Gutenberg’s Press and the Transition from Medieval to Modern Free Essays

string(132) " part the prints called the face, was easily broken off and smoothed before it was used for the printed page† \(Fontana 30\)\." There are many ideas and concepts that facilitated the transition from the Medieval Era to a more modern, Renaissance society, but it can be argued that Johann Gutenberg’s invention of the printing press was the most important factor to this change in Europe. The creation of the press was no easy task for Gutenberg; he was faced with many obstacles. However, once created, the press benefited people around the world for centuries and continues to be a fundamental part of our society today. We will write a custom essay sample on Gutenberg’s Press and the Transition from Medieval to Modern or any similar topic only for you Order Now Before the invention of the printing press, books were extremely expensive, limiting education to the very wealthy. Because only the upper class could afford to purchase books, education was a means of separating the aristocracy from the lower classes. It was nearly impossible for the less fortunate to move up in society since they could not educate themselves. The reason books were so pricey was due to the methods employed to create each page individually. For a scribe to copy an entire novel by hand would take much patience and many hours. A common method of producing copies was for one man to read the original word by word, and a group of scribes would write each word as the reader said them. â€Å"By this method,† describes John Fontana in his work Mankind’s Greatest Invention, â€Å"one manuscript served as the source of reproduction for many copies when the scribes finished writing the last of the reader’s orally presented words† (13). Not only was this time consuming, but the more copies that were made, the more errors were made. Eventually, a method of creating copies without such a high margin of error came about. People would hand carve blocks of wood with raised letters and cover the blocks with ink. Then they would place a sheet of paper on the block to make a copy. To make the process even more difficult, they had to carve the letters and words backwards so they would print correctly, and they had to make these letters look normal when reversed. Albert Kapr, in his book Johann Gutenberg: The Man and his Invention, describes how â€Å"a calligrapher had first to write out this text, which was traced as a mirror-image reversal on to a planed limewood plank and then cut out with a knife in such a way that the lettering was left as a raised surface† (21). This method is called xylography, and while it was an improvement in that it reduced mistakes, carving a block of wood for each page to be printed was even more time consuming than writing the words by hand, and books remained as expensive as ever. Johann Gensfleisch Gutenberg, a goldsmith from Mainz, Germany, wanted to change all this. His idea was to replace the wood blocks with separate letters made of metal. One would be able to move the letters around to make words and sentences, and then reuse them. â€Å"The key to this new method was not as is generally believed, the discovery of the value of movable type, for movable letters had been known and used for centuries,† explains Fontana. â€Å"It was the mechanism for making the types† (28). This type of printing press was, in fact, already being used in China, but the technology to create such a machine was yet to be discovered in Europe. In working to build this machine, Gutenberg was faced with obstacle after obstacle. Just when he would think he might have mastered it, he would encounter another problem to solve. â€Å"The invention of typography was not,† noted Theo DeVinne in his work The Invention of Printing, â€Å"the result of a happy thought or of a flash of inspiration. It was not born in a day . . . it was thought out and wrought out† (376). To begin with, he had two main concerns: finding a device that would keep the letters in place, and making a press that would print clearly. Gutenberg soon came up with a solution to the first of the two issues. He paid a carpenter for the use of his winepress, so as to have â€Å"a suitable bed for a page of metal letters to rest on,† and arranged the letters on one side of it (Fontana 22). He wanted to come up with a frame to hold the paper; then when one was ready to print, they could twist a screw to press the paper up against the letters. The letters were to be created by pouring melted metal into a mold. Then Gutenberg came across several more problems. The first was the question of how to make all of the letters exactly the same thickness so that when they were pressed against the paper, they would print evenly. Also, he needed a solution for putting narrow letters on narrow metal bases and wide letters on wide bases. Using the same base for all letters would not only be impractical in that it would waste space, it would also make the words look uneven, with different sized spaces between letters. Regardless of the width of the character, each metal piece had to be the same height so the lines would not be crooked. DeVinne made the point that â€Å"if the types of one