Discussing Roles And Responsibilities Of Newly Qualified Nurse Nursing Essay

Discussing Roles And Responsibilities Of Newly Qualified Nurse Nursing Essay The aim of this essay is to explore and discuss important aspects of the roles and responsibilities of the newly qualified nurse. It will discuss an overview of different type of roles and responsibilities including transition. The roles and responsibilities of a qualified nurse include essential professional skills such as leading in care management and care delivery situations as well as maintaining standards of care. The focus of the essay will be on two chosen roles of newly qualified nurses (delegation and patient group direction). It will discuss the meaning of these concepts and their importance for nurses, and provide some practical contextual examples. It will also discuss the rational of chosen roles A new qualified nurse expected to be competent to work in all environments and situations. This emerging health care system requires a registered Nurse workforce at all levels post initial registration capable of critical reflective thinking in order to create this system. With registration comes a shift in professional accountability together with wider clinical management and teaching responsibilities. On becoming a qualified nurse, the expectations and dynamics of relationships changes fundamentally. Suddenly the newly qualified nurse is the one who must know the answer whether it is a query from a patient, a career, a work colleague or a student. The newly qualified nurse will encounter many challenging situations where she or he must lead care delivery. This includes dealing with care management within the team, dealing with patients/service users, dealing with other professionals, and dealing with the required needs of the whole workplace environment. The NMC requires a student nurse to demonstrate professional and ethical practice, be competent in care delivery and care management and show personal and professional development in order to join the register NMC (2010). It is recognized that nurses should be provided with some form of preceptorship and supervision in their role for a period of four months time NMC (2006)) once qualified. Even in this period of preceptorship, there are new expectations and challenges faced by the newly qualified nurse. Mooney (2007) found that newly qualified nurses were faced with assumptions from others that they should know everything. This was also a high expectation they had of themselves. In meeting the NMC standards of proficiency the nurse should have demonstrated the relevant knowledge and skills in order to practise in their career. However, it is important to recognise that not every nurse knows everything about everything in their career especially if they are practising in highly specialized fields. What they need is to be able to develop and adapt to changing situations. Therefore, for the nurse it is impossible to know everything but they should have developed the skills to find out relevant information, reflect on it, and apply this to their practice. In essence they should have learned how to learn. There is a great deal to be learned once qualified, especially related to a nurses new area of work and a good deal of the development needs to take place on the job. The study by Jackson. K (2005) suggested that a successful transition requires the nurse to develop a self-image relevant to the change in status to be able to do the job and that they meet the expectations with others with appropriate support. Mooney (2007) also points out that the duties faced by most newly qualified nurses were not patient contact centred. There were a lot of duties related to contacting and dealing with other professionals and services. These brought anxieties related to the responsibilities that might be faced as the nurses would become increasingly senior in their roles with others expecting them to provide the actions and the answers in complex situations. This highlights how the experience of nursing of transition from student to newly qualified nurse can be daunting. In the current environment there is an expectation that nurses have a preceptor one qualifying for aid in these transitions but the literature still suggests there is a difficulty in the transit ion process for such professionals. Hole. J, (2009) found that individual accountability, delegating duties without appearing bossy and some challenging clinical situations such as death and dying and specialised technological roles were found to be stressful by qualifying nurses. Issues of the preceptorship of newly qualified nurses become apparent and important in dealing with the transition from supervised student to autonomous practitioner. The approach taken throughout the rest of this essay will be to provide a discussion of the main theories, concepts, and issues related to the roles and responsibilities of delegation and PGD for newly qualified nurses. It will discuss the meaning of these concepts and their importance for nurses, and provide some practical contextual examples. The rational of choosing these two roles are because: Firstly delegation is a huge newly qualified nurses concern. According Hole. J, (2005) newly qualified nurses are not capable to delegate tasks to someone else and they end up overloading themselves. This is because an accountability issue or not knowing the staffs well as they is new to the ward. Secondly, it is a legal requirement that newly qualified nurses need to have knowledge of PGDs in order to work within legal and ethical frameworks that underpin safe and effective medicines management NMC (2010). For this reason, I personally was interested and picked them to discuss in order to develop my understanding and prepare me to successfully make the transition from student nurse to a registered professional. Delegation is the process by which responsibility and authority for performing a task is transferred to another individual who accepts that authority and responsibility. Although the delegator remains accountable for the task, the delegate is also accountable to the delegator for the responsibilities assumed. Delegation can help others to develop or enhance their skills, promotes teamwork and improves productivity Sollivan.E.J et al (2009). Therefore, delegation is the area where newly qualified staff experience huge difficulties. Often they do not feel confident enough to ask someone else to do something for them. Consequently, they try to do all of the work themselves and end up leaving late or providing less