Brief About Antony and Cleopatra Play’s Chapters Essay Sample free essay sample

Sir Lawrence Alma-Tadema. Antony and Cleopatra. 1883 ( item ) Recognition: This work has been summarized utilizing The Complete Works of Shakespeare Updated Fourth Ed. . Longman Addison-Wesley. erectile dysfunction. David Bevington. 1997. Citations are for the most portion taken from that work. as are paraphrasiss of his commentary. Overall Impression: This is a moving and impressive drama Per Bevington Text: Plot is drawn about in wholly from Plutarch Lives. It flouts the authoritative integrities and ranges across great distance and clip with 42 scenes and many more named characters ( 31 ) than usual. The vision is ambivalent and dry. There is built-in usage of bawdy in the chief characters. Egypt is presented as enrapturing but enervating. a topographic point of non-Roman patterns such as transvestism. oriental luxury. Epicurean banqueting. etc. There is an inversion of laterality in sexual functions between A. and Cl. A. has been captivated by Cl. Rome is besides portrayed as disfigured by political conniving. Octavia is a pawn for Octavius. Old friendly relationships must be sacrificed for political expedience. and Pompey has allied himself with plagiarists to accomplish his terminals. Octavius Caesar embodies the dry bounds of political aspiration. assailing merely when he has the advantage. etc. whereas Antony is appealingly unpragmatic. garbages to fault others. generous even to Enobarbus when he deserts him. self-generated. impatient with the ordinary. Antony’s brilliant qualities help convey him down. Octavius is profoundly misanthropic about adult females. Cleopatra is a â€Å"lass unparalleled† . lifting above her opposite number in Plutarch ( Plutarch portrays her as chiefly a enchantress who causes the ruin of the hero ) . definable merely in footings of paradox and contradiction. both a prostitute and a Lucretian Venus. sluttish and sanctum. Her enigma is like poesy itself. A. and Cl. fantasy that their love will be ageless despite the licking they suffer in the eyes of others. Act IAct I Scene 1Alexandria Egypt. Cleopatra’s castle [ historically c. 40 BCE ] . Two of Antony’s friends. Philo and Demetrius discourse how A. ( who is a military leader and one of the triumvirs of Rome along with Octavius Caesar and Lepidus ) has become the â€Å"bellows and the fan to chill a gypsy’s lust† and that he has become a â€Å"strumpet’s fool† . They stand aside as A. and Cl. enter. Antony ( 43 y/o ) and Cleopatra talk of love and A. says â€Å"There’s begging in the love that can be reckoned. † He refuses to hear a courier from Rome. stating â€Å"Let Rome in Tiber thaw and the broad arch / Of the ranged imperium autumn! Here is my infinite. / Kingdoms are clay: our dungy Earth likewise / Feeds animal as adult male. The nobility of life / Is to make therefore. † and â€Å"Let’s non confuse the clip with conference harsh. / There’s non a minute of our lives should stretch / Without some pleas ance now. † Demetrius is dismayed to see Antony’s contempt for Rome. Act I Scene 2 Cleopatra’s castle. Idle and off-color conversation among Cleopatra’s female attenders Charmian and Iras and Lord Alexas. Mardian the eunuch. a forecaster. and Antony’s right-hand adult male Domitius Enobarbus. Cleopatra enters and says Antony is holding ideas of Rome. A courier Tells Antony that Fulvia. Antony’s married woman. is stirring up problem. first doing war against Antony’s brother Lucius and so unifying with Lucius against Octavius [ we subsequently learn it is to pull Antony back home. ] Besides. Labienus ( the ally of the triumvir’s enemy Brutus and Cassius ) is doing inroads into the Roman districts in Syria and Lydia. etc. and another enemy. Sextus Pompeius ( boy of former first triumvir Pompey the Great ) . has allied with plagiarists against Rome and has won Sicily. Antony knows he is needed at place and that he must interrupt his Egyptian hobbles. Another courier arrives to state Fulvia has died in Sicyon. the Grecian town i n which he left her. Antony liberally expresses sorrow at her decease. stating â€Å"There’s a great spirit gone! Therefore did I want it. / What our disdains doth frequently hurl from us / We wish it ours once more. The present pleasance. / By revolution [ of the wheel of Fortune ] take downing. does go / The antonym of itself. She’s good. being gone ; / The manus could tweak her dorsum that shoved her on. / I must from this enrapturing queen interruption off. / Ten thousand injuries. more than the ailments I know / My idling doth hatch. † He tells Enobarbus they must go for Rome. and E. gags that Cleopatra will decease as a consequence [ dice is often a Shakespearian codification word for climax ] . Antony regrets he of all time saw Cleopatra. Enobarbus tries to comfort him that there are other adult females to take the topographic point of Fulvia. A. knows the problem Fulvia has caused back place and the other developing crises necessitate his return and asks for Enobarbus to halt devising gags and fix for the going. A. remarks on the faithlessness of the political commitments of the people back place: â€Å"Our slippery people. / Whose love is neer linked to the deserver / Till his comeuppances are past. get down to throw / Pompey the Great and all his self-respects / Upon his boy. † Act I Scene 3 Cleopatra’s castle. Cleopatra stews with Charmian and Alexas about Antony’s planned sudden going and plots her scheme about how to retain his fondnesss. To A. she affects that he has betrayed her and that she is ill. that his falsity to Fulvia is being repeated toward her. Her conversation is laced with sexual insinuation ( â€Å"I want I had thy inches† ) . He tells her of the bad intelligence he has received. He pledges his on-going love to her but she continues to play the portion of the rejected lover. Act I Scene 4 Rome. Octavius Caesar speaks disdainfully with Lepidus about the carousing of A. with the â€Å"queen of Ptolemy† ( Cleopatra’s brother to whom she had been married ) and their inversion of sexual functions. A courier announces that Pompey is strong at sea and more dears than Octavius. Pompey has allied with the plagiarists Menecrates and Menas and are doing inroads in Italy. Octavius wants Antony to come and demo some of the great military leading he has in the yesteryear. He recalls how Antony heroically survived famine conditions at war: â€Å"Thou didst drink / The stale [ urine ] of Equus caballuss. and the aureate puddle / Which beasts would cough at. Thy roof of the mouth so did condescend / The roughest berry on the rudest hedge. † Act I Scene 5 Cleopatra’s castle. Cleopatra calls for a narcotic. mandragora juice. Charmian attempts to deter her from thought of A. so much. She talks in sexual insinuation with the eunuch Mardian and longs to be the Equus caballus of Antony. She recalls her past personal businesss with Julius Caesar and â€Å"Great Pompey† ( historically. Gnaeus Pompey. oldest boy of Pompey the Great ) . Lord Alexas gives her a pearl sent by Antony along with his pledge to enlarge her kingdom in the East. Alexas has received her many messages to Antony. and she prepares another to direct to A. She refers to her â€Å"salad yearss. when I was green in judgement. cold in blood†¦Ã¢â‚¬  Act IIAct II Scene 1Pompey’s cantonment. prob. in Messina Sicily. Pompey confers with his plagiarist Menas about his ain popularity with the people and Lepidus’ flattery of the other triumvirs. He assumes Antony will remain in Egypt. and hopes the witchery of Cleopatra will maintain him at that place. But Varrius arrives to state them that Antony is coming to Rome. He refers to the combat by Antony’s married woman and brother against Octavius. but Pompey is worried that confronted with their enemy. the triumvirs will unify and shut ranks against him. Act II Scene 2 Rome. Enobarbus and Lepidus greet. E. speaks slightly disdainfully of Octavius. but Lepidus wants him to non arouse problem. Antony enters with his follower Ventidius and Octavius enters with his followings Maecenas and Agrippa. Lepidus hopes A. A ; O. will turn to the pressure menace and non give manner to bitter brawling. A. takes issue with O. for taking discourtesy at things which are non his concern. claiming it was his ain concern what he did in Egypt. O. refers to the wars made on him by A. ’s married woman and brother. and implies A. may hold had a function. But A. denies any