A report regarding the logistics activities of an organization or of a Research Paper

A report regarding the logistics activities of an organization or of a business of your choice - Research Paper Example ds, the management of Food Basics has made some excellent strategic decisions, and these will be outlined as a model of what can be done to deliver good quality low- and high-end products to a consumer seeking budget solutions. In particular, the management’s ability to anticipate trends in the food market is outlined, with both canola oil and olive oil shown as evidence of the success of the company’s plans. Similarly, the advantage of aligning with larger companies, and taking advantage of their systems and economic power are described as they relate to this food chain. Finally, the decision to restrict the chain’s expansion across to wide an area is examined to show that distribution and costing difficulties can be effectively addressed with good planning. In order to understand the particular challenges of the food retail business environment thoroughly, a good place to start is by examining the logistics activities of a supermarket chain. By focusing on a business of this nature, it is possible to establish how a business is able to create a profitable record by effective logistics and concentration on delivery of desirable products in a â€Å"no-fuss† way, and at competitive prices, to the average consumer. In Ontario, Canada, a particularly well-known and widely supported brand of supermarket is the Food Basics stores. The stores offer lower cost products across a wide range of products, with particular focus on foodstuffs. National and international brands are carried as well as private in-store brand labels, and offered in 117 stores across Ontario. (Food Basics website, 2012) Food Basics is owned by Metro, Inc. a major Canadian food and pharmaceutical company, which also owns Metro, Metro Plus, and Super C brands. (Metro Inc. website, 2012) The central topic of this paper is the logistical activities involved in the retail sale of vegetable oil by Food Basics. Within the wider examination of â€Å"logistics† Demand Forecasting, Quality Control and

Critical Incident Management Research Paper Example | Topics and Well Written Essays - 1000 words

Critical Incident Management - Research Paper Example One of the methods that help justice and security organizations to be firm on its certification of public safety is scenario-based planning (Eppen, Martin, & Scharge, 1989). Scenario planning is â€Å"a comprehensive planning tool that some of the dedicated firms make use of to achieve their long-term goals† (Eppen, Martin, & Scharge, 1989). Scenario-based planning ensures the management of civil liberties in justice organization that they unintentionally compromise fulfilling other duties. It also makes sure that the organizations do not forget public safety while satisfying other demands. The role of scenario planning within these organizations is to minimize or control these risks (Tibettes, 1998). Many security and justice organizations have policies that make them implement on the actual rules and regulation of these companies. To understand this clearly, example of use of force is appropriate. The policies regarding use of force describe an increasing sequence of actions that an officer can take to handle a situation (Tibettes, 1998). This sequence usually has many levels of intensities, and there is a strict instruction for officers to use an appropriate level of intensity of force, keeping in mind the present situation. This also allows an officer to shift from one level of sequence to another without much difficulty. In law enforcement, there is a huge carefulness which makes it very important; police discretion refers to the autonomy of a justice agency or individual officer working in that or any other justice agency to choose to involve in a certain situation to handle it or not (Tibettes, 1998). The implementation of scale of discretion by an office is when an officer arrests a person for a DUI (Driving under the influence); there is a low discretion in this incident in the name of public safety. High discretion is observed when as officer issues a citation on a driver failing to signal a lane change. In particular, the â€Å"amount of effo rt required by police to compel compliance from an unwilling subject is legal definition of use of force† (Tibettes, 1998). Officers should not use any force if they find no conflicts, fights or battles, in other words, no force if there is no resistance. As an example, the sequence of intensities of force starts from officer using verbalization for controlling a situation; if situation does not come under control, he can go for Empty Hand Control. Even when the situation gets worse, an officer can go for Soft Hand Technique, then gradually Less Lethal Method (Surette, 2010). If the situation cannot be controlled with any of the above methods, officers can have an impact on it with the use of weapon, then chemical spray, and then finally the use of lethal force. There are many debates regarding the use of force continuum. These are regarding the convenience of techniques or tools under this continuum. Should the law include this method in the policies and would they might incr ease the liability? Use of force is not appropriate for every situation because not every situation can convert into a continuum (Tibettes, 1998). The law enforcement and other criminal and justice agencies need to structure their organization in a way that everyone can openly share their ideas and opinions; there is no fear of saying anything even if it is wrong. Most importantly, veterans should give

Evaluation approaches Research Paper Example | Topics and Well Written Essays - 1000 words

