Phil .Literature Essay Example for Free

Phil .Literature Essay Philippine literary production during the American Period in the Philippines was spurred by two significant developments in education and culture. One is the introduction of free public instruction for all children of school age and two, the use of English as medium of instruction in all levels of education in public schools. Free public education made knowledge and information accessible to a greater number of Filipinos. Those who availed of this education through college were able to improve their social status and joined a good number of educated masses who became part of the country’s middle class. The use of English as medium of instruction introduced Filipinos to Anglo-American modes of thought, culture and life ways that would be embedded not only in the literature produced but also in the psyche of the country’s educated class. It was this educated class that would be the wellspring of a vibrant Philippine Literature in English. Philippine literature in English, as a direct result of American colonization of the country, could not escape being imitative of American models of writing especially during its period of apprenticeship. The poetry written by early poets manifested studied attempts at versification as in the following poem which is proof of the poet’s rather elementary exercise in the English language: Vacation days at last are here, And we have time for fun so dear, All boys and girls do gladly cheer, This welcomed season of the year. In early June in school we’ll meet; A harder task shall we complete And if we fail we must repeat That self same task without retreat. We simply rest to come again To school where boys and girls obtain The Creator’s gift to men Whose sanguine hopes in us remain. Vacation means a time for play For young and old in night and day My wish for all is to be gay, And evil none lead you astray- Juan F. Salazar Philippines Free Press, May 9, 1909| The poem was anthologized in the first collection of poetry in English, Filipino Poetry, edited by Rodolfo Dato (1909 – 1924). Among the poets featured in this anthology were Proceso Sebastian Maximo Kalaw, Fernando Maramag, Leopoldo Uichanco, Jose Ledesma, Vicente Callao, Santiago Sevilla, Bernardo Garcia, Francisco Africa, Pablo Anzures, Carlos P. Romulo, Francisco Tonogbanua, Juan Pastrana, Maria Agoncillo, Paz Marquez Benitez, Luis Dato and many others. Another anthology, The English German Anthology of Poetsedited by Pablo Laslo was published and covered poets published from 1924-1934 among whom were Teofilo D. Agcaoili, Aurelio Alvero, Horacio de la Costa, Amador T. Daguio, Salvador P. Lopez, Angela Manalang Gloria, Trinidad Tarrosa, Abelardo Subido and Jose Garcia Villa, among others. A third pre-war collection of poetry was edited by Carlos Bulosan, Chorus for America: Six Philippine Poets. The six poets in this collection were Jose Garcia Villa, Rafael Zulueta da Costa, Rodrigo T. Feria, C. B. Rigor, Cecilio Baroga and Carlos Bulosan. In fiction, the period of apprenticeship in literary writing in English is marked by imitation of the style of storytelling and strict adherence to the craft of the short story as practiced by popular American fictionists. Early short story writers in English were often dubbed as the Andersons or Saroyans or the Hemingways of Philippine letters. Leopoldo Yabes in his study of the Philippine short story in English from 1925 to 1955 points to these models of American fiction exerting profound influence on the early writings of story writers like Francisco Arcellana, A. E. Litiatco, Paz Latorena. . When the University of the Philippines was founded in 1908, an elite group of writers in English began to exert influence among the culturati. The U. P. Writers Club founded in 1926, had stated that one of its aims was to enhance and propagate the language of Shakespeare. In 1925, Paz Marquez Benitez short story, Dead Stars was published and was made the landmark of the maturity of the Filipino writer in English. Soon after Benitez, short story writers began publishing stories no longer imitative of American models. Thus, story writers like Icasiano Calalang, A. E. Litiatco, Arturo Rotor, Lydia Villanueva, Paz Latorena , Manuel Arguilla began publishing stories manifesting both skilled use of the language and a keen Filipino sensibility. This combination of writing in a borrowed tongue while dwelling on Filipino customs and traditions earmarked the literary output of major Filipino fictionists in English during the American period. Thus, the major novels of the period, such as the Filipino Rebel, by Maximo Kalaw, and His Native Soil by Juan C. Laya, are discourses on cultural identity, nationhood and being Filipino done in the English language. Stories such as How My Brother Leon Brought Home a Wife by Manuel Arguilla scanned the scenery as well as