than adequate standards of care. Other members of staff will not mind if they delegate tasks to them, as long as they apply the basic rules such as ensuring that it is something they are competent to do. When delegating, the delegator remain responsible for that care if he/she do not delegate appropriately as stated by NMC (2008). It is also important that the delegator explained clearly what it is he/she want them to do and why because he/she might genuinely busy or is it just something that he/she does not want to do. Hole.J, (2005) explained that As long as he/she asks the other member of staff in a courteous manner and stick to the rules, there will be few problems. However, there may always be someone who has the potential to react in a negative way to his/her request. These people are often known for this type of behaviour and it should be dealt with swiftly by their manager. This type of reaction experience should be discussed with the member of staff or if he/she not feels confident enough to do this, he/she should talk to the manager. As mention above this will be a difficult skill for a newly qualified nurse especially at first. They will need to get to know the other staff before they will feel truly comfortable delegating to others in the team. They may feel guilty about asking others to do tasks which they feel that they should be doing themselves. What they need to realise is that they cannot possibly do everything themselves and that they will need to work as a team in order to deliver good patient care. The new qualified nurses may well feel that they cannot ask others especially HCAs who have worked on the ward for years to do things for them. The nurse will probably feel self-conscious and embarrassed. The answer is that it is not what the nurse asks them to do that are important. It is how he/she asks them. Good communication is the key to successful delegation. The nurse should take a few minutes to discuss with the HCA/student with whom he/she is working who will be doing what during that shift. Share the workload and be realistic. Therefore the newly qualified nurses must not overload themselves with care they do not really think they can give. The member of staff would rather know what their workload is at the beginning of the shift so that they can organise their time effectively. If the delegator has to ask them to take on extra work during the shift, they will find this difficult. So the delegator should keep communicating with them during the shift, and if he/she is held up with relatives or an acutely ill patient, he/she should tell them and explain that he/she will try to help them as soon as possible. When the new qualified nurses are delegating, it is important to ensure that this is appropriate as it is their responsibility to ensure that the member of staff to whom they delegate is competent to perform the task. This means that if they delegate a task to a member of staff who is not competent and they perform the task wrongly, they are accountable for the harm caused to the patient. Although the member of staff responsible, they remain accountable. For example, they cannot assume that the HCA/student with whom they are working is competent in the skill of measuring and recording a patients blood pressure. Just because the member of staff has worked on that ward for a period of time, this does not mean that they have been taught correctly. They must assess their competence to perform the task before they allow them to do this independently. They can then justify their delegation of that skill if necessary. Patient Group Direction (PGD) is a written instruction for the supply and/or administration of a licensed medicine (medicines) in an identified clinical situation signed by a doctor or a dentist and pharmacist. It applies to a group of patients who may not be individually identified before presenting for treatment NPC (2009), page 11. In simple terms, a PGD is the supply and/or administration of a specified medicine or medicines by named authorised health professionals for a group of patients requiring treatment for the condition described in the PGD. The health professional must be registered. Implementing PGDs may be appropriate both in circumstances where groups of patients may not have been previously identified for example, minor injuries and first contact services and in services where assessment and treatment follows a clearly predictable pattern such as immunisation, family planning and so on. Professionals using a PGD must be registered or equivalent members of their profession and act within their appropriate code of professional conduct. This differs from supplementary prescribers and independent prescribers who must also successfully complete specific prescribing training and be appropriately registered before they may prescribe. However, organisations using PGDs must designate an appropriate person within the organisation. For example, a clinical supervisor, line manager or General Practitioner to ensure that only fully competent, qualified and trained healthcare professionals use PGDs. Individual practitioners using a PGD must be named A Patient Group Direction allows specified registered healthcare professionals to supply or administer a medicine directly to a patient with an identified clinical condition without him/her necessarily seeing a prescriber. So, patients may present directly to health care professionals using PGDs in their services without seeing a doctor. Alternatively, the patient may have been referred by a doctor to another service. Whichever way the patient presents, the healthcare professional working within the PGD is responsible for assessing that the patient fits the criteria set out in the PGD. In general, a PGD is not meant to be a long-term means of managing a patients clinical condition. This is best achieved by a health care professional prescribing for an individual patient on a one-to-one basis. Before a healthcare professional can use a PGD, he/she must be named and have signed the PGD documentation. This generally takes the form of signatures and names on a list or individual forms that are attached to the PGD itself or held by the service or organisation. Employees of NHS organisations authorising a PGD generally have indemnity attached to their status as an employee. This may also apply to non-NHS organisations. However, the organisations and employees involved should always check that this is the case. If the professional is not directly employed by the organisation, he/she still needs to be assessed as competent to use the PGD