# data[].attributes.body
A (VERY LONG) ESSAY ON POLITICAL COMMUNICATIONS, FRENCH STYLE

Posted by Alastair Campbell | Oct 19, 2011 | Economy, Foreign Policy, Media, Politics | 9 |

The post has just arrived and in it a very nice surprise, the discovery that Jacques Seguela, one-time adviser to President Mitterrand, now close confidant of President and Madame Sarkozy (indeed he intoduced them), and something of a legend in French political communications, has dedicated his latest book to little old moi.

With apologies for the missing accents here and in the French bits of the long posting which follows – the dedication to ‘Le Pouvoir dans la Peau‘ (Power in the skin) reads ‘A Alastair Campbell, mon spin doctor prefere’ (three missing accents in one word – mes excuses sinceres).

So what did I do for this honour, you are asking? Well, perhaps the fact that he asked me to read his book, and write a ‘postface’ assessment both of his writing and of the issues he covers, and the fact that I said yes, has something to do with it. He says some blushmakingly kind things in his ‘preface to the postface’, which I will have to leave to French readers of the whole thing (published by Plon). But for the largely Anglophone visitors of this blog, I thought some of you might like to read the said ‘postface’ in English (apart from the bits where I quote direct from his book). I hope all those students who write asking for help with dissertations will find something quotable in it.

Meanwhile I am off to Norway for a conference and a meeting with the Norwegian Labour Party. I’m looking forward to being in the country with the highest ‘human development index’ in the world, and which showed such a mature response to the recent massacre of Oslo and Utoya.

Here is the postface to Le Pouvoir dans la Peau

Jacques Seguela writes about political campaigns and communications not merely as an expert analyst, but as an experienced practitioner. Hence his latest book contains both insights worth heeding, but also enlivening tales of his own experience. He is observer and participant; outsider looking in, and insider looking out.  There is much to look at, not least in France with a Presidential election looming, and the outcome far from easy to predict.

We live in a world defined by the pace of change, and whilst the velocity of that change has not always impacted upon our political institutions, many of which would remain recognisable to figures of history, it most certainly has impacted upon political communications. As Seguela writes: ‘En 5 ans le monde de la communication a plus evolue que dans les cents dernieres annees. ‘ Google, Youtube, Twitter, Facebook have quickly entered our language and changed the way we communicate, live our private lives, do business, do politics. People do not believe politicians as much as they once did. Nor do they believe the media. So who do we believe? We believe each other. The power and the political potential of social networks flows from that reality. Though fiercely modern in their application, social networks in some ways take us back to the politics of the village square. They are an electronic word of mouth on a sometimes global scale. This has changed the way people interact with each other and with their politicians.

My first campaign as spokesman and strategist for Tony Blair was in 1997, three years in the planning after he had become leader of the Opposition  Labour Party. Some of the principles of strategy we applied back then would certainly apply to a modern day election. But their tactical execution almost certainly would not. Politicians and their strategists have to adapt to change as well as lead it. Seguela gives some interesting insights into those who have adapted well, and those who have done less well. He clearly adores former President Lula of Brazil and you can feel his yearning for a French leader who can somehow combine hard-headed strategy with human empathy in the same way as a man who left office with satisfaction ratings of 87percent. Seguela probably remains best known in political circles for his role advising Francois Mitterrand. Yet wheras I am ‘tribal Labour’, and could not imagine supporting a Conservative Party candidate in the UK, Seguela came out as a major supporter of Nicolas Sarkozy. I wonder if one of the reasons was not a frustration that large parts of the left in France remain eternally suspicious of modern communications techniques and styles which, frankly, no modern leader in a modern democracy can ignore. How he or she adapts to, or uses, them is up to them. But you cannot stand aside and imagine the world has not changed.

If Lula is a star of this book, so too is Barack Obama. American elections are of enormous interest to all political campaign junkies, a category in which both Seguela and I would almost certainly qualify. Much is made of Obama’s use of the internet, a relatively new phenomenon in historical terms and one the young Senator used brilliantly in his quest to become President. Yet though it was an accurate expression of his modernity, underpinning its use were some very old-fashioned campaign principles. He used it to turn supporters into activists who both gave funds and also took his campaign materials and ideas and ran their own campaigns for him. Somehow he managed to make one of the most professional, most disciplined and best funded campaigns in history look like an enormous act of democratic participation.

