Free Essays on James Watt And Physics

James Watt was born in Greenock in 1736, the son of a ship's chandler (trader in canvas, etc). Watt had little formal education due to poor health in his youth, but pottering about in his father's shop he developed an interest in trying to make things "work clockwork". In his late teens he went to London to learn to be a "mathematical and philosophical instrument maker", and when he returned to Glasgow he got a job making instruments with Glasgow University, who gave him accommodations and a workshop. In 1763 John Anderson asked him to repair an early steam engine he had acquired. This early model, known as a Newcomen engine, was very inefficient. The cylinder (where the piston was) had to be heated when steam was admitted, and then gradually cooled again to condense the steam. This wasted a lot of time and fuel. Two years later, while wandering aimlessly through Glasgow Green, Watt hit upon the idea of condensing the steam in a separate vessel. This removed the need for heating and cooling, making the engine faster, safer, and more fuel-efficient. A stone in Glasgow Green marks this spot, where the industrial revolution really began. (Later, in 1778 Watt presented Anderson with a micrometer he had designed and made, as a gesture of thanks.) Watt went into business with Matthew Boulton, a Birmingham engineer, producing engines based on this new approach. Engineers from all the industrialized countries flocked to see their factories. Watt's engines were initially used for pumping water cornish tin and copper mines. Later, the new cotton mills, which had been built near fast-flowing rivers to take advantage of waterpower, almost all switched to steam. Gradually, mills began to move toward the centers of population. At first, steam power was used mainly for spinning, but eventually weaving was also powered by steam engine. By 1819, the year of Watt's death, there were 18 steam-weaving factories in Glasgow, with 2800 looms. (This... Free Essays on James Watt And Physics Free Essays on James Watt And Physics James Watt was born in Greenock in 1736, the son of a ship's chandler (trader in canvas, etc). Watt had little formal education due to poor health in his youth, but pottering about in his father's shop he developed an interest in trying to make things "work clockwork". In his late teens he went to London to learn to be a "mathematical and philosophical instrument maker", and when he returned to Glasgow he got a job making instruments with Glasgow University, who gave him accommodations and a workshop. In 1763 John Anderson asked him to repair an early steam engine he had acquired. This early model, known as a Newcomen engine, was very inefficient. The cylinder (where the piston was) had to be heated when steam was admitted, and then gradually cooled again to condense the steam. This wasted a lot of time and fuel. Two years later, while wandering aimlessly through Glasgow Green, Watt hit upon the idea of condensing the steam in a separate vessel. This removed the need for heating and cooling, making the engine faster, safer, and more fuel-efficient. A stone in Glasgow Green marks this spot, where the industrial revolution really began. (Later, in 1778 Watt presented Anderson with a micrometer he had designed and made, as a gesture of thanks.) Watt went into business with Matthew Boulton, a Birmingham engineer, producing engines based on this new approach. Engineers from all the industrialized countries flocked to see their factories. Watt's engines were initially used for pumping water cornish tin and copper mines. Later, the new cotton mills, which had been built near fast-flowing rivers to take advantage of waterpower, almost all switched to steam. Gradually, mills began to move toward the centers of population. At first, steam power was used mainly for spinning, but eventually weaving was also powered by steam engine. By 1819, the year of Watt's death, there were 18 steam-weaving factories in Glasgow, with 2800 looms. (This...