and must have his/her own relevant professional indemnity or insurance. These issues have implications for service delivery when new staff begins, or agency staff are covering services. They may not be able to work under a PGD immediately or may be excluded because of their employment status. Service managers need to be aware of these issues and plan service delivery to accommodate them. The use of PGDs is widespread throughout the NHS and since April 2003, some non-NHS organisations have been able to use them suggested by NPC (2009). Organisations must ensure that staff responsible for the development / implementation of PGDs and those authorised to work under PGDs have the experience, knowledge and skills necessary to do so. Unlike supplementary prescribers, nurse independent prescribers and healthcare professionals using PGDs do not have to become specifically qualified to do so. But they must be assessed by their organisations as fully competent, qualified and trained to operate within a PGD. A suitably competent and experienced healthcare professional who will be working under the PGD should be involved in the writing of the PGD, to ensure that the PGD meets the needs of the service. The role by RCN (2004) proposes that the registered nurse must be assessed as competent in medicines administration, Must be trained to operate within a PGDMust follow the 6 Rs of medicines administration Usually need to be qualified for at least 6 months Must assess the patient to ensure they fit the criteria as detailed in the PGD Must ensure the PGD meets the necessary legal requirements Cannot delegate the supplying/dispensing or administration stage to another registered nurse or student nurse. There is no specific national training for healthcare professionals producing PGDs The newly qualified nurses are not expected to be able to operate under a PGD until competent in medicines administration. However, they need to have knowledge of PGDs for their patient safety. For example, if patient under PGD admitted to the ward, the nurse must ensure that the medicines not stopped. The NMC (2010) code of conduct outline that newly qualified nurses to be fully understood all methods of supplying medicines. This includes Medicines Act exemptions, patient group directions (PGDs), clinical management plans and other forms of prescribing. They are expected to demonstrate knowledge and application of the principles required for safe and effective supply and administration via a patient group direction including an understanding of role and accountability. And also demonstrate how to supply and administer via a patient group direction. The newly qualified nurses may be involved with PGDs such as assisting and identifying areas where a PGD would offer more benefits than a PSD, understand the principles and processes of PGDs and be fully conversant with all the principles associated with dispensing and administering medicines they may also be working in a variety of settings where PGDs are used for example prison health care setting, nurse led service, walk in centres In my conclusion, I have learnt the roles and responsibilities of newly qualified nurses and I have developed skills and professional knowledge to work effectively with others. The NMC (2010) code of conduct helped me how the laws and policies are set up to ensure safe and effective delivery of care given to service users under a patient group direction. I am now prepared for the challenges I will face on being a newly qualified nurse by providing the knowledge and skills required to become effective and accountable practitioners. Clinical decisions will still have to be made in relation to meeting the needs of the people within my care. However, becoming a qualified nurse brings with its wider responsibilities in making and taking decisions related to the nursing team, other staff, and the work environment as a whole. These changes require a large shift from the experience of being a student and a mentored supervised learner, so it is essential that I am equipped with all the skills required to successfully make the transition.

Leading With The Heart :: GCSE Business Management BTEC Essays

Leading With The Heart I. Preseason Ch. 1: Getting Organized Establish right away in the first meeting the only rule for the team: â€Å"Don’t do anything that’s detrimental to yourself. Because if it’s detrimental to you, it’ll be detrimental to our program...† (Krzyzewski, 2000, p.4). Don’t dwell on it, so it does not ruin the moment. Recruit individuals who want to be part of a team and who are cacheable. Use plural pronouns from the very first meeting on. Use the words â€Å"our† instead of â€Å"my,† â€Å"we† instead of â€Å"I,† and â€Å"us† instead of â€Å"me.† Leadership on a team is plural, not singular. Make sure you are not the only one speaking in meetings, especially the first one, to demonstrate the principal of â€Å"we’re all important† (Krzyzewski, 2000, p.7). Include players, assistants, trainers, and team managers. Time Management During the first meeting, hand out notebooks and pocket calendars with important dates listed, such as practice times, special events, and game schedule. â€Å"Teach time management, not only as it relates to individuals, but as it pertains to a group† (Krzyzewski, 2000, p.18). Academics Remind athletes to tell professors of their schedules, when they will be missing class, and their plans on what to do for getting the materials they missed. Encourage the athletes to get the total university life experience. That is why there are no athletic dorms, so there is no separation between the athletes and student body. Stress the honor in academics and all things. Rules The rule â€Å"don’t do anything detrimental to yourself† covers a wide variety of things. Establishing too many rules gets in the way of leadership. â€Å"Don’t be a team of ‘I got’chas† (Krzyzewski, 2000, p.10). Leadership is â€Å"ongoing, adjustable, flexible and dynamic,† and so it allows the leader to have discretion. No â€Å"hard and fast rule† gives the leader the flexibility in different situations and provides the â€Å"latitude to lead† (Krzyzewski, 2000, p.11). Support System â€Å"Set up a family support system for your team. It’s like getting a shot to keep away jealousy† (Krzyzewski, 2000, p.12). Distribute laminated cards to each individual with the phone numbers of staff and fellow players. Remind them to call somebody when they’re in harms way. A Handshake Deal Make handshake deals with players during the recruiting process, and tell them of the â€Å"fair but not equal† policy, which means be â€Å"fair† in everything that you do, but players

