Behind the Courtly Facade The Function of Irony in Chretien de Troyes Le Chevalier de la Charrette - Literature Essay Samples

Jordan Reid BerkowFinal PaperMedieval CourtDecember 14, 2002Behind the Courtly Facade: The Function of Irony in ChrÃÆ' ©tien de Troyes Le Chevalier de la CharretteBut love is blind, and lovers cannot seeThe pretty follies that themselves commit.- William Shakespeare, The Merchant of VeniceThe tale of Lancelot, or Le Chevalier de la Charrette, proffers a most interesting challenge to a reader of ChrÃÆ' ©tien de Troyes Arthurian Romances, for the story presents a compelling paradox, simultaneously glorifying Lancelots devotion to Queen Guinevere while undercutting the depiction of love with a biting sense of irony . Few modern scholars contend that the depiction of courtly love in Lancelot is wholeheartedly positive, intended to portray Lancelot as the flower of chivalry and a paragon of virtue, holding instead that irony is pervasive throughout the tale as ChrÃÆ' ©tiens own voice and sense of morality jousts with the conflicting sen commissioned by his patron, the Countess Marie de Champagne, daughter of Henry II and Eleanor of Aquitaine. Irony is present in Lancelot for a wide variety of reasons common to many writers of the era, but predominantly because of ChrÃÆ' ©tiens discomfort with the material. The following pages will contain a discussion of how and why irony presents itself in Le Chevalier de la Charrette as a criticism of the love between Lancelot and Guinevere, followed by an exploration of additional reasons for why ChrÃÆ' ©tien and his contemporaries might have utilized irony as a literary tool. Although it may, perhaps, be surprising that irony is even present in the medieval romance, Daniel Green, author of Irony in the Medieval Romance, writes that even in the medieval genre which devoted its energies most exclusively to the cultivation of an ideal of love, the lyric, irony is no stranger (101). Irony was, indeed, an integral part of the courtly romance, deeply imbedded in its very nature and essential to its purposes, for r easons that will be discussed below. In ChrÃÆ' ©tiens Arthurian Romances, in particular, irony has been readily acknowledged as integral (Green 391) as ChrÃÆ' ©tien displays a leaning towards the critical that seems to invite an ironic subtext. It seems likely that ChrÃÆ' ©tiens apparent discomfort with the story of Lancelot stems from the implied romanticization of adulterous relationships, an endorsement with which his clerical background was possibly at odds. He was conscious of creating a romantic, passionate story for the female patron and the predominantly female audience , but seems to have found it difficult to extol a lifestyle with which he felt morally at odds. Jean Frappier, author of ChrÃÆ' ©tien de Troyes: The Man and His Work writes that it may seem disconcerting to find prowess, adventure and love exalted in courtly romances authored by clerics (11) but that the clerics who composed for the courtly ladies more often than not were not deeply entrenched in the church, having gone through clerical studies predominantly to gain knowledge that could only be learned in this manner. ChrÃÆ' ©tien, however, may for all we know have been particularly struck by his ecclesiastical training, and while he most likely was attracted to composition for the same reasons that his contemporaries were, feeling a tie to antiquity and a responsibility to continue the transmission of cultural heritage through text, his true values, somewhat opposed to the values implicit in a story of adulterous courtly love, may in the end have proven quite powerful.ChretiÃÆ' ©n was most likely also uncomfortable with the blasÃÆ' © attitude towards betrayal implicit in Lancelot. Perfect courtliness, writes Frappier, involved respect for the actions and feelings of others (7). Clearly, then, ChrÃÆ' ©tiens protagonist cannot be regarded as perfectly courtly, for he has no regard whatsoever for King Arthur, whose wife he woos with abandon. The only refere nce made to the deep betrayal that Lancelot is committing against his lord comes when Meleagant accuses Kay of having slept with the Queen, and Kay retorts that he would much rather be dead than have committed such a base and blameworthy act against my lord. The actions of Lancelot and Queen Guinevere are clearly abominable in ChrÃÆ' ©tiens eyes, and he presents Lancelot in an ironic light in order to convey his disapproval of such disloyalty. ChrÃÆ' ©tiens value system, or at least what we understand of it based upon his other compositions, was almost directly opposed to the values within the story of Lancelot, and it is for this reason that Lancelot takes on a far more ironic tone than many of his other works. Frappier writes about ChrÃÆ' ©tiens desire to please but also to instruct (46) and his condemnation of futile excess and lack of balance (47) arguably the defining characteristics of the protagonist of Le Chevalier de la Charrette. Indeed, at the time in which ChrÃÆ' ©tien was writing the northern conception of courtly loveencouraged the refinement of emotion and resistance to impulsive desires (Frappier 9). ChrÃÆ' ©tiens other works also