engagement or support for his brother in this action. and says if O. wants to happen an alibi to reprobate A. . it will hold to be over some other issue. O. reminds him that he did non react to O. ’s letters bespeaking aid. but A. provides an alibi. O. says he broke his curse to impart assistance and weaponries when requested. A. acknowledges he must play the penitent to O. for this and th at Fulvia made war on O. merely to convey A. back place. Maecenas reminds them to turn to the present crisis. Enobarbus makes a untactful remark ( â€Å"if you borrow one another’s love for the blink of an eye. you may. when you hear no more words of Pompey. return it once more. † ) about the matter-of-fact new love forced on O. and A. . and is shushed by A. for it. But O. assures A. they will stay friends. Agrippa suggests that A. marry O. ’s sister Octavia ( widow of Caius Marcellus ) . and A. agrees to it. stating he is non married to Cleopatra. A. mentions the past courtesies and favours done to him by Pompey ( who is reported to be close Mt. Misena Italy ) but recognizes that he must set that trueness aside in favour of O. O. takes A. to run into Octavia. Maecenas. Agrippa. and Enobarbus are left behind to discourse the admirations E. has seen in Egypt. the banquets. Cleopatra’s foremost extraordinary meeting with Antony on her flatboat ( â€Å"The flatboat she sat in. like a bright throne. / Burnt on the H2O. The crap was beaten gold ; / Purple the canvass. and so perfumed that / The air currents were lovesick with them†¦Ã¢â‚¬  ) . how A. became her invitee. how she had a child Caesarion by Julius Caesar. etc. He predicts that A. can neer genuinely leave her for Octavia. He speaks of her bewitching qualities: â€Å"Age can non shrivel her. nor custom stale / Her infinite assortment. Other adult females cloy / The appetencies they feed. but she makes hungry / Where most she satisfies. † Act II Scene 3 Rome. A. . O. and Octavia confer: A. reassures Octavia â€Å"Read non my defects in the world’s study. / I have non kept my square. but that to come / Shall wholly be done by the regulation. † A forecaster tells A. that Caesar’s luck will lift higher so his ain and that he should non remain by Caesar. that he is certain to lose. A. plans to direct his follower Ventidius to Parthia. To himself he acknowledges that the matrimony to Octavia is for visual aspects merely: â€Å"I will to Egypt ; / And though I make this matrimony for my peace. / I’ th’ east my pleasance lies. † Act II Scene 4 Rome. Lepidus commands farewell to Maecenas and Agrippa.Act II Scene 5Alexandria. Cleopatra’s castle. Cl. calls for music. confabs with Charmian. speaks of fishing and how she one time playfully had a salt-cured fish placed on Antony’s hook. how she drank him to bed and put her apparels on him while she wore his blade Philippan ( won in his triumph over Brutus and Cassius at Philippi ) . A courier reluctantly tells her that A. is good but has married Octavia. She strikes the courier and threatens him with a knife. subsequently apologizes. She continues to oppugn him unbelievingly about the matrimony. believes Caesar is acquiring back at her. asks about how Octavia appears. Act II Scene 6 Misenum. in southern Italy. Pompey parleys with Caesar and Antony before they do conflict. He is offered Sicily and Sardinia if he will do a armistice and free the seas of plagiarists and direct grain to Rome. Pompey reminds A. that he received Antony’s mother heartily while the brother and married woman were contending. and A. acknowledges the debt. Caesar wants them to subscribe a written understanding and they plan to banquet the armistice. Pompey alludes to ticket Egyptian cookery and Enobarbus mentions the clip Cleopatra was brought to Julius Caesar wrapped in a mattress. Pompey warms to Enobarbus’ field speech production and they shake custodies. Pompey leads the triumvirs aboard his galley. Enobarbus is left with the plagiarist Menas. Menas to himself is angry that Pompey has made the pact. which his male parent Pompey the Great would non hold done. Enobarbus calls Menas a stealer and Menas counters likewise. Enobarbus expresses regret they will non be contending and provinces Pompey has laughed away his luck. Menas is amazed to larn that A. has married Octavia. and Enobarbus wryly suggests the matrimony and the confederation between A. and O. will non last. He compares the cool and holy Octavia with the fiery Cleopatra and predicts Cl. will be the cause of the split between O. and A. Menas invites him aboard their galley. Act II Scene 7Aboard Pompey’s galley. Lepidus is seen by the retainers to be imbibing to a great extent and they speak slightingly about him. A. tells the leaders approximately Egypt as they all drink. Lepidus has imbibe excessively much. Menas takes aside Pompey and suggests they could kill the triumvirs and thereby take control. but Pompey insists he is a adult male of award ( though ironically he would be happy had they done this without stating him foremost ) : † In me ’tis villainy ; / In thee ‘t had been good service. † Menas inside resolves to ally with Pompey no longer. A adult male bears the bibulous Lepidus off. and Enobarbus gags he carries the 3rd portion of the universe. The imbibing continues and a vocal. so the party breaks up. Act III Act III Scene 1Middle East. Ventidius has conquered the Parthian leader Orodes ( who had in 53 BC defeated Marcus Crassus of the first triumvirate [ comprised besides of Julius Caesar and Pompey the Great ] ) and killed Orodes’ boy Pacorus. Ventidius sagely declines to prosecute farther military conquerings. so that he will non pull the enviousness of the leaders he serves: â€Å"Better to go forth undone. than by our title / Acquire excessively high a celebrity when him we serve’s off. / Caesar and Antony have of all time won / More in their officer than individual. Sossius. / One of my topographic point in Syria. his lieutenant. / For speedy accretion of fame. / Which he achieved by the minute. lost his favour. / Who does i’ the wars more than his captain can / Becomes his captain’s captain: and aspiration. / The soldier’s virtuousness. instead makes pick of loss. / Than addition which darkens him. † He will compose to Antony in Athens of t he accomplishments won in Antony’s name. Act III Scene 2 Rome. Agrippa and Enobarbus discuss the sign language of the understanding. that Lepidus loves O. more than A. . the awe and regard that O. bids. O. bids a tearful adieu to his sister and asks A. to care for her well. A. reassures him of his honest purposes. She can non openly talk all her feelings. susurrations to O. . O. weeps. Enobarbus remarks on old occasions when A. has wept. A. embraces O heartily. Act III Scene 3 Alexandria. Cleopatra’s castle. The courier ( Po. same as 2. 5 ) Tells Cleopatra about Octavia–Cl. wants to cognize her tallness. how she speaks. her grade of stateliness. her hair colour etc. Cleopatra believes Octavia does non compare favourably to herself. Now she regrets harassing A. before he had departed. She makes programs to compose A. Act III Scene 4 Athinais. A. speaks critically to Octavia about Caesar. who has made new war on Pompey and has spoken disparagingly about A. Octavia pleads with A. to maintain the peace with O. and feels caught between divided truenesss. A. plans to direct her to her brother to seek to do peace for him. while in the interim A. programs for war ( and Cleopatra ) . Act III Scene 5 Athinais. Enobarbus tells Anthony’s follower Eros that Caesar is denying Lepidus the shared glorification from their successful war against Pompey. and has had him arrested on trumped up charges and imprisoned for life. A. is upset with his officer that has slain the captured Pompey. Act III Scene 6 Rome. Caesar speaks to Maecenas about how A. has rejoined Cleopatra and has been seen publically enthroned with her. with Caesarion at their pess along with her kids by A. He has given her Egypt. lower Syria. Cyprus. and Lydia to govern. He has given to his boies Alexander A ; Ptolemy the kingships of Great Media. Parthia. Armenia. Syria. Cicilia. Phoenicia. etc. She has taken on the frock of the goddess Isis. A. has accused Caesar of non giving A. his portion of the returns from Sicily and has objected to the intervention of Lepidus. Octavia arrives unannouced and Caesar objects to the sneak manner in which she has traveled and been announced. She states she has come on her ain. but Caesar