How does Shakespeare invoke a sense of evil in Macbeth? Essay

Narrating the climactic downfall and eventual death of a Scottish thane, â€Å"Macbeth† is widely regarded as one of Shakespeare’s four great tragedies, alongside â€Å"Hamlet†, â€Å"Othello† and â€Å"King Lear†. â€Å"Macbeth† is typical of the other three tragedies through several key factors, the first of which is the qualities of the protagonist. As with the other tragedies, Macbeth is a notable man of high status who bears many heroic qualities, including extreme valour and honour. However, much like with Othello and his jealousy, Macbeth is undone by his greed and ambition, his fatal flaw, or â€Å"harmartia† in the Greek. These flaws play a role in the hero’s fall from grace and eventual death, and these occurrences imbue the audience with a sense of loss and waste; thus the genre is deemed a ‘tragedy’. If the protagonist was solely brought down by his own flaws the piece would cease to be a tragedy, as there would be no sense of loss or waste upon the hero’s demise, as they would appear to be malevolent and deserving of their downfall. Instead, Shakespeare also incorporates external factors contributing to the downfall; in the case of â€Å"Macbeth†, Lady Macbeth and the Witches are used, coaxing Macbeth into regicide. If the protagonist were to be influenced too heavily by the separate circumstance then the hero would begin to appear as a puppet, completely corrupted and controlled. A fine balance is found during Shakespeare’s four great tragedies between character-based flaws and external circumstances’ influencing the hero’s actions, and subsequently the feeling of tragedy is massive. This is perhaps a defining factor as to why these four tragedies have received so much acclaim, after all a tragedy is defined by the effect it has on the audience. â€Å"Macbeth† however makes one large departure from the generic formulae in that throughout the play Shakespeare conveys a sense of concentrated evil, not seen in the other tragedies. Concentrated evil is achieved through various characters in the play including the witches, Macbeth and Lady Macbeth. Indeed, evil is commonplace throughout â€Å"Macbeth†, with children being slaughtered and various assassinations. Shakespeare’s acclaimed inclusion of the witches is a prominent factor in the suggestion of evil throughout the piece. Indeed, immediately in the first scene, you are instantly submerged into this dire, supernaturally influenced world, plagued by the presence of these malevolent witches. Consequently, the sense of evil is evoked right from the opening of the curtains. An aspect of the witches which grabs our attention immediately is the intermittent rhyme and riddle of their dialogue. As the second witch answers â€Å"when the hurley-burley’s done, when the battles lost and won† this unconventional rhyming speech supplements the witches’ already alien nature, as well as adding confusion as to what these riddles portend. Also, as the witches chant in unison â€Å"†¦hover through the fog and filthy air† it seems they share a magical link by which they may indulge in the same evil thoughts. This, for the audience of the time, would be a disturbing piece of imagery. At times what the witches say may be paradoxical, adding to the dialogue’s riddling nature, for example when they drone â€Å"fair is foul and foul is fair†. The aberrant speech style of the witches is used by them throughout the play, with the exception of ‘Act 3, Scene 5’ which will be discussed later. It is also evident from this first scene that the witches have an unholy alliance or affiliation with the future and time. The third witch proclaims â€Å"that will be ‘ere the set of sun† displaying her knowledge of future events, and so augmenting the witches already supernatural, malevolent image. With this development the sisters seem all the more potent as with their knowledge of the future comes also the ability to meddle and pervert it. Displayed also is the witches’ association with the elements as the first witch questions â€Å"in thunder, lightning or in rain?†, as though they have a slight mastery over the elements. The thunder and lightning of the scene is more evidence of their power over the elements. We see the witches’ use of familiars when the first witch says â€Å"I come, Graymalkin†, a tool with which the sisters may communicate to the devil. Again, the application of this familiar, in this case a cat, adds further to the witches’ malevolent aura, and the sense of concentrated evil. Over the years, different directors have added various features in order to maintain the scene’s originality. For example, Polanski’s version saw the witches on a beach burying a severed arm, whilst, in contrast Frain’s version depicted the witches as children on a council estate. As the play progresses, the witches’ spiteful, vindictive nature becomes ever more apparent, as they display their malevolence during various scenes. Notable for exhibition of evil is Act 1, Scene 3 in which the sisters describe how they deprived the hapless sailor of sleep, stating â€Å"sleep shall neither night nor day, hang upon his penthouse lid†. This shocking image is made doubly repulsive by how the witches seem to be thoroughly enjoying the whole scenario. Moreover, in the same scene, the witches brandish a severed â€Å"pilot’s thumb†, another revolting image, which is indeed evident of their malicious nature. An example of them dabbling in the dark arts is seen in Act 4, Scene 1 where they brew the vile potion, chanting the theatrically legendary lines â€Å"double, double toil and trouble; fire burn and cauldron bubble†. With repulsive detail, they describe the ingredients of the potion, one such being a â€Å"liver of blaspheming Jewâ €  and a â€Å"finger of birth-strangled babe†. This horrific concoction is indicative of their very nature: vile and against society and nature. Due to these malevolent acts, the witches are often referred to as and associated with, agents of evil, for example in Act 4, Scene 1 Macbeth refers to them as â€Å"you secret, black, and midnight hags!