character, as of the letter a, should be made the merest trifle larger or smaller than its fellows of the same font, all the types, when composed, will show the consequences of the defect† (52). Gutenberg came up with two brilliant ideas to solve the problems. In order to make all of the letters the same thickness, he made the mold the desired height and added extensions on the sides to catch any overflowing metal. That way he could make sure that they would not be too thick, and as long as he poured metal to the top, they would not be too thin. Once dried, â€Å"this extra piece at the bottom of the metal letters opposite to the part the prints called the face, was easily broken off and smoothed before it was used for the printed page† (Fontana 30). You read "Gutenberg’s Press and the Transition from Medieval to Modern" in category "Papers" As for making the letters different widths, he had to make an adjustable mold. He first experimented using wood, and once perfected, he made one out of metal. He came up with a mold that consisted of two L-shaped pieces that could fit together, and slide back and forth to make the enclosed area larger or smaller. Here Gutenberg encountered further setbacks. The lead he had been using to make the letters was too soft-it was printing unevenly after just a few pages had been printed. Gutenberg solved the problem of making the typeface hard enough to resist pressure by mixing the lead with parts of tin and a substance that acted like antimony,† hardening the metal and preventing expansion or shrinkage while the metal dried (Fontana 30). It also took a lot of searching to find ink that was the right consistency to leave a thin layer on paper. Should it be too thin, it would spread through the paper, and should it be too thick, it would clump and appear uneven. Upon fixing these problems, Gutenberg had come up with his first working printing press. With it, he printed copies of the first, second, and third editions of the Donatus. However, few people would purchase the pages because many considered his invention immoral, as they believed hand-written script to be a sacred art. Also, there were still problems with the press. The type face varied too much-the lines would go from thin to thick and back to thin again, and the ink did not stick to paper well. DeVinne tells us that â€Å"judged by modern standards, the types are ungraceful; the text letters are too dense and black, and the capitals are of rude form, obscure, and too small for the text† (421). The press itself took a lot of strength, especially when making multiple copies. All of these parts needed improvement, so Gutenberg got to work. He created more defined molds and stronger metal letters, which allowed for thinner printed lines. In hopes of eventually printing the Bible, Gutenberg worked to create letters that would, when placed together, resemble the handwriting of scribes. It was a difficult task, but he managed to finalize pages of beautiful lettering, each having two columns. The only problem was that only thirty-six lines would fit on a page, and Gutenberg wanted to fit forty-two lines. Otherwise, the amount of pages to print the Bible would be much greater and more costly. â€Å"If he had been only an ordinary dreamer about great inventions,† believes DeVinne, â€Å"he would have abandoned an enterprise so hedged in with mechanical and financial difficulties† (416). It was around this time that Gutenberg met John Fust, who offered to help finance his project if they could form a partnership. Gutenberg agreed as he was greatly in need of a means of paying for new equipment to make a forty-two-page press. DeVinne reports that these â€Å"small types were unique; they were never used, so far as we know for any other work† (406). This was most likely Gutenberg’s greatest mistake, because when Fust did not get a quick return on his money, he sued Gutenberg for almost all of his equipment, including the new printing press. This was a set back from which Gutenberg never recovered, and though his invention greatly benefited many, he died a poor man. The printing press made a dramatic impact on European culture in many ways. One important way that it affected society was to bring about a higher level of individualism than had been before experienced. As Marshall McLuhan noted in his book The Gutenberg Galaxy: The Making of Typographical Man, â€Å"the portability of the book, much like that of easel-painting, added much to the new cult of individualism† (206). Because there was no longer the need to be a part of a University or monastery in order to have access to books and education, people began spending more and more time on their own, teaching themselves, and therefore, becoming more and more independent. The distribution of a highly increased number of books due to the invention of the press also facilitated individualistic ideas by giving more people the opportunity to read, forcing them to interpret information themselves. In an oral culture, one is taught by the verbal explanations of others, allowing little opportunity for personal interpretation or for discovering oneself through thought and analysis of material, as is possible in a written culture. â€Å"To the oral man