Evaluation approaches - Research Paper Example The paper tells that evaluation techniques are crucial in any form of research regardless of whether it is a qualitative or quantitative research or a combination of both. This is because evaluation or measurement determines the interpretation of data gathered and, hence, impacts the findings and conclusions of a particular study. There is an ongoing debate as to which technique of evaluation or measurement can best interpret probability. According to Hand, this debate is stimulated and aggravated by controversy over the legitimacy of applying different classes of statistical methods to data that emerge as a consequence of different kinds of measurement activity. The body of literature supports this theme, from theories to actual research examples. The following studies undertaken to investigate three separate issues with different evaluation and measurement techniques highlight the differences by which the studies went through with their investigations. With an aim of investigating the validation approaches in Information Systems research, Boudreau, Gefen and Straub used an evaluation technique anchored on a comprehensive review and analysis of literature on the subject, specifically comparing two time periods. The researchers refer to it simply as a literature review except that such review was undertaken in a highly systematic manner. Clearly, the study is qualitative in character and it aims to describe the validation trends from 1997 to 1999. The employment of the review of literature as a foundation for inferences and conclusions is valid since qualitative research aims to find depth when quantitative studies seek breadth. Ambert et al. (1995) for instance, explained that because of this focus, evaluation could draw from a smaller group of research subjects or respondents instead of a large representative sample of the population. (p. 880) Bourdeau et al. selected five journals to represent the periods by which the study sought to compare. Out of these jo urnals, the author evaluated a total of 193 articles selected based on specific criteria or attributes. (p. 6) There were at least eleven such attributes (i.e. research type, content and construct validity, research method, etc.) and that they were, in turn, evaluated according to a validation test statistic – a second independent coder. (p. 6) The resulting data allowed for the identification of relationships and the evaluation of the efficacy of validation approaches based on previous documents so that the research objectives are finally met. It was found, for instance, that instruments are more frequently validated today than they were 11 years ago. (p. 7) Multi-method Evaluation Boyd et al. (2007), investigated community health services with emphasis on the need for stakeholder participation and dialogue. For this purpose, they designed a multi-method approach in order to cover the numerous stakeholders involved in community health services: health practitioners, communit y leaders, marginalized people, etc. Three evaluation frameworks are designed for goals, the stakeholders and the organization. The researchers employed the so-called critical systems thinking (CST) principle in this strategy, which is typified by three fundamental characteristics, namely: Critical awareness for the examination of assumptions in addition to the conditions that led to their emergence; Improvement both on temporary and local levels done in an adequately informed manner; and, Methodological

Students Essay Example for Free

Students Essay A students life is often plagued by examination. The demand to do well is further increased as good grades woud lead one to secure entry to a good grades would lead one to secure entry to a good university and consequently to a good job and future. Hence,there is no surprise and mentel health problems among school-going children. The Befriends Malaysia,a voluntary organization located in the klang valley,pointed out that they receive approximately 60 calls per day and from these 10 per cent are from student under the age of 20. The examination pressure experienced among students has also seen the rise in suicides and deaths among school students. In 2007,a young 12-year0old s. subashini ,hanged herself in her room after receiving her upsr results. In 2005,Matthew Vinesh a teenager in the prime of his life at 17,hanged himself at home just completing his trial spm examination. The year 2004 recorded 3 suicides due to examination pressure. The alarming number of students experiencing strees,mental and health problems as a result of examination pressure calls for measures to be taken . For starters ,the Malaysian Examination Syndicate (MES) has proposed that more school-based assemenst replace the many public examinations. Furtheromore,school-based assessments are continuous,ongoing and formative in nature . This will not only help reduce pressure from summative exams but also help both teachers and students work on their strengths and weekness in the teaching and learning process. School –based assessments will also bring about abolishment of some public examination. The MES proposes to abolish the Primary Year Six UPSR and the secondary There PMR public examination. Besides MES,the Ministry of Education (MOE) is also planning to take a number of measures to curb the stress and pressure school students have to undergo. The large class enrolments hinder the care and attention teacher can give to help students cope wit their studies. Therefore,teachers do not have time to cater to the different problems faced by the large number of students in each class. Thus,steps have to be taken to reduce class enrolments so that teachers can give quality attention to students learning in their classroom. There should also be more school counselors that students can go to when facing problems. Besides counseling ,students should also be exposed to motivational talks that include strees managements strategies. Finally,the MOE should conduct clinics or seminars for both teachers and parents to help them identify students for both teachers and parents to help them identify students that display suicidal or other forms of negative behavior. Since examination are one of the main cause of increasing number of students facing pressure ,mental and health problems,it is important that this issue be addressed. Steps and immediate measures must be taken to help overcome or curb this problem. What is needed is a concerted effort by all parties concerned to work together collaborativrly to help reduce pressure and stress as a result of public examination.