†. Another example can be found in Act 1, Scene 3 where Banquo calls the witches â€Å"the instruments of darkness†. They influence the characters to such an extent that they refer to them with such titles; this is further evidence of the witches’ concentrated malevolence. It must not be forgotten also that the witches were the ones who originally ensnared Macbeth with promises of greatness, which were partially accountable for him committing regicide. This can be seen in Act 1, Scene 3 as the third witch greets Macbeth, saying â€Å"All hail Macbeth that shalt be king hereafter†. Had the witches not tainted the noble Macbeth, he may have never fallen and so the evil of the witches can be held partially responsible. The witches can be seen meddling once more during Act 4, Scene 1 where they blind Macbeth into believing he is nigh on invincible with several prophecies. And so, Macbeth becomes complacent, fooled by the witches’ misleading prophecies. Their malevolence is clear to see through their misguiding of Macbeth, as well as the other example given. The witches are depicted as having a haunting physical presence, both through their actual physical appearance and through their chilling language. In terms of their physicality, the witches are only described once during the play by Banquo in Act 1, Scene 3. He describes them as being â€Å"withered and so wild in their attire†, telling directly of their abnormal manifestation. Also, Banquo tells of how the witches â€Å"look not like the inhabitants of the earth†, showing how they are supernatural to such an extent that even their appearance makes us question whether they of this world. Disturbingly, the witches’ appearance is so distorted that their very gender is ambiguous, as Banquo describes how their sex â€Å"man may question†. Their strangeness in appearance would immediately show to the audience the witch’s malevolence, as well as encouraging a sense of foreboding towards them. Along with their appalling appearance is their unorthodox and seemingly corrupting language. As discussed before, their language generally is spoken like a rhyming chant, further supporting their supernatural image. Implementing this chant-like dialogue enhances the threat which the witches impose on the audience, such as during Act 4, Scene 1 where a witch drones â€Å"By the pricking of my thumbs, something wicked this way comes† , far more chilling then a non-rhyming alternative. As the play progresses, Macbeth’s mind seems to be defiled by the witches, so far that at times even his language seems tainted and so echoes theirs at regular intervals. For example, during Act 3, Scene 4 Macbeth cries â€Å"It will have blood they say, blood will have blood† and in Act 4, Scene 1 he declares â€Å"I conjure you by which you profess†. Both these quotations bear a resemblance to the dialogue adopted by the witches and as such it seems as though Macbeth is either tainted by their influence or just obsessed with them. This is further suggestion of their evil, as their malevolence is such that their influence seems to have corrupted Macbeth’s mind. In complete contrast, during the scene of ‘dubious authorship’ (or Act 3, Scene 5), the suggestion of evil through the language is comparatively tame and the established speech conventions adopted by the witches are neglected. Shakespeare cleverly omits the witches’ usual language style in order to highlight their angst at having angered Hecate. Rather then using the typical chanted rhyming style, instead what little the witches do say is blunt and concise, as when a witch says â€Å"come, lets make haste; she’ll soon be back again†. Aside from the lack of rhyming, the witches’ speech lacks its usual dark and evil content; for example a witch simply questions â€Å"why how now, Hecate, you look angerly?† This is heavily altered from their previous dialogue, for example during Act 1, Scene 3 when a witch declares â€Å"like a rat without a tail, I’ll do, I’ll do and I’ll do†. This quotation contains various dark themes, for example the disfigured rat, and is vastly different from the dialogue seen in Act 3, Scene 5. The speech in this scene also lacks the usual complexity used in other scenes, instead adopting a far more concise and simple language. However, because the witches make no reference to evil during this scene, this does not mean that their characters become less malevolent in nature. This is because they make no reference to evil as they are so fearful for their own safety, thus they still seem as vindictive and malicious as ever, only with self-preservation as a priority. â€Å"Macbeth† includes various themes which were relevant to the audience at the time; thus the play bore a higher significance to them, one such being the inclusion of the weird sisters. James I, King of England at the time, had a particular obsession with the hunting and executing of witches, caused by having nearly been killed during a storm, which he believed to have been caused by witches. This hate for witches filtered through the kingdom, meaning the persecution of witches or witch sympathisers was commonplace. James’s paranoia went so deep that he even wrote a book entitled â€Å"Daemonologie† inciting hate towards witches and other like creatures. Thus witches were widely regarded as a threat to the contemporary Renaissance audience and so when Shakespeare included the â€Å"three weird sisters† in â€Å"Macbeth† the audience became more emotionally invested in the performance. Also, the prevailing theme of regicide, central to the play, w ould hold significance to the somewhat paranoid king, thus further immersing him in the drama. Although the witches are certainly responsible for triggering the eventual decision to commit regicide, it must be acknowledged that Macbeth himself is culpable and so may be considered partly malevolent. Highlighting his drastic choice of evil is his initial potential and heroic virtues described in Act 1, Scene 2. The Captain exclaims â€Å"brave Macbeth- well he deserves that name† telling us how his comrades admire his valour and respect his courage. We are then told how Macbeth fought â€Å"disdaining fortune†, thus fighting unafraid against the odds. Macbeth is then likened to â€Å"valour’s minion†, symbolising just how courageous and brave he is; that he is the darling or minion of courage. And so with these references, we expect great things from this protagonist when he arrives on stage. It is because of this description that Macbeth’s fall into darkness and evil seems all the more pronounced; that a celebrated soldier, of such audacity, c an fall into such a concentrated crucible of evil, killing a virtuous king, his best friend and even a helpless family. Also augmenting the perceived concentration of evil in â€Å"Macbeth† is the fact that he knows full-well the evil of his actions. Indeed, just before killing Duncan during Act 1, Scene 7 Macbeth tells Lady Macbeth that he no longer wishes to kill Duncan, stating â€Å"we will proceed no further in this business†. Therefore, it is