the literal is inclusive, contains all possible meanings and levels,† and through the introspection demanded by this increase in reading, individualism soared (McLuhan 111). With this increase in individualism came much higher levels of education and literacy. McLuhan, in discussing the advantages the press gave to learning, said â€Å"this very natural inclination towards accessibility and portability went hand in hand with greatly increased reading speeds which were possible with uniform and repeatable type† (207). Because the printing press used the same mold for multiple copies of the same letter, it was much less difficult to read than when it was necessary to accustom oneself with each scribe’s handwriting with which one was encountered. The significant decrease in the price of books that occurred in conjunction with the printing press paved the way for the education and rise of a new middle class. â€Å"The book became a source of productive energy for a new breed of merchants and entrepreneurs,† and where before these people had been held back from penetrating the higher levels of society, they could now afford to educate themselves (Kapr 20). This education led to a cycle that allowed the middle class to make more money, which allowed them to purchase even more books and further educate themselves. While this new class of people did not have the social status of the aristocracy, Wyndham Lewis stated that â€Å"birth or training, in this age that has been called that of bastards and adventurers, never mattered less† (qtd. in McLuhan 119). Another important change that the invention of the printing press brought about was the new concept of mass production. Before the press, nobody had thought of the idea of creating something that could produce multiple copies of anything, so multiple copies of pages were just the first of endless possibilities. â€Å"Just as print was the first mass-produced thing, so it was the first uniform and repeatable commodity,† and the realization that exact duplicates could be made of products other than books was one that has been acted on for centuries to bring us mass-production as we know it today (McLuhan 125). Clearly Gutenberg’s invention of the printing press with movable type was a turning point in history from medieval to modern times. While its creation took many practice runs and a lot of trial-and-error, Gutenberg’s incredible patience and determination paid off and helped to build the new culture of the Renaissance. The press was not just a means of copying the written page, but a vehicle for the concept of individualism, the rise of education and the new middle class, and an introduction to mass production. How to cite Gutenberg’s Press and the Transition from Medieval to Modern, Papers Gutenberg’s Press and the Transition from Medieval to Modern Free Essays string(132) " part the prints called the face, was easily broken off and smoothed before it was used for the printed page† \(Fontana 30\)\." There are many ideas and concepts that facilitated the transition from the Medieval Era to a more modern, Renaissance society, but it can be argued that Johann Gutenberg’s invention of the printing press was the most important factor to this change in Europe. The creation of the press was no easy task for Gutenberg; he was faced with many obstacles. However, once created, the press benefited people around the world for centuries and continues to be a fundamental part of our society today. We will write a custom essay sample on Gutenberg’s Press and the Transition from Medieval to Modern or any similar topic only for you Order Now Before the invention of the printing press, books were extremely expensive, limiting education to the very wealthy. Because only the upper class could afford to purchase books, education was a means of separating the aristocracy from the lower classes. It was nearly impossible for the less fortunate to move up in society since they could not educate themselves. The reason books were so pricey was due to the methods employed to create each page individually. For a scribe to copy an entire novel by hand would take much patience and many hours. A common method of producing copies was for one man to read the original word by word, and a group of scribes would write each word as the reader said them. â€Å"By this method,† describes John Fontana in his work Mankind’s Greatest Invention, â€Å"one manuscript served as the source of reproduction for many copies when the scribes finished writing the last of the reader’s orally presented words† (13). Not only was this time consuming, but the more copies that were made, the more errors were made. Eventually, a method of creating copies without such a high margin of error came about. People would hand carve blocks of wood with raised letters and cover the blocks with ink. Then they would place a sheet of paper on the block to make a copy. To make the process even more difficult, they had to carve the letters and words backwards so they would print correctly, and they had to make these letters look normal when reversed. Albert Kapr, in his book Johann Gutenberg: The Man and his Invention, describes how â€Å"a calligrapher had first to write out this text, which was