Starting Your Own Business Case Studies - Free Essay Example

Sample details Pages: 6 Words: 1809 Downloads: 4 Date added: 2017/06/26 Category Business Essay Type Narrative essay Did you like this example? PLEASE READ THE FIVE CASES ATTACHED AND SOLVE THEM AS PER INSTRUCTIONS AND SUBMIT ON SAFE ASSIGNMENT VIA BLACKBOARD. Summary for each Case Study is required. Case Study 5: Entrepreneurship Stories (5 mini case-studies) Wendys Hamburgers (Success Comes from Listening to Customers) The founder of Wendys International was Dave Thomas a man who made his first million dollars as a Kentucky Fried Chicken franchisee owner (Dave invented the rotating bucket sign that stands outside many KFC restaurants). Eventually, however, Dave decided to stop selling fried chicken so he good make and sell the type of food he really loved hamburgers. Unfortunately, everyone told him particularly the bankers and financial people he spoke with that opening another burger restaurant was a bad idea. They told me the market was saturated. Dave lamented. After accumulating years in the fast food industry, however Dave thought otherwise. For a long time he had noticed tha t the big burger chains sold batch-cooked hamburgers made from frozen beef that sat under heat lamps. Early on he decided that his competitive advantage would be to offer something different quality and freshness. In 1969, Dave opened up his first Wendys restaurant (which was named after his daughter) and sold made-to-order hamburgers, chili, french fries, (real) milkshakes, and soft drinks. Since day one, his idea has been a success. In fact, his first restaurant became profitable after just six weeks. Later, as the business grew, Dave added menu items that corresponded to exactly what customers told him they wanted. This formula of providing what customers wanted in a hamburger, combined with offering better quality than the competition proved to be a real winner. The hardest part about running a business, Dave often said during his career, is being willing to listen to customers and then doing whatever it takes to make your dream (and their wants) a reality. SUMMARY Dav e Thomas, founder of Wendyà ¢Ã¢â€š ¬Ã¢â€ž ¢s Hamburger also a former franchise owner of KFC, started selling his dream hamburgers instead of fried chicken. Despite of discouragement from people regarding his idea of selling burgers, he worked on his innovative technique to use fresh chicken with the exact à ¢Ã¢â€š ¬Ã…“wantsà ¢Ã¢â€š ¬Ã‚  of customers. He eventually succeeded in no time with this combination that actually came from truly listening to his customers. __________________________________________________________________ Running a Business is as Hard Mentally as it is Physically Laurey Masterton started her apartment-based business (Laureys Catering and Gourmet-to-Go)in Asheville, North Carolina in 1987. Running a business was a lot harder than I thought it would be, she says. Of all the challenges I face, the greatest is dealing with the everydayness of business ownership. It exists from the moment I wake up until the time I collapse in exhaustion at the end of the day. Hard work isnt the only hurdle Laurey faces. Keeping ones spirits up is as crucial as it is difficult. Ive averaged 30% growth for the past five years, but I still worry. In fact Ive never done better than last year, yet during the slow times worrying can consume me. Fortunatly, Laureys hrd work paid off. As the business grew, however, she realized that she couldnt continue to run the company from her apartment. So she brought in a private investor who added money, management experience, and emotional support to the mix. Laureys catering business has since grown to a 2,500 sq. foot kitchen and gourmet shop that sells sandwiches and salads. You have to be your own worst critic and your own best cheerleader, she says. My advice is that most business owners reach a point where no one is there to tell them you can do it. You have to be able do that yourself. SUMMARY Laurey Masterton was running out of energy and enthusiasm which are required to run her apartment- based catering business. She had to work really hard whole day. However, she managed to expand and grow the business by adding the private investor in her business, who also shared work with her. Only with her continue efforts, self belief and positivity she succeeded. . _____________________________________________________________________ Youre on Your Own For years, Tracey Campbell worked as a financial journalist for Standard and Poors wire service. But in 1995, she left the corporate world and started her own business a 24-hour telephone and Internet service designed to search for bed-and-breakfast inns throughout the United States. Almost immediately Tracey discovered that the transition from working in a corporate office to becoming an entrepreneur created its own set of unique difficulties. I took for granted the support services and infrastructure that was built into my corporate job, Tracey says. For example, the office supply cabinet was always stocked and a techni cal crew was always available to fix my computer, and so on. Now if Tracey needs envelopes, pens, or paper, she has to travel to an office supply store. If her computer breaks down she spends hours on the telephone waiting for technical support from the manufacturers customer hotline or spends hours travelling back and forth to a computer shop. When a potential client asked for a brochure, she had to design and create her own. When she ordered 10,000 tent business cards, she had to fold them herself. In short, Tracey has found what a lot of entrepreneurs discover: that sometimes a large part of her day can be spent drowning in a sea of menial duties. Such is the