Iambic Pentameter Verses in Plays Like Julius Caesar

Iambic Pentameter Verses in Plays Like Julius Caesar Shakespeare was famous for writing in iambic pentameter, which is a specific way of rhyming sonnet lines in ten syllables. There are also forms of unrhymed iambic pentameter, as in Macbeth, with the noble characters. This metrical pattern of writing is also known as blank verse, and Shakespeare was famous for composing his plays as such. However, he also included additional forms of writing such as poetry and simple prose. Understanding Iambic Pentameter The term iambic pentameter† can sound intimidating at first, however, its simply a way of speaking that  Shakespeare’s contemporary audience would have been used to. While it is important to have an understanding of what iambic pentameter is to appreciate the plays,  there are only five key things to know: Iambic pentameter is a verse rhythm often used in Shakespeare’s writing.It has 10 syllables per line.Syllables alternate between stressed and unstressed beats, creating this pattern: â€Å"de/DUM de/DUM de/DUM de/DUM de/DUM.†Shakespeare played around with this structure to create different effects (for example, he changed the stress pattern and added syllables).Generally speaking, high-class characters speak in iambic pentameter and lower class characters speak in prose. The Origins of Iambic Pentameter and the Reasons for Its Use The goal of iambic pentameter was to create a meter for the English language in the sixteenth century. The reason for this was due to Latin being seen as the language of true literature while English was for common folk. Because Latin was seen as a superior language for poetry and literature, poets developed iambic pentameter to use English words that could be stressed and unstressed.   The effect of the pattern from Blank Verse allows poetry to be full of movement, imagery, and a music-like quality. In contemporary poetry, it is considered somewhat of a lost art, however, some use the pattern or a similar rhyming scheme  as a technique to bring their work to life. Iambic Pentameter Examples From Famous Shakespearean Plays Examples of iambic pentameter are found in many of Shakespeares plays, such as  Romeo and Juliet, Julius Caesar, A Midsummer Nights Dream, and more. See instances of the pattern in the verses that follow. From Romeo and Juliet: Two households, both alike in dignity,In fair Verona, where we lay our scene,From ancient grudge break to new mutiny,Where civil blood makes civil hands unclean.From forth the fatal loins of these two foesA pair of star-crossd lovers take their life;(Prologue) But, soft! what light through yonder window breaks?It is the east, and Juliet is the sun.Arise, fair sun, and kill the envious moon,Who is already sick and pale with grief,That thou her maid art far more fair than she:Be not her maid, since she is envious;Her vestal livery is but sick and greenAnd none but fools do wear it; cast it off.(Act 2, Scene 2) From Julius Caesar: Friends, Romans, countrymen, lend me your ears!(Act 3, Scene 2) From A Midsummer Nights Dream: And I do love thee: therefore, go with me;Ill give thee fairies to attend on thee,And they shall fetch thee jewels from the deep,And sing while thou on pressed flowers dost sleep;(Act 3, Scene 1) From Richard III: Now is the winter of our discontentMade glorious summer by this sun of York;And all the clouds that lourd upon our houseIn the deep bosom of the ocean buried.(Act 1, Scene 1) From Macbeth: Henceforth be earls, the first that ever ScotlandIn such an honour named. Whats more to do,Which would be planted newly with the time,As calling home our exiled friends abroadThat fled the snares of watchful tyranny;Producing forth the cruel ministersOf this dead butcher and his fiend-like queen,Who, as tis thought, by self and violent handsTook off her life; this, and what needful elseThat calls upon us, by the grace of Grace,We will perform in measure, time and place:So, thanks to all at once and to each one,Whom we invite to see us crownd at Scone.(Act 5, Scene 8) From Hamlet: O that this too too solid flesh would melt,Thaw, and resolve itself into a dew!Or that the Everlasting had not fix’dHis canon ’gainst self-slaughter! O God! O God!(Act 1, Scene 2) From Twelfth Night: If music be the food of love, play on;Give me excess of it, that, surfeiting,The appetite may sicken, and so die.That strain again! it had a dying fall:O, it came oer my ear like the sweet sound,That breathes upon a bank of violets,Stealing and giving odour! Enough; no more:Tis not so sweet now as it was before.O spirit of love! how quick and fresh art thou,That, notwithstanding thy capacityReceiveth as the sea, nought enters there,Of what validity and pitch soeer,But falls into abatement and low price,Even in a minute: so full of shapes is fancyThat it alone is high fantastical.(Act 1, Scene 1)