traced as a mirror-image reversal on to a planed limewood plank and then cut out with a knife in such a way that the lettering was left as a raised surface† (21). This method is called xylography, and while it was an improvement in that it reduced mistakes, carving a block of wood for each page to be printed was even more time consuming than writing the words by hand, and books remained as expensive as ever. Johann Gensfleisch Gutenberg, a goldsmith from Mainz, Germany, wanted to change all this. His idea was to replace the wood blocks with separate letters made of metal. One would be able to move the letters around to make words and sentences, and then reuse them. â€Å"The key to this new method was not as is generally believed, the discovery of the value of movable type, for movable letters had been known and used for centuries,† explains Fontana. â€Å"It was the mechanism for making the types† (28). This type of printing press was, in fact, already being used in China, but the technology to create such a machine was yet to be discovered in Europe. In working to build this machine, Gutenberg was faced with obstacle after obstacle. Just when he would think he might have mastered it, he would encounter another problem to solve. â€Å"The invention of typography was not,† noted Theo DeVinne in his work The Invention of Printing, â€Å"the result of a happy thought or of a flash of inspiration. It was not born in a day . . . it was thought out and wrought out† (376). To begin with, he had two main concerns: finding a device that would keep the letters in place, and making a press that would print clearly. Gutenberg soon came up with a solution to the first of the two issues. He paid a carpenter for the use of his winepress, so as to have â€Å"a suitable bed for a page of metal letters to rest on,† and arranged the letters on one side of it (Fontana 22). He wanted to come up with a frame to hold the paper; then when one was ready to print, they could twist a screw to press the paper up against the letters. The letters were to be created by pouring melted metal into a mold. Then Gutenberg came across several more problems. The first was the question of how to make all of the letters exactly the same thickness so that when they were pressed against the paper, they would print evenly. Also, he needed a solution for putting narrow letters on narrow metal bases and wide letters on wide bases. Using the same base for all letters would not only be impractical in that it would waste space, it would also make the words look uneven, with different sized spaces between letters. Regardless of the width of the character, each metal piece had to be the same height so the lines would not be crooked. DeVinne made the point that â€Å"if the types of one character, as of the letter a, should be made the merest trifle larger or smaller than its fellows of the same font, all the types, when composed, will show the consequences of the defect† (52). Gutenberg came up with two brilliant ideas to solve the problems. In order to make all of the letters the same thickness, he made the mold the desired height and added extensions on the sides to catch any overflowing metal. That way he could make sure that they would not be too thick, and as long as he poured metal to the top, they would not be too thin. Once dried, â€Å"this extra piece at the bottom of the metal letters opposite to the part the prints called the face, was easily broken off and smoothed before it was used for the printed page† (Fontana 30). You read "Gutenberg’s Press and the Transition from Medieval to Modern" in category "Papers" As for making the letters different widths, he had to make an adjustable mold. He first experimented using wood, and once perfected, he made one out of metal. He came up with a mold that consisted of two L-shaped pieces that could fit together, and slide back and forth to make the enclosed area larger or smaller. Here Gutenberg encountered further setbacks. The lead he had been using to make the letters was too soft-it was printing unevenly after just a few pages had been printed. Gutenberg solved the problem of making the typeface hard enough to resist pressure by mixing the lead with parts of tin and a substance that acted like antimony,† hardening the metal and preventing expansion or shrinkage while the metal dried (Fontana 30). It also took a lot of searching to find ink that was the right consistency to leave a thin layer on paper. Should it be too thin, it would spread through the paper, and should it be too thick, it would clump and appear uneven. Upon fixing these problems, Gutenberg had come up with his first working printing press. With it, he printed copies of the first, second, and third editions of the Donatus. However, few people would purchase the pages because many considered his invention immoral, as they believed hand-written script to be a sacred art. Also, there were still problems with the press. The type face varied too much-the lines would go from thin to thick and back to thin again, and the ink did not stick to paper well. DeVinne tells us that â€Å"judged by modern standards, the types are ungraceful; the text letters are too dense and black, and the capitals are of rude