It was less command and control – the model we certainly adopted in 1997 and 2001, Labour’s two landslide victories, easing off a little for our third win in 2005 – than ‘inspire and empower.’  ‘Yes we can’ not ‘yes I can’. His supporters were more than supporters. They were an active part of the campaign, and of the message. The key to this was something that had nothing to do with politicians and everything to do with science, technology and the internet. Ask me who has had the most influence on campaigns in recent times and I might be tempted to reply Tim Berners-Lee, the man credited with gifting the web to the world. Its implications have been far reaching in virtually all aspects of our lives, politics and political campaigns foremost. The new household brand names of the cyber era have not replaced good policy work, messaging and organisation. But they have become essential components of the execution of them in the campaign. Mainstream conventional media remains important and influential, not least because, bizarrely, in most democracies the broadcasters continue to let the press set their agenda for them. But a candidate who tries to stand against the tide of new media will be making a big mistake, and missing big opportunities. If it has changed so much in the last five years, how much more will it change in the next five years?

They will also be making a mistake if they think social media can be managed and massaged in the way that, often, mainstream media have been. The key – on this I agree totally with Seguela –  is authenticity. And that should be good news for authentic political leaders and an authenticity hungry public alike.

The public tend to get to the point of an election. Seguela has an interesting account of the last UK election and in particular the first ever televised Leaders’ Debates. Though I had worked on three campaigns for Tony Blair, I am sufficiently tribally Labour to have answered a call from his successor, Gordon Brown, to go back to help him for his first election campaign as leader in 2011. One of the roles I ended up playing was that of David Cameron in Brown’s preparatory sessions for the TV debates. These debates mattered, that much was sure. Election planning for Blair, I had always been doubtful about the benefit of such debates in a Parliamentary democracy where our leaders meet each other week in week out in the crucible of the House of Commons. I was worried the media would make them all about themselves, and that the policy issues would be drowned out. So it proved. Yet in a way the public did get to the point they wanted to. They did not particularly want Labour back after 13 years in power. They did not particularly yearn for David Cameron and a Conservative Party unsure about its direction. So the third party leader emerged through the middle. Nick Clegg was judged the clear winner by the instant reactions of public and media alike. For a few days he seemed impregnable. Yet come the vote, he did not make a huge breakthrough. It was only because neither Labour nor the Tories could get over the line that Clegg ended up as deputy Prime Minister in a coalition government. The country had not been able to make its mind up, delivered a muddled result and asked the leaders to sort it out. The leader who came first and the leader who came third did a deal to do so.

I think Seguela is too kind to Cameron. Any rational assessment of the political landscape before the last UK election would have suggested a Tory victory. Labour in power a long time; the economic crash; a Parliament dominated by a scandal involving MPs’ expenses; Iraq back in the news because of the official Inquiry; Afghanistan not going well; the press even more strongly in favour of a Tory win than they had been for a Labour win in 1997, and vicious about Brown. Also the Tories had big money to spend on the campaign and Labour did not. Yet Cameron could not secure a majority. Why not? There is no simple answer. The wonder of democracy lies in millions of people having their own experiences, impressions and judgements before deciding how to cast their vote. But the strategist in me says the simple answer is that Cameron lacked real strategic clarity. I think Sequela would agree that for all the changes that technological and mediatic change has forced upon political campaigns, strategy remains the key. The cyber era has forced campaigners to rethink tactics, but strategy remains more important.

He and I are clearly in agreement that John McCain’s appointment of Sarah Palin as running mate, for example, was a tactical masterstroke, but a strategic catastrophe. Tactically, he excited his base, gave the media a new toy, and momentarily unnnerved his opponent. Strategically he blew a hole through the two central planks of his campaign – experience, and being different from George Bush. In putting tactics before strategy, he broke one of the golden rules of campaigning.

Strategists like rules. We like points of principle to act as anchors. I like the rules in Seguela’s Chapter 5.

On vote pour une idee. Pas pour une ideologie.

On vote pour soi. Pas pour son candidat.

On vote pour un homme. Pas pour un parti.

On vote pour le professionalisme. Pas pour l’amateurisme.

On vote pour un projet pas pour le rejet.

On vote pour le coeur. Pas pour le rancoeur.

On vote pour le futur. Pas pour le passe.

On vote pour le bcbg. Pas pour le bling bling.