Monolog For Bassoon By Isang Yun Music Essay

Monolog For Bassoon By Isang Yun Music Essay Isang Yun was a composer with Korean ethnicity who is well known in the music world especially in Europe as he spent a major portion of his life in Germany and died there too. In his initial years of composing, his compositions were not well known in Korea due to the political issues surrounding the East Berlin Event. Inferring from his biography, it seemed that he wished to see Korea as a unified nation. Between the period of 1956 to 1995, Isang Yun composed music in Germany and other European countries. He also composed vast amount of pieces and his works were written in almost every genre, such as instrumental sonatas, operas, symphonies, and cantatas. While his works have been largely performed and studied in Europe, Japan, and even North Korea, South Korean officials have thoroughly prohibited his music and consider the composer dangerous politically. Isang Yun often visited North Korea without permission from the South as North Korea supported scholarships and living expenses for him. However, after a change of regime in 1982, the national symphony orchestra of South Korea first introduced his works in South Korea. From this time, Yuns music began to be studied by musicians in the South. This paper will discuss in musical theoretical detail one of his works, Monolog for bassoon His well composed work, Monolog for Bassoon was composed in 1983, this was the mid period of Yuns well accomplished compositional career. During this stage of his life, he had already achieved mastery over the formal techniques of the European avant-garde and had moved more into composing within a more free atonal style. The Monolog for bassoon is quintessential of Yuns typical mature style wherein he fusions the use of free atonality with elements from his ethnic Korean lineage. The Monolog for bassoon, which has so far been recorded by at least five prominent bassoonists, is a concrete testament to Yuns growing prominence as a 20th century composer. It shows Yuns unique compositional angle which uniquely combines ethnic Korean inspirations in a work for bassoon, which is a distinctly Western instrument. The Monolog for bassoon also warrants a close study, as it is his only solo work for bassoon, and is an emerging standard of 20th century avant-garde bassoon repertoire. During his initial years into composing, Yun was fond of and got acquainted with European music and constantly found different sought out ways to learn more about European music history, style, and compositional methods. Because of his inclination towards western music more so European music, he also developed inspiration in the musical traditions of his home country, Korea. It was only after his journey to Europe that Yun began to foster and incorporate traditional Korean elements into his music. Yun himself admitted this truth through the following quote: When I was in Korea, I enjoyed and listened to our rich Korean musical traditions for entertainment. But I realized the hidden treasures of Korean traditional music for the first time only after I came to Europe. Keith Howard notes that prior to Yuns journey to Europe, his works show no attempt to incorporate elements from Korean traditional music. Yun later removed all works from circulation that he had written prior to his study in Europe as he felt they were not representative of his mature compositional voice. Whilst presenting into radio broadcasts in Freiburg in 1960 on the subject of traditional East Asian music, he began to develop his distinct and unique composing style. Yun also spent a major part of his time to study traditional East Asian music so he could play them in his broadcasts. Due to this research Yun was inspired to compose Loyang, a beautifully composed work that incorporated the mood of ancient court music, the sounds of traditional Korean instruments, as well as the principles of Taoism. But Yuns method of incorporating these elements was not literal in the least. Jeongmee Kim explains: He was not interested in quoting folk tunes, nor borrowing traditional Asian instruments, nor composing nostalgic song lyrics. Yuns Korean musical heritage is expressed through more abstract, philosophical, and internalized use of ethnic materials, in particular Hauptton/Hauptklang technique. He relied on the use of Korean classical musical forms and Asian philosophy to compete with the equivalent in Europe. These shape and propel the sounds and structure of his works, while the Western musical heritage and its instruments provide the physical means to articulate Yuns complex sound world. Quite centric to Yuns music can be found a Korean view of sound. While Western ears are accustomed to hearing a melodic figure accompanied by harmonic progression, Eastern music relies heavily on the role of an individual or central tone. The tone itself is celebrated; adorned with a huge variety of ornaments. These ornaments are not intended to encompass the central tone within a melody, rather they are an essential part of how the tone is able to express itself. The concept of the central tone is prevalent in many Asian countries and spans various genres of Asian music. Yun describes this phenomenon in a speech he gave at a conference in Berlin: While in European music the concept of form