include characters who become excessively involved in either love (Erec and Enide) or knightly pursuits (Yvain), but ChrÃÆ' ©tien has less difficulty with these topics because in each of these stories the knight learns that he must not allow himself such excesses. Lancelot, by contrast, never learns this lesson, and it is this fact with which ChrÃÆ' ©tien has difficulty, necessitating the use of irony in order to demonstrate that he does not morally agree with what is ostensibly being said in the story. Frappier explains the discrepancy between Lancelot and ChrÃÆ' ©tiens other works by taking note of the fact that Lancelot was written at the behest of Marie de Champagne, and thus is not necessarily a good example of the endorsement of restraint and moral strength that seem to have c haracterized ChrÃÆ' ©tiens value system. So far as we know, ChrÃÆ' ©tien chose in complete freedom the subjects of Erec and Cliges, but in the prologue of [Lancelot] he stated explicitly that he obeyed the command of Countess Marie de Champagne and that she alone decided upon its subject matter and controlling purpose. One might say that, even though adroitly complimenting his patroness, he seems to be carefully excusing himself for both. It is surprising also that he entrusted to Godefroi de lagny the composition of the last 1,000 lines. The current view is that ChrÃÆ' ©tien lacked enthusiasm or that he followed the countesss instructions (however capricious) with reluctance. (Frappier 93)It seems, then, that Lancelot presented a unique situation for ChrÃÆ' ©tien: He found himself being commissioned to write a story which supported values with which he may not have been comfortable, and sought to balance his distaste for the subject matter by infusing the tale wit h irony, thus expressing his criticism relatively safely.Most likely as a result of ChrÃÆ' ©tiens discomfort with the sen of the story, the tale of Lancelot du Lac is rife with ironic subtext from start to finish ChrÃÆ' ©tien rests his critical, ironic eye on many aspects of the tale, from chivalry to jousting to knighthood, but he is at his most biting when he deals with the topic of the love between Lancelot and Guinevere. While the adulterous love that is the focus of Lancelot is outwardly endorsed by ChrÃÆ' ©tiens tale, the ironic undertones with which he suffuses the episodes dealing with the two lovers lays bare the true values of the writer. In each of the three episodes that will be discussed below, Lancelot is outwardly performing the tasks of a handsome, courtly, passionate lover, but in each episode, he is subtly or not being portrayed as somewhat absurd. The episode in which Lancelot encounters strands of Guineveres golden hair entertwined between the teeth of a comb, and proceeds to fall into raptures over them, is a clear example of how outwardly Lancelot is being portrayed as a passionate lover sure to appeal to female listeners and yet ChrÃÆ' ©tiens own values are quite apparent. Upon learning that the strands of hair do indeed belong to his great love, Lancelot did not have strength enough to keep from falling forward and was obliged to catch himself upon the saddle-bowhe began to adore the hair, touching it a hundred thousand times to his eye, his mouth, his forehead and his cheeks (225). Yes, Lancelot is behaving in a romantic fashion; yes, he is devoted and courtly but his actions are, objectively, quite ridiculous. According to Frappier, courtly as the term is used in medieval romances refers to a refined art of love inaccessible to common mortals (7). This kind of love is certainly inaccessible to common mortals, but in truth, who would consider falling into a faint at the mere sight of a loved ones dead, fallen-ou t hair refined? This episode demonstrates how ChrÃÆ' ©tien is able to subtly mock the kind of love between Lancelot and Guinevere, never outwardly criticizing, merely suffusing the tale with his own values through the use of irony.Later in the tale, after Lancelot has come face to face with Meleagant, ChrÃÆ' ©tien again mocks the single-minded devotion Lancelot has for Queen Guinevere, as the portrayal of Lancelot as he fights Meleagant is, in truth, quite ludicrous. When Lancelot hears the Queen call his name, he began to defend himself from behind his back so he would not have to turn or divert his face or eyes from her (253). Certainly a listener could have interpreted this episode as depicting the greatness of Lancelots love for the Queen, but it seems more likely that ChrÃÆ' ©tiens personal view of this moment was rather comical. The ironic tone that ChrÃÆ' ©tien takes towards Lancelot in this episode again demonstrates ChrÃÆ' ©tiens apparent distaste for his protagonist, and for the values endorsed by the tale. A third episode in which Lancelots actions could be read as chivalrous and passionate, but which, in the context of the way he is portrayed throughout the rest of the tale, come off as somewhat absurd, occurs during Lancelots bizarre suicide attempt after he has heard the rumor that Queen Guinevere has died. Without waiting, he put the loop [of rope] over his head until it was taut about his neck; and to be sure of death, he tied the other end of the