It is charmingly French that he illuminates the rule about voting for le couer pas pour le rancour to a tale of love and sex. ‘Si votre femme vous trompe, ce n’est pas en couvrant d’insulte son amant que vous le reconquerez. Mais en lui redonnant envie de vous. La mecanique electorale est le meme, se faire elire c’est se faire preferer.’ That may seem glib. But politics is a human business. It is about feelings as well as policies, emotion as well as reason. People often talk about their political leaders as though in a relationship with them. ‘He’s not listening … Why on earth did he do that? … I’ve gone off him … Oh, I still like him deep down.’ Political leaders sometimes talk of the people in the same way. How many times did I sit in the back of a car with Tony Blair, or fly over Britain in a ‘plane and he would look down and say ‘God, I wish I knew what they were thinking … Do they still like us?’ Back at the time of our first landslide, talk of the country ‘falling in love’ with Blair was widespread. Today, the biggest accusations of betrayal against Blair will often come from those who ‘fell in love’ most deeply at the outset of his leadership. Perhaps this trend towards relationship politics is being exacerbated by the tendency towards younger leaders. Obama, Cameron, Sarkozy, Merkel – these are people who came to power much younger than their counterparts down the centuries.

Seguela, a man of a certain age, remains fascinated by youth and its impact. The brand manager in him can barely disguise his glee that Coca Cola, the drink of the young trendy, is 130 years old. You can sense the excitement he felt on meeting the young Americans – not born when Seguela was advising Mitterrand – who had developed Obama’s digital strategy and so helped deliver a mailing list of 13m people. The focus on youth also dominates his analysis of the political consequences of the economic crash whose impact runs through these pages, and offers some fascinating factoids – half of all Europeans are over 50, whilst three quarters of Algerians are under 25. There are as many people under 30 in China as in Russia, the US and Australia combined, and in India twice as many as in China. That too is a powerful force of global change, and will have its impact on Western politics of the future.

As to what it all means for the next French elections, I don’t know. But this book provides part of the backdrop, economic and political. It should make interesting reading for anyone involved in that campaign. Whilst clearly still of the view Sarkozy was and is the right choice for France, (though the polls at the time of writing indicate he is in a minority) he throws out ideas and challenges for right and left alike. As traditional lines are drawn, careful reading might provoke candidates and parties to see that they should always be looking to the next new ideas, not merely repackaging the last new, let alone the old.

I was in Paris recently as a guest of the left think tank, Terra Nova, and met politicians, advisors, militants, experts, journalists and bloggers. I came away with some strong impressions. Firstly, virtually everyone told me that President Sarkozy was hugely unpopular, and his ratings as low as it was possible to go. Yet many of the same people told me he could still win. They know he relishes a campaign. They suspect he may have learned from some mistakes. Incumbency is a powerful weapon. A comeback is a powerful narrative. And they worried that with the President so unpopular, the economy sluggish, social issues raw, and the left in power in many parts of France, the PS should have been doing far better in the polls (to which, incidentally, French politicians and media pay far too much attention.)

Of course this was pre selection of a PS candidate. Many of the Socialists agreed with my analysis that once they had chosen the candidate, they needed to unite behind that candidate, resist their historic predilection for factionalism, run a campaign that was fresh, energetic and based upon a programme totally focused on the future and one which addressed people’s concerns. They agreed too that the PS could no longer look down its nose at communication, but had to see it not just as an essential element of campaigning, but a democratic duty at a time when people have so many pressures on their lives and living standards, and concerns about the world around them. But though they agreed with the analysis, some worried about the Party’s capacity to deliver upon it. The fear of another defeat ought to be enough, surely, to deliver on the first and essential part: unity. As someone on the progressive side of the political divide, I continue to think the French left’s over intellectualisation of politics, its focus on never-ending debate instead of agreement around big points and unity behind one accepted leader remains a problem.

I added that I felt the way was wide open for someone to come along and set out, with total honesty and clarity, the challenges ahead, the limitations of what one leader or one country can do, but explain the world and begin to shape direction. In other words, what I sensed behind the seeming confusion and rather disgruntled nature of French opinion was a real desire for leadership of a strategic rather than a tactical nature. There too, there were concerns, not least because of memories of the negative impact on Lionel Jospin’s campaign when he stated – truthfully – that the State could not do everything.

I heard a lot about Marine Le Pen and certainly the polls tell a good story for the leader of the Front National. She has certainly shown she can mount a campaign and get the media to accept a sense of change. When even her enemies refer to as Marine, rather than the more toxic Le Pen, that is something of a success. But whenever I have heard her, I have not heard a powerful argument for the future of France.

So France enters a fascinating period, where not one single person I met predicted the outcome of either first or second round without at least some doubt in their eyes. When things are so tight, communications can make the difference. It is not a dirty word.

