Differences between men and women in employement

Differences between men and women in employement The word gender refers to the socio-cultural definition of man and woman, it is a way through which society distinguish men and woman. The distinction between sex and gender was introduced to deal with the general tendency to attribute womens subordination to their anatomy. There are multiple reasons to understand the current increase in the proportion of male versus female in population across Asia. Firstly sex ratios in India have been recorded since the early 1980.the Indian scenario of female discrimination is extremely complex in view of Indias social and economic diversity: the interplay of cultural and economic factors, along with the impact of policy initiative has produced a heterogeneous situation .This complexity offers ways to better understand the mechanisms at work and to inform the policy debate on the struggle against gender discrimination. In our society it is seen that characteristics, roles and status accorded to women and men in society are determined by sex, that they are natural and therefore not changeable. Gender is seen closely related to the roles and behaviour assigned to women and men based on their sexual differences. When a child is born our families and society starts the process of gendering. If son is taken birth than it is celebrated and the birth of a daughter filled with pain; sons are showered with love, respect, better food and proper health care. Boys are encouraged to be tough and outgoing; girls are encouraged to be homebound and shy. All these differences are gender differences and they are created by society. Gender inequality is therefore a form of inequality which is distinct from other forms of economic and social inequalities. It dwells not only outside the household but also centrally within it. It stems not only from pre-existing differences in economic endowments between women and men but also from pre-existing gendered social norms and social perceptions. Gender inequality affects the development goals which reduce the economic growth. It hampers the overall well being because blocking women from participation in social, political and economic activities can adversely affect the whole society. THE Indian experience IN India it represents a clear picture about education and employment opportunities for girls. Our culture, social factor still prevents girls from getting education and employment. In rural area the girls child is made to perform household and Agriculture, cleaning the house, preparing food, and they have to perform many tasks like that. In village physical safety of girls especially when they travel a long distance to school and fear of sexual harassment are the reason s that impedes girls` education. In the urban area, girls have some opportunities in comparison to rural area but there is also some difference in the opportunities that girls get for education and employment .Through the figure for girls would still be low as compared to boys. In employment opportunities too, women in India today have stormed all male bastions. Be it piloting aircraft, heading multi-national corporations, holding top bureaucratic positions, leading industrial houses, making a mark as photographers, filmmakers, chefs, engineers and even as train and lorry drivers, women have made it to all hitherto considered male bastions in India. However, this is not reason enough for cheer. For the number of girls and women who have been left out of education and employment opportunities, still far outweighs those who have got them. Gender segration in employment This term refer to the occupational unequal distribution of men and woman in the occupational structure sometime also called occupational segration by sex. These are two type vertical segration; describe the clustering of man at the top of occupation hierarchies and of woman at the bottom, horizontal segregation. Many developing countries including India have displayed gender inequality in education, employment and health. It is common to find girls and women suffering from high mortality rates. There are vast differences in education level of two sexes. India has witnessed gender inequality from its early history due to its socio-economic and religious practices that resulted in a wide gap between the position of men and women in the society. Womans salary in India, less than a third of men According to the survey done by world Economic Forum (WEF) it show that a big gender gap in corporate India in the employment of women from the entry level to the top management of companies. As reported by Financial Chronicle the survey which is based on the response of 60 of the 100 best employers in India, showed that women employees held only 10 percent of the senior management positions in two-thirds of the surveyed companies. None of the companies had women chief executive officers (CEOs) and almost 40 percent of the respondents had only 10 percent women work force. The survey show that only 4% of the companies surveyed monitor salary gab. Nevertheless 84% of the companies dont believe that there is a wage gap while the remaining 12% do not track wage gap at all. India stand 114th among 134 countries in the WEFs India gender gap review 2009. It has closed 93 percent of its health gender gap, ranking 134th out of as many economies. It stands at 121st position in education gap with 84 percent and is at 127th place with 41 percent of economic participation gap. Besides, it is ranked 24th with 27 percent of the political empowerment gender gap, according to the study. Causes of gender discrimination 1. Religion One of the main causes of gender discrimination is gender. In many organisation woman below man only due to the different religion. 