form, obscure, and too small for the text† (421). The press itself took a lot of strength, especially when making multiple copies. All of these parts needed improvement, so Gutenberg got to work. He created more defined molds and stronger metal letters, which allowed for thinner printed lines. In hopes of eventually printing the Bible, Gutenberg worked to create letters that would, when placed together, resemble the handwriting of scribes. It was a difficult task, but he managed to finalize pages of beautiful lettering, each having two columns. The only problem was that only thirty-six lines would fit on a page, and Gutenberg wanted to fit forty-two lines. Otherwise, the amount of pages to print the Bible would be much greater and more costly. â€Å"If he had been only an ordinary dreamer about great inventions,† believes DeVinne, â€Å"he would have abandoned an enterprise so hedged in with mechanical and financial difficulties† (416). It was around this time that Gutenberg met John Fust, who offered to help finance his project if they could form a partnership. Gutenberg agreed as he was greatly in need of a means of paying for new equipment to make a forty-two-page press. DeVinne reports that these â€Å"small types were unique; they were never used, so far as we know for any other work† (406). This was most likely Gutenberg’s greatest mistake, because when Fust did not get a quick return on his money, he sued Gutenberg for almost all of his equipment, including the new printing press. This was a set back from which Gutenberg never recovered, and though his invention greatly benefited many, he died a poor man. The printing press made a dramatic impact on European culture in many ways. One important way that it affected society was to bring about a higher level of individualism than had been before experienced. As Marshall McLuhan noted in his book The Gutenberg Galaxy: The Making of Typographical Man, â€Å"the portability of the book, much like that of easel-painting, added much to the new cult of individualism† (206). Because there was no longer the need to be a part of a University or monastery in order to have access to books and education, people began spending more and more time on their own, teaching themselves, and therefore, becoming more and more independent. The distribution of a highly increased number of books due to the invention of the press also facilitated individualistic ideas by giving more people the opportunity to read, forcing them to interpret information themselves. In an oral culture, one is taught by the verbal explanations of others, allowing little opportunity for personal interpretation or for discovering oneself through thought and analysis of material, as is possible in a written culture. â€Å"To the oral man the literal is inclusive, contains all possible meanings and levels,† and through the introspection demanded by this increase in reading, individualism soared (McLuhan 111). With this increase in individualism came much higher levels of education and literacy. McLuhan, in discussing the advantages the press gave to learning, said â€Å"this very natural inclination towards accessibility and portability went hand in hand with greatly increased reading speeds which were possible with uniform and repeatable type† (207). Because the printing press used the same mold for multiple copies of the same letter, it was much less difficult to read than when it was necessary to accustom oneself with each scribe’s handwriting with which one was encountered. The significant decrease in the price of books that occurred in conjunction with the printing press paved the way for the education and rise of a new middle class. â€Å"The book became a source of productive energy for a new breed of merchants and entrepreneurs,† and where before these people had been held back from penetrating the higher levels of society, they could now afford to educate themselves (Kapr 20). This education led to a cycle that allowed the middle class to make more money, which allowed them to purchase even more books and further educate themselves. While this new class of people did not have the social status of the aristocracy, Wyndham Lewis stated that â€Å"birth or training, in this age that has been called that of bastards and adventurers, never mattered less† (qtd. in McLuhan 119). Another important change that the invention of the printing press brought about was the new concept of mass production. Before the press, nobody had thought of the idea of creating something that could produce multiple copies of anything, so multiple copies of pages were just the first of endless possibilities. â€Å"Just as print was the first mass-produced thing, so it was the first uniform and repeatable commodity,† and the realization that exact duplicates could be made of products other than books was one that has been acted on for centuries to bring us mass-production as we know it today (McLuhan 125). Clearly Gutenberg’s invention of the printing press with movable type was a turning point in history from medieval to modern times. While its creation took many practice runs and a lot of trial-and-error, Gutenberg’s incredible patience and determination paid off and helped to build the new culture of the Renaissance. The press was not just a means of copying the written page, but a vehicle for the concept of individualism, the rise of education and the new middle class, and an introduction to mass production. How to cite Gutenberg’s Press and the Transition from Medieval to Modern, Papers