knows A. was glad to hold her leave to prosecute his ain terminals. She believes he is still in Athens but Caesar informs her that A. has joined his prostitute and is imposing many male monarchs for war against Rome. Octavia despairs. but all present receive her with great understanding. Act III Scene 7 Near Actium. on NW seashore of Greece. at Antony’s cantonment. Cleopatra tells A. she wants to be with him in conflict. Enobarbus makes an irreverent comment to himself which she overhears. To Cleopatra he says it is rumored in Rome that A. is led by a eunuch and amahs etc. in the behavior of the war. But Cleopatra angrily insists she will be present in the war and will non remain behind. Antony enters and declares he has decided they will fight by sea. and Cleopatra supports this thought. But Enobarbus objects and unsuccessfully attempts to deter him from this unadvised program. since his strength is his land ground forces and their ships and naval combat accomplishments are unseasoned. A courier arrives to state Caesar has taken Toryne. the velocity of his progress taking A. by surprise. Antony’s follower Canidius bitterly remarks to a soldier that their leader is led by a adult female. Act III Scene 8 Field near Actium. Caesar confers with his lieutenant Taurus and gives prophylactic instructions. Act III Scene 9Field near Actium. nearby. A. tells Enobarbus where they are to place the ships. Act III Scene 10Field near Actium. Enobarbus is distressed to see the â€Å"Antoniad† . the Egyptian flagship [ with Cleopatr on board? ] . turn unit of ammunition and fly the conflict scene. Scarus enters and plaints their losingss stating that â€Å"we have kissed off lands and provinces† . In the center of conflict when the two sides were equally matched. Cleopatra’s ship hoisted canvas and fled. A. spotted her departure and disgracefully abandoned the combat every bit good. trailing after her and thereby doing their licking. A. and Cleopatra have fled toward the Peloponnesus. Canidius resolves to travel over to Caesar’s side. but Enobarbus is non yet ready to abandon Antony. Act III Scene 11 Prob. shortly after the conflict. Antony feels deeply his shame and attempts to direct work forces away with gold to do their peace with Caesar. He has resolved on a class which will non necessitate their aid ( suicide? ) . Cleopatra remains. with Charmian. Iras. and Eros. They try to acquire her to soothe him. A. recalls his past gallantry at Philipii while Octavius did small so. A. asks her where she has led him. She asks his forgiveness for flying the conflict with her fearful canvass. thought he would non follow her. But he says â€Å"Egypt. thou knew’st excessively good / My bosom was to thy rudder tied by the strings. / And 1000 shouldst tow me after. O’er my spirit / Thy full domination 1000 knew’st. and that / Thy beck might from the command of the Gods / Command me. † She resignedly asks his forgiveness. and he asks for a buss. He has sent their headmaster on an embassy to Caesar. He calls for nutrient and vino for all and seems to retrieve some o f his bravery and liquors. Act III Scene 12 Egypt. Caesar’s cantonment. Caesar’s follower Dolabella nowadayss Antony’s embassador to Caesar. He says A. wants to be allowed to populate in Egypt. says Cleopatra will accept Caesar’s power over her. and wants to retain the Crown of the Ptolemies ( i. e. . Egypt ) . Caesar will non allow A. his petition but asks that she surrender A. over or have him executed. for which she will be rewarded. After he leaves. Caesar asks Thidias to seek out Cleopatra and to win her off from A. with whatever fancied promises seem necessary. Act III Scene 13 Alexandria. Cleopatra’s castle. Cleopatra wonders what to make. and Enobarbus says she should â€Å"think. and die† . He blames A. for the result but rebukes her for go forthing the conflict. A. has heard from the embassador that the queen is to give him up to Caesar. A. sends back a noncompliant message. disputing Caesar to one-on-one combat. Enobarbus to himself knows the futility and deficiency of judgement of this answer. Thidias arrives and wants to confabulate with Cl. in private. but she keeps the meeting public. He suggests she embraced A. out of fright instead so love. trying to give her an alibi to direct A. off. But Cleopatra insists A. is a God and her award was non yielded. merely conquered. Enobarbus debates abandoning A. and issues. Cleopatra tells Thidias she will put her Crown before Caesar’s pess and will hear of Egypt’s destiny from him. A. arrives and. acquisition of Thidias’ mission against him. orders him whipped. He berates Cleopatra for bewraying him ( by holding to make Caesar’s command ) and curses her. to her great discouragement. The whipped Thidias is brought back in. and A. tells him â€Å"Get thee back to Caesar. / Tell him thy amusement. Look thou say / He makes me angry with him ; for he seems / Proud and contemptuous. dwelling on what I am. / Not what he knew I was. † He laments â€Å"Alack. our terrene Moon is now eclipsed. / And it portends entirely the autumn of Antony. † Cleopatra tells him he does non cognize her true purposes. A. is heartened and resolutenesss to restart the battle against Caesar by land. Before he goes to conflict. he wants to hold one more gaudy dark and celebrate. bravely declaring â€Å"Come on. my queen. / There’s sap in ‘t yet. The following clip I do fight / I’ll do decease love me. for I will postulate / Even with his pestilent scythe. † Enobarbus is now ready to go forth A. Act IV Act IV Scene 1Caesar’s cantonment. The whipped courier has returned. Caesar scorns the challenge to personal combat. He plans to contend the following twenty-four hours. and orders a banquet for his ground forces. Act IV Scene 2Alexandria. Cleopatra’s castle. A. learns Caesar will non accept the foolish challenge. He calls for the feast and enjoys the family of his work forces. stating ominously they may function another maestro tomorrow. Enobarbus inquiries the wisdom of his pessimistic words. and A. reverts to an confidence that they will be winning tomorrow. Act IV Scene 3 Alexandria. before the castle. Soldiers discuss the approaching war. They hear music and believe it means the God Hercules [ from whom he claims descent ] is abandoning A. Act IV Scene 4Alexandria. Cleopatra’s castle. A. calls for his armour from Eros and Cleopatra aid to set it on him. He wishes she could to the full appreciate the royal art of warfare. The forenoon will be just. He speaks slightly fatalistically. kisses her and says â€Å"I’ll leave thee now like a adult male ofsteel† . Act IV Scene 5 Antony’s cantonment before Alexandria. A. learns from a soldier that Enobarbus has gone over to Caesar without taking his properties. and liberally petitions â€Å"Go. Eros. direct his hoarded wealth after. Make it. / Detain no jot. I charge thee. Write to him– / I will subscribe–gentle adios and salutations. / Say that I wish he neer find more cause / To alter a maestro. O. my lucks have / Corrupted honest work forces! † Act IV Scene 6 Caesar’s cantonment before Alexandria. Caesar want A. captured alive and predicts a clip of cosmopolitan peace [ the Pax Romana ] will shortly get. He is told A. is in the field. and orders that the lead military personnels bear downing against A. should be those who deserted A. so that â€Å"Antony may look to pass his rage / Upon himself† . Enobarbus receives his hoarded wealth from A. via a soldier and expresses compunction at holding abandoned such a baronial adult male. He resolves non to contend against A. Act IV Scene 7 Field of conflict between the two cantonments. The conflict seems to be traveling favourably for A. Act IV Scene 8Same ( battlefield before Alexandria ) . A. says they have beat Caesar. Cleopatra arrives and they embrace after he praises Scarus to her. stating Scarus has fought as if a God. Act IV Scene 9Caesar’s cantonment. dark. Enobarbus appears and expresses penitence with the Moon as informant. so dies. Watchmen carry his organic structure off. Act IV Scene 10The battleground. A. learns the following conflict will be by both land and sea. and plans to adult male the galleys. Act IV Scene 11Field of conflict. Caesar plans to contend by land [ ? seemingly holding deceived A. as to his purposes ] Act IV Scene 12Field of conflict ab initio. so prob. in Alexandria. A sea battle is taking topographic point in the distance. A. learns from Scarus that a sup has