life of an entrepreneur. SUMMARY Tracey Campbell former financial journalist started her own business of telephone and internet service to search beds-and- breakfast in U.S. She suffered with the dilemmas of entrepreneurship such as maintaining of office infrastructure and supporting functions. She had to work at h er own for every single little thing. ___________________________________________________________________ The National Association of Secretarial Services (Look Before You Leap) In 1996, Lynette Smith (a secretarial service owner in California), was asked if she would be interested in purchasing The National Association of Secretarial Associations, a business support group operating in the USA. Because the offer came so quickly, and a contract was signed even faster, Lynette didnt have the time most professionals would say is appropriate to prepare for ownership. In not time, after spending two long weeks doing as much research as she could, she found herself virtually on her own. It was then that she discovered the association was losing memberships. In addition, few members seemed to be aware of the services the association provided so membership retention was extremely low. To compensate for her lack of preparation, Lynette began working 70 hours a week. She consul ted with members of the association, sought comments and suggestions from them, and added a website. She followed up renewal notices (previously, less than half the associations members renewed their memberships when they expired), updated the businesss publications and added several new ones. Her time then switched to becoming a salesperson, whereupon she found herself explaining the benefits of belonging to the association countless times each day. During this period she realized that most members had no idea of the range of services the association offered so she began tackling that issue. Eventually, as each of her challenges was overcome, she started encouraging the opening of new local chapters and even pursued major corporate clients. Later, when members said they didnt like the term secretarial in the associations name. she changed it to The Association of Business Support Services. As a result of her hard work, Lynette watched memberships increased dramatically and t he retention of current members improve to 72%. But to this day, she still doesnt want to think about how much hard work could have been avoided if she had only done a little bit of homework before signing her ownership contract. SUMMARY Lynette smith made the decision to purchase The National Association of Secretarial Associations in haste. She acquired the association when members leaving the association and retention rate were declining. She had to work very hard to maintain the retention level from vigorous marketing to excellent member services. Finally, she managed to improve the situation, but, if she took enough time before taking buying decision, it could help her saving lots of her energy. ____________________________________________________________________ Keeping a Watchful Eye Believe it or not, the conglomerate behind Hardees, Taco Bueno, Carls Jr., Rallys and Galaxy restaurants all started with a hotdog cart. Carl Karcher had an 8th grade education, a steady job as a bread truck driver, and a burning ambition to own his own business. In July of 1942, he borrowed $311 (against his car) and bought a hot dog cart in Los Angeles, California. His first days sales totaled $14.75. A muffin tin served as the cash register. Carl kept his bread delivery truck job and his wife worked the cart with their first baby asleep in the car. Two additional employees were eventually hired to help out. Each man worked alone for an 8-hour shift. Carl arrived each night at 02:00 hrs to collect the days receipts and close up the cart. One day, Carl noticed that the night shift employee consistently made about 25% less than Carl himself had brought in during the same period. When he stopped by the cart unexpectedly one evening, he dicovered that the employee was using hot dogs buns that neither he nor his wife had bought. As it turned out, the employee knew that Carl kept track of his inventory by counting the hot dog buns, which were bought by the dozen, rather than the hot dogs, which were purchased by the kilo. He then bought his own buns in order to sell several hot dogs off the books, the sales of which he pocketed. I learned real fast about costs and inventory control after that, Carl recalls. Tips for avoiding situations like Carls include keeping a close track of inventory, signing every check (and checking bank statements against purchases), assigning different financial duties to different people (which makes it difficult for one employee to take advantage of a situation), and enforcing employee holidays (dishonest employee practices often cease while the culprit is away). It all comes down to keeping a watchful eye. SUMMARY: Carls Jr., Rally founder of Hardeeà ¢Ã¢â€š ¬Ã¢â€ž ¢s and Galaxy restaurant started his journey from hotdog cart. Initially his wife worked at the cart later he hired two employees and delegated duties in alternate shifts. He caught fraudulent sale made by his night shift employee by cl osely observing first decline in sales and then counter checking of inventory. He suggested taking preventive measures and having watchful eye on business for effective success. ____________________________________________________________________ These stories have been adapted from: What No One Ever Tells You About Starting Your Own Business, by Jan Norman, Upstart Publishing Company (a division of the Dearborn Publishing Group), Chicago, Illinois, 1999. à ¢Ã¢â€š ¬Ã‚ ¹ Case Study 4: Grameen Bank and Grameen Telecom Profiting from Unprofitable customersupCase Study 6: Marketing and Entrepreneurship (2 mini case-studies) à ¢Ã¢â€š ¬Ã‚ º Don’t waste time! Our writers will create an original "Starting Your Own Business: Case Studies" essay for you Create order