Design Strategy Consistency Of Experience †Myassignmenthelp.Com

Question: Discuss About The Design Strategy Consistency Of Experience? Answer: Introduction: Strategic management of the hotel group includes the benchmarks, standards, rules, regulations, policies, etc. developed for the smooth working of the hotel group. These all should be followed in the activities of the hotel group and with the help of these benchmarks, set targets, goals could be achieved. In hotel group, strategic system is developed for achieving better results and for performing all the activities in adequate manner (Freeman, 2010). These philosophies, policies, measures, rules and regulations. While performing recruitment and selection processes, in the hotel group, HR manager should not leave any formality and mainly he/she should not hire any candidate for their personal benefits. While selecting any candidate, organizations benefit should be reviewed operations because for performing these selection and recruitment procedures, they are getting paid very well. Evaluation of Recruitment and Selection Procedure: These are the methods through which every organization including identifies its requirements and appoints the desired candidates to achieve certain targets in the market. Through this process, Employees and their hard work have helped the Hotel Group to achieve these heights. Recruitment and selection process should concentrate on selecting the appropriate candidates that is suitable for the job requirements (Kim, 2011). Job advertisement, promotion of the vacant seats in the hotel group should not be done to gain the more number of applicants, infect it should be done to gain the appropriate number of candidates for the suitability of the job position of customer service manager, this will make difficult for HR team to select an appropriate person in terms of organizational as well as from the job requirements (Donnelly, 2013). If management and administration has control over every activity of the organization then HR team needs to perform their duties in fair manner otherwise HR team could hire employees for their accounting. Future recommendation: The future plans of the international hotel group is to expansion their business into new region, as such possibly pacific island, New Zealand, and Indonesia/Malaysia. Primary expansion will be in New Zealand in the next 12 months. By adding the value services the hotel group is planning for conference facilities in hotel for small and medium conferences. Conclusion: HR manager and Senior management believes in selecting adequate and appropriate candidates which suits the jobs description as well as they should also suit the hotel group objectives also (Arlot Celisse ., 2010). HR manager should perform all the relevant activities to advertise regarding the vacancies in the hotel group, so that desired and adequate candidate could not get chance due to non-advertisement about the job. References: Arlot, S., Celisse, A. (2010). A survey of cross-validation procedures for model selection. Statistics surveys, vol. marketing. 40-79. Donnelly, J. (2013). Universal human rights in theory and practice. Cornell University Press. Freeman, R. E. (2010). Strategic management: A stakeholder approach. Cambridge University Press. Hitt, M. A., Ireland, R. D., Hoskisson, R. E. (2012). Strategic management cases: competitiveness and globalization. Cengage Learning. Ho, W., Xu, X., Dey, P. K. (2010). Multi-criteria decision making approaches for supplier evaluation and selection: A literature review. European Journal of operational research, vol. 202(1), pp. 16-24. Kenny, M. (2011). Gender and institutions of political recruitment: candidate selection in post-devolution Scotland. In Gender, Politics and Institutions. Palgrave Macmillan UK. pp. 21-41. Kim, S. (2011). Sociocultural analysis of the commodification of ethnic media and Asian consumers in Canada. International Journal of Communication, vol. 5. pp. 19. Kumari, N. (2012). A Study of the Recruitment and Selection process: SMC Global. Industrial Engineering Letters, vol. 2 (1), pp. 34-43. Lane, T. S., Armin, J., Gordon, J. S. (2015). Online management methods for web-based and mobile health studies: a review of the literature. Journal of medical Internet research, vol. 17 (7). Leslie, E., Magarey, A., Olds, T., Ratcliffe, J., Jones, M., Cobiac, L. (2015). Community-based obesity prevention in Australia: background, methods and recruitment outcomes for the evaluation of the effectiveness of OPAL (Obesity Prevention and Lifestyle. Adv Pediatr Res, vol. 2 (23). Lin, H. T. (2010). Personnel selection using analytic network business process and fuzzy data envelopment analysis approaches. Computers Industrial Engineering, vol. 59 (4), pp. 937-944. Liu, J. T., TSOU, M. W., Wang, P. (2010). Workforce composition and firm productivity: evidence from Taiwan. Economic Inquiry, vol. 48 (4), pp. 1032-1047.