built its nest in Cleopatra’s canvass. which they take as a bad portents. A. is both hopeful and fearful. A. returns keening that the Egyptian fleet has yielded to the enemy. and that the two sides now carouse together like â€Å"friends long lost† . He blames Cleopatra. believing she has betrayed him. He knows he will see no more dawns. Cleopatra enters and he bitterly tells her to go forth. He wishes her one decease might hold prevented all this. He suspects she will decease by Caesar every bit will he. Act IV Scene 13 Prob. Alexandria. Cleopatra calls to her adult females for aid against Antony. whom she thinks has gone huffy. Charmian tells her to conceal in her memorial. and she tells Mardian to state A. that she has killed herself. Act IV Scene 14 Prob. Alexandria. A. speaks to Eros about how clouds are mutable even as his ain form can non be maintained now that he is faced with his queen’s suspected treachery. He is make up ones minding to kill himself. Mardian enters and announces Cl. loved him and has killed herself. He calls for Eros to take his armour. He calls out â€Å"I semen. my queen† . He wants Eros to kill him. but alternatively Eros kills himself. A. sees that the valiant Eros has set the proper illustration for him. and falls on his ain blade. He does non instantly decease. Guards arrives. one stating Cleopatra has sent him. A. is surprised to larn she is still alive and in her memorial. She feared that he might kill himself on larning she was dead and wanted him to cognize she still lives and has non betrayed him. A. asks to be carried to her. Act IV Scene 15 Alexandria. in Cleopatra’s memorial. She resolves non to go forth of all time once more. Diomedes appears below with the wounded Angstrom. She fears being captured and will non go forth the memorial. but eventually agrees to pull him up. She kisses him. He tells her to trust of Caesar’s work forces merely Proculeius. He dies and she swoons. Resuscitating. she rails against the Gods and makes programs to bury A. ’s organic structure. Act V Act V Scene 1Alexandria. Caesar’s cantonment. Caesar tells Dolabella to command A. to give up. Antony’s follower Dercetus enters with A. ’s blade and says he is dead. Caesar is taken aback at the abruptness of this intelligence. which lacks suited ostentation. Caesar weeps. Of A. Maecenas says â€Å"His contaminations and awards / Waged equal with him† and Agrippa says â€Å"A rarer spirit neer did maneuver humanity ; but you Gods will give us some mistakes to do us work forces. † Caesar laments the loss of his â€Å"mate in empire† . A courier arrives to state Cleopatra is confined in her memorial and awaits instructions. Caesar sends reassuring words via Proculeius. Caesar really plans to take her dorsum and show her in Rome and wants to debar any effort at self-destruction. Act V Scene 2 Cleopatra’s memorial. She is be aftering her self-destruction. Proculeius comes and Cleopatra asks of him that her boy be given Egypt to govern. He is really reassuring. She will be Caesar’s liege. But Roman soldiers approach from behind and capture her. moving on Proculeius’ instructions ( corroborating that even he can non be trusted despite Antony’s confidence ) . As she tries to knife herself. they disarm her. She says â€Å"I will non wait pinioned at your master’s court† and expresses her desire to decease. Proculeius leaves her with Dolabella. Dolabella speak with her in private. and acknowledges Caesar will probably expose her in Rome. Caesar arrives and once more gives reassuring words to her but warns her that her kids will decease if she kills herself. She present to him a list of her properties and wealth. But her financial officer Seleucus says she has held back from uncovering much of her wealth. She claims this was simply so sh e could supply nowadayss for Livia and Octavia. etc. and is angry with Seleucus. Caesar says he will make with her what she requests. She makes a secret petition of Charmian. Dolabella returns and tells her truthfully that Caesar plans to travel back through Syria and programs to direct her and her kids in front instead than go forth her in Egypt as she desires. Cleopatra envisions how she will be abused and mocked in Rome. Iras resolves to neer see this and says she will rub out her ain eyes. Cleopatra calls for her best garb. A clown enters with a basket of figs. and there is some off-color treatment. Iras enters and the adult females dress her in her royal garb. Cleopatra thinks she hears A. call and says â€Å"Husband. I come† . Iras falls and dies [ of what? ] . and Cleopatra admirations â€Å"Have I the aspic in my lips? Dost autumn? / If 1000 and nature can so gently portion. / The shot of decease is as a lover’s pinch. / Which hurts. and is desired. † She applies an asp from the basket to her chest. stating it is â€Å"my babe at my chest. / That sucks the nurse asleep. † She applies another to her arm. Charmian refers to her as a â€Å"lass alone. † and applies an asp to herself as guards enter. The guards realize that Caesar has been beguiled. Caesar returns and observes her courage and how the adult females seem simply to kip. He resolves â€Å"She shall be buried by her Antony. / No grave upon the Earth shall nip in it / A brace so celebrated. High events as these / Strike those that make them ; and their narrative is / No lupus erythematosus in commiseration than his glorification which / Brought them to be lamented. Our ground forces shall / In solemn show attend this funeral. / And so to Rome. Come. Dolabella. see / High order in this great sedateness. † Page World Wide Web. mcgoodwin. net/pages/otherbooks/ws_antonycleopatra. hypertext markup language Page created by Michael McGoodwinLast update: 18 February 2006

Sample Proposal Essay - One of the Best Choices

Sample Proposal Essay - One of the Best ChoicesA sample proposal on taxes is one of the best options for those who are aspiring to write a proposal. You can do this from your own information or get access to a sample written by an expert who is now working for a tax firm. The expert can give you a sample proposal that was recently written by a professional in that particular field. Most people prefer to go through a sample than taking the proposal personally.Sample proposals are written with the goal of providing information to the applicant. They are not designed for the purpose of convincing the employer to hire them. This is why you must be very careful while writing a proposal on taxes. There are many aspects that you need to consider when writing your own proposal.First, you must have knowledge about the topic at hand. Therefore, you should be well-versed with the different definitions and terms of the laws. In order to gain more knowledge about the subject, you can visit the va rious websites related to taxation. You can also search the internet for detailed information.Secondly, you should know about the legal issues. If you are unfamiliar with the legal aspects, then you must research the topic. If there is any topic that is controversial, you must be very careful in preparing your proposal. This is because you do not want to cause any embarrassment to the company if they find out your ignorance about certain issues.Thirdly, you must understand the importance of the financial problems that can occur in the near future. These problems will occur when the banks stop paying the customers. If you are aware of the types of financial problems that could occur, then you will have a better chance to convince the lender. Therefore, you must be very careful when you choose the form to use. Some of the popular ones include letters, questionnaires, and the proposal format.Fourth, you must take care of one thing. If you are writing a proposal to negotiate for a promo tion, then you need to prepare a proposal in such a way that it will be appealing to the higher authorities. If you are going to write the proposal for a job application, then you need to know about the current laws and regulations that are applicable in the job arena. Finally, you must be very careful with the language used in the proposal.A sample proposal is one of the best tools that you can use in the negotiations process. This is why most professional candidates prefer to write proposals. You may not have an option but to ask for a sample proposal. If you are confident that you have mastered the topics and the legalities, then you can offer this service to the professionals.