The Four Major Schools Of Thought - 2593 Words

Psychology A: Assessment Kristina Bates This essay will discuss the four major schools of thought in psychology, it will describe and evaluate theories and research that link to each of the four major schools of thought. The four major schools of thought in psychology are Behaviourism, Psychoanalytic, Cognitive and Biological. Behaviourism is a concept which dismisses that humans possess freewill. Behaviourism states that all behaviour is learned, also that all behaviour is conditioned either by means of association or reinforcement . Behaviourists believe that everyone is born tabula rasa which means that the human mind is viewed as having no inherent ideas. They believe that any psychological dysfunctional behaviour can be dealt with and the behaviour can simply be unlearned . The difference between Behaviourism and other disciplines is that it states that human beings are simply passive receptors of stimulus-response. Behaviourist psychology began to surface at the beginning of the 20th Century, however it can be drawn back to the empiricist philosopher Aristotle who thought that the only knowledge we know of the world is achieved through our sensory experiences. Within Behaviourism, there is Classical conditioning and Operant conditioning. Classical conditioning is learning a new behaviour throu gh the process of association. Ivan Pavlov, a Russian physiologist developed this theory. He did this by researching digestive systems of dogs. (McLeod, S. A.Show MoreRelatedFoundation of Psychology773 Words   |  4 Pagesare very complex in nature. Psychology involves more than how people act; it includes their thought process, emotions, memories, and analysis of events. When psychology was first introduced people weren’t sure if it was a science separated from biology and philosophy. The major school of thought in psychology exemplifies the major theories within psychology. 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Garden of Love free essay sample

Blake is oriented towards playfulness and fun activities and the chapel symbolizes the opposite of Blake’s desires which is stillness and order. The rhyme scheme of the first stanza is A-B-C-B. The use of figurative language along with the simple rhyme scheme combines to offer a soothing effect for the reader. Also, the repetition of I in the opening stanza encourages the reader to trust the poet’s point of view. â€Å"I went to the Garden of Love, And saw what I never had seen; A chapel was built in the midst, Where I used to play on the green. †The tone gradually becomes darker because the experience of the poet’s life becomes more depressing with adulthood. The dark tone begins when the poet returned to the place where he used to play as a child. When he goes there, he notices that a chapel was built in the middle of his internal playground of happiness. We will write a custom essay sample on Garden of Love or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page He understands that the carefree life he had when he was a child was now replaced by the rigidity of rules. This garden of love symbolized a place of merriment and liberty. As he gets older, he mentions that a chapel was built.This chapel represents all of the rules and regulations that the poet has to adhere to as an adult which takes away his freedom that he once felt as a minor. â€Å"I went to the Garden of Love†¦ A chapel was built in the midst†¦Ã¢â‚¬  Blake figuratively speaks of the fact that he was not allowed in the chapel because of the strict laws, rules and regulations of religion – The Ten Commandments: â€Å"Thou shalt not†. Disappointed, the poet decided to turn to another part of his internal Garden of Love where flowers once were. There, he hopes to feel a sense of happiness again. The poet uses a symbol of flowers to represent joy, a feeling that he once felt in his youth. â€Å"†¦ I turned to the Garden of Love That so many sweet flowers bore. † In the last stanza of the poem, it seems as if all hope of happiness is lost for the poet. This happens when he got to the other part of the garden; it was filled with graves in a graveyard. These graves symbolize the disappointment that Blake felt as an adult. In the same place where innocence has bared its roots was the graveyard. This change highlights the theme: adults perceive the world differently from children. His dreams that were once flourished full of imagination lay now under the weight of sadness and strict laws of society. The feeling of discontent arises because he wanted to obtain a sense of alleviation, but instead reality struck him. Also on the graves were tombstones which replaced the flowers. These represent death, surely as opposed to happiness. There were priests walking around in the poem, â€Å"And priests in black gowns were walking their rounds†, which symbolizes politics and those who enforce the law of religion. He feels all his childhood freedom and joy were taken away.This is depicted by the use of briars which literally are thorny stems. Therefore, his dreams as a child were choked and could not come true anymore. â€Å"†¦and binding with briars my joys and desires. † The mournful and somber tone of the poem brought about a sympathetic mood. It makes the readers feel sad for the writer because of the lack of happiness as an adult. The use of first person and symbolism were two techniques used that helped to make a powerful contrast of the experience of the writer’s childhood versus adulthood.