discernable that he knows the consequences of his actions and so when he does eventually commit the crime it seems all the more malevolent; he knows what he is doing yet he continues nonetheless. Furthermore, throughout the play, particularly at the beginning when he is less corrupted, Macbeth uses euphemisms to hide the shocking alternative word and to an extent to stop himself hearing the reality. In Act 1, Scene 7 Macbeth says in a soliloquy â€Å"if it were done when it is done, then ’twere well† referring to the murder of Duncan as ‘it’. Again, this adds to the evil of the final crime as it is clear Macbeth knows exactly what he is doing, and the malevolent significance the murder bears. Macbeth shows, through these two media, that he has a conscience which he is choosing to ignore and so more responsibility for the crime can be placed on him, as the witches clearly didn’t influence him to the extent where he didn’t know what he was doing. Another contributor to the evil present in â€Å"Macbeth† is the heinous nature of all of the murders; first a gracious and fair king, then his long standing best friend and comrade (Banquo), then an attempted assassination on Banquo’s helpless son, and finally the murder of Macduff’s innocent family. A sensational aspect is present in each of these murders making them seem all the more shocking and repulsive. Due to the vile nature of each of these murders, the concentrated evil present in â€Å"Macbeth† becomes all the more obvious. Also, the necessity of some of the murders is questionable; for example, what was the need to murder Macduff’s innocent family? The murder of Macduff’s family seems entirely out of spite, rather than an actual requirement. With these grim murders, Macbeth is perceived to be host to an even greater concentration of evil, especially in the later stages of the play were he is arguably unaffected by his malicious ac tions. An inner evil is conveyed through the mental torture Macbeth experiences in the later stages of the performance, which defiles his mind and his sanity. Evidence of the inner torture Macbeth experiences is seen in Act 3, Scene 4 where the ghost of Macbeth’s former friend Banquo haunts him, unseen to all else. Gory to behold, this apparition is most likely an embodiment of Macbeth’s guilt at having killed his former friend, as we see Macbeth shout; â€Å"thou canst not say I did it†. This attempt to relieve himself of the blame is really only confession of his guilt. Moreover, the evil blighting Macbeth’s mind can be seen again through his inability to sleep. In Act 2, Scene 2 Macbeth tells his wife of how â€Å"Macbeth does murder sleep, the innocent sleep†, evidence of his disability. Due to the evil things he has done, Macbeth’s mind has become contaminated and so he is tormented, to the point where he can no longer sleep. Indeed, at one point Macbeth even professes to Lady Macbeth about his inner torment, saying â€Å"full of scorpions is my mind, dear wife† in Act3, Scene 2. In any case, the change in Macbeth’s thoughts as the play progresses is easily discernable; and so an inner evil corrupting his thoughts is arguably present. Throughout the play, Macbeth always appears to be preoccupied with the witches and this may be partly the reason for the corruption of his mind. Often, in his dialogue he refers to the sisters and genuinely seems beset by their deceitful words. For example, in Act 3, Scene 1 Macbeth tells a servant of how Banquo â€Å"chid the sisters when they first put the name of king upon me†. References such as this towards the witches are commonplace in Macbeth’s speech and it seems he has developed an indissoluble link with them, resulting in his obsession with them. This link can be seen also, as mentioned previously, in Macbeth’s dialogue, which often echoes that of the witches. Even the first words Macbeth utters are akin to lines of the witches, where he remarks; â€Å"so foul and fair a day I have not seen†; paradoxical language similar to theirs. At one point, during Act 2, Scene 1, Banquo even questions Macbeth as to whether his mind still lingers over the witches and he replies â€Å"I think not of them†. Macbeth certainly seems influenced by the witches, and we even see that just before the killing of Macduff’s family he visits the sisters. It is possible that the witches are also responsible for Macbeth’s inability to sleep mentioned above, as we know that they have engaged in such acts previously on the unfortunate sailor. Further influencing and at times controlling the actions of Macbeth is his wife, Lady Macbeth. More so in the early stages of the play, she can be found cleverly manipulating her husband, playing upon his weaknesses to ensure he secures his place as king. As Macbeth tells her how he no longer wishes to kill Duncan in Act 1, Scene 7, she responds â€Å"art though afeard†, questioning his masculinity and classifying him a coward. Had she not guided Macbeth in this sequence, it is questionable whether he would have proceeded with the murder at all. In the same scene she also plans out the detestable details of the murder, and so in this case she can be considered the main agent. This is certainly indicative that there is a concentration of evil present in Lady Macbeth, even if its manifestation is less pronounced than her husband’s. Additionally, in order to provide her with the inner strength to commit the murder, during Act 1, Scene 5 she attempts to conjure up evil ministers, declaring â€Å"come you spirits that tend on moral thoughts†. This act is testimony to her evil; that she would be willing to affiliate herself with damned spirits in order to kill an innocent old man. Also, Lady Macbeth is so eager to kill the king that she is even willing to reject her femininity. In a soliloquy during Act 1, Scene 5 she utters â€Å"unsex me here and fill me from the crown to the toe top full of direst cruelty†. This unnatural (and chilling) denial of her sex shows how willing she is to commit murder. Through all these ill plans towards Duncan and despite bearing the knowledge that his life may well end that night, in Act 1, Scene 6 Lady Macbeth shows just how devious she is as she acts the part of a welcoming hostess, telling the king â€Å"your majesty loads our house†. At this stage in the play Lady Macbeth’s subtle nature of evil is clear to see. Finally, as with her husband, it is obvious that Lady Macbeth registers the enormity of the crime through her pang of conscience before the murder and continues nonetheless. It is true that during Act 2, Scene 2 she tells Macbeth of how â€Å"had he not resembled