Use of Persona in Writing in Imperial China Essay Example Essay Example

Use of Persona in Writing in Imperial China Essay Example Paper Use of Persona in Writing in Imperial China Essay Introduction The late Ming and Qing periods in imperial China saw the advent of literature gleaned from the brushstrokes of courtesans, women of occupations originally seen as men’s pleasure diversions rather than socially acceptable careers. However, this notion of courtesan culture was modified soon as these courtesans revealed a particular talent that went beyond the ability to pleasure and entertain: writing (Ropp, 1997).But the stigma that was—and still is—associated with the concept of selling sex and entertainment proved to be a hindrance in the cultural and social importance of these women’s literary work; much had to be addressed and refined, on top of the more debatable qualities of topic, censorship, and reputation. Thus the veritable solution appropriated by the collective group of literary courtesans was the assumption of personas or images, in order to define their own voices and identities. Such explorations took them to extreme avenues for self-expressi on, ranging from the basic effort of acquiring new names in terms of authorship, to the channeling of maleness in order to escape the confines of female passivity and gender restrictions. Yet no matter what persona was chosen by the writer, three common themes were almost always seen in their work: love and talent; glamour and nostalgia; and sex, bondage, and shame (Ropp, 1997). These themes, intertwined in their occupation’s nature, spoke of the underpinnings that formed the business of courtesan work, on its surface ongoing transactions between rich and poor families; the poor sold their daughters off as courtesans, but were eventually trained in various arts that proved beneficial in their entrance into the homes of the rich as concubines and servants (Ropp, 1997). Courtesans acquired the desire to be free from imposed social constraints, in order to appreciate the kind of life that required the use of intellect, and not just the expected skills in providing pleasure. As i llustrated by Liu Rushi in her poem â€Å"Following the Same Rhyme, a Respectful Harmonizing†, the line â€Å"I wish to follow Zhiyi and drift along the swift stream† (Wai-Yee, 1997) implied a need to rid herself of the shackles of social norm and the adjudged purposes of her being a courtesan and discover worlds not usually available to her. This also connotes a yearning to be of a different person, as the reference to ‘Zhiyi’ may pertain to the writer’s wish to mirror the same qualities.II. The Art of Naming and the Formation of IdentityThe most basic act of changing oneself and appropriating a different persona is in the changing of names, for it functions to create a host of images and identities far removed from the actual person. The same Liu Rushi made use of several, two of which were ‘Yun’, referring to clouds, and ‘Yin’, which meant reclusion of being hidden. Such names, popular among courtesans of the period, had general allusions to both desire and exclusivity (Wai-Yee, 1997)—assumed to be the positive versions of the qualities assigned to women of this persuasion.Another famous courtesan who had taken on a ‘style name’ was Wang Wei, who was known as Xiuwei, and even earlier as the Person of the Way of the Straw Cape—an implied admission of her chosen way of life. As Xiuwei, she wrote: â€Å"If one were not actually born a man, one cannot cleanse the world of evil.I noted my longing for streams and mountains† (Author, year, p. 369); this showed her consistent affinity for nature and the pureness of environment, which coincided with her chosen names.Wang Wei’s sworn sister Yang Wan, also a courtesan, also wrote via a different name—Wanshu—and was known to excel in poetry and the art of calligraphy. If Xiuwei promoted her love of the outdoors, Wanshu chose to dedicate herself to the fine lines of emotive poems through a sensitivity that matched her talent for executing careful brushstrokes. Her poem â€Å"Autumn Feelings† bore the evidence of this accomplishment, as revealed by her lines: â€Å"Solitary, I rest my chin on my hand, overcome by sorrow,/I’d like to tell of my passion, but am then filled with shame./Since ancient times, life has been like this for the ‘poorly-fated,’/How dare I seek to be like mandarin ducks, growing old together?† (Wanshu, in Author, year, p. 373). It is evident how Wanshu took her learning of her life as a courtesan to channel a persona different from her own; she talked of ‘passion’, in terms obviously alien to her known world of pleasure, and redefined it to approximate the aspirations she held in her heart—outwardly manifested in her demonstrated talent in calligraphy.Because of the universe these courtesans were relegated to, stereotyped and viewed with pity at best and disgust at worst, they found the opportunity for rebirth and renewal in the use of names. Through them, they were able to express thoughts and choices they were never allowed to make, since most courtesans were practically children when they were sold off to their establishments or to rich men.III. Drama and Creativity in Self-DefinitionAcquiring a new persona was also achieved by courtesans by self-dramatization, done via dramatic gestures or appropriating the language of the theater (Wai-Yee, 1997). Most courtesans were prone to dramatizing their emotions akin to performing, and this was soon revealed in yet another method they employed to convey different personas. However, as with the rest of women in imperial China, the efforts of courtesans to employ the creative literary arts of drama and fiction were seen of less importance (Author, year); ironically, this somehow matched their social status of being of a lower class than the average female member of society.More than being known for her poetry, Lian Xiaoyou is acknowledged to be â€Å"one of the first female playwrights in Chinese literary history† (Author, year), and is credited with the play United Primes—a tale centering on Huang Chonggu, a woman who presented herself as a man to be freed from being sentenced to jail. Here Lian wrote some of Huang’s most compromising lines: â€Å"But if you, Governor, deign to accept me as your ‘bare-bellied guy,’/We’ll have to first beg Heaven to quickly turn me into a man!† (in Author, year, p. 363). The dramatic implications of this work illustrated the combination of a cunning mind and wit, which were both exhibited by the play’s main character and by the writer herself.Jiang Pianpian, a courtesan famous for her lyric poetry, was also well-versed in the talent of song and singing—thus explaining her choice of literature. An example of the drama she employed in her poetry was evident in her â€Å"Songs of Resentment†, wherein she wrote: â€Å"How ca n you say the road is long?/It is your mind that makes you stay./My heart is like a wagon wheel:/Each day it goes ten thousand miles!† (in Author, year, p. 365). Using this kind of language shows the flair for drama and emotion; the inclusion of metaphors, such as the ‘wagon wheel’ to refer to her heart, only brings it to a level only available to courtesans and their ability to delve into themes and thoughts that explicitly convey longing and want for a man. Another courtesan, Ma Xianglan, was also famous for her audacity to bring the drama into the actual expression of courtesan life. A poem she wrote on a parrot may have been indicative of her feelings for a lover: â€Å"My Snowdress, I love you if no one else does;/Always your partner in inner quarter feelings.† (Author, year, p. 367).Evidently, the courtesans’ choice of drama to convey an assortment of themes brings about their familiarity with emotional content, through a manner easily tied in with the art of performance. Since the inherent purpose of a courtesan was to provide entertainment and pleasure without the restrictive ties of social rule, it may be safe to conclude that the use of drama and dramatization provided them with a means to create their sense of self; the avenue to express their deepest emotions would have had little or no importance within the parameters of courtesan work.IV. Metaphors of Maleness and AspirationThe reference to the courtesan-playwright Lian Xiaoyou and her play’s theme already shows the popular device of disguising females as males; the reason for this is quite easily determined, one that may be used to generalize the purposes of not just courtesan writers, but women writers of imperial China as a whole. Because of society and culture’s preference for the male gender, women had to find a way to draw themselves up to par—and one manner this was done was through appropriating masculine qualities, in this case within the grounds of literature.However, the objective of the writing was not simply to transform the female persona to male; much of its significance was in the merging of both masculine and feminine traits, clearly referencing the known characteristics of active and passive, aggression and submission, to create literature that embodied what could be the ideal. Liu Rushi had been acknowledged for her use of the male and female perspective in her poem â€Å"Male Spirit of the River Lao†, in which the use of a woman’s interaction with a male spirit reveals the equality of their positions (Wai-Yee, 1997). In the case of Wan Fazhi, who was not a courtesan but exemplified the purposes of these women in referring to maleness as a trait, her acceptance as a writer was only made possible by her tale of a man’s spirit possessing her; thus the words she spoke were credited to the male spirit, and were treated with relevance (Author, year).Behind the use of male metaphors and the women writers’ clamor for the same importance accorded to their male counterparts, the courtesan had a more definite reason for doing so—because of their tendency and affinity for victimhood (Wai-Yee, 1997). This concept fused the usage of drama and questions of gender equality in writing, as the courtesan was primarily viewed more as a commodity rather than an individual, in the transaction of pleasure and sale. They capitalized on their ‘victim’ experience to create another persona, as seen in this poem by Chen Yuanyuan: â€Å"Then she was burdened by her fame./Noble and powerful houses vied with each other for her possession,/.But she was wrong to blame the ruthless wind for scattering the fallen blossoms,/For boundless spring has returned to heaven and earth.† (Chen, in Wai-Yee, 1997).V. ConclusionCourtesans in imperial China—as well as their counterparts in modern time—were never seen beyond their professed ability to provide pleasure through sensuality. Therefore it is logical how these women, many of whom were gifted with enough talent to rival any male or female writer, would resort to creating personas for themselves. Perhaps it was not simply the shame of being classified under the kind of occupation they had, but the realization that freedom from constraint and exploring worlds outside the ones assigned to them would be met by assuming personas or images far from their known selves. By doing so, they not only provided material for extensive study in the field of imperial Chinese literature, but also an awakening of the sleeping promises inherent in their real personas. Use of Persona in Writing in Imperial China Essay Thank you for reading this Sample!