the folkways of Ilocandia while N. V. M. Gonzales’s novels and stories such as Children of the Ash Covered Loam, present the panorama of Mindoro, in all its customs and traditions while configuring its characters in the human dilemma of nostalgia and poverty. Apart from Arguilla and Gonzales, noted fictionists during the period included Francisco Arcellana, whom Jose Garcia Villa lauded as a genius storyteller, Consorcio Borje, Aida Rivera, Conrado Pedroche, Amador Daguio, Sinai Hamada, Hernando Ocampo, Fernando Maria Guerrero. Jose Garcia Villa himself wrote several short stories but devoted most of his time to poetry. In 1936, when the Philippine Writers League was organized, Filipino writers in English began discussing the value of literature in society. Initiated and led by Salvador P. Lopez, whose essays on Literature and Societyprovoked debates, the discussion centered on proletarian literature, i. e. , engaged or committed literature versus the art for art’s sake literary orientation. But this discussion curiously left out the issue of colonialism and colonial literature and the whole place of literary writing in English under a colonial set-up that was the Philippines then. With Salvador P. Lopez, the essay in English gained the upper hand in day to day discourse on politics and governance. Polemicists who used to write in Spanish like Claro M. Recto, slowly started using English in the discussion of current events even as newspaper dailies moved away from Spanish reporting into English. Among the essayists, Federico Mangahas had an easy facility with the language and the essay as genre. Other noted essayists during the period were Fernando Maramag, Carlos P. Romulo , Conrado Ramirez. On the other hand, the flowering of a vibrant literary tradition due to historical events did not altogether hamper literary production in the native or indigenous languages. In fact, the early period of the 20th century was remarkable for the significant literary output of all major languages in the various literary genre. It was during the early American period that seditious plays, using the form of the zarsuwela, were mounted. Zarsuwelistas Juan Abad, Aurelio Tolentino ,Juan Matapang Cruz. Juan Crisostomo Sotto mounted the classics like Tanikalang Ginto, Kahapon, Ngayon at Bukas and Hindi Ako Patay, all directed against the American imperialists. Patricio Mariano’s Anak ng Dagat and Severino Reyes’s Walang Sugat are equally remarkable zarsuwelas staged during the period. On the eve of World War II, Wilfredo Maria Guerrero would gain dominance in theatre through his one-act plays which he toured through his mobile theatre. Thus, Wanted a Chaperone and The Forsaken Housebecame very popular in campuses throughout the archipelago. The novel in Tagalog, Iloko, Hiligaynon and Sugbuanon also developed during the period aided largely by the steady publication of weekly magazines like the Liwayway, Bannawag and Bisaya which serialized the novels. Among the early Tagalog novelists of the 20th century were Ishmael Amado, Valeriano Hernandez Pena, Faustino Aguilar, Lope K. Santos and Lazaro Francisco. Ishmael Amado’s Bulalakaw ng Pag-asa published in 1909 was one of the earliest novels that dealt with the theme of American imperialism in the Philippines. The novel, however, was not released from the printing press until 1916, at which time, the author, by his own admission and after having been sent as a pensionado to the U. S. , had other ideas apart from those he wrote in the novel. Valeriano Hernandez Pena’s Nena at Neneng narrates the story of two women who happened to be best of friends as they cope with their relationships with the men in their lives. Nena succeeds in her married life while Neneng suffers from a stormy marriage because of her jealous husband. Faustino Aguilar published Pinaglahuan, a love triangle set in the early years of the century when the workers movement was being formed. The novel’s hero, Luis Gatbuhay, is a worker in a printery who isimprisoned for a false accusation and loses his love, Danding, to his rival Rojalde, son of a wealthy capitalist. Lope K. Santos, Banaag at Sikat has almost the same theme and motif as the hero of the novel, Delfin, also falls in love with a rich woman, daughter of a wealthy landlord. The love story of course is set also within the background of development of the worker’s trade union movement and throughout the novel, Santos engages the readers in lengthy treatises and discourses on socialism and capitalism. Many other Tagalog novelists wrote on variations of the same theme, i. e. , the interplay of fate, love and social justice. Among these writers are Inigo Ed Regalado, Roman Reyes, Fausto J. Galauran, Susana de Guzman, Rosario de Guzman-Lingat, Lazaro Francisco, Hilaria Labog, Rosalia Aguinaldo, Amado V. Hernandez. Many of these writers were able to produce three or more novels