Spanish Romantic Drama Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla Essay Example

Spanish Romantic Drama: Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla Essay One of the most familiar figures in world literature is Don Juan, whose name has become the label of the reckless rake and triumphant libertine. There was, apparently, a Don Miguel Maà ±ra in fourteenth century Seville, who seduced a trusting maiden, then killed her father, and spent his later days doing penance in a monastery. Out of his story grew the play El Burlador de Seville (The Seducer of Seville) by Tirso de Molina (pseudonym of the Spanish monk Gabriel Tellez, 1570-1648), the first dramatization of the Don Juan tale. In this telling, the statue comes into action. After Don Juan has seduced Dona Anna, he kills the Commandant Don Pedro, her father, who has come seeking vengeance. In the graveyard, the statue of Don Pedro warns Don Juan to repent and change his ways. Don Juan laughs, and in mockery invites the statue to a banquet at which the statue plunges Don Juan down to hell (Mansour 45-78). However, the most widely popular of the dramatic retellings of the Don Juan stor y is Don Juan Tenorio, 1844, by Josà © Zorrilla y Moral (Spanish, 1817- 1893). March 18, 1844, saw the debut in Madrid’s Teatro de la Cruz of what is undoubtedly the most popular production of the Spanish stage, Don Juan Tenorio. It is not easy to determine Zorrilla’s sources in writing this work, since not even his own words on the subject are reliable. The issue has been studied widely by scholars such as Josà © Luis Varela (1975), Garcà ­a Castaà ±eda (1975), Picoche (1986), and Fernà ¡ndez Cifuentes (1993) in their respective editions of the play. Regardless of which sources might have inspired him, Zorrilla maintained the setting and the characters created by Tirso. He added many new situations, created the character don Luis Mejia, Don Juan’s antagonist, and introduced Brà ­gida, who combines the role of â€Å"graciosa† with that of go-between in the tradition of Celestina. The servant Ciutti is not his master’s conscience, like Tirso’s Catalinà ³n, but rather the executor of his wishes. However, the princip al theme of the play is Zorrilla’s main innovation: the redeeming power of pure love, a purpose that voids the Counter-Reformation character of Tirso’s play (Mazzeo 76). We will write a custom essay sample on Spanish Romantic Drama: Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Spanish Romantic Drama: Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Spanish Romantic Drama: Romantic Stagecraft in `Don Juan Tenorio` by Jose Zorrilla specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Don Juan Tenorio is a Romantic drama devoid of any theological, moralizing, or didactic value. The supernatural intervention of Don Gonzalo and Doà ±a Inà ©s’s offer to God to make her salvation contingent upon that of Don Juan, lack any religious meaning, belonging to the realm of fantasy. The melodious fluidity of the rich verse, the liveliness of the action, the brilliancy of the spectacle, and the impact of the plot made Don Juan Tenorio the greatest creation of the Spanish Romantic theater. Zorrilla was an innovator of the historical drama that flourished in the 1840s (Mandrell 56). In Don Juan Tenorio he carried on the national tradition. Like other contemporary authors of historical plays, Zorrilla modified history. He also complicated his plot with elements of intrigue that maintain suspense until the end of each play. In his drama, there is a mysterious character, intelligent and powerful, who is in possession of a secret that will change the course of events. This character embodies justice and always prevails over the villains. The protagonist of Zorrilla’s drama is a charismatic character taken from Spanish history, and the author places him in the center of a plot full of action. The fact is that Zorrillas work is full of the romance, the cheap spiritual flights, the sentimentalities, and the scenic crowding that all but killed the theatre in the nineteenth century. When the curtain goes up on to the set of Zorrillas Don Juan Tenorio, the spectator immediately enters the leveled world of carnival: Don Juan, wearing a mask, sits at a table writing. . . . When the curtain rises, people in masks, students and townspeople are seen passing by. . . . The setting is appropriate; in fact, don Juan, the first hero of modernity ( Serres 1982, p. 3), seems quite at