2. LITERATURE REVIEW 1. Pandey Prahlad Kumar (2007) in his study on gender discrimination studied the Gender equity is giving boys and girls ,woman and men equal opportunities in the utilisation personal capabilities to realize full human right .according to him a country cannot realize its dream of becoming super power by doing gender discrimination. Researcher has proved that a country where there are more employment opportunities for woman tends to provide better and honest governance. 2. Pollard, Taylor and Daher (2007) said that discrimination is not only the problem of India but it also exists in a developed country like USA .the finding clearly indicate woman discrimination. In USA woman earned $45,258/year while men earned $50,250/ year, having a median wage gap of $4,965. 3. Joanne Healy and Zucca J. Linda Mid-American Journal of Business; Spring(2004) study that only 3 percent of the most highly compensated executives are female, that the position are held by disproportionately by men, and that female executive are likely to clustered in particular industry group. 4. Simon Appleton (1977) suggested that expanding female education will improve gender equity which was the outcome of the study done in Uganda. The study focused on the involvement of women in politics in South Africa and Uganda. He also found a relationship between the importance of gender equity to economic growth and traced womens civil society in Uganda was given importance. 5. Song, Appleton and Knight, 2006 study that boys are more attend school in China than girls, is the work of scholars who worked to find the causes of the same. Boys are more likely than girls to attend school in rural China. There is evidence that gender equity is a luxury good; the demand for female schooling is more income elastic than that for male schooling. 6. Another study by Shellenbarger to find out the nature of work undertaken or assigned also differs on the gender ground. Boys tend to be given more physical tasks like lawn mowing and fixing things, `while girls are stuck with housecleaning and doing the dishes. Even parents who fight for gender equity in their own marriages find themselves splitting their childrens tasks along traditional gender lines. 7. The chairman and the CEO of PepsiCo, Indra Nooyi said that there was a need to educate the male population about women empowerment, besides educating the female population. If you do not treat the women well, society will not progress. 8. THE METHODOLOGY OF GENDER AND EMPLOYMENT OBJECTIVES:- 1. For low income women seeking employment, one of the most critical problems is a lack of adequate skills. Therefore, the provision of skill training can meet an important practical gender need. In contrast to this, skill training in such areas as primary school teaching, nursing and dressmaking can and do meet the practical gender needs of women to generate an income and this will automatically reduce the gender discriminating. Data collection Secondary data In this study I use only secondary data for literature review, situation of gender and employment in our economy.

Mindy Lewis’

Adolescence is difficult and painful: rebellion, critical parental scrutiny, an overall feeling of not living up to expectations. For some of us it is a time of excess – drug use, arguments, lots of psychic pain. Mindy Lewis’ compelling memoir is about what happens when adolescent rebellion is not treated as routine. Her version of teenage acting out led to a more than two-year incarceration in the New York State Psychiatric Institute at Columbia–Presbyterian Medical Center (which she calls PI) when she was almost 16 years old. The book, Life Inside, explores Lewis’ life, telling a story of an upbringing quite different from most, and its effects. Always a creative soul, Lewis expressed her emotions in painting, rarely in writing. But an intense cyber-romance in the early ‘90s led her to begin to express her emotions in writing. She began to take workshops, writing essays and the occasional short story. Positive reinforcement in the workshops and small successes getting published made her take her writing a little more seriously. She actually wasn’t sure she could go through with her story, until she followed friends’ encouragement to write it, not just for herself but for the others who had been with her and for those who are in a similar situation now. Life inside chronicles a reasonably happy childhood in Manhattan, her father’s departure for California, and the dissolution of her parents’ marriage. The arrival of a stepfather did not provide any cushion as her relationship with her mother started to disintegrate when she began high school, smack in the middle of the ‘60s. Though her painting ability had secured her acceptance at the High School of Music and Art, she soon began to feel as though she didn’t fit in. She just didn’t feel hip enough for the other kids and heady atmosphere that pervaded the school. Lewis had discovered an escape in marijuana, LSD, and a collection of other drugs. Her parents sent her to a psychiatrist to try to find a way to reach her, and though he didn’t seem to think that she was â€Å"crazy†, he recommended institutionalizing her when she was suspended from Music and Art and made a perfunctory attempt at suicide. Several things strike the reader during the journey through the book: the remarkable level of detail about Lewis’ experiences at PI; the difficult adulthood that seemed as excruciating as it was inevitable following such a contorted adolescence; and the courage that it must have taken to commit all of it to paper. As Lewis says: â€Å"In [Life Inside] I hoped to give something—clues to parents of adolescents, or to adolescents themselves who are in pain. I wanted to let them know that there are kindred spirits—they’re not alone. There is a path out of the dark. If the worst situation in my life can become a positive, it’s like alchemy. It gives me faith that miracles can happen in life.† Her story is honest and open. As a reader, one could identify with her pain and her experience, even though it is quite different from one’s own. Many of the feelings she describes are universal, which leads us to question society and its definition of insanity. The book is really well-written and vivid, with great attention to physical and emotional detail. The story moves quickly (over 30 years in 350 pages), with its main focus how the 27-months in the institution affected Mindy's life. However, the book also details Mindy's journey to understand her life, the world around her, her family, and how to create meaning from experience, going beyond â€Å"life inside†. Readers who will particularly appreciate this book include lovers of well-wrought prose, and people who feel impaired by something in their past, and cautiously optimistic about their chances of getting over it and/or growing from it. Life inside received a starred Kirkus Review, and was named 2003 Book of the Year by the American Journal of Nursing. It is a vivid first-person account of the author's experiences as a rebellious 15-year-old remanded to a psychiatric ward in the late 1960s. No comments are needed for the following words: â€Å"While conversing with me it was quite obvious that she is more genuinely wrapped up within herself†¦ She is very self-conscious and is usually unable to face the interviewer†¦ Her walk is a sort of bedraggled shuffle which makes me think of someone being led off to their execution. The patient is fearful, extremely anxious and depressed. At times her anxiety rises to such heights that she begins to tremble.† â€Å"There must be something wrong with my reflexes. If they'd been working right, I would have pulled my foot away, or kicked him. I hope he's a better shrink than he is a doctor.† â€Å"The sleeves hang over my hands, which is fine with me — the more that's hidden, the better†¦ Once I was a nice little girl, but those days are over. Before I can stop it, that nice little girl's tears fill my eyes. I blink them away, hoping nobody saw†¦ I can't take another minute sitting out here in the hallway. Privacy is as important to me as air, and I'm suffocating.† â€Å"I sit here in my chains and the days go by and nothing ever happens. It is an empty joyless life, but I accept it without complaint. I await other times and they will surely come, for I am not destined to sit here for all eternity†¦.I muse on this in my dungeon and am of good cheer.† Today Lewis is by any account a healthy and creative adult with extraordinary insight. She is an artist by profession, a dancer by avocation and a writer by sheer force of will. At 50, Lewis has kept her youth with her. She is tall, trim, and strong; belly dancing is a passion and bike riding and swimming help, as well. Her manner is direct, tempered by a quietness that bespeaks a life path that has not always been clear or easy. Inviting the readers to take a close look at contemporary views of mental health through the lens of her own powerful and intimately rendered story, in Life Inside, Lewis has written an important memoir, as tough and candid as it is inspiring and compassionate. Bibliography: 1. Lewis, Mindy. Life inside: A Memoir. Atr

Ocd Psychology Paper - 1077 Words