as Soledad Reyes would bear out in her book which is the result of her dissertation, Ang Nobelang Tagalog (1979). Among the Iloko writers, noted novelists were Leon Pichay, who was also the region’s poet laureate then, Hermogenes Belen, and Mena Pecson Crisologo whose Mining wenno Ayat ti Kararwa is considered to be the Iloko version of a Noli me Tangere. In the Visayas, Magdalena Jalandoni and Ramon Muzones would lead most writers in writing the novels that dwelt on the themes of love, courtship, life in the farmlands, and other social upheavals of the period. Marcel Navarra wrote stories and novels in Sugbuhanon. Poetry in all languages continued to flourish in all regions of the country during the American period. The Tagalogs, hailing Francisco F. Balagtas as the nation’s foremost poet invented the balagtasan in his honor. Thebalagtasan is a debate in verse, a poetical joust done almost spontaneously between protagonists who debate over the pros and cons of an issue. The first balagtasan was held in March 1924 at the Instituto de Mujeres, with Jose Corazon de Jesus and Florentino Collantes as rivals, bubuyog (bee) and paru-paro (butterfly) aiming for the love of kampupot (jasmine). It was during this balagtasan that Jose Corazon de Jesus, known as Huseng Batute, emerged triumphant to become the first king of the Balagtasan. Jose Corazon de Jesus was the finest master of the genre. He was later followed by balagtasistas, Emilio Mar Antonio and Crescenciano Marquez, who also became King of the Balagtasan in their own time. As Huseng Batute, de Jesus also produced the finest poems and lyrics during the period. His debates with Amado V. Hernandez on the political issue of independence from America and nationhood were mostly done in verse and are testament to the vitality of Tagalog poetry during the era. Lope K. Santos, epic poem, Ang Panggingera is also proof of how poets of the period have come to master the language to be able to translate it into effective poetry. The balagtasan would be echoed as a poetical fiesta and would be duplicated in the Ilocos as thebukanegan, in honor of Pedro Bukaneg, the supposed transcriber of the epic, Biag ni Lam-ang; and theCrissottan, in Pampanga, in honor of the esteemed poet of the Pampango, Juan Crisostomo Sotto. In 1932, Alejandro G. Abadilla , armed with new criticism and an orientation on  modernist poetry would taunt traditional Tagalog poetics with the publication of his poem, Ako ang Daigdig. Abadilla’s poetry began the era of modernism in Tagalog poetry, a departure from the traditional rhymed, measured and orally recited poems. Modernist poetry which utilized free or blank verses was intended more for silent reading than oral delivery. Noted poets in Tagalog during the American period were Julian Cruz Balmaceda, Florentino Collantes, Pedro Gatmaitan, Jose Corazon de Jesus, Benigno Ramos, Inigo Ed. Regalado, Ildefonso Santos, Lope K.  Santos, Aniceto Silvestre, Emilio Mar. Antonio, Alejandro Abadilla and Teodoro Agoncillo. Like the writers in English who formed themselves into organizations, Tagalog writers also formed the Ilaw at Panitik, and held discussions and workshops on the value of literature in society. Benigno Ramos, was one of the most politicized poets of the period as he aligned himself with the peasants of the Sakdal Movement. Fiction in Tagalog as well as in the other languages of the regions developed alongside the novel. Most fictionists are also novelists. Brigido Batungbakal , Macario Pineda and other writers chose to dwell on the vicissitudes of life in a changing rural landscape. Deogracias Del Rosario on the other hand, chose the city and the emerging social elite as subjects of his stories. He is considered the father of the modern short story in Tagalog Among the more popular fictionists who emerged during the period are two women writers, Liwayway Arceo and Genoveva Edroza Matute, considered forerunners in the use of light fiction, a kind of story telling that uses language through poignant rendition. Genoveva Edroza Matute’s Ako’y Isang Tinig and Liwayway Arceo’s Uhaw ang Tigang na Lupa have been used as models of fine writing in Filipino by teachers of composition throughout the school system. Teodoro Agoncillo’s anthology 25 Pinakamahusay na Maiikling Kuwento (1945) included the foremost writers of fiction in the pre-war era. The separate, yet parallel developments of Philippine literature in English and those in Tagalog and other languages of the archipelago during the American period only prove that literature and writing in whatever language and in whatever climate are able to survive mainly through the active imagination of writers. Apparently, what was lacking during the period was for the writers in the various languages to come together, share experiences and come to a conclusion on the elements that constitute good writing in the Philippines.