Opinion of, Opinion on, Opinion about

Opinion of, Opinion on, Opinion about Opinion of, Opinion on, Opinion about Opinion of, Opinion on, Opinion about By Maeve Maddox A reader objected to the use of â€Å"on† in an example given in a post about prepositions: REFERENCE: He asked my opinion on the matter. IMHO, I think this use is a stretch. I would substitute about for on. He asked my opinion about the matter. More and more it seems that writers have forgotten the word about and use on instead, a rather annoying tendency. According to an informal web search using quotation marks around the phrases, opinion of is more common than either opinion on or opinion about: â€Å"opinion about† 7,470,000 hits â€Å"opinion on† 18,600,000 hits â€Å"opinion of† 52,800,000 hits The OED entry for opinion reflects this apparent preference, offering one example each for â€Å"opinion on† and â€Å"opinion about,† but 24 for â€Å"opinion of.† All three sound fine to me. Here are some quotations from newspapers: Looking for political cover, Senate Majority Leader Mitch McConnell, R-Ky., said Tuesday, â€Å"Everybody I know in the Senate, everybody is in favor of maintaining coverage for pre-existing conditions. There is no difference of opinion about that whatsoever.† Expert opinion on game-related research is further split, with hundreds of academics calling findings linking playing video games to violence flawed, while others argue that studies show â€Å"either no relationship between playing video games and violent behavior, or an ‘insignificant’ link between the two.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Expressions category, check our popular posts, or choose a related post below:25 Subordinating ConjunctionsFor Sale vs. On Sale45 Idioms About the Number One

American History Questions Essay Example | Topics and Well Written Essays - 500 words

American History Questions - Essay Example He explains that the wealthy have failed to employ the poor immigrants living in the slums a feature that enhances the problems the slum dwellers face. In Aftershocks on the other hand, Reich argues that the large inequality gap between the wealthy and the middle class stoked the credit bubble thus leading to the crisis. Reich begins his book by countering the arguments by Timothy F. Geithner, the Treasury secretary at the time that the middle class was buying too much while saving too little. Reich believes that the middle class did not make adequate amounts of money and was instead employing a number of survival techniques none of which could sustain the economic growth. The difference in the book lies in their structures with Aftershocks is a book while Riis’ is a publication of photojournalism. I disagree with Mrs. Rodgers assessment that the era of the FDR a welfare state that continues to plague the country. I believe that President Franklin D. Roosevelt employed every feature including the welfare programs to help the economy and in deed, he did. He for example authorized the utilization of about $5 million in relief programs that sought to create employment for the public. The president understood the importance of employment in enhancing the economic growth. The public assistance relief program helped cushion the public from the adverse effects of the great depression. The Works progress Administration did not only see the development of mega infrastructure at a time the country was facing the worst economic crisis but also provided the citizenry with adequate income capable of sustaining their lives thus overcome the crisis. The country has consistently employed similar strategies including the systematic bailouts in 2007 and 2008 financial crisis that helped keep th e largest corporations operational. Inequality for all has been a factual indictment for the economic condition in the United

Elvis Presleys Photography Essay Example | Topics and Well Written Essays - 1000 words

Elvis Presleys Photography - Essay Example This paper Elvis Presley‘s photography describes the importance of photography as a means of satisfaction to the person who is looking at the picture. Portraits of popular figures are more interesting to see than the stale photographs of oneself. You can keep on looking at a particular photo of your favorite sportsperson, maybe frame it on your wall, but you don’t usually keep the photo of your wedding in the bedroom. There’s also a section of society which exhibits family photographs in their offices for all to see. But the charm of a wall paper of Jane Seymour or Marilyn Monroe did a lot of good to boost the morale of the U. S. Army in Vietnam. But the beauty of portraits lies in the fact that they are meant more for entertainment than information, more for titillation than for satisfaction. The subjects of portraits know that the photographs are meant for public consumption and the public knows that the subjects know which makes the circles complete. However, i nformal portraits differ a great deal from formal ones for the simple reason that formal portraits are a bit boring. Thus the subjects of the portrait show obvious signs of unease. Except for a rare Lady Diana with her grace and charm, most of the subjects of portraits are awkward and uneasy, which impression leaps out of the photo to say, â€Å"I am doing this only because I have to be polite,† whereas informal portraits show people happy about just being themselves. This essay discusses the portraits one of the most famous men ever, Elvis Presley, the King.

Calculations of Rare Earth (Y, La and Ce) Diffusivities

Calculations of Rare Earth (Y, La and Ce) Diffusivities First-principles calculations of rare earth (Y, La and Ce) diffusivities in bcc Fe Xueyun Gaoa,b,[*], Huiping Rena, Chunlong Lia,c, Haiyan Wanga, Yunping Jia, Huijie Tan a ABSTRACT: The impurity diffusivities of rare earth elements, Y, La and Ce, in bcc Fe have been investigated by the first-principles calculations within nine-frequency model. The microscopic parameters in the pre-factor and activation energies have been calculated. For the three elements, the first nearest-neighbor solute-vacancy interactions are all attractive, in which Y and La solute atoms more favorably bond to the vacancy. The solute-vacancy binding energy can be explained in terms of the combination of the distortion binding energy and the electronic binding energy, and the decomposition results of the total solute-vacancy binding energy suggest that the strain-relief effect accounts for larger portion of the binding energy for Y and La than that for Ce. The diffusion coefficients of Y are one order of magnitude larger than that of La, and predicted to be comparable to that of Fe self-diffusion. Compared with Y and La, Ce shows large migration energy and small solute-vacancy att ractive interaction, which accounts for the lowest diffusivity of this element. Keywords: Diffusion; Rare earth; Bcc Fe; First-principles calculations 1. Introduction In the past years, the addition of rare earth (RE) elements has been regarded promising in steels. A series of beneficial research for the development of rare earth addition have been focused on the purification and modification of inclusion, since RE elements are characterized by significant negative free energy changes for compound formations [1-3]. RE doping also improve the high-temperature oxidation resistance and the corrosion resistance of steels due to the reactive-element effect (REE) [4,5].In addition, the solidification, phase transformations, recrystallization behavior, of steel can be improved by adding RE [6, 7]. Knowledge of the above mentioned mechanism is essential to understand the influence of RE additions on the physical, chemical and various properties of steels. In spite of the progress so far in RE application, it is apparent that many questions still remain rather controversial. A thorough theoretical study on the diffusivities of RE elements in Fe-based alloy is still lacking, which is essential for understanding the effects of RE on the structure and properties of steel, and is also helpful for designing and preparing RE doped steels [8]. For the three commonly used RE elements, Y, La and Ce, to our knowledge, only the diffusion coefficient of Y has been reported [9]. The diffusion of substitutional-type solute is mainly controlled by vacancy mechanism. In this case, the interaction of solute atom with vacancy plays significant roles in understanding of the diffusion properties of solutes. To understand the microstructure evolution in bcc Fe alloy, DFT method has been applied in calculations of the binding energies of solute atom with vacancy [10]. Based on the nine-frequency model of Le Claire, Ding and Huang et al. [11,12] developed a computational framework to calculate the solute diffusion coefficients in bcc Fe, which presents an effective method in investigation of the diffusion properties in bcc Fe alloy. The purpose of this work is to investigate the impurity diffusivities of rare earth elements, Y, La and Ce, in bcc Fe by the first-principles calculations within nine-frequency model and the semi-empirical corrections for magnetization[11,13], calculate the associated solute-vacancy binding energies, migration energies, pre-factors and activation energies for these impurity diffusivities, as well as the self-diffusion coefficient of Fe, thus discuss the related factors of the diffusion coefficients. 