plays a decisive part, and notes become significant only when a whole group of them are related horizontally as melody or vertically as harmony, the thousand-year-old tradition of Eastern Asiatic music places the single note, the constructive element, in the foreground. In European music only a series of notes comes to life, so that the individual tone can be relatively abstract, but with us the single tone is alive in its own right. Our notes can be compared to brush strokes as opposed to pencil lines. From beginning to end each note is subject to transformations; it is decked out with embellishments, grace notes, fluctuations, glissandi, and dynamic changes; above all, the natural vibration of each note is consciously employed by a means of expression. A notes changes in pitch are regarded less as intervals forming a melody than as an ornamental function and part of the range of expression of one and the same note. This method of treating individual notes sets my music apart from other contemporary works. It gives it an unmistakably Asiatic color, which is evident even to the untrained listener. Keith Howard discusses some meaningful reasons which explain the reason for Korean music being structured in that way. The initial part is the ironic yet well complementing relationship between yin and yang. After which is the concept of never-ending movement. Nature is held in high regard in the east asian culture more so with the continuous flow of elements like water, air etc. Now from an abstract or musical view, the flow of sound is thought to be continuous as well. Music exists before sound begins, and continues after sound ends. This is one of the reasons why Yun compares the single tone to brush strokes as opposed to pencil lines. A pencil line has a definite beginning and ending, as well as a uniform shape and consistency throughout. But in a brush stroke it is hard to determine where the actual beginning and ending occur. Although to the naked eyes it may show as a single line, it can show different views in a myriad of ways and also have contrasting qualities within each u nique stroke, which more precisely mimics the flow of nature. He goes on more to explain his view of continuous flow in an interview with Bruce Duffie where he quotes: My music doesnt have a beginning or an end. You could combine elements from one piece into another piece very wellà ¢Ã¢â€š ¬Ã‚ ¦. Music flows in the cosmos and I have an antenna which is able to cut out a piece of the stream. The part which Ive cut out is organized and formed through my own thought and body processes, and I commit it to paper. Thats why my music is always continuous like the clouds that are always the same but are never alike one to another. Howard also suggests that the physical structure and musical capabilities of traditional Korean instruments have had a profound impact on the Korean concept of tone. While each instrument is unique in tone and structure, they all are extremely flexible in terms of pitch. Many instruments are so flexible that it can be difficult to produce a steady tone. This is directly linked to the Korean musical ideal of sound being embellished and ever changing. As Yun mainly did composing in the sphere of Western art music, wherein a comprehensive understanding of Korean ornamentation is not mandatory, he does not leave the art of ornamentation up to the performer. He makes it a point to word minute details of the ornamentation, few of which exist within the framework of Western notation, others of which he must create new symbols and explanations for, as they are not part of the conventional vocabulary for Western musicians. This was a challenging process for Yun because in his thoughts he held a meticulously detailed vision of what the ornamentation should sound like. On this part he was quoted as, I wrote down the playing techniques for instrumentalists as they are used in Korea on the old instruments, thus as a very accurate vibrato and many sorts of glissando. In Korea there are of course about thirty kinds of glissando. To truly emulate the sounds of traditional Korean instruments, Yun had to create new, and often very difficult, tech niques for the performers. Isang Yuns Monolog for bassoon was mainly composed between the years 1983 to 1984, however the actual roots of this work had begun some years prior along with his other work Clarinet Concerto. The Clarinet Concerto was composed by Yun in the year 1981 especially for Swiss clarinetist Eduard Brunner, who was the principal clarinetist of Munichs Bavarian Radio Symphony Orchestra for about 30 years. He premiered the work in Munich on January 29, 1982. Certain points which were notable about the Clarinet Concerto is the usage of bass clarinet instead of clarinet because of the solo voice during the middle movement. In the following year, Yun removed the solo line from the second movement and then used it as the structural basis for a solo bass clarinet work. The resulting composition of this which was written for Dutch bass clarinet virtuoso Harry Sparnaay, became Yuns Monolog for bass clarinet and was then premiered on April 9, 1983. Expecting some changes and more likely to accommodate range, Yun also published a version of the same work for bassoon. Yun was quoted in an interview with Bruce Duffie in 1987 that he composed