Lady Mary Wroth as Proto-Feminist Essay -- Feminism Feminist Women Cri

Lady Mary Wroth as Proto-Feminist Lady Mary Wroth is one of very few canonized woman poets in the 17th century canon (Strickland lect. Oct 11 94.). This fact alone lends a type of importance to Wroth that sets her off from her male contemporaries. Wroth wrote poems at about the same time that Robert Herrick, John Donne, Andrew Marvell, and Sir Philip Sidney (to name a few) wrote their courtly lyrics. Wroth wasn't the only woman writer from the time, instead, she was simply one of very few that were saved from historical anonymity. Lady Mary Wroth writes using a fairly conventional form of sonnet making, the "Carpe Diem" style. In using this style, she achieves an interesting internal critique of itself as poetic form. Wroth shows how the form is exclusive and at times self-defeating. Wroth exposes these faults by elaborating on images of masochistic love and how this type of love is furthered by the use of military metaphor. Lastly, I will discuss how Wroth's use of double narration and monologue format also serve to problematize the "Carpe Diem" style. "Carpe Diem" means "seize the day", and this particular translation of the phrase is of particular importance for establishing the validity of Wroth's critique. (Strickland lect. Oct 11 94). These "Carpe Diem" love sonnets usually focused around the narrator trying to seduce a woman into bed or into some type of love relationship. The need to "seize the day was worked in by the narrator in hopes of spurring the woman into action. One good example of this is in Andrew Marvell's poem "To His Coy Mistress". In this poem, Marvell writes: "And the last age should show your heart:/ ... But at my back I always hear/ Time's winged chariot hurrying near" (Marvell n.p.). Marvell... ... too well placed to be considered accidental. Although I cannot claim to be completely knowledgeable in Feminist writing I can only suppose that I have found what I think is there. WORKS CITED Adam, Robert M. & Logan, George M. ed. The Norton Anthology of English Literature: Fifth Edition. New York: W.W. Norton Co., 1986. Greer, Germaine. The Female Eunuch. New York: McGraw--Hill, 1970. Marvell, Andrew. Andrew Marvell: The Complete Poems. Elizabeth Story Donno ed. New York: Penguin, 1972. Smith, A.J. ed. John Donne: The Complete English Poems. London: Penguin, 1971. Strickland, Ronald. 17th Century English 215 (Course Packet). Normal: Pip Printing, 1994. Strickland, Ronald. Lecture. Literature of the 17th Century. Illinois State University. Normal, 11th Oct. 1994. Wroth, Lady Mary. The Poems of Lady Mary Wroth. Baton Rogue: Louisiana St. UP, 1983. Lady Mary Wroth as Proto-Feminist Essay -- Feminism Feminist Women Cri Lady Mary Wroth as Proto-Feminist Lady Mary Wroth is one of very few canonized woman poets in the 17th century canon (Strickland lect. Oct 11 94.). This fact alone lends a type of importance to Wroth that sets her off from her male contemporaries. Wroth wrote poems at about the same time that Robert Herrick, John Donne, Andrew Marvell, and Sir Philip Sidney (to name a few) wrote their courtly lyrics. Wroth wasn't the only woman writer from the time, instead, she was simply one of very few that were saved from historical anonymity. Lady Mary Wroth writes using a fairly conventional form of sonnet making, the "Carpe Diem" style. In using this style, she achieves an interesting internal critique of itself as poetic form. Wroth shows how the form is exclusive and at times self-defeating. Wroth exposes these faults by elaborating on images of masochistic love and how this type of love is furthered by the use of military metaphor. Lastly, I will discuss how Wroth's use of double narration and monologue format also serve to problematize the "Carpe Diem" style. "Carpe Diem" means "seize the day", and this particular translation of the phrase is of particular importance for establishing the validity of Wroth's critique. (Strickland lect. Oct 11 94). These "Carpe Diem" love sonnets usually focused around the narrator trying to seduce a woman into bed or into some type of love relationship. The need to "seize the day was worked in by the narrator in hopes of spurring the woman into action. One good example of this is in Andrew Marvell's poem "To His Coy Mistress". In this poem, Marvell writes: "And the last age should show your heart:/ ... But at my back I always hear/ Time's winged chariot hurrying near" (Marvell n.p.). Marvell... ... too well placed to be considered accidental. Although I cannot claim to be completely knowledgeable in Feminist writing I can only suppose that I have found what I think is there. WORKS CITED Adam, Robert M. & Logan, George M. ed. The Norton Anthology of English Literature: Fifth Edition. New York: W.W. Norton Co., 1986. Greer, Germaine. The Female Eunuch. New York: McGraw--Hill, 1970. Marvell, Andrew. Andrew Marvell: The Complete Poems. Elizabeth Story Donno ed. New York: Penguin, 1972. Smith, A.J. ed. John Donne: The Complete English Poems. London: Penguin, 1971. Strickland, Ronald. 17th Century English 215 (Course Packet). Normal: Pip Printing, 1994. Strickland, Ronald. Lecture. Literature of the 17th Century. Illinois State University. Normal, 11th Oct. 1994. Wroth, Lady Mary. The Poems of Lady Mary Wroth. Baton Rogue: Louisiana St. UP, 1983.