2. Methodology The temperature dependence of diffusion coefficient D is expressed in the Arrhenius form D=D0exp(-Q/kBT), where D0 and Q are the pre-factor and activation energy, respectively. Below the Curie temperature, the self-diffusion and solute diffusion coefficients in bcc Fe deviate downward from the Arrhenius type relationship extrapolated from the paramagnetic state [14]. These deviations are attributed to the change of magnetization which affects the diffusion activation energy. To investigate the effect of magnetic disorder on the diffusion activation energy of spin-polarized metals, Ding et al. [15] reported a first-principles approach based on the spin-wave DFT method for studying the self-diffusion of bcc Fe and fcc Co, and the calculated values of ÃŽÂ ± agree well with the experimental data. More recently, by combination of the first-principle calculations and Heisenberg Monte Carlo simulations, Sandberg et al. [16] presented a quasi-empirical model to study the magnetic contribu tion to the self-diffusion activation energy of bcc Fe. Murali et al. [17] conducted a systematic study of the effects of phonon and electron excitations on the free formation energy of vacancy, the solute-vacancy binding energy, and the vacancy migration energy in bcc Fe. The authors then calculated the Fe self-diffusion coefficient based on the computed free energies, by employing the semi-empirical model presented in Ref. [18]. The diffusion associated data yielded by these methods are in good agreement with experiments. We employ the semi-empirical model to describe the dependence of the diffusion activation energy on the magnetization in the ferromagnetic state [18]: QF(T)=QP[1+ÃŽÂ ±s(T)2] (1) where QP is the activation energy in the paramagnetic state; s(T) is the ratio of the magnetization of bcc Fe at a certain temperature T to that at 0K, and has been experimentally measured [19,20]; the constant ÃŽÂ ± quantifies the extent of the influence of magnetic on activation energy, the measured value of ÃŽÂ ± for Fe self-diffusion is 0.156 [11].In the case of the solute species investigated in this context that have no measured ÃŽÂ ± values available, the values can be estimated from a linear correlation with the induced changes in local magnetization on Fe atoms in the first and second neighbor shells of a solute atom [21]. The first-principles calculations give direct access to the magnitude of the activation energies for self- and solute diffusion in the fully ordered ferromagnetic state (T=0K). Given the values of ÃŽÂ ± and s(T), we can compute QP through the relation , and QF(T) from Eq. (1). We based the diffusion calculations on the assumption that the mechanism of diffusion is primarily monovacancy mediated. The self-diffusion and solute diffusion coefficients on a bcc lattice can be expressed as following [11,22]: Dself=a2f0Cvw0 (2) Dsolute=a2f2Cvw2(-ΆGb/kBT) (3) where a is the bcc lattice constant, f0=0.727 is the self-diffusion correlation factor, f2 is the correlation factor for solute diffusion which depends on the relative vacancy jump frequencies around the solute atom. Cv denotes the equilibrium vacancy concentration, can be written as Cv=exp(ΆSf /kB)exp(-ΆHf /kBT), where ΆSf and ΆHf are the vacancy formation enthalpy and entropy, respectively, the harmonic approximation makes these two become temperature-independent constants. and kB is Boltzmanns constant. w0 and w2 are the vacancy hopping frequencies for Fe and solute atoms to exchange with a nearest-neighbor vacancy, respectively. Based on transition state theory (TST), the vacancy hopping frequency w is written as , where and are the phonon frequencies in the initial state and transition state, and the product in the denominator ignores the unstable mode; ΆHmig is the migration energy, gives the energy difference for the diffusin g atom located at its initial equilibrium lattice position and the saddle-point position. The solute-vacancy binding free energy ΆGb can be expressed as ΆGb =ΆHbTΆSb, where ΆHb and ΆSb are the binding enthalpy and entropy, respectively. The correlation factor f2 can be calculated using the nine-frequency model developed by Le Claire [13] which involves different jump frequencies of vacancies to their first neighbor position in the presence of the solute atoms, as illustrated in Fig. 1. In this model, the interaction of solute-vacancy is assumed up to second neighbor distance. The nine frequencies shown in Fig. 1 illustrate all of the distinct vacancy jumps in a bcc system with a dilute solute concentration, including the host Fe atom jump w0 without impurity. The detailed calculation procedures could be found in Ref. [11]. Fig. 1. Schematic illustration of the nine-frequency model for the bcc Fe crystalline with a solute atom. The arrows denote the jump directions of the vacancy. The numbers in the circle represent the neighboring site of the solute atom. For convenience, we can represent the self- and solute diffusion equations (Eqs.(2) and (3)) in Arrhenius form to obtain the pre-factor and activation energy of diffusion. By combining the above Eqs., the diffusion coefficient for Fe self-diffusion and solute diffusion can be expressed as: (4) For self-diffusion, the pre-factor is, and the activation energy given as . Also, the solute diffusion coefficient can be expressed in an Arrhenius form with the pre-factor is, and. The first-principles calculations presented here are carried out using the Vienna Ab initio Simulation Package(VASP) with the projector augmented wave(PAW) method and the generalized gradient approximation of Perdew-Burke-Ernzerhof functional(GGA-PBE) [23]. All calculations were performed in spin polarized. The computations performed within a 4à ¯Ã¢â‚¬Å¡Ã‚ ´4à ¯Ã¢â‚¬Å¡Ã‚ ´4 supercell including 128 atoms. The binding, vacancy formation and migration energies were calculated with 300eV plane-wave cutoff and 12à ¯Ã¢â‚¬Å¡Ã‚ ´12à ¯Ã¢â‚¬Å¡Ã‚ ´12 k-point meshes. The residual atomic forces in the relaxed configurations were lower than 0.01eV/Ã…. The transition states with the saddle point along the minimum energy diffusion path for vacancy migration were determined using nudged elastic band (NEB) method [24] as implemented in VASP. We adopt the harmonic approximation (HA) to consider the contribution of normal phonon frequencies to free energy. The normal phonon frequencies were calcu lated using the direct force-constant approach as implemented in the Alloy Theoretic Automated Toolkit (ATAT) [25] package. Similar cutoff energy, k-point mesh size and supercell size used for the total energies were used for the vibrational calculations. 