I don’t agree with all of Seguela’s analysis. I don’t accept that only four US presidents radically changed the country. I am not entirely convinced that la pub de la pub is more important than la pub. I am not sure that David Cameron’s loss of a child had the political impact Seguela thinks it did. I think Brits will be also be surprised at the dominant role he gives in the Tory campaign to his colleague David Jones. I think he overstates how Sarkozy is seen in the world. I agree with him that we need to be cautious about the potential abuse of the internet which has no global governance or regulation to match, but I’m not sure I agree this risks being  ‘en bras arme de l’anarchie’. But it is a book full of understanding of some of the big themes and the small details required for a successful campaigning mindset.

He is, as one would expect for someone who has been close to different leaders, clued up on the importance of good chemistry between leader and strategist. He understands the importance of body language as well as language. He knows the importance of emotion as well as reason. He understands how the web is changing politics. One of my favourite phrases is that ‘life is on the record’. He has a different way of putting it. ‘Le “off” n’existe plus desormais. Tout ce que vous direz pourra se retourner contre vous.’ It is why the whole ‘droit d’etre oublie’ is emerging as a debate. How many of the young men and women today filling the web with pictures and confessions from their private lives may end up running for office one day, and regretting their openness? On verra.

Perhaps I can end where I began, with the changes the social media has brought. At the last election Labour did not do poster campaigns. This was a shame. In previous campaigns we had had some brilliant posters. But under Gordon Brown, we had very little money for the campaign. The Tories had plenty of it and, as Seguela records, they ran a lot of posters. One of their most expensive billboard campaigns was of a giant photo of Cameron with an anti-Labour slogan ‘we can’t go on like this.’ Someone noticed that the Tory leader’s face had been airbrushed. This fact became the source of thousands of tweets. Then someone set up a website mydavidcameron.com where people could send their own, largely anti-Tory, versions of this poster. These were sent in in their thousands, and many were much better, wittier and more politically devastating than the original. I’ll tell you when I knew they had wasted their money – when the newspapers carried photos of one giant poster site which had been defaced … Cameron’s hair had been replaced with a painted version of Elvis Presley’s hair, and to the slogan ‘we can’t go on like this’ had been added the words of one of Elvis’ most famous songs … ‘with suspicious minds’. The combination of the internet and wit had reduced the political impact of a hugely expensive campaign to zero. That is my final thought as you begin to read Jacques Seguela’s account. It is a quote from a former colleague, Labour MP Hazel Blears … ‘Campaigning is like sex. If you’re not enjoying it, you’re not doing it properly.’

# data[].attributes.body
American Pie

Don McLean

A long long time ago
I can still remember how
That music used to make me smile
And I knew if I had my chance
That I could make those people dance
And maybe they'd be happy for a while

But February made me shiver
With every paper I'd deliver
Bad news on the doorstep
I couldn't take one more step

I can't remember if I cried
When I read about his widowed bride
Something touched me deep inside
The day the music died
So

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And them good ole boys were drinking whiskey and rye
Singin' this'll be the day that I die
This'll be the day that I die

Did you write the book of love
And do you have faith in God above
If the Bible tells you so?
Do you believe in rock and roll?
Can music save your mortal soul?
And can you teach me how to dance real slow?

Well, I know that you're in love with him
'Cause I saw you dancin' in the gym
You both kicked off your shoes
Man, I dig those rhythm and blues

I was a lonely teenage broncin' buck
With a pink carnation and a pickup truck
But I knew I was out of luck
The day the music died
I started singin'

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And them good ole boys were drinking whiskey and rye
Singin' this'll be the day that I die
This'll be the day that I die

Now, for ten years we've been on our own
And moss grows fat on a rolling stone
But, that's not how it used to be

When the jester sang for the king and queen
In a coat he borrowed from James Dean
And a voice that came from you and me

Oh and while the king was looking down
The jester stole his thorny crown
The courtroom was adjourned
No verdict was returned

And while Lennon read a book on Marx
The quartet practiced in the park
And we sang dirges in the dark
The day the music died
We were singin'

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
And singin' this'll be the day that I die
This'll be the day that I die

Helter skelter in a summer swelter
The birds flew off with a fallout shelter
Eight miles high and falling fast

It landed foul on the grass
The players tried for a forward pass
With the jester on the sidelines in a cast

Now the half-time air was sweet perfume
While sergeants played a marching tune
We all got up to dance
Oh, but we never got the chance

'Cause the players tried to take the field
The marching band refused to yield
Do you recall what was revealed
The day the music died?
We started singin'

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
And singin' this'll be the day that I die
This'll be the day that I die

Oh, and there we were all in one place
A generation lost in space
With no time left to start again