belt tightly to his saddle horn, without attracting anyones attention. Then he let himself slip towards the ground, wishing to be dragged by his horse until dead (260). Such conduct hardly casts the knight in a heroic, refined, courtly light rather, this episode appears to be mocking the depth of emotion that Lancelot feels for Guinevere. His emotions are all-or-nothing, far too extreme to exist in real life, and it is this truth with which ChrÃÆ' ©tien is playing: The fact that such a love cannot and probably should not exist. This description of Lancelot is clearly intended to cast the passion that the character feels in a somewhat ironic, almost absurd, light. Although the primary goal of the irony employed in ChrÃÆ' ©tiens Lancelot was to safely demonstrate the authors discomfort with the material, there are a number of other possible reasons for the existence of irony in the text. Modern scholars agree that irony does, in fact, appear quite frequently in medieval romances, and have considered how modern readers, viewing the text from such a distance, can infer that a particular passage is intended to be read ironically. How can we be sure that a narrative composed hundreds of years ago is intended to be interpreted in an ironic, as opposed to a straightforward, manner? Indeed, courtly literature is largely centered around the idealization of chivalric virtue, knighthood, and love and so, asks Green, have we any right to expect an ironi c view, with its reservations and even criticism, of a value [love] which, as countless medieval poets remind us, was regarded as the inspiration of all virtues? (91). Is it possible that there was room for irony within the overriding goal of the elevation of chivalry and courtly values? The answer, according to most modern scholars, appears to be yes: There are a number of signals that justify the appearance of irony in the medieval romance, each of which should be taken into consideration when considering the function of irony in Lancelot. To begin with, one must consider the social station of those writing the narratives within the court. Ecclesiastically trained clerics who had decided not to become priests, but even so not entirely integrated into court society, the composers of the medieval romance were outsiders both to their past, and to their present. Court poets were outsidersfrom the Church to which they owed their education, but also from the aristocratic courts wher e they sought positions as secretaries, tutors, counsellors, and poets (Green 360). Thus bestowed with critical distance, far enough from the courts values for the spark of irony to be lighted (Green 361), court poets such as ChrÃÆ' ©tien de Troyes were able to attain greater objectivity about the people and events that they were observing, and felt more comfortable taking an ironic stance than they would have had they truly been a part of the world about which they were writing. The second reason why we are not surprised to find irony deeply embedded within medieval romances such as Lancelot is that medieval writers were quite comfortable with the ironic technique. During the period in which ChrÃÆ' ©tien and his contemporaries were writing, there was an emphasis on indirect statements, hiding the true meaning of a statement in a more roundabout manner of discourse. Indeed, courtly etiquette held that social intercourse would proceed more smoothly if modes of speech were less straightforward (Green 365). The writer, therefore, could demonstrate this well-regarded skill through irony, thus displaying a noble and refined mind by saying less, rather than more what he means (Green 365). Troubadour poets frequently utilized this method as a way to distinguish the non-initiated, who were not learned enough to infer the true meaning behind the elevated text, from the initiated, those who could enjoy the compositions to their fullest because of their ability to read between the lines, as it were. The emphasis on modes of speech that lent themselves easily to irony made the placement of ironic subtext within medieval writing much more comfortable for the court poets. A writer such as ChrÃÆ' ©tien de Troyes, comfortable with the use of irony in everyday court interactions, was therefore easily able to translate this skill into his works. Perhaps one of the most important reasons why irony was commonly found in the medieval romance, particularly when we consider the case of ChrÃÆ' ©tien de Troyes, was that irony, as discussed earlier, was a way for the composer to insinuate his true values into a piece with which he did not necessarily agree without directly insulting the values of the patron and those who would be listening to the composition. Green writes that the risk is [great] when the poet criticizes or calls into doubt a fictional character with whom patron and listeners can identify, or even their contemporary mode of existence which they would rather see legitimised by undiluted praiseIf [the writer] is to minimise the danger of giving offence and frustrating his didactic intention it will be tactically advisable to disguise his criticism, to approach his goal by an indirect route, in short to realise that the insinuations of