Obsessive - Compulsive Disorder Mary Lincoln Period E May 26, 2008 Obsessive-Compulsive Disorder, commonly referred to as OCD, is one of the most prevalent personality disorders, affecting more than 2% of the population. The disorder is notable for its preoccupation with orderliness, perfectionism, and mental and interpersonal control at the expense of flexibility, openness, and efficiency. Patterns of OCD develop during early adulthood, and are categorized as either mild or extreme. There are several distinct symptoms of Obsessive-Compulsive Disorder. Patients with OCD attempt to sustain mental control by painstakingly abiding by rules, procedures, and schedules, and working with trivial details and lists, to an†¦show more content†¦Individuals with NPD also lack generosity but tend to indulge themselves, whereas OCPD will adapt stingy spending habits for both others and themselves. OCPD can also be characterized by apparent formality and social detachment just as Schizoid Personality Disorder can be. However, in OCPD stems from discomfort with emotions rather than a fundamental inability to be intimate. Finally, it must be distinguished from symptoms that may develop in association with chronic substance abuse, personality change or general medical condition. In the Lady Macbeth case study, a young girl realized that she began to do strange things for reasons unbeknownst to her. She had a feeling of impending disaster if she failed to complete tasks revolving around excessive cleanliness and sets of three. Eventually, she resorted to trying to shake germs out of her clothes and rub her hands in rubbing alcohol constantly, spending six hours getting ready before school. She was afraid that if she didn’t stay clean or abide by her sets of three, something bad would happen to her family, specifically her grandmother. Although she improved significantly by suppressing many of her symptoms, she still needs to do certain things such as editing papers in repetitions of three. The y oung girl vividly described her experience of OCD. This form of OCD both caused her stress and interferedShow MoreRelatedObsessive Compulsive Disorder ( Ocd )1321 Words   |  6 PagesRebecca Howell In the field of Psychology there are a number of psychological disorders as well categories in which these disorders are placed. Psychological disorders are categorized in the Diagnostic and Statistical Manual of Mental Disorders; the manual is now in its fifth edition, which is known as the DSM-5. In the DSM-5, Obsessive-Compulsive Disorder is categorized with other compulsive disorders. 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Yeats and The Symbolism of Poetry

One of the greatest poets of the 20th century and a recipient of the Nobel Prize, William Butler Yeats spent his early childhood in Dublin and Sligo before moving with his parents to London. His first volumes of poetry, influenced by the symbolism of William Blake and Irish folklore and myth, are more romantic and dreamlike than his later work, which is generally more highly regarded. Composed in 1900, Yeatss influential essay The Symbolism of Poetry offers an extended definition of symbolism and a meditation on the nature of poetry in general. The Symbolism of Poetry    Symbolism, as seen in the writers of our day, would have no value if it were not seen also, under one disguise or another, in every great imaginative writer, writes Mr. Arthur Symons in The Symbolist Movement in Literature, a subtle book which I cannot praise as I would, because it has been dedicated to me; and he goes on to show how many profound writers have in the last few years sought for a philosophy of poetry in the doctrine of symbolism, and how even in countries where it is almost scandalous to seek for any philosophy of poetry, new writers are following them in their search. We do not know what the writers of ancient times talked of among themselves, and one bull is all that remains of Shakespeares talk, who was on the edge of modern times; and the journalist is convinced, it seems, that they talked of wine and women and politics, but never about their art, or never quite seriously about their art. He is certain that no one who had a philosophy of his art, or a theory of ho w he should write, has ever made a work of art, that people have no imagination who do not write without forethought and afterthought as he writes his own articles. He says this with enthusiasm, because he has heard it at so many comfortable dinner-tables, where some one had mentioned through carelessness, or foolish zeal, a book whose difficulty had offended indolence, or a man who had not forgotten that beauty is an accusation. Those formulas and generalisations, in which a hidden sergeant has drilled the ideas of journalists and through them the ideas of all but all the modern world, have created in their turn a forgetfulness like that of soldiers in battle, so that journalists and their readers have forgotten, among many like events, that Wagner spent seven years arranging and explaining his ideas before he began his most characteristic music; that opera, and with it modern music, arose from certain talks at the house of one Giovanni Bardi of Florence; and that the Plà ©iade la id the foundations of modern French literature with a pamphlet. Goethe has said, a poet needs all philosophy, but he must keep it out of his work, though that is not always necessary; and almost certainly no great art, outside England, where journalists are more powerful and ideas less plentiful than elsewhere, has arisen without a great criticism, for its herald or its interpreter and protector, and