my father as he slept, I had done it†. This is evidence of her conscience, although she still lets her husband kill Duncan, ignoring her inner sense of right and wrong. Because of this, Lady Macbeth gradually becomes insane and descends into a hell of her own making, famously saying during Act 5, Scene 1; â€Å"hell is murky†. Shortly after these w ords Lady Macbeth commits suicide, relinquishing her life because of the evil she is aware she has committed. Contributing in a different way to the evil atmosphere found in â€Å"Macbeth† is the adept language implemented by Shakespeare, which persistently evokes the intended malevolence. A dramatic way in which Shakespeare conveys evil is through the use of disease imagery, for example â€Å"canst thou not minister to a mind diseased†. Particularly to the audience of the era, disease was exceptionally feared as it was often fatal due to the lack of medical knowledge, and for this reason the inclusion of these references conjured markedly strong dark thoughts. The idea of disease by definition is that of spreading corruption and defilement, and this it seems is reminiscent of the spread of evil in â€Å"Macbeth†, and so such references are therefore a reminder of the irresistible contagion caused by a tyrannical king. Similarly, the theme of concealment is also used throughout, regularly conveying a distressing sense of the unknown as well as the ominous threat of hidden evil. At one point Duncan tells of how â€Å"there’s no art to find the mind’s construction in the face†, a chilling image of how there is no method by which a person can read another’s intentions based upon their external make-up; this is bitterly ironic given that Macbeth is tricking Duncan all along. In disguising intention, evil can remain hidden – disguise imagery therefore reminds the audience of a character’s hidden intent. Given this overlapping theme of disguise and deception, the audience are always aware of a malevolent atmosphere in â€Å"Macbeth†. Another common method of evoking the sense of evil is Shakespeare’s regular reference to night and blackness. This brand of imagery plays upon humanity’s primitive fear of the unknown; thus in making regular references to darkness Shakespeare ensures that an evil presence is always felt. The play boasts many memorable teaming references to darkness; a typical one can be found in Act 1, Scene 5 where Lady Macbeth proclaims â€Å"come thick night and pull me in the dunnest smokes of hell†. Aside from the obvious reference to hell Shakespeare cleverly refers to darkness to evoke the feeling of deception and hidden evil, as well as the primitive evil of the darkness on its own. On the same note, the theme of cancelling out light is integrated as well as when Macbeth notably says in an aside â€Å"stars hide your fires, let not light see my black and deep desires†. Perhaps the most obvious pattern in â€Å"Macbeth† in terms of sinister language is the regular reference to predatory animals. Animals can often portend omens which in â€Å"Macbeth’s† case translate into dire events; however at times in Shakespeare’s application they can also just conjure up dire images. On occasion the characters allude to animals related to ill omens; for example when Lady Macbeth says â€Å"the raven himself is hoarse†, the raven being the bird of ill omen. Or in other cases the reference may just be made in terms of sinister imagery, like when Macbeth says â€Å"full of scorpions is my mind†. At times the imagery also contains biblical-related animals; for example when Lady Macbeth tells her husband â€Å"look like the innocent flower but be the serpent under it†. In this case the serpent is a sinister use of imagery as it is related with the biblical ‘fall’ and so is often an animal linked with male volence in literature. Shakespeare’s choice of regularly adding emphasis on blood further exaggerates the evil perceived by the audience, as well as darkening the image of the play. In particular, the murder of Duncan conjures many references to blood, for example Macbeth says â€Å"will all great Neptune’s ocean wash this blood clean from my hand?† In this manner, emphasis is added on Macbeth’s bloody hands, questioning whether even all the ocean’s waters will clean them. Likewise, the spots of blood described on Lady Macbeth’s hand are also highlighted, to the point where she believes her hands are still blood stained several days after the murder, crying â€Å"out damned spots! Out I say!† The explicit references to blood add to the sinister content of the play through their dire implications; blood after all symbolising pain and suffering. A debatable topic within â€Å"Macbeth† is whether the main source of evil in the play extends from external supernatural sources or from Macbeth himself. However, as mentioned previously, if Macbeth is regarded as being influenced too heavily by the witches, he begins to seem like their puppet- easily manipulated. If Macbeth is seen as to be too easily manipulated this draws from his heroic status; how could such a strong character be so easily turned against his will? As such, I feel Macbeth is just as responsible for the atrocities as the witches. The tyranny brought about by this combined concentration of evil affects the whole kingdom, even at times supernaturally, for example after Duncan’s death Lennox tells of how â€Å"the night has been unruly: where we lay, our chimneys were blown down†. As you can see, the disruption brought about by the death of the king is even portrayed to affect the weather. This idea used by Shakespeare in which everything is affected by the death of the king is in conjunction with the ‘chain of being’. The concept of this was a large hierarchy in which God was placed at the top and below him was ranked king; below this was all other organic life. Regicide means that everything below Duncan in the ‘chain of being’ would be disrupted, and would only return to order once the rightful king was restored. This happens in â€Å"Macbeth†: once the rightful king, Malcolm, takes the throne, then the disruption is purged and order returns over the whole kingdom. However, in spite of the regained regime, the final impression of Shakespeare’s masterpiece is that of lingering evil; the witches are still to an extent at large and who is to say the process will not repeat itself again with them partially corrupting yet another star-crossed victim. â€Å"Macbeth† is a play in which evil reigns and flourishes throughout and so it seems only fitting that the final impression masterfully created by Shakespeare should be that of lingering evil.