strictly by commission, and his scores typically included a dedication to the commissioner. However, the Monolog for bassoon contains no such dedication and it is unknown whether it was created for a particular individual. It was premiered on February 3, 1985 by French bassoonist Alexandre Ouzounoff. Precedent for Yuns solo works being performed on other instruments had been set several years prior with Piri, a composition for solo oboe. Piri was composed in 1971 for oboist Georg Meerwin, which immediately gained quick popularity. Before long, musicians of other instruments took notice of Piri and began to perform it. Clarinetists specifically performed and recorded Piri, which also including Eduard Brunner. Wolfgang Sparrer was quoted on his observation about about Piri as: Although it was originally written for oboe, the composer has allowed interpretations for other instruments. Due to its high demands regarding playing technique and successful balance between construction and expression, Piri achieved so much popularity within only a few years that it was often chosen as a compulsory piece in music competitions. Due to this well spread acceptance and versatility of Piri, Yun may have anticipated the idea of creating an alternate edition of Monolog for bass clarinet for bassoon. Since there are distinct differences in range, key, and clef notation between the two instruments, publishing a new version of the work for bassoon was necessary to encourage performances. As this analysis specifically addresses the Monolog for bassoon, an in-depth discussion of Yuns Monolog for bass clarinet will not be included with the exception of highlighting the differences between the bassoon and bass clarinet versions as explained below. In a discussion of his compositional process, Yun was quoted by Luise Rinser: I do not exhaust my possibilities in any one piece. There always remains something unsolved in form. I make that the starting point of another work. I must always take something new as a challenge. If someday no more new ideas come up, I would stop composing. This statement not just shows the well synergized and critical parts in Yuns works, but also provides an answer for his use of the middle movement of the Clarinet Concerto as the basis for an expanded work that would eventually become the Monolog for bassoon. The Monolog for bassoon well showcases Yuns unique compositional fusion of Eastern and Western elements. Although this work at an initial look seems like a general late twentieth century avant-garde work for bassoon utilizing extended techniques within a non-tonal compositional context, Yuns compositional approach looks to specifically convey traditional Korean philosophies, sound ideals, and instrumental techniques. Understanding his compositional method is a key to the performers comprehension of the work. If only viewed with a Western outlook analysis of this work, there is a possibility to overlook critical elements in the work like main tone versus ornament, or treatment of the ornaments themselves, while making other analytical associations which he did not intend, such as relying on motivic development and harmonic motion to propel the music rather than melodic growth. Just with all musical genres, it is more feasible to have a comprehensive understanding of the main composers musical perspective. This understanding also holds true for music of the twentieth-century than it is for earlier periods, particularly as modern musical influences become more and more diverse and reach beyond the bounds of traditional Western classical music. Bibliography / Discography Hur, Dae-Sik. A Combination of Asian Language with Foundations of Western Music: An Analysis of Isang Yuns Salomo for Flute Solo or Alto Flute Solo. PhD diss., University of North Texas, 2005. Kim, Jeongmee. Musical Syncretism in Isang Yuns Gasa. In Locating East Asia in Western Art Music, edited by Yayoi Uno Everett and Frederick Lau, 168-192. Middletown, Conn: Wesleyan University Press, 2004. Choi, Yulee. The Problem of Musical Style: Analysis of Selected Instrumental Music of the Korean-Born Composer Isang Yun. Ph.D. diss., New York University, 1992. Helicon, David Currnings, ed. Yun, Isang. Random House Encyclopedia Dictionary of Classical Music. Publishing Ltd., Oxford, 1997. 749. . . Yun, Isang. In Contemporary Composers. Edited by Brian Morton and Pamela Collins. New York: St James Press, 1992. Kim, Chul-Hwa. The Musical Ideology and Style of Isang Yun, As Reflected in His Concerto for Violoncello and Orchestra (1975/76). Ph.D. diss., University of Illinois at Urbana- Champaign, 1997. Kim, Doosook. A Recording and an Analytical Overview of Two Violin Works by Isang Yun. Ph.D. diss., Arizona State University, 1996. Kim, Jeongmee. The Diaporic Composer: The Fusion of Korean and German Musical Cultures in the work of Isang Yun. Ph.D. diss., University of California, 1999. Kim, Yongwan. Yun Isang Yun Ku. Seoul: Hankuk Yesul Jonghap Hakgou Press, 2001. Kunz, H. Yun, Isang. In The New Grove Dictionary of Music and Musicians Vol. 27. Edited by Stanley Sadie. London: Macmillan, Publishers, 2001. 696-697. Musique pour Basson et Piano Vol.2 Performer: Dag Jensen, Midori Kitagawa Composer: Paul Hindemith, Olav Berg, Othmar Schoeck, Otmar Nussio, Isang Yun, et al. Audio CD (March 23, 1999) Label: MDG Records