it may be for this reason that great art, now that vulgarity has armed itself and multiplied itself, is perhaps dead in England. All writers, all artists of any kind, in so far as they have had any philosophical or critical power, perhaps just in so far as they have been deliberate artists at all, have had some philosophy, some criticism of their art; and it has often been this philosophy, or this criticism, that has evoked their most startling inspiration calling into outer life some portion of the divine life, or of the buried reality, which could alone extinguish in the emotions what their philosophy or their criticism would extinguish in the intellect. They have sought for no new thing, it may be, but only to understand and to copy the pure inspiration of early times, but because the divine life wars upon our outer life, and must needs change its weapons and its movements as we change ours, inspiration has come to them in beautiful startling shapes. The scientific movement brought with it a literature, which was always tending to lose itself in externalities of all kinds, in opinion, in declamation, in pic turesque writing, in word-painting, or in what Mr. Symons has called an attempt to build in brick and mortar inside the covers of a book; and new writers have begun to dwell upon the element of evocation, of suggestion, upon what we call the symbolism in great writers. II In Symbolism in Painting, I tried to describe the element of symbolism that is in pictures and sculpture, and described a little the symbolism in poetry, but did not describe at all the continuous indefinable symbolism which is the substance of all style. There are no lines with more melancholy beauty than these by Burns: The white moon is setting behind the white wave,And Time is setting with me, O! and these lines are perfectly symbolical. Take from them the whiteness of the moon and of the wave, whose relation to the setting of Time is too subtle for the intellect, and you take from them their beauty. But, when all are together, moon and wave and whiteness and setting Time and the last melancholy cry, they evoke an emotion which cannot be evoked by any other arrangement of colours and sounds and forms. We may call this metaphorical writing, but it is better to call it symbolical writing, because metaphors are not profound enough to be moving, when they are not symbols, and when they are symbols they are the most perfect of all, because the most subtle, outside of pure sound, and through them one can the best find out what symbols are. If one begins the  reverie  with any beautiful lines that one can remember, one finds they are like those by Burns. Begin with this line by Blake: The gay fishes on the wave when the moon sucks up the dew or these lines by Nash: Brightness falls from the air,Queens have died young and fair,Dust hath closed Helens eye or these lines by Shakespeare: Timon hath made his everlasting mansionUpon the beached verge of the salt flood;Who once a day with his embossed frothThe turbulent surge shall cover or take some line that is quite simple, that gets its beauty from its place in a story, and see how it flickers with the light of the many symbols that have given the story its beauty, as a sword-blade may flicker with the light of burning towers. All sounds, all colours, all forms, either because of their preordained energies or because of long association, evoke indefinable and yet precise emotions, or, as I prefer to think, call down among us certain disembodied powers, whose footsteps over our hearts we call emotions; and when sound, and colour, and form are in a musical relation, a beautiful relation to one another, they become, as it were, one sound, one colour, one form, and evoke an emotion that is made out of their distinct evocations and yet is one emotion. The same relation exists between all portions of every work of art, whether it be an epic or a song, and the more perfect it is, and the more various and numerous the elements that have flowed into its perfection, the more powerful will be the emotion, the power, the god it calls  among  us. Because an emotion does not exist, or does not become perceptible and active among us, till it has found its expression, in colour or in sound or in form, or in all of the se, and because no two modulations or arrangements of these evoke the same emotion, poets and painters and musicians, and in a less degree because their effects are momentary, day and night and cloud and shadow, are continually making and unmaking mankind. It is indeed only those things which seem useless or very feeble that have any power, and all those things that seem useful or strong, armies, moving wheels, modes of architecture, modes of government, speculations of the reason, would have been a little different if some mind long ago had not given itself to some emotion, as a woman gives herself to her lover, and shaped sounds or colours or forms, or all of these, into a musical relation, that their emotion might live in other minds. A little lyric evokes an emotion, and this emotion gathers others about it and melts into their being in the making of some great epic; and at