home in this world of carnival. Moreover, his entire life, like carnival, knows no boundaries, respects no hierarchies: My love has spanned the whole of our social scale . . . ; From the haughty princess to the wench who fishes in a miserable boat . . . ; I descended to humble cabins, I rose to palaces, I climbed the walls of cloisters and everywhere I left a bitter memory of myself, I recognized the sacredne ss of nothing and my audacity respected not a single place or occasion. Nor have I bothered to distinguish between the religious and the secular. Don Juan defies death because his Tantalic love makes him seek the annihilation of his temporal existence in order to reunite with the absolute, which contains in its engulfing unity his perfect beloved. Don Juan displays a suicidal courage, as if actually courting death. In the play Don Juan is longing for his perfect love is linked, or even equated, with his quest to partake of the grace of God. Don Juan Tenorio declares: I worship Dona Ines ( Donna Anna). Im convinced that Heaven has granted her to me to turn my steps in the paths of righteousness. I didnt love her beauty nor did I worship her charms. Don Gonzalo, what I adore in Dona Ines is her goodness. That which judges and bishops could not bring me to with threats of jail and sermons was accomplished by her purity. Her love has transformed me into a new man; it has renewed my whole being. She can make an angel of one who was a devil. The figure of Don Juan lends itself to many meanings (Parker 19). It has been viewed as embodying the constant impulse of mans body, as Faust represents the tireless impulse of mans mind. It has been viewed as showing the attempt of man to hide from his fears. It is best presented when the dramatist, like Zorrilla, presses no single symbol of his own, but shows within Don Juan qualities and urges that in lesser measure every man can recognize within himself, so that the universal human figure takes the unique and individual aspect of each one. Thus Don Juan Tenorio becomes another, a less Puritan and more catholic Pilgrim, on blundering, destructive, yearning, pathetic progress toward a goal he can only dream (Kristeva 67). The view that Zorrillas version presents the struggles of an individual against the interests of a repressive and unyielding social hierarchy is equally apposite, as is the notion that the basic tenets of orthodox Catholicism are glossed over in order to reconcile salvation with the rights of an individual as construed in terms of Romantic ideologies (Kern 66-70). Don Juan Tenorio begins with a letter. Play begins, thus, by transcribing one of the central motifs in its model (Mandrell 234). To be sure, there are important differences between the romantic melodrama and the modern esperpento. Don Juans esperpento opens with the writer sitting at a table sealing the envelope. In point of fact, Don Juan Tenorio, though not an overt repetition of its precursor, both includes El burlador de Sevilla and thematizes its inclusion thereof, making this process of rewriting into the stuff of drama. The entire first part of Zorrillas drama turns on issues related to writing and rewriting; the continuing conflict between Don Juan and Don Luis, depicted most clearly during the second bet, is an outgrowth of just this sort of thematic interest (Blue 78). To be sure, the interest in writing is obvious in the opening scene, in which a masked Don Juan pens a letter. The notion of this commingling of souls and uniting of destinies as presented in drama is nothing new. Yet it serves to underline the cardinal importance of the letter and all texts in Don Juan Tenorio and in Don Juans story, indeed, the complicity of narration and literature in the very act of romance. In terms of Don Juan and Doà ±a Inà ©s, this commingling of souls picks up the notion of the daemonic Don Juan and that of the reading of a narrative scenario in a letter, fashioning of these different materials the mutual dependency of Don Juan and Doà ±a Inà ©s. Doà ±a Inà ©s, soul of my soul, becomes the soul of love, the Psyche of Eros, the manner in which, in a skewing of Platonic and Christian doctrine, Zorrillas Don Juan can reconcile himself with God. The joining of the two souls and destinies (lines 1662-63; 502) means that the spiritual future of each is dependent on the other. Not only does Doà ±a Inà ©s save Don Juans soul, but Don Juan saves the soul of Doà ±a Inà ©s. In this sense, Zorrillas Don Juan is a daemon, his testimony to Doà ±a Inà ©ss love for him is the deciding factor in the fate of each. The fact that Don Juan repents - ¡Seà ±or, ten piedad de mà ­! [God, have mercy on me!] (line 3769; 537) overrides the Statues grim sentence, Ya es tarde [It is too late!] (line 3770; 537). Doà ±a Inà ©ss investment of her soul is repaid in kind. Doà ±a Inà ©ss love for Don Juan derives from reading, in this case not of a book, but of the letter sent to her by Don Juan:  ¡Ay! ÃŽ ¼Quà © filtro envenenado me dan en este papel, que el corazà ³n desgarrado me estoy sintiendo con à ©l?  ¿Quà © sentimientos dormidos son los que revela en mà ­  ¿Quà © impulsos jamà ¡s sentidos?  ¿Quà © luz que hasta hoy nunca vi?  ¿Quà © es lo que engendra en mi alma tan nuevo y profundo afà ¡n? (lines 1732-41) [Oh! What poisonous filter is hidden in these words? It tears my heart apart! What hidden, sleeping thoughts these words reveal in me. What strange feelings they arouse. They cast a light upon me unlike any I have ever seen before. What has sown my soul with such new and deep desire? (503)] Once disseminated by Don Juans papel, the poisonous filter takes hold of the novice and she begins to repeat the content of the letter, to learn her papel or dramatic role:  ¡Ah! Bien dice: juntà ³ el cielo / los destinos de los dos, / y en mi alma engendrà ³ este anhelo / fatal [Oh, he spoke true! Heaven joined our destinies and engendered in my soul this fatal longing] (lines 1748-51; 503). Don Juans letter is not, then, just a point from which poetic and dramatic coherence originate but also the means by which Doà ±a Inà ©s completes her brief cursus in the ars amatoria. The letter is the text from which her actions in the drama derive, that which provides her with her papel, or role. Thus, the Don Juan of Don Juan Tenorio writes not only his own role, the list or papel, but writes other roles as well, demonstrating in the process the power of mens words with respect to female resolve. To restate the remark of Dantes Francesca, Don Juan fu l libro e chi lo scrisse [Don Juan was the book and he who wrote it]. Despite its late appearance in the play, and despite the fact that it is a secondary text in terms of Don Juans identity, the letter sent to Doà ±a Inà ©s is of primary importance for understanding the temporal ordering of the drama, and, in turn, the role played by El burlador de Sevilla in regard to the dependency of Don Juan Tenorio on its precursor. The papel is actually read in the third scene of the third act, roughly midway through the first part of the play, but it is being written as the drama opens. The effect of this lapse between the writing and the reading of the letter is to divide past actions from future developments, to create a dramatic parenthesis into which the past is interpolated. This means, of course, that Don Juan intended to abduct Doà ±a Inà ©sbefore he met with Don Luis to settle their bet. Doà ±a Inà ©s enters into Don Juans second wager with his rival, but more to the point, the second wager with Don Luis already enters into Don Juans future plans. The division between the past and future plans, as well as the elliptical presentation of the letter that points up these differences, fits into a linear pattern of increasingly obsessive passion (pasià ³n insensata), one that is best described by Don Juan himself: Empezà ³ [esta pasià ³n insensata] por una apuesta, / siguià ³ por un devaneo, / engendrà ³ luego un deseo, / y hoy me quema el corazà ³n [It began (this obsessive passion) with a bet and grew into a frenzy which later engendered a desire and now my heart is consumed with fire] (lines 1310-13; 496). Construed in terms of strict diachrony, Don Juan Tenorio begins with a wager, follows with a recapitulation of that first bet, and continues with the inception of another bet that corresponds to Don Juans growing desire. This desire finally becomes overwhelming in its force, burning Don Juans heart (Shipley 56). But with which wager, the first or the second, does Don Juan Tenorio really begin? Linearity notwithstanding, the division between the first and second bets, the reading and discussion of the papel, marks the point at which the two key figures, Tirsos burlador and Zorrillas Don Juan, begin to differ. Only the list of misdeeds allows the protagonist of Don Juan Tenorio to be identified as a Don Juan at all. Without a legendary past, which is to say, without Don Juans literary past as embodied in the list, Don Juan