So come on Jack be nimble, Jack be quick
Jack Flash sat on a candlestick
'Cause fire is the 🤬's only friend

Oh and as I watched him on the stage
My hands were clenched in fists of rage
No angel born in 🤬
Could break that Satan's spell

And as the flames climbed high into the night
To light the sacrificial rite
I saw Satan laughing with delight
The day the music died
He was singin'

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
Singin' this'll be the day that I die
This'll be the day that I die

I met a girl who sang the blues
And I asked her for some happy news
But she just smiled and turned away

I went down to the sacred store
Where I'd heard the music years before
But the man there said the music wouldn't play

And in the streets the children screamed
The lovers cried, and the poets dreamed
But not a word was spoken
The church bells all were broken

And the three men I admire most
The Father, Son, and the Holy Ghost
They caught the last train for the coast
The day the music died
And they were singing

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And them good ole boys were drinking whiskey and rye
Singin' this'll be the day that I die
This'll be the day that I die

They were singing
Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
Singin' this'll be the day that I die

# data[].attributes.body
Empire of the Clouds

Iron Maiden

To ride the storm, to an empire of the clouds
To ride the storm, they climbed aboard their silver ghost
To ride the storm, to a kingdom that will come
To ride the storm, and 🤬 the rest, oblivion

Royalty and dignitaries, brandy and cigars
Related giant of the skies, you hold them in your arms
The millionth chance they laughed, to take down his majesty's craft
To India they say, magic carpet float away, an October fateful day

Mist is in the trees, stone sweats with the dew
The morning sunrise, red before the blue
Hanging at the mast, waiting for command
His majesty's airship, the r101

She's the biggest vessel built by man, a giant of the skies
For all you unbelievers, the Titanic fits inside
Drum rolled tight, a canvas skin, silvered in the sun
Never tested with the fury, with a beating yet to come

The fury yet to come

In the gathering gloom, a storm rising in the west
The coxswain stared into the
We must go now, we must take our chance with fate
We must go now, for the politicians he can't be late
The airship crew awake for thirty hours at full stretch,
But the ship is in their backbone, every sinew, every inch

She never flew at full speed, a trial never done
A fragile outer cover, her achilles would become

An achilles yet to come

Sailors of the sky, a hardened breed
Loyal to the king, and an airship creed

The engines drum, the telegraph sounds
Release the cords that bind us to the ground
Said the coxswain, sir, she's heavy, she'll never make this flight
Said the captain, 🤬 the cargo, we'll be on our way tonight
Groundsmen cheered in wonder, as she backed up from the mast
Baptising with her water, from the ballast fore and aft

Now she slips into our past

Feeling the wind as it blows you
Feeling the beams as they pass you along
Watching the channel below you
Lower and lower, into the night

Lights are passing below you
Northern France, asleep in their beds
Storm is raging around you
A million to one, that's what he said

Reaper standing beside you
Wind inside cuts to the bone
Panicked to make a decision
Experienced men, asleep in their graves

The cover is ripped and she's flooding
Rain is flooding into the hold
Bleeding to death and she's falling
Lifting gas is draining away

We're down lads, came a cry, bow plunging from the sky
Three thousand horses silent as the ship began to die
The flares to guide her path ignited at the last
The empire of the clouds, just ashes in our past
Just ashes at the last

Here lie their dreams as they stand in the sun
On the ground where they built, and the engines they run
To the moon and the stars, now what have we done?
Oh the dreamers may die, but the dreams live on

Dreams live on
Dreams live on
Ooh

Now a shadow on a hill, the angel of the east
The empire of the clouds may rest in peace
And in a country churchyard, laid head to the mast
1840 souls, who came to die in france

# data[].attributes.body
Please...

# data[].attributes.headline
All y’all with fake jesus, this is real.

# data[].attributes.subject
All y’all with fake jesus, this is real.

# data[].attributes.body
WALRUS

# data[].attributes.body
The Endocrine system is very important as it regulates processes in our body.

# data[].attributes.body
http://img1.izismile.com/img/img6/20130404/640/awkward_people_doing_awkward_things_640_01.jpg

# data[].attributes.body
http://www.script-o-rama.com/movie_scripts/a1/bee-movie-script-transcript-seinfeld.html

# data[].attributes.body
Somebody once told me the world is gonna roll me
I ain't the sharpest tool in the shed
She was looking kind of dumb with her finger and her thumb
In the shape of an "L" on her forehead

