Which of the following has been granted deemed status by CMS…
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Which оf the fоllоwing hаs been grаnted deemed stаtus by CMS to provide U.S. laboratory accreditation?
Which оf the fоllоwing hаs been grаnted deemed stаtus by CMS to provide U.S. laboratory accreditation?
Whаt is the nаme оf the оf the mаle reprоductive disorder involving a prolonged penile erection that is not caused by sexual stimulation?
Prоmpt: One оf the mаin interpretive prоblems in Hаmlet is why Hаmlet takes so long to carry out his revenge. The following excerpt from one essay offers several possibilities. Read the excerpt and, think about the play yourself, and then respond in the textbox provided below by explaining which, if any, of the explanations in the excerpt, explain Hamlet's delay. If you don't think any of them do, then offer an alternate explanation. Whatever your response, do not just restate something that was stated in the excerpt below; instead, offer further evidence from the play itself and your own reasoning to support your claim. Your response must be at least a 12-sentence paragraph. In my view the realm of serious possibilities begins with the claim that Hamlet has great trouble in carrying out this revenge because he is too good for this world, he is too sensitive, too poetical, too finely attuned to a difficulties of life, too philosophically speculative or too finely poetical. This line of criticism has often been offered by people who feel themselves rather too finely gifted to fit the rough and tumble of the modern world (like Coleridge, for example). A particularly famous example of this line of interpretation comes from Goethe: Shakespeare meant . . . to represent the effects of great action laid upon a soul unfit for the performance of it. . . . A lovely, pure, noble and most moral nature, without the strength of nerve which forms a hero, sinks beneath a burden which it cannot bear and must not cast away. All duties are too holy for him; the present is too hard. Impossibilities have been required of him; not in themselves impossibilities, but such for him. He winds and turns, and torments himself; he advances and recoils; is ever put in mind, ever puts himself in mind; at last does all but lose his purpose from his thoughts; yet still without recovering his peace of mind. This view has a good deal to commend it. After all, Hamlet is much given to moody poetical reflections on the meaning of life, he is a student (and therefore by definition too good for this world), and he seems to spend a great deal of time alone wandering about Elsinore talking to himself or reading books. He has a tendency to want to explore large universal generalizations about life, love, politics, and the nature of human beings. From his first appearance on stage, it is quite clear that he doesn’t much like the political world of Elsinore; he is displaced from it. Again and again he talks about how he dislikes the dishonesty of the world, the hypocrisy of politics and sexuality and so on. So there is a case to be made that Hamlet is just too sensitive and idealistic for the corrupt double dealing of the court and that his delay stems from his distaste at descending to their level.An interpretation which belongs with these explanations links Hamlet’s inability to act with his sense that the world is simply too brutal, meaningless, and chaotic to justify any active intervention in human affairs. Hamlet, as it were, has seen into the true nature of things and has no redeeming illusion, no faith in anything, on the basis of which he can act. A well-known expression of this approach is the following comment from Friedrich Nietzsche (in The Birth of Tragedy, Section 7, Johnston translation): In this sense the Dionysian man has similarities to Hamlet: both have had a real glimpse into the essence of things. They have understood, and it disgusts them to act, for their action can change nothing in the eternal nature of things. They perceive as ridiculous or humiliating the fact that they are expected to set right again a world which is out of joint. The knowledge kills action, for action requires a state of being in which we are covered with the veil of illusion—that is what Hamlet has to teach us, not that really venal wisdom about John-a-Dreams, who cannot move himself to act because of too much reflection, because of an excess of possibilities, so to speak. It’s not a case of reflection. No!—the true knowledge, the glimpse into the cruel truth overcomes every driving motive to act, both in Hamlet as well as in the Dionysian man. Now no consolation has any effect any more. His longing goes out over a world, even beyond the gods themselves, toward death. Existence is denied, together with its blazing reflection in the gods or in an immortal afterlife. In the consciousness of once having glimpsed the truth, the man now sees everywhere only the horror or absurdity of being; now he understands the symbolism in the fate of Ophelia; now he recognizes the wisdom of the forest god Silenus. It disgusts him. Against this group of interpretations, of course, is the very clear evidence that Hamlet is quite capable of swift decisive action should the need arise. He kills Polonius without a qualm and proceeds to lecture his mother very roughly over the dead body. He can dispatch Rosencrantz and Guildenstern to their deaths, without a scruple. He is very gifted at dissembling, at playing the Machiavelli-like figure. And he has no hesitation in taking Laertes on in a duel. In addition, there is a violent streak in Hamlet (especially where women are concerned). So on the basis of the evidence there is a good deal to suggest that the vision of Hamlet as a soul too good for this world or as someone who understands the absurdity of existence might be problematic. However, that is one you might like to consider.Allied to this view of Hamlet as too poetical or reflective is the idea that he is just too weak willed to make the decision to undertake the revenge. Again the evidence does not seem