Argument in Favor of Gun Control Essay -- Argumentative Persuasive Exa

â€Å"Almost twelve kids lose their lives every single day because of guns† (Capps). Most recently, two young boys were shot as they were leaving a high school football game. Soon, another year anniversary of the Columbine High School shooting will arrive. In this incident, two students opened fire on their classmates in Columbine. I cannot imagine the horrors of my fellow students being killed by guns! Many other related acts of gun violence have brought up issues on gun control. Debates have risen between citizens on how the government should establish stronger gun control laws. Despite the National Rifle Association strong objections against these issues, gun control laws must be increased. Many citizens agree that gun control laws must be established, because of the recent acts of violence committed with guns. The gun control issues take a heated debate, because now kids are targets of gun violence. In the Columbine shooting, both students purchased their weapons at a gun show with the help of an eighteen-year-old friend (Sanko). If the gun show provider was forced by law to do a background check the two students wouldn’t have received the guns. As of right now background checks are only done on weapons that are purchased from federally licensed dealers. This is one reason for new gun control laws. The death of Kayla Rolland, on February 20, 2012, is a another reason for new gun control laws. Kayla was gunned down in her elementary school by a six year old classmate (Smolowe). The child obtained the gun with the help of his father. His father had left the gun on the living room table. As of right now guns are not required to have child safety locks. Moreover, kids can get guns without the help of a friend o... ...their own classmates. Lastly, the control of gun manufacturing will decrease the availability of guns on the streets New gun control laws are important to the children of today and tomorrow. The power lies behind the government and unfortunately the National Rifle Association. Works Cited Capps, Louis. â€Å"Capps Continues Fight for Common Sense Gun Control.† FDCH Press Releases. 3 Mar. 2014. Harrington-Lueker, Donna. â€Å"Blown Away by School Violence.† Education Digest. 58.3 (2013): 50, 4. Lazar, Daniel. â€Å"Your Constitution is Killing You.† Harper’s Magazine. 299.1793 (2011): 57,9. Reynolds, Rhonda. â€Å"Kids Who Kill.† Black Enterprise. (2013): 47,1. Sanko, John. â€Å"Gun-control Measure’s Wording for Vote Framed.† Denver Rocky Mountains News Capital Bureau. 4 April. 2012. Smolowe, Jill., et al. â€Å"Fallen Angel.† People. (2014): 66,2.

On the Grasshopper and Cricket Essay

In the first half of the poem ‘On the Grasshopper and Cricket’ Keats talks about the opulence of the summer season and deals with summer imagery and the grasshopper, similarly the second half is about the dullness of the winter season and deals with the cricket. â€Å" How does Keats explore Romantic Ideals in his poem On the Grasshopper and Cricket†? The poem is structurally similar to a sonnet because it has 14 lines, it can be divided into an octet and sestet and it is written in iambic pentameter. The poem has a definite rhyme scheme of abbabba cdecde. This use of form brings out the cyclic, eternal and perpetual life of nature. The use of imagery is unmistakably showing us the reverence for the natural world. Imagery is shown in the Octet summer afternoon as the hot sun, cooling trees, hedge and New-mown mead meaning meadow. In the Sestet winter evening its shown as lone winter evening, frost, stove and silence. This creates contrast from the pleasant and active mood, and lively environment created by the words ‘delights’ and ‘fun’ to the dismal and melancholy mood, and slow and peaceful environment created by ‘silence’ and ‘drowsiness’. ‘The poetry of earth is never dead’, this is the opening line of the poem. Reflecting the poet’s belief that the beauty of nature never ends and that the beauty of nature is an art form and it will never cease to exist. The Grasshopper portrays the enjoyment of summer that everyone partakes during this season. This is shown in line 7. ‘He has never done with his delights’. The assonance of the extended vowel sounds in ‘the new-mown mead’ reflects the environment of summer; this is contrasted with the harsh vowel sounds of ‘wrought a silence’ in winter, which shows how harsh winter is. Even though there is contrast between the summer and winter seasons, they are two separate beauties-summer being gentle and relaxing beauty, whereas winter is harsh and cold, yet still enchanting. Keats has explored Romantic Ideals in his poem through reverence for the natural world. The delineation was created through the use of contrast, assonance, imagery and rhyme. Using two characters such as the Grasshopper and the Cricket to visually impact the audience with thec impact nature has on us. The earth is beautiful and always will be.