last, needing an always less delicate body, or symbol, as it grows more powerful, it flows out, with all i t has gathered, among the blind instincts of daily life, where it moves a power within powers, as one sees ring within ring in the stem of an old tree. This is maybe what Arthur OShaughnessy meant when he made his poets say they had built Nineveh with their sighing; and I am certainly never certain, when I hear of some war, or of some religious excitement or of some new manufacture, or of anything else that fills the ear of the world, that it has not all happened because of something that a boy piped in Thessaly. I remember once telling a seer to ask one among the gods who, as she believed, were standing about her in their symbolic bodies, what would come of a charming but seeming trivial  labour  of a friend, and the form answering, the devastation of peoples and the overwhelming of cities. I doubt indeed if the crude circumstance of the world, which seems to create all our emotions, does more than reflect, as in multiplying mirrors, the emotions that have come to solitary men in moments of poetical contemplation; or that love itself would be more than an animal hunger but for the poet and his shadow the priest, for unless we believe that outer things are the reality, we must believe that the gross is the shadow of the subtle, that things are wise before they become foolish, and secret before they cry out in the  market-place. Solitary men in moments of contemplation receive, as I think, the creative impulse from the lowest of the Nine Hierarchies, and so make and unmake mankind, and even the world itself, for does not the eye altering alter all? Our towns are copied fragments from our breast;And all mans Babylons strive but to impartThe grandeurs of his Babylonian heart. III The purpose of rhythm, it has always seemed to me, is to prolong the moment of contemplation, the moment when we are both asleep and awake, which is the one moment of creation, by hushing us with an alluring monotony, while it holds us  waking  by variety, to keep us in that state of perhaps real trance, in which the mind liberated from the pressure of the will is unfolded in symbols. If certain sensitive persons listen persistently to the ticking of a  watch,  or gaze persistently on the monotonous flashing of a light, they fall into the hypnotic trance; and rhythm is but the ticking of a watch made softer, that one must  needs  listen, and various, that one may not be swept beyond memory or grow weary of listening; while the patterns of the artist are but the monotonous flash woven to take the eyes in a  subtler  enchantment. I have heard in meditation voices that were forgotten the moment they had  spoken; and  I have been swept, when in more profound meditatio n, beyond all memory but of those things that came from beyond the threshold of waking life. I was writing once at a very symbolical and abstract poem, when my pen fell on the ground; and as I stooped to pick it up, I remembered some  phantastic  adventure that yet did not seem  phantastic, and then another like adventure, and when I asked myself when these things had happened, I found, that I was remembering my dreams for many nights. I tried to remember what I had done the day before, and then what I had done that morning; but all my waking life had perished from me, and it was only after a struggle that I came to remember it again, and as I did so that more powerful and startling life perished in its turn. Had my pen not fallen on the ground and so made me turn from the images that I was weaving into verse, I would never have known that meditation had become trance, for I would have been like one who does not know that he is passing through a wood because his eyes are on the pathway. So I think that in the making and in the understanding of a work of art, and the mo re easily if it is full of patterns and symbols and music, we are lured to the threshold of sleep, and it may be far beyond it, without knowing that we have ever set our feet upon the steps of horn or of ivory. IV Besides emotional symbols, symbols that evoke emotions alone,--and in this sense all alluring or hateful things are symbols, although their relations with one another are too subtle to delight us fully, away from rhythm and pattern,--there are intellectual symbols, symbols that evoke ideas alone, or ideas mingled with emotions; and outside the very definite traditions of mysticism and the less definite criticism of certain modern poets, these alone are called symbols. Most things belong to one or another kind, according to the way we speak of them and the companions we give them, for symbols, associated with ideas that are more than fragments of the shadows thrown upon the intellect by the emotions they evoke, are the playthings of the allegorist or the pedant, and soon pass away. If I say white or purple in an ordinary line of poetry, they evoke emotions so exclusively that I cannot say why they move me; but if I bring them into the same sentence with such obvious intellectual symbo ls as a cross or a crown of thorns, I think of purity and sovereignty. Furthermore, innumerable meanings, which