is just one more Romantic rouà © who finds true love and, determined to secure the object of his adoration, infringes upon various social conventions much to the delight of his cohorts (Abrams 67). The circularity of the first part of Don Juan Tenorio thus features the pertinent information of the past, El burlador de Sevilla, in order to render the future drama intelligible, doing so by means of incorporating entire an earlier text that both explains the past (and past tex ts) and engenders the future of the drama (as well as the drama itself). Yet even as the prior text is included in the refundicià ³n, it is rewritten by the other text that constitutes the basis for a new series of actions: Don Juans letter to Doà ±a Inà ©s, and, by extension, Don Juan Tenorio. As the second part of the play opens, the sculptor of the sepulchral statues is in the Tenorio pantheon, and he addresses his creations. This monologue constitutes an extended consideration of artistic glory and immortality:  ¡Ah! Mà ¡rmoles que mis manos pulieron con tanto afà ¡n, maà ±ana os contemplarà ¡n los absortos sevillanos; y al mirar de este panteà ³n las gigantes proporciones, tendrà ¡n las generaciones la nuestra en veneracià ³n. Mas yendo y viniendo dà ­as, se hundirà ¡n unas tras otras, mientra en pie estarà ©is vosotras, pà ³stumas memorias mà ­as.  ¡Oh! frutos de mis desvelos, peà ±as a quien yo animà © y por quienes arrostrà © la intemperie de los cielos; el que forma y ser os dio, va ya a perderos de vista;  ¡velad mi gloria de artista, pues vivirà ©is mà ¡s que yo! (lines 2656-75) [Oh, my marble beauties, carved so lovingly with these hands. When Seville comes tomorrow, wide-eyed, to contemplate your grand proportions and the beauty of this pantheon, our age will earn the veneration of generations to come. Days will come and go, men will come and go while you still stand, my posthumous memories. Oh, children of my labor, stones I brought to life and for which I was at the mercy of the heavens. He who gave you form and being is now going to lose sight of you. Watch over my artistic glory. You will live longer than I. (519)] A typically Romantic creative genius, the Escultor depicts himself as a little god who creates and gives life to the statues, all the while defying the undeniably greater forces at work in the world. Moreover, the statues will bear forth the glory of the sculptor, will grant him the possibility of artistic fame and immortality. Zorrilla also uses the Escultor to advance a subtle polemic relative to compensation for artistic endeav- ors. When Don Juan attempts to slip him something for the statues -Pues bien merece algo mà ¡s / un retrato tan maestro. / Tomad [Such a likeness deserves something more. Here] (lines 2866-68; 522) the Sculptor replies, Mirad que està ¡n bien pagadas [But they are well paid for] (line 2872; 522). If, as I suggest, the Escultor represents Zorrilla, then we ought to understand this brief exchange in terms of the relative status of authors in early nineteenth-century Spain (Ford 66).The monuments of the statues correspond, therefore, to the document that i s Don Juan Tenorio; the pantheon of the dead is the gallery of great authors. In his play we find elements characteristic of Romantic drama, such as deadlines to be met, settings in cemeteries, dungeons, castles or hermitages, characters believed to be dead that unexpectedly reappear, anagnorises, intrigues, and a wide diversity of secondary characters that add a picturesque touch. Zorrilla’s play gives a sentimental version of love and patriotism and invariably end with Good triumphing over Evil. Although the majority of Spanish Romantics had a Neoclassical formation, with models such as Lista and Quintana, young Zorrilla read the Duque de Rivas and Espronceda. His work lacks intimacy and does not present ideological problems; instead, it depicts a conventional chivalric Spain of the past, populated with valiant cavaliers and noble ladies. His literary Catholicism manifests itself in great sins, great repentances, and exemplary miracles. He was responsible for extending the Romantic drama until well into Galdà ³s’s times. Every year, during the days of the commemoration of the dead, the blessed souls in Purgatory, the people come as to a mass, a procession, a funeral, to hear and see, to admire, to fear, and to pity Don Juan, and to adore Dofia Inà ©s doà ©a Inà ©s of my soul maternal and virginal at the same time (Fernà ¡ndez 123). nbsp; nbsp;