Conjugation of the Spanish Verb Venir

Below is the conjugation of venir, which usually means to come. Like many other common Spanish verbs, venir is highly irregular. The stem of ven- sometimes changes to vin- when stressed, and a -d- or -g- is added to some endings. The only other verbs using the same conjugation pattern are those ending in -venir such as intervenir (often meaning to intervene or to take part) and prevenir (often meaning to prevent or to warn). In the charts below, irregular forms are in boldface. Conjugations of Basic Forms of Venir Infinitive (infinitivo): venir (to come) Gerund (gerundio): viniendo (coming) Participle (participio): venido (come) Conjugations of Simple Forms of Venir Present indicative (presente del indicativo): yo vengo, tà º vienes, usted/à ©l/ella viene, nosotros/as venimos, vosotros/as venà ­s, ustedes/ellos/ellas vienen (I come, you come, she comes, etc.) Preterite (pretà ©rito): yo vine, tà º viniste, usted/à ©l/ella vino, nosotros/as vinimos, vosotros/as vinisteis, ustedes/ellos/ellas vinieron (I came, you came, he came, etc.) Imperfect indicative (imperfecto del indicativo): yo venà ­a, tà º venà ­as, usted/à ©l/ella venà ­a, nosotros/as venà ­amos, vosotros/as venà ­ais, ustedes/ellos/ellas venà ­an (I used to come, you used to come, she used to come, etc.) Future (futuro): yo vendrà ©, tà º vendrà ¡s, usted/à ©l/ella vendrà ¡, nosotros/as vendremos, vosotros/as vendrà ©is, ustedes/ellos/ellas vendrà ¡n (I will come, you will come, he will come, etc.) Conditional (futuro hipotà ©tico): yo vendrà ­a, tà º vendrà ­as, usted/à ©l/ella vendrà ­a, nosotros/as vendrà ­amos, vosotros/as vendrà ­ais, ustedes/ellos/ellas vendrà ­an (I would come, you would come, she would come, etc.) Present subjunctive (presente del subjuntivo): que yo venga, que tà º vengas, que usted/à ©l/ella venga, que nosotros/as vengamos, que vosotros/as vengà ¡is, que ustedes/ellos/ellas vengan (that I come, that you come, that she come, etc.) Imperfect subjunctive (imperfecto del subjuntivo): que yo viniera (viniese), que tà º vinieras (vinieses), que usted/à ©l/ella viniera (viniese), que nosotros/as vinià ©ramos (vinià ©semos), que vosotros/as vinierais (vinieseis), que ustedes/ellos/ellas vinieran (viniesen) (that I came, that you came, that he came, etc.) Imperative (imperativo): ven (tà º), no vengas (tà º), venga (usted), vengamos (nosotros/as), venid (vosotros/as), no vengà ¡is (vosotros/as), vengan (ustedes) (come, dont come, etc.) Conjugations of Compound Forms of Venir The perfect tenses of venir consist of the appropriate conjugation of haber and the past participle, venido. The progressive or continuous tenses of venir consist of the appropriate conjugation of estar and the present participle or gerund, viniendo. Sample Sentences Using Venir and Related Verbs El futuro va a venir cargado de pruebas difà ­ciles. (The future is going to come loaded with difficult challenges.) Mi novia viene a verme. (My girlfriend is coming to see me.) El estudio dice que todos provenimos de un varà ³n que vivià ³ en à frica hace unos 60.000 aà ±os. (The study says we all come from a man who lived in Africa some 60,000 years ago.) Muchos padres estaban viniendo a bautizar sus hijos y no eran miembros de la iglesia. (Many parents were coming to baptize their children and werent members of the church.) La sociedad ha promulgado leyes, y si las contravengo me meten en la cà ¡rcel. (Society has enacted laws, and if I violate them they are putting me in jail.) He venido a buscarte.  (She has come to look for you.) Estaban viniendo porque querà ­an aprender mà ¡s. (They are coming because they wanted to learn more.) Es muy importante que yo venga a la ciudad. (It is very important that I come to the city.) Los narcotraficantes intervinieron en la venta del bosque.  (The drug traffickers participated in the sale of the forest.) Desde antes de nacer  ¿sabà ­amos que vendrà ­amos a la Tierra?  (Before being born, did we know we would come to Earth?) Exigen que las autoridades intervengan en el caso. (They are demanding that the authorities intervene in the case.) Con mi familia decidimos que nadie viniera.  (With my family we decided that nobody would come.) Los analistas prevenà ­an una lucha encarnizada entre Google y Microsoft. (Analysts expected a vicious fight between Microsoft and Google.) Espero que mis amigos vengan y me visiten. (I hope my friends come and visit me.) Key Takeaways The conjugation of venir is highly irregular with irregular forms found in all moods and in all tenses other than the imperfect and those using the past participle.The only other verbs conjugated in the same way are those ending in -venir.