are held to white or to purple by bonds of subtle suggestion, and alike in the emotions and in the intellect, move visibly through my mind, and move invisibly beyond the threshold of sleep, casting lights and shadows of an indefinable wisdom on what had seemed before, it may be, but sterility and noisy violence. It is the intellect that decides where the reader shall ponder over the procession of the symbols, and if the symbols are merely emotional, he gazes from amid the accidents and destinies of the world; but if the symbols are intellectual too, he becomes himself a part of pure intellect, and he is himself mingled with the procession. If I watch a rushy pool in the moonlight, my emotion at its beauty is mixed with memories of the man that I have seen ploughing by its margin, or of the lovers I saw there a night ago; but if I look at the moon herself and remember any o f her ancient names and meanings, I move among divine people, and things that have shaken off our mortality, the tower of ivory, the queen of waters, the shining  stag  among enchanted woods, the white  hare  sitting upon the hilltop, the fool of  faery  with his shining cup full of dreams, and it may be make a friend of one of these images of wonder, and meet the Lord in the air. So, too, if one is moved by Shakespeare, who is content with emotional symbols that he may come the nearer to our sympathy, one is mixed with the whole spectacle of the world; while if one is moved by Dante, or by the myth of Demeter, one is mixed into the shadow of God or of a goddess. So too one is furthest from symbols when one is busy doing this or that, but the soul moves among symbols and unfolds in symbols when trance, or madness, or deep meditation has withdrawn it from every impulse but its own. I then saw, wrote Gà ©rard de Nerval of his madness, vaguely drifting into form, plastic i mages of antiquity, which outlined themselves, became definite, and seemed to represent symbols of which I only seized the idea with difficulty. In an earlier  time  he would have been of that multitude, whose souls austerity withdrew, even more perfectly than madness could withdraw his soul, from hope and memory, from desire and regret, that they might reveal those processions of symbols that men bow to before altars, and  woo  with incense and offerings. But being of our time, he has been like Maeterlinck, like Villiers de IIsle-Adam in  Axà «l, like all who are preoccupied with intellectual symbols in our time, a foreshadower of the new sacred book, of which all the arts, as somebody has said, are beginning to dream. How can the arts overcome the slow dying of mens hearts that we call the progress of the world, and lay their hands upon mens heartstrings again, without becoming the garment of religion as in old times? V If people were to accept the theory that poetry moves us because of its symbolism, what change should one look for in the manner of our poetry? A return to the way of our fathers, a casting out of descriptions of nature for the sake of nature, of the moral law for the sake of the moral law, a casting out of all anecdotes and of that brooding over scientific opinion that so often extinguished the central flame in Tennyson, and of that vehemence that would make us do or not do certain things; or, in other words, we should come to understand that the beryl stone was enchanted by our fathers that it might unfold the pictures in its heart, and  not to  mirror our own excited faces, or the boughs waving outside the window. With this change of substance, this return to imagination, this understanding that the laws of art, which are the hidden laws of the world, can alone bind the imagination, would come a change of style, and we would cast out of serious poetry those energetic rhythms, as of a man running, which are the invention of the will with its eyes always on something to be done or undone; and we would seek out those wavering, meditative, organic rhythms, which are the embodiment of the imagination, that neither desires nor hates, because it has done with time, and only wishes to gaze upon some reality, some beauty; nor would it be any longer possible for anybody to deny the importance of form, in all its kinds, for although you can expound an opinion, or describe a thing, when your words are not quite well chosen, you cannot give a body to something that moves beyond the senses, unless your words are as subtle, as complex, as full of mysterious life, as the body of a flower or of a woman. The form of sincere poetry, unlike the form of the popular poetry, may indeed be sometimes obscure, or ungrammatical as in some of the best of the Songs of Innocence and Experience, but it must have the perfections that escape analysis, the subtleties that have a new mean ing every day, and it must have all this whether it be but a little song made out of a moment of dreamy  indolence,  or some great epic made out of the dreams of one poet and of a hundred generations whose hands were never weary of the sword. The Symbolism of Poetry by William Butler Yeats first appeared in  The Dome in April 1900 and was reprinted in Yeats Ideas of Good and Evil, 1903.