Education policy in America

French Literary Tenses - Temps littéraires

French Literary Tenses - Temps littà ©raires There are five French past tenses that are not used in spoken French. They are called literary or historical tenses because they are reserved for written French, such as LiteratureJournalismHistorical textsNarration At one time, literary tenses were used in spoken French, but they have gradually disappeared. When they are used, they raise the speakers register to an extremely refined (some might even say snobbish) level of French. They may also be used for humorous effect. For example, in the French movie Ridicule, the aristocracy use literary tenses in their word games, in order to make themselves sound more educated and refined. Each of the literary tenses has a non-literary equivalent; however, there are subtle nuances that are lost when using the equivalents. Most of these nuances dont exist in English, so I explain the difference in my lessons. Because literary tenses are not used in spoken French, you need to be able to recognize them, but you will most likely never need to conjugate them. Even in written French, most of the literary tenses are disappearing. The passà © simple is still used, but the others are often replaced by their spoken equivalents or by other verbal constructions. Some say that the disappearance of literary tenses leaves gaping holes in the French language - what do you think? Literary tenses  are not used in spoken French - they have non-literary equivalents, explained here. For a definition of literary tenses and a description of where/when they are used, please read the  introduction.Click the name of each literary tense to learn more about to conjugate and use it.I. Passà © simpleThe passà © simple  is the literary simple past tense. Its English equivalent is the preterite or simple past.Il  choisit.- He chose.The spoken French equivalent is the  passà © composà ©Ã‚  - the English present perfect.Il  a choisi.  - He has chosen. You can see that by not using the  passà © simple  and the  passà © composà ©Ã‚  together, the  French language  has lost the nuance between he chose and he has chosen. The  passà © simple  indicates an action that is complete and has no relationship to the present, whereas using the  passà © composà ©Ã‚  indicates a relationship with the present.II.  Passà © antà ©rieurThe passà © antà ©rieur  is the literary compound past tense.Quand il  eut choisi, nous rà ®mes.  - When he had chosen, we laughed.Its equivalent in spoken French is the  plus-que-parfait  (the English pluperfect or past perfect).Quand il  avait choisi, nous avons ri.  - When he had chosen, we laughed.The  passà © antà ©rieur  expresses an action that took place right before the action in the main verb (expressed by the  passà © simple). Aside from being extremely rare in spoken French, the  passà © antà ©rieur  is even disappearing in written French, as it can be replaced by several different constructions (see the lesson on the  past anterior  for more information).III. Imparfait  du subjonctif*The imparfait du subjonctif  is the literary simple past subjunctive. Jai voulu quil  choisà ®t.  - I wanted him to choose. (I wanted that he chose)Its spoken French equivalent is the  present subjunctive.Jai voulu quil  choisisse.  - I wanted him to choose. (I wanted that he choose)The distinction lost here is this: by using the imperfect subjunctive in French, both the main clause (I wanted) and the  subordinate clause  (that he chose) are in the past, whereas in the spoken French, the subordinate clause is in the present (that he choose).IV.  Plus-que-parfait  du subjonctif*The plus-que-parfait du subjonctif  is the literary compound past subjunctive.Jaurais voulu quil  eà »t choisi.  - I would have wanted him to choose.(I would have wanted that he had chosen)Its spoken French equivalent is the  past subjunctive.  Ã‚  Ã‚  Jaurais voulu quil  ait choisi.  - I would have wanted him to choose.  Ã‚  Ã‚  (I would have wanted that he has chosen)This distinction is even more subtle, and is a combination of the  passà © composà ©Ã‚  and  imparfait du subjonctif  nuances: by using the  plus-que-parfait du subjonctif, the action is in the remote past and has no relationship to the present (that he had chosen), whereas using the past subjunctive indicates a slight relationship with the present (that he has chosen). V.  Seconde forme du conditionnel passà ©The  conditional perfect, second form, is the literary conditional past.  Ã‚  Ã‚  Si je leus vu, je leusse achetà ©.  - If I had seen it, I would have bought it.Its spoken French equivalent is the  conditional perfect.  Ã‚  Ã‚  Si je lavais vu, je laurais achetà ©.  - If I had seen it, I would have bought it.The use of the second form of the conditional perfect emphasizes the fact that I didnt buy it, whereas the non-literal conditional perfect makes it sound more like a opportunity that just happened to be missed. *The English equivalents for these two literary tenses are unhelpful, because English rarely uses the subjunctive. I gave the literal, ungrammatical English translation in parentheses simply to give you an idea of what the French structure is like. Summary Literary tense Literary tense classification Non-literary equivalent pass simple simple past pass compos pass antrieur compound past plus-que-parfait imparfait du subjonctif simple past subjunctive subjonctif plus-que-parfait du subjonctif compound past subjunctive subjonctif pass 2e forme du conditionnel pass conditional past conditionnel pass More Literary French The  present subjunctive  has some literary uses.Certain verbs can be negated with the  ne littà ©raire.In literary French, the  negative adverb  ne... pas  is replaced by  ne... point.

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