Hebrew Pentecostals Essay

The movement known as the Hebrew Pentecostals started in 1914 by Bishop R.A.R. Johnson, a former Methodist minister, in Beaufort South Carolina. Bishop Johnson, dissatisfied with the Methodist church and its lack of positive support for the Pentecostal experience which included tongues, the indwelling of the holy spirit, and the observance of the original seventh day Sabbath, left the Methodist church to form what was called the â€Å" Commandment Keepers†. Through Bishop Johnson’s travelling ministry both nationally and internationally the church experienced rapid growth and quickly developed congregations on three continents. The group has been in existence and growing ever since then. Bishop Johnson was succeeded by Bishop Aaron Smith, first Chief Apostle, who led the church from 1941 to 1049, followed by Bishop S.P. Rawlings, second Chief Apostle, who headed the church from 1950 to 1990. Under Bishop S.P. Rawlings the church saw significant changes including the adoption of the Jewish festival days, and the acceptance of an identity as â€Å"Hebrew Pentecostal†. Hebrew Pentecostals do not consider themselves a Christian group or a Jewish group; they associate themselves with both early Christianity and the faith of the early Hebrews. Bishop Rawlings felt that the churches observance of the Jewish law and the acceptance of Jesus Christ as the Messiah separated the organization from traditional Christian and Jewish theological positions. The term â€Å"Hebrew Pentecostal† provides a unique identifier which embodies the marriage of Judaism and Christianity. Bishop S.P. Rawlings was succeeded by Bishop F.C. Scott, third Chief Apostle, who led the church from 1991 to 2005. Bishop Scott dedicated the current national Temple and oversaw paying it off. International presence increased greatly under his leadership and technological advancements were made in the church. Powers of the executive boards were refined and polices were updated. The honorable Bishop James E. Embry is the current Chief Apostle of the church and has been in office since 2005. Hebrew Pentecostalism is a religious philosophy derived from the inclusion of all divine concepts expressed in both the old and new Testaments of the Bible. The writings of the Old and New Testaments form the basis for both Judaism and Christianity, they also sharply delineate respective perceptions regarding the manner in which man is required to recognize and worship God. For example, Judaism rejects the validity and applicability of the New Testament writings while Christianity does the same for much of the Old Testament. It appears therefore that a merging of these two desperate positions would be tantamount to mixing water and oil however, that is exactly what Hebrew Pentecostalism does. The word â€Å"Hebrew† was used in Bible history by foreign peoples as a name for the Israelites; today it is applied only to the Hebrew language. Since the basic tents of the Hebrew Pentecostalism extracts its legitimacy from the original concepts of the Bible, it follows that the original reference to Gods chosen people is retained in the denominational identification. Membership is claimed, in the Hebrew family, by linkage provided by the Apostle Paul in Gal 3:29 And if ye be Christ’s, then are ye Abraham’s seed, and heirs according to the promise. Pentecostalism has its basic roots in familiar religious concepts. Its beginning can be traced to Acts 2:1-6, where the promise of the Holy Ghost was fulfilled in the upper room. The recognition of the indwelling of the Holy Spirit survived through centuries, but grew in the United States when speaking in tongues was evidenced in the southern Appalachians(1896). However, Bishop S.P. Rawlings of the House of God fathered the concept of â€Å"Hebrew Pentecostalism† at the 58th Convocation in 1977, after recognizing the The House of God was the only known church that embraced the total Bible as current day truth. They follow certain commandments in the Old Testament, such as dietary laws, the three pilgrimage festivals and the Sabbath. Their devotional services follow the Hebrew tradition rather than the Christian. They observe the Sabbath, it being an element in Creation since God himself rested on the seventh day and Adam rested with Him. They believe the Sabbath was made for man, but the Jewish people are the carriers of it. By observing the Sabbath, they are following the practices made for man. They have a systematic way of dealing with issues that come up within their organization and there is a definite hierarchy. They have a spiritual leader