3. Result and discussion Table 1 illustrates our calculated energies for vacancy formation, migration and binding, as well as the constant ÃŽÂ ± for solute species, the associated paramagnetic activation energies and fully ordered ferromagnetic activation energies for both self- and solute-diffusion. For pure bcc Fe, the vacancy formation energy and migration energy obtained here are consistent with the reported range of values, ΆHf=2.16-2.23 eV and ΆHmig=0.55-0.64 eV [11,26,27]. For Y impurity in bcc Fe, the calculated vacancy binding energy in full ordered ferromagnetic state also compare well with the previous first principles work [28], in which ΆHb=-0.73 eV. It can be seen that Y and La have smaller activation energy than that for Fe self-diffusion, while Ce is predicted to have a lager value of activation energy than that for Fe self-diffusion, in both the ordered ferromagnetic and paramagnetic state. Table 1 Vacancy formation energy ΆHf , solute-vacancy binding energy ΆHb, migration energy ΆHmig, the ferromagnetic activation energy and the paramagnetic activation energy QP; the variable dependence parameter of activation energy on magnetization ÃŽÂ ±. Fe Y La Ce ΆHf(eV) 2.31 à ¢Ã¢â€š ¬Ã¢â‚¬â„¢ à ¢Ã¢â€š ¬Ã¢â‚¬â„¢ à ¢Ã¢â€š ¬Ã¢â‚¬â„¢ ΆHb (eV) à ¢Ã¢â€š ¬Ã¢â‚¬â„¢ -0.69 -0.66 -0.43 ΆHmig (eV) 0.54 0.09 0.17 1.09 ÃŽÂ ± 0.156 0.088 0.038 0.125 (eV) 2.85 1.71 1.82 2.97 QP (eV) 2.47 1.57 1.75 2.64 Solute-vacancy binding energy plays a crucial role in understanding solute diffusion kinetics. Table 2 presents the binding energies of Y, La and Ce atoms with vacancy in their 1nn, 2nn and 3nn coordinate shells. From Table 2 it can be seen that referring to the first nearest-neighbor solute-vacancy pairs, the binding energies are all negative, which implies the solute-vacancy pairs are favorable. Specifically, Y and La impurities are computed to have higher values of solute-vacancy binding energies -0.69 eV and -0.66 eV in 1nn configuration, respectively, while that for Ce is -0.43 eV. Correspondingly, we found that Y, La and Ce atoms relax towards the 1nn vacancy by 22.3%, 19.6% and 12.2% of the initial 1nn distance (2.488 Ã…) after the structure optimization. The interactions of the solute-vacancy pair at the 2nn shells tend to be smaller in magnitude than that of 1nn, and that of Ce-vacancy predicted to be repulsive. The interactions of the 3nn solute-vacancy are relatively we ak, indicating that the interactions of the solute-vacancy are local. According to Le Clair model [13], in the situation that the interactions of the first and second nearest solute-vacancy neighbors are appreciable, the nine different jump frequencies should be considered. To obtain information on the origin of these attractive behaviors, we decompose the total binding energy into the distortion binding energyand the electronic binding energy as [29] . The distortion binding energy can be obtained by the distortion reducing of the bcc Fe matrix when a solute atom and a vacancy combine to form a solute-vacancy pair, and can be expressed as: (5) where and can be calculated as follows: after the supercell containing a solute-vacancy pair (or a substitutional atom) has been fully relaxed, the solute-vacancy pair (or the substitutional atom) is removed from the system, then the total energy can be calculated. denotes the total energy of the pure bcc Fe supercell, and denotes the total energy of the supercell containing a vacancy. Then can be calculated from . The calculated solute-vacancy binding energies of 1nn, 2nn and 3nn are shown in Table 2, along with the energy decomposition for 1nn solute-vacancy binding. The distortion energies (-0.31 to -0.65 eV) for all solute elements(Y, La and Ce) are negative, and much bigger than their corresponding electronic binding energies (-0.04 to -0.12 eV). This implies that the distortion energy accounts for a major part of the total solute-vacancy binding energy, i.e. the strain relief effect contributes significantly to the interaction between the impurity atom and the vacancy, esp ecially for the solute Y and La, which accounted for 94.2% and 97.0% of the total binding energy, respectively. Furthermore, there is a strong correlation between the binding energy and the distance of the solute-vacancy, and the lattice relaxation around the vacancy is local. For the case of Ce-vacancy , specifically, we found that Ce atom relax away from the 2nn vacancy by 4.3% of the initial 2nn distance, which leads to the positive binding energy. Table 2 Decomposition of the total solute-vacancy binding energy into distortion binding energy and electronic binding energy. Units are eV. Solute element Y La Ce ΆHb (1nn) -0.69 -0.66 -0.43 (1nn) -0.65 -0.64 -0.31 (1nn) -0.04 -0.02 -0.12 ΆHb (2nn) -0.16 -0.21 0.10 ΆHb (3nn) -0.06 0.09 -0.05 The calculated migration energies of the different vacancy jumps corresponding to the paths in Fig. 1 are listed in Table 3. The migration energies of w2 jump for Y and La are lower than that of w0 jump for host Fe atom (0.54 eV), while the migration barrier of Ce in bcc Fe is higher than that of Fe self-diffusion. The migration barrier of w2 jump for Y is 0.09 eV, comparable to the reported value of 0.03 eV and 0.02 eV [9, 30]. The results indicate that there is a correlation between the binding energy of solute-vacancy and the migration energy, i.e. the strong attraction of solute-vacancy in 1nn configuration gives rise the low migration energy of the corresponding vacancy jump. For the three solute atoms, because of the strong attraction of 1nn solute-vacancy, the migration barriers of which the 1nn vacancy jump away from the solute atom, i.e. w3, w3, and w3, are higher than that of the opposite jumps, i.e. w4, w4, and w4, as well as that of Fe self-diffusion in pure bcc Fe. And t he same tendency can be found in the results of jump w5 and w6. Table 3 Migration energies for different jumps in the presence of Y, La and Ce in bcc Fe matrix. Units are eV. Jump Y La Ce w2 0.09 0.17 1.08 w3 1.81 1.84 1.55 w4 0.91 0.99 0.92 w3 0.93 1.23 1.07 w4 0.04 0.03 0.08 w3 0.86 0.92 0.87 w4 0.12 0.05 0.11 w5 0.94 0.98 0.89 w6 0.69 0.67 0.82 The correlation factor f2 is related to the probability of the reverse jump of a solute atom to its previous position [31]. Table 4 lists the calculated values of correlation factors for Y, La and Ce at representative temperatures of 850, 1000 and 1150K. The correlation factor of Y is 3.3ÃÆ'-10-5 at 1000K, close to the value of 1ÃÆ'-106 obtained by Murali [9]. For the three elements, the correlation factors of Ce have the highest values, and the correlation factors of La are one order of magnitude lower than that of Y. Therefore, Ce atom is the most difficult to return back to its original position in the temperature range of our investigation. Including the smallest binding energy, highest migration energy and correlation factor, provides an explanation for the low diffusivity of Ce atom. Table 4 Correlation factors (f2) for Y, La and Ce solute-diffusion at representative temperatures of 850, 1000 and 1150K. T(K) Y La Ce f2 f2/ f0 f2 f2/ f0 f2 f2/ f0 850 6.4ÃÆ'-106 1.111 2.9ÃÆ'-107 1.264 0.379 1.373 1000 3.3ÃÆ'-10-5 1.070 2.4ÃÆ'-106 1.223 0.381 1.370 1150 1.2ÃÆ'-104 1.034 1.4ÃÆ'-10-5 1.188 0.383 1.367 Table 5 lists the calculated diffusion activation energies and pre-factors for Fe self-diffusion and Y, La and Ce impurity diffusion. For pure bcc Fe, we find our calculated results are in good agreement with the published values. For Y impurity in bcc Fe, the calculated activation energy in full ordered ferromagnetic state is lower than the previous first principles work, and the pre-factor is as much as two orders of magnitude lager than the reported value. The experimental or calculated diffusion coefficients of La and Ce are not available to the best of our knowledge. For the case of experimental investigation, due to the very small solubilities of La and Ce in iron, the measured data may be affected by segregation of solutes, grain boundary, other impurities and the method of detection. Besides, the theory calculations, e.g. molecular dynamics (MD), first-principles etc. have not been applied widely in the study of RE contained steel yet, so the fundamental data of RE elements i n iron, such as the potential functions of Fe-La and Fe-Ce, is lacking. Table 5 Activation energies in the fully ordered ferromagnetic state () and paramagnetic state (QP), along with diffusion pre-factors for Fe self-diffusion and impurity diffusion of Y, La and Ce in bcc Fe. Reference (kJ mol-1) QP(kJ mol-1) D0(m2/s) Fe Present work 275.3 238.1 2.99ÃÆ'-10-5 Huang et al. [11] 277 239 6.7ÃÆ'-10-5 Nitta et al. [32] 289.7 ±5.1 250.6 ±3.8 2.76ÃÆ'-10-4 Seeger[33] 280.7 242.8 6.0ÃÆ'-10-4 Y Present work 165.9 159.9 1.09ÃÆ'-109 Murali et al. [9] 218.1 à ¢Ã¢â€š ¬Ã¢â‚¬â„¢ 8.0ÃÆ'-107 La Present work 175.6 169.2 2.88ÃÆ'-1010 Ce Present work 286.3 275.8 7.66ÃÆ'-106 Fig. 2 presents a direct comparison between the calculated and published temperature dependent diffusion coefficients for Fe self-diffusion and Y solute diffusion. For Fe self-diffusion, the calculated values are in good agreement with Huang et al. [11] and Nitta et al. [29], but smaller than the measured d