to bear out the contention that Hamlet is, by his very nature, incapable of making decisions. Once he sets his mind to the play within the play or tricking Rosencrantz and Guildenstern or undertaking the duel or facing the ghost he can act quickly and decisively.Then, too, there is the ever popular notion that Hamlet has to delay because he’s not sure whether or not the ghost is from heaven or hell. That is, he must confirm the validity of the ghost’s information and his mission, and his delay is therefore a necessary part of the revenge plan. In assessing this idea you have to be prepared to sort out the complex issue of whether what Hamlet says on this point is sincere or whether it is just one more excuse for delay. For the fact is that Hamlet entertains absolutely no doubts about the ghost’s honesty when he first encounters it and the idea of testing it more or less pops into his head when he is wrestling with his own failure to carry out the deed. Moreover, even after he has confirmed the truth of the ghost with the play within the play he does not carry out the murder, although immediately after the play and the confirmation of the ghost’s story he has a supreme opportunity to do so. In addition, of course, if the motive of checking out the ghost’s credentials is the major motive for the delay, then how do we account for the anguish that Hamlet seems to go through in thinking about the delay? Why isn’t that reason more in evidence?This, in fact, is a crucial point and one that makes Hamlet so very interesting. Why does he himself feel so insistently guilty about not being able to go through with the revenge? Any interpretation of the play which suggests either that there is no delay or that there is a perfectly justified reason for it comes crashing down on one overwhelming fact of this play, which we have to confront again and again, especially in the soliloquies: Hamlet himself agonizes over his inability to carry out the deed and is constantly searching for reasons why he is behaving the way he is. He doesn’t himself understand why he cannot carry out the revenge. That point, I would suggest, is one of the main reasons we are so interested in the prince—he is in the grip of something that he cannot fully understand, no matter how much he rationalizes the matter.And in this connection I really want to repeat a critical question that you are going to have to wrestle with in order to sort out where you stand with the prince. When Hamlet says something, does he really mean it or is he deliberately inventing another reason for the delay? Is, for example, his concern about the validity of the ghost a real concern or just a convenient rationalization for his strong emotional reluctance to carry out the deed? Similarly, is his excuse for not killing Claudius at prayer a convincing reason or just one more excuse? (It's worth taking into account the fact that if Hamlet is serious here about his reason for not killing Claudius at prayer (he does not wish Claudius to have an afterlife in Heaven), then he stands revealed as a person with a truly corrupt moral imagination). Such questions are crucial to an understanding of Hamlet’s character, yet they are not easy to answer on the basis of the text itself. I mention this point here in order to stress that one has to be very careful before accepting whatever Hamlet says as an up front truth—it may be an evasion or evidence that he very poorly understands himself and the world around him.All of these suggestions (and I’m cutting a long story short) drive one to a tempting conclusion put forward most famously by Ernest Jones, the famous disciple of Freud. Jones argues that Hamlet has no doubts about the ghost, is perfectly capable of acting decisively, and yet delays and delays and agonizes over the delay. Why? If he has motive, opportunity, the ability to act decisively, and a strong desire to carry out the action, then why doesn’t he? Jones’s conclusion is that there’s something about this particular task which makes it impossible for Hamlet to carry out. It’s not that he is by nature irresolute, too poetical or philosophical, or suffers from medical problems or a weakness of will. It is, by contrast, that this particular assignment is impossible for him.That leads Jones to posit the very famous and very persuasive suggestion that Hamlet cannot kill Claudius because of his relationship with his mother. He has (now wait for it) a classical Oedipus Complex: he is incapable of killing the man who sleeps with his mother because that would mean that he would have to admit to himself his own feelings about her, something which overwhelms him and disgusts him. Jones’s argument in the book Hamlet and Oedipus (especially in the first half) is a very skillful piece of criticism, always in very close contact with the text, and it is justly hailed as the great masterpiece of Freudian criticism. Just to point out one salient fact: Jones indicates, quite correctly, that Hamlet can kill Claudius only after he knows that his mother is dead and that he is going to die. Hence, his deep sexual confusion is resolved; only then can he act. Up to that point, he constantly finds ways to evade facing up to the task he cannot perform, because to do so would be to confront feelings within himself that he cannot acknowledge (by killing Claudius he would make his mother available and be attacking the ideal nobility of his real father).I’m not going to put forward a defense of the Jones’s thesis, except to suggest that the initial logic of his argument seems quite persuasive: Hamlet does have a very particular inability to carry out this action and that this inability is not a constitutional incapacity for action but stems from some very particular feelings within Hamlet, feelings which he himself has trouble figuring out and which he often thinks about in explicitly sexual terms, terms which insist upon a pattern of disgust with female sexuality and with himself (whether we follow Jones in identifying these feelings with an Oedipus Complex is another matter altogether).