Well the years start coming and they don't stop coming
Fed to the rules and I hit the ground running
Didn't make sense not to live for fun
Your brain gets smart but your head gets dumb
So much to do, so much to see
So what's wrong with taking the back streets?
You'll never know if you don't go
You'll never shine if you don't glow

Hey now, you're an all-star, get your game on, go play
Hey now, you're a rock star, get the show on, get paid
And all that glitters is gold
Only shooting stars break the mold

It's a cool place and they say it gets colder
You're bundled up now, wait till you get older
But the meteor men beg to differ
Judging by the hole in the satellite picture
The ice we skate is getting pretty thin
The water's getting warm so you might as well swim
My world's on fire, how about yours?
That's the way I like it and I never get bored

Hey now, you're an all-star, get your game on, go play
Hey now, you're a rock star, get the show on, get paid
All that glitters is gold
Only shooting stars break the mold

Hey now, you're an all-star, get your game on, go play
Hey now, you're a rock star, get the show, on get paid
And all that glitters is gold
Only shooting stars

Somebody once asked could I spare some change for gas?
I need to get myself away from this place
I said yep what a concept
I could use a little fuel myself
And we could all use a little change

Well, the years start coming and they don't stop coming
Fed to the rules and I hit the ground running
Didn't make sense not to live for fun
Your brain gets smart but your head gets dumb
So much to do, so much to see
So what's wrong with taking the back streets?
You'll never know if you don't go (go!)
You'll never shine if you don't glow

Hey now, you're an all-star, get your game on, go play
Hey now, you're a rock star, get the show on, get paid
And all that glitters is gold
Only shooting stars break the mold

And all that glitters is gold
Only shooting stars break the mold

# data[].attributes.body
The pancres

# data[].attributes.body
An essay is, generally, a piece of writing that gives the author's own argument — but the definition is vague, overlapping with those of a paper, an article, a pamphlet, and a short story. Essays have traditionally been sub-classified as formal and informal. Formal essays are characterized by "serious purpose, dignity, logical organization, length," whereas the informal essay is characterized by "the personal element (self-revelation, individual tastes and experiences, confidential manner), humor, graceful style, rambling structure, unconventionality or novelty of theme," etc.[1]

Essays are commonly used as literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. Almost all modern essays are written in prose, but works in verse have been dubbed essays (e.g., Alexander Pope's An Essay on Criticism and An Essay on Man). While brevity usually defines an essay, voluminous works like John Locke's An Essay Concerning Human Understanding and Thomas Malthus's An Essay on the Principle of Population are counterexamples.

In some countries (e.g., the United States and Canada), essays have become a major part of formal education. Secondary students are taught structured essay formats to improve their writing skills; admission essays are often used by universities in selecting applicants, and in the humanities and social sciences essays are often used as a way of assessing the performance of students during final exams.

The concept of an "essay" has been extended to other media beyond writing. A film essay is a movie that often incorporates documentary filmmaking styles and focuses more on the evolution of a theme or idea. A photographic essay covers a topic with a linked series of photographsthat may have accompanying text or captions.

Contents

Definitions

John Locke's 1690 An Essay Concerning Human Understanding.

An essay has been defined in a variety of ways. One definition is a "prose composition with a focused subject of discussion" or a "long, systematic discourse".[2] It is difficult to define the genre into which essays fall. Aldous Huxley, a leading essayist, gives guidance on the subject.[3] He notes that "the essay is a literary device for saying almost everything about almost anything", and adds that "by tradition, almost by definition, the essay is a short piece". Furthermore, Huxley argues that "essays belong to a literary species whose extreme variability can be studied most effectively within a three-poled frame of reference". These three poles (or worlds in which the essay may exist) are:

The personal and the autobiographical: The essayists that feel most comfortable in this pole "write fragments of reflective autobiography and look at the world through the keyhole of anecdote and description".

The objective, the factual, and the concrete particular: The essayists that write from this pole "do not speak directly of themselves, but turn their attention outward to some literary or scientific or political theme. Their art consists of setting forth, passing judgment upon, and drawing general conclusions from the relevant data".

The abstract-universal: In this pole "we find those essayists who do their work in the world of high abstractions", who are never personal and who seldom mention the particular facts of experience.

Huxley adds that the most satisfying essays "...make the best not of one, not of two, but of all the three worlds in which it is possible for the essay to exist."

