’s own as captivating modern prose. With nearly each new episode of the tale, Narayan prefaces the action with even more listed information, take for example the introduction to the chapter of Vali: The characters in the drama that follows are Vali, Sugreeva, Hanuman, and Rama. The action takes place in the mountainous forest regions of Kiskinda, a kingdom ruled and inhabited by monkeys. In the Ramayana, the articipants are not only human beings, but many others from God’s creation, intelligent, cultured and with their own achievements of spirit as well as physique: Jambavan was a bear, Jatayu was an eagle, Lakshmana—Rama’s brother—was himself a human incarnation of the Great Serpent Adisesha in whose coils Vishnu rested. (Narayan 90) Again, the story is told by listing statements of what is going on. As with the landscape, and even the characters themselves, nothing is depicted in the story-writing of the prose, but stated, as if the entire epic was a news article being reported by Narayan, as opposed to a vivid history with grand escapades and extreme characters. By translating an epic tale from poetic verse into shortened modern prose, the objective is ultimately to enable a broader audience to relate to and appreciate a classic tale. Poetry is a secluded literary world that does not have the mass appeal that modern prose does; yet Narayan’s re-telling is too constrained and overwhelmed by the amount of story condensed into it. By trying to constrain the length of the story to allow for more readers to get through it, Narayan’s ‘master narrative flair’ seems lost, and the epic tale is a heavy list of events that merely occur on the page.

The Evil Of The Monster By Mary Shelley s Frankenstein

In Shelley’s Frankenstein, the monster commits a number of immoral acts out of rage. These actions are directly related to the monsters creation and upbringing. The burden of fault for the monsters actions rests on Victor Frankenstein’s shoulders alone. The lack of attention Frankenstein contributed towards the monster, and his life teaching, is directly correlated with the actions the creature made throughout his existence. Although the creature physically caused the murders, Victor Frankenstein instigated the action of the creature to perform these killings through negligence. Victor articulates: I prepared myself for a multitude of reverses; my operations might be incessantly baffled, and at last my work be imperfect, yet when I considered the improvement which every day takes place in science and mechanics, I was encouraged to hope my present attempts would at least lay the foundations of future success. Nor could I consider the magnitude and complexity of my plan as any argument of its impracticability. It was with these feelings that I began the creation of a human being. (Shelley 54) This statement shows the lack of thought Frankenstein had for what would happen after the creature came alive. Victor Frankenstein does not take responsibility for instilling moral values. Therefore, with an absence of moral values, the creature’s underdeveloped conscience does not know these acts are immoral. While Victor Frankenstein achieves creating an existing being, he fails atShow MoreRelatedMary Shelley s Use Of Point Of View1467 Words   |  6 PagesJoyner English IV Honors 17 December 2015 Mary Shelley’s Use of Point of View Mary Shelley uses point of view in Frankenstein to naturally develop her reader’s opinions and feelings in regards to her characters. 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