Beauty Around Us Essay

Beauty Around Us Essay-69
About 6 thousand years ago, the first cosmetic civilization was born since ancient beings tried to figure out ways to enhance appearance and to mask body odors.However, this proved to be problematic since the manufacturing process was difficult and harmful ingredients were being used especially by more esteemed persons in that era.

About 6 thousand years ago, the first cosmetic civilization was born since ancient beings tried to figure out ways to enhance appearance and to mask body odors.However, this proved to be problematic since the manufacturing process was difficult and harmful ingredients were being used especially by more esteemed persons in that era.

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With the global beauty industry value being estimated around US$265 billion by 2017, it is evident that the cosmetic industry is a successful one.

Hence, this paper will focus on the elements that have shaped the personal grooming industry, into what it is today.

We know all these words— The result urges us to speak of the craft of writing—technique—style, of which we must speak later on as the sole release from words: for the moment it might seem as if language were too rich for the artist’s use. These are mainly two—despite the overteeming richness of what we do possess our vocabulary is not of our manufacture and it is limited: and meanwhile, liberty to invent, and add to, and replace is absolutely denied us—denied us, as it would seem, for all time.

And yet there are some who give us pause when they cry out, (or behave as if they would cry out)—how poor, stale, impoverished, fossilised is this imposition men call speech—how inadequate for human needs! He is almonthst on the kiep fief by here, is Comestipple Sacksoun, be it junipery. He can prapsposterus the pillory way, to Hirculos pillar. Without this racking of words of which I have made mention to suggest, that speech is not always satisfying to the artist, more than one country presents the illustration of a people expressing itself at different periods in ways so far divergent that we are inevitably driven in the end to examine the matter of the influence of language as the most satisfactory explanation for several reasons.

He could not have moulded language to his thought —this is my point—for it is not given to any one man to do that, but only to time and nations.

Of course such an imposition did not occur to Skelton or Wyatt or Surrey or Shakespeare, a fact from which we might like to draw the great consolation of supposing that when men have certain thoughts to express, language will always be found to have readied itself for their expression beforehand.One must admit that there have always been signs of this dissatisfaction—Shakespeare’s racking of language in his rage; Carlyle; even the goodhumoured protest of Lewis J Carroll’s Jabberwocky talk—but nowadays there is complete rebellion. or febrowery, mar-racks or alebrill or the ramping riots of pouriose and f roriose. Language does not explain everything in such cases as the difference between the mediaeval verse of Ireland—say to 1300—and the verse that was written in the period to about 1600, and the far different verse written between then and 1850.One’s mind naturally, reverts to James Joyce who in his latest work “in progress” has written many pages in this manner, and may do more in that manner before he publishes his work In the name of Anera this carl on the kopje a parth a lone who the joebiggar be he? But consider that problem as we may, and make as many interesting generalizations as we will, the influence of a dissolving language—among those other influences which it does not in any, way invalidate by being of all of them the most ineluctable — impresses itself profoundly on us as being the most positive and (for being so well documented) the most securely founded as well.As often as there are gradations of light and differences in the human heart, so often will the word—or let it be a flower-word like —gather overtones of meaning and lay them fresh upon the countless other overtones that these simple words have gathered in time in our human experience of them, so flooding themselves out with those thousand multifarious mingling resonances lost in one rich sound that the artist, coming fresh upon the word, no more dare use it without careful premeditation than he dare drink from an array of cups where poison and wine are poured without distinguishing mark.No word but carries the fragrance of a thousand years, no word but is heavy, with the sweet and sweat of a thousand hearts, and no word but swells with every passing tick of life. Let us swop hats and excheck a few strong verbs weak oach eather yapyazzard abast the blooty creeks.It is true that he could never give the primal reality—he is not God—but he adds a wealth that one may consider more than equal to nature’s, a magic that she too can give, but gives largely because of the preparation of men by poetry. Thus while preparing this essay I had a chemist protest to me against the inadequacy and inaccuracy of the common phrase referring to “the arrangement of electrons clustering around the nucleus”: yet even he, I felt, would not agree that the English language had therein been weighed and found wanting—the right word was somewhere if he only knew where to search for it or how to form it from little roots.The poet takes the body of nature that words yield to him in all its sensuous, naked beauty and as if it were not beautiful enough pours on it the magic of the moon. It is after all only the philosopher and the artist who might be expected to find that language as is stands does not suffice—the one, because he, though expected rather to analyse than protest against life, would feel how nearly bounded by language is conceptual thought; the other, because as he will shew us, and as we might well expect in any case from everything that is born of life, there are real limitations to the eloquence of words.The truth is that in language Nature and Man have enriched life together: one may well say, Nature, when the philologists tell us that every thought we express has to be indicated by a sensual image—as when we speak of and so on.But even if we could not perceive this in almost every sentence we utter we cannot fail to see that every natural sound, and colour, stem and branch is as much the bestower, in language, as we: each natural object informs our aged symbol that is but its shadow and its sound.With regards to western history, cosmetics was not well accepted by many organizations but in the 19th and 20th century, things changed resulting in industrialization and new entertainment industries that further influenced the cosmetic brands used worldwide (History of Cosmetics, n.d.).Egyptian Era In Egyptian history, esteemed persons used various cosmetic products such as face creams perfumed oils, eyeliners, hair paints, castor oil lipsticks and lip gloss.

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