The word essay derives from the French infinitive essayer, "to try" or "to attempt". In English essay first meant "a trial" or "an attempt", and this is still an alternative meaning. The Frenchman Michel de Montaigne (1533–1592) was the first author to describe his work as essays; he used the term to characterize these as "attempts" to put his thoughts into writing, and his essays grew out of his commonplacing.[4] Inspired in particular by the works of Plutarch, a translation of whose Œuvres Morales (Moral works) into French had just been published by Jacques Amyot, Montaigne began to compose his essays in 1572; the first edition, entitled Essais, was published in two volumes in 1580. For the rest of his life, he continued revising previously published essays and composing new ones. Francis Bacon's essays, published in book form in 1597, 1612, and 1625, were the first works in English that described themselves as essays.  Ben Jonson first used the word essayist in English in 1609, according to the Oxford English Dictionary.

History

Europe

# data[].attributes.body
William Shakespeares Elizabethan era play Romeo & Juliet is a tragedy about “two star-cross’d lovers” who are caught in a family feud. Their story is that of love and death with many acquaintances and even Romeo & Juliet themselves end up deceased by the end of the play. Romeo & Juliet’s love greatly contrasts to the alternate ideas of love that they are surrounded by.

Friar Laurence is a character that is seen as a father figure in the eyes of Romeo, this trust and connection leads Romeo to believe in the Friar’s beliefs of love. These ideals are twisted and turned as the Friar goes from warning Romeo about love, to marrying him and Juliet. These actions show that the Friar’s ideals of love aren’t cut and dry and more different by the end of the book to that of the ideals displayed at the beginning. This contrast shows that the Friar is untrustworthy and possibly manipulating Romeo to blindly marry Juliet.

Mercutio’s idea of love involve getting over a relationship by blindly entering a new one. This is why Mercutio encouraged Romeo to go to the party and in turn Romeo met Juliet. Mercutio tells Romeo that the only way he can get over Rosaline is by finding a distraction rather than a girlfriend. This idea shows the audience that Mercutio is not the best for advice. Most readers will understand that life isn’t as easy as going from one failure to another.

Romeo’s idea of love is almost a parallel to Friar Laurence’s beliefs. Romeo is initially sceptical of finding new love immediately but then proceeds to marry Juliet within a matter of days. Friar Laurence mimics this cycle but at a different point in the book, the Friar remains like this until he finds out that Juliet is being forced into an arranged marriage with a young man named Paris. The Friar knows that if he can get in first that Paris will be unable to marry Juliet and that Romeo & Juliet will be happy. The exact same thing is shown by Romeo when Romeo starts off unsure but then proceeds to instantly want to marry Juliet as he believes it is true love.

The Capulet parents believe Juliet is too young to marry when Paris first comes up with the idea at the Capulet ball, Paris only needed to wait until Juliet was fourteen to be able to marry her but Juliets parents rush the wedding after they find out what Romeo has been doing. The Montagues believed Romeo was rushing into things too quickly after losing Rosaline and they warn him against any big mistakes. Lady Montague cares so much about her son, that after Romeo had been exiled for killing Tybalt, the man who murdered Romeo’s friend Mercutio, she died of shock. This addition to the play shows that Romeo’s parents care more than Juliets and in turn love him more.

Shakespeare’s play Romeo & Juliet demonstrates many different depictions of love. The key characters, Romeo & Juliet’s love for each other contrasts greatly to the other forms of love displayed around them. The ideals displayed by any given character is widely contrasted to that of any other characters.

# data[].attributes.body
I learned that the Thyroid Gland releases two Hormones: Triiodothyronine (T3) and Thyroxine (T4).

# data[].attributes.body
The endocrine system produces hormones that regulate processes within the body.

# data[].attributes.body
I learnt the endocrine system is cute

# data[].attributes.body
It controls hormones

# data[].attributes.body
William Shakespeares Elizabethan era play Romeo & Juliet is a tragedy about “two star-cross’d lovers” who are caught in a family feud. Their story is that of love and death with many acquaintances and even Romeo & Juliet themselves end up deceased by the end of the play. Romeo & Juliet’s love greatly contrasts to the alternate ideas of love that they are surrounded by.

Friar Laurence is a character that is seen as a father figure in the eyes of Romeo, this trust and connection leads Romeo to believe in the Friar’s beliefs of love. These ideals are twisted and turned as the Friar goes from warning Romeo about love, to marrying him and Juliet. These actions show that the Friar’s ideals of love aren’t cut and dry and more different by the end of the book to that of the ideals displayed at the beginning. This contrast shows that the Friar is untrustworthy and possibly manipulating Romeo to blindly marry Juliet.

