Reviews for Medical assisting

The average rating for Medical assisting based on 2 reviews is 4 stars.

Review # 1 was written on 2017-11-29 00:00:00 Carolyn Bernier I discovered "The Sea and the Mirror" in the basement of the Harvard Book Store, unassumingly placed in a bare bookcase among volumes of used poetry. I bought it, thumbed through it, read it and read it again. I find myself coming back to it because it speaks to duality: the flesh versus the mind, and the anemic existence of one when isolated from the other. The poem takes place at the end of The Tempest. Ariel, a spirit, interacts with the characters from Shakespeare's play during the first two chapters, which are written in Auden's elegant, lyrical verse. The third chapter is prose reminiscent of the style of Henry James, and is an extended monologue delivered by Caliban, a slave, "to the Audience." Ariel symbolizes Spirit, the Mirror; Caliban is the flesh, Nature, the Sea. The juxtaposition of Ariel and Caliban is one of the most intriguing aspects of the poem, as Auden fashions them as separate entities whose coexistence is necessary for the creation of Art (it is interesting that Auden spoke of his former lover, Chester Kallman, in this context, telling Christopher Isherwood that: "It's OK to say that Ariel is Chester, but Chester is also Caliban, 'das lebendigste', ie Ariel is Caliban seen in the mirror"). Auden has called this work his "Ars Poetica," a "Christian conception of art." It is written with an intelligent sensuality that lives up to that title. I found it enlightening as a reader, instructive as a writer and vexing as someone still searching for inner truth. I would highly recommend it if, like me, you enjoy being simultaneously enlightened, challenged and entertained.

Review # 2 was written on 2019-02-10 00:00:00 Ross Kirk "My dear one is mine as mirrors are lonely." So goes Miranda's soliloquy, directed at the audience (explicitly, as this play is stylized as a self-conscious commentary on Shakespeare's play). The poetry is lovely, yet Auden continually reminds you that his play is metafiction, a cognitive echo of the original story's aesthetics. Nothing is straightfoward - neither beauty nor monstrosity - in this beautiful critical approach. My favorite section by far is Caliban's monologue to the audience. Shakespeare's play arguably encourages the reader to interpret Caliban unequivocally, as an unambiguously monstrous personality embedded in an ambiguous, half-human form. Auden doesn't challenge that notion so much as he makes you, to a sometimes-uncomfortable extent, aware of it: why interpret Caliban as the monster if his are empirical desires, plans, and dreams? Are we nothing more than Doctor Frankensteins, twisting Caliban - being the objectified "other" of the play - to suit our needs, even as we fail to understand the mechanisms of our own twisting? Auden encourages readers of Shakespeare's play to a state of higher literary self-awareness, even as he subverts that effort with the pointedly aesthetic (rather than objective) beauty of his own poetry. And oh, that poetry: each character's monologue is so dreamy, so intricate, and so evocative of imagination itself as to create its own universe. A beautiful, transformative read for any Shakespeare fan.