over the entire movement, called the Chief Apostle. Currently, the Chief Apostle is Bishop James E. Embry Jr. Under him, there is a board of Apostles, Elders, Pastors, and Evangelists. If there is a decision concerning matters of the Scripture, it comes down from the board of Apostles to the Pastors and to the local congregation. There are the male-only offices: Bishops, Vicar Bishops, Elders, and Deacons. Then the male-female offices: Pastors, Evangelists and Ministers. Then the female-only offices: Elect Lady, Mothers, Missionaries. The role of women is very open in the Hebrew Pentecostal church. There are women Pastors, women who carry out the Sacraments, such as marriage, burying the dead, and rites of Passover. They have no problems with the feminist movement as a whole, but there are some individual disagreements. Basically, as long as the feminist movement does not contradict the word of God, then they accept it. Since the feminist movement advocates abortion it cannot be supported by the church in that area. Their Sacraments are not similar to the Christian Sacraments. They have incorporated the rites of Passover into them. Passover is not a Sacrament in the Christian tradition. This reflects how they incorporate the Hebrew tradition into the Christian idea. The titles of many aspects of their religion have Christian names and some Hebrew themes although they do not exactly call themselves Christians. One common theme in their beliefs is the desire to go back to the root of the religion, rather than follow what history has made it to be. Hebrew Pentecostals are similar to Messianic Jews. However, Hebrew Pentecostals differ from Messianic Judaism in the respect that they started from different places. Messianic Judaism came from a Jewish background to accept the concept of Jesus as the son of God, whereas the Hebrew Pentecostal group came from a Christian background to embrace the Old Testament traditions. They are on the same understanding of the scriptures and identify with them closely. The primary doctrine of Hebrew Pentecostals is contained in twenty four principles developed by Bishop R.A.R. Johnson. Although there are other doctrinal issues that fall outside of these principles, â€Å"The Twenty Four Principles† represents the foundation of the church doctrine. They are as follows: It is important to look at how they approach change since much of their tradition is based on keeping things as they were originally. It is very interesting that if Hebrew Pentecostals find there is something the word of God teaches that they have not been aware of they are open to change. The way they approach change is through question that come up in the national meeting. Anyone can write to the board of apostles with questions and their answers are discussed. A doctoral change may or may not come out of it. Ideas for change can come from the congregation members themselves. The actual mandate of the change is given by the board of Apostles. It seems that the majority of the movement is based on going back to the basics and keeping things the way they were in the beginning and the acceptance of change seems to go against that framework. In the past 40 years Hebrew Pentecostals have increased 1000%. They grow through the merging of churches and through proselytizing. They do not actively proselytize, but when people hear of them, they explain what they are about and people join. http://excitingjudaism.com/docs/Sutton.doc http://netministries.org http://houseofgod.org

The Effect Of Activated Yeast On Hydrogen Peroxide

The Effect Of Activated Yeast on Hydrogen Peroxide Kashish Pandey Lekha Pillarisetti, Ruth Rauca, Jason Tran Period 1; 21 October 2015 Abstract The topic of this lab is on biochemistry.This experiment was conducted to show how cells prevent the build of hydrogen peroxide in tissues. My group consisted of Lekha, Ruth, and Jason. There were used two different concentrations of hydrogen peroxide through this experiment , 1.5% and 3%. By testing two different types it is easier to understand how the H2O2 and catalase react with one another. To do this both the yeast, which was our catalase, and H2O2 were mixed together in a beaker. Each concentration was tested out twice for more accurate results . 1.5% concentrated H2O2 had an average reaction rate of 10.5 seconds while 3% concentrated H2O2 had an average reaction rate of 7.5 seconds. From this experiment we learned that by increasing the concentration of H2O2 and chemically combining it with a catalase it will speed up the reaction. 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