Mercutio’s idea of love involve getting over a relationship by blindly entering a new one. This is why Mercutio encouraged Romeo to go to the party and in turn Romeo met Juliet. Mercutio tells Romeo that the only way he can get over Rosaline is by finding a distraction rather than a girlfriend. This idea shows the audience that Mercutio is not the best for advice. Most readers will understand that life isn’t as easy as going from one failure to another.

Romeo’s idea of love is almost a parallel to Friar Laurence’s beliefs. Romeo is initially sceptical of finding new love immediately but then proceeds to marry Juliet within a matter of days. Friar Laurence mimics this cycle but at a different point in the book, the Friar remains like this until he finds out that Juliet is being forced into an arranged marriage with a young man named Paris. The Friar knows that if he can get in first that Paris will be unable to marry Juliet and that Romeo & Juliet will be happy. The exact same thing is shown by Romeo when Romeo starts off unsure but then proceeds to instantly want to marry Juliet as he believes it is true love.

The Capulet parents believe Juliet is too young to marry when Paris first comes up with the idea at the Capulet ball, Paris only needed to wait until Juliet was fourteen to be able to marry her but Juliets parents rush the wedding after they find out what Romeo has been doing. The Montagues believed Romeo was rushing into things too quickly after losing Rosaline and they warn him against any big mistakes. Lady Montague cares so much about her son, that after Romeo had been exiled for killing Tybalt, the man who murdered Romeo’s friend Mercutio, she died of shock. This addition to the play shows that Romeo’s parents care more than Juliets and in turn love him more.

Shakespeare’s play Romeo & Juliet demonstrates many different depictions of love. The key characters, Romeo & Juliet’s love for each other contrasts greatly to the other forms of love displayed around them. The ideals displayed by any given character is widely contrasted to that of any other characters.

# data[].attributes.body
The FitnessGram™ Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues. The 20 meter pacer test will begin in 30 seconds. Line up at the start. The running speed starts slowly, but gets faster each minute after you hear this signal. [beep] A single lap should be completed each time you hear this sound. [ding] Remember to run in a straight line, and run as long as possible. The second time you fail to complete a lap before the sound, your test is over. The test will begin on the word start. On your mark, get ready, start.

lyrics

The FitnessGram™ Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues. The 20 meter pacer test will begin in 30 seconds. Line up at the start. The running speed starts slowly, but gets faster each minute after you hear this signal. [beep] A single lap should be completed each time you hear this sound. [ding] Remember to run in a straight line, and run as long as possible. The second time you fail to complete a lap before the sound, your test is over. The test will begin on the word start. On your mark, get ready, start.

# data[].attributes.body
Did nothing wrong

# data[].attributes.body
Jesus is fake

# data[].attributes.body
Roses are red
Ninja sucks tfues peen
When I busta  nut
It comes out green

# data[].attributes.body
Inaros umbra

# data[].attributes.body
Thicc

# data[].attributes.body
jakey

# data[].attributes.body
Roses are read,

# data[].attributes.body
Screet

# data[].attributes.body
Ritchie Nator

# data[].attributes.body
B
C
D

# data[].attributes.body
I learnt more about the endocrine system

# data[].attributes.body
Ninja?

# data[].attributes.body
Men

# data[].attributes.body
The Thyroid Gland releases Two Hormones: Triiodothyronine (T3) and Thyroxine (T4).

# data[].attributes.body
Big man

# data[].attributes.body
Flow from glands,
youll be glad,
i heard your gun,
that was good fun!

# data[].attributes.body
I learned about the endocrine systems hormones

# data[].attributes.body
Lol

# data[].attributes.body
D

# data[].attributes.body
I learned that the endocrine system helps growth and andrenalin

# data[].attributes.body
This website brings back memories from when I was in primary

# data[].attributes.headline
🤬... these woobs are the woobeiest woobs in the woob

# data[].attributes.subject
🤬... these woobs are the woobeiest woobs in the woob

# data[].attributes.body
Woobei

# data[].attributes.body
The pancreas is the biggest endocrine organ

# data[].attributes.body
AAAAHAHAHAHAHHAHAHGGUYUAUAUAUAUUAUUFFUUUUUUU

# data[].attributes.body
Bh b bhhhj

# data[].attributes.body
Hormones are cool,
they make me grow tall,
And make me run,
when i see your gun!!

# data[].attributes.body
How cool are hormones and glands?

# data[].attributes.headline
I learnt that all glands secrete hormones

# data[].attributes.subject
I learnt that all glands secrete hormones

# data[].attributes.body
For example, the pituitary gland secretes or releases growth hormones, which are transported by our blood to our muscles and bones, thus helping us grow :)