irony might be more effective, and are certainly safer, than the openness of satire (374). ChrÃÆ' ©tien certainly may have found himself in an awkward position when the Countess of Champagn e commissioned Lancelot, a work with which he found himself morally at odds, and he imbued the narrative with irony in order to mitigate his discomfort with the values outwardly endorsed by the text. Given the greater objectivity that many medieval composers held by virtue of their distance from court society, it would seem that this technique would have been utilized frequently in order to convey criticism of the courtly lifestyle without insulting the patron literally, without biting the hand that fed them. The effect of the irony present in medieval romances was further enhanced by the excessively normative structure of these tales. The themes, symbols, and features were so consistent that the shock of ironic statements was greatly increased, making them more effective. Green writes that the conventional and normative structure of the medieval romance provides a breeding ground for irony (384) in that the art-formsuggests such a degree of acceptance of what has been inherited from others that it is difficult to reconcile these conditions with what irony naturally implies, a questioning of what is taken for grantedAlthough these conditions cannot have brought irony about, it can be argued that, once irony had been generated in the romance for various reasons, the presence of typical, normative conditions would make the shock of that irony much more effective than if the obstacle they presented had not existed (384-385). While irony took seed in the medieval romance largely for the reasons delineated above, its effect is so striking for the very reason that the narrative form of the medieval romance is so unwaveringly standardized. It has been established, then, that irony did, indeed, exist in the medieval romance for a number of reasons, but what draws our attention to the story of Le Chevalier de la Charrette in particular? The tale of Lancelot is one in which the ironic undertones are particularly apparent, in large part, as has been discussed, du e to ChrÃÆ' ©tiens distaste for the subject matter that had been commissioned by Marie de Champagne. Certainly, ChrÃÆ' ©tien was eager to please his patron, as is clearly seen in the opening paragraph of Lancelot, in which he directly flatters the Countess, declaring himself entirely at her service (207). Frappier writes that as a professional writer, ChrÃÆ' ©tien was eager for success, liberal in praise of his patrons he would endeavor to fulfill his commission, regardless of his discomfort with the sen she requested, and so he utilized irony in order to refrain from insulting his patron, criticizing the values she proposed only indirectly. In the medieval times, writes Green, criticism tend[ed] to be voiced indirectly, as a concealed undermining of apparent praise (376). Irony, therefore, was a mechanism by which ChrÃÆ' ©tien could express his true views without alienating both his patron and his audience. One must, of course, consider the possibility that Chrà Æ' ©tien may have been rather excited by the opportunity to be forced to write an entirely objective story one with a sen stemming not from his own value system, but one invented for him by a patron. The challenge may indeed have been quite alluring, and ChrÃÆ' ©tien may have enjoyed outwardly endorsing passionate, adulterous love while simultaneously building irony into the story in order to demonstrate his true beliefs to any listener astute enough to grasp his meaning. Most members of the audience would most likely not have picked up on the ironic subtext Green writes that because so many of these signals [of irony] avoid any heavy explicitness and can thereby achieve very subtle effects, it is possible that some medieval listeners may not have noticed [the irony] (29) but it must certainly be taken into consideration that a writer of ChrÃÆ' ©tiens skill may have enjoyed the game of interweaving his own beliefs and the sen requested by the Countess. Not all scholars on medieval romance agree that Lancelot is intended to be read ironically, but this disagreement is the very reason why the impact of the irony in Le Chevalier de la Charrette is so great. Karl D. Uitti, author of ChrÃÆ' ©tien de Troyes Revisited, presents a counter-argument, positing that Lancelot, far from being a somewhat ridiculous, ironic character, is rather intended to be portrayed as the flower of chivalry. Uitti writes that Lancelot incarnates a pure and absolute love for the queenLancelot appears to be telling us [that] the service of Woman, Love and the Heart constitutes a propervenue of authentic knightly prowess (72). According to our analysis of Lancelot, what Uitti is reading is the top layer of ChrÃÆ' ©tiens story, neglecting to take note of the underlying irony. As Green writes, however, many listeners would not have noticed the irony in Lancelot, and this is surely ChrÃÆ' ©tiens intended effect: Were each and every listener to pick up on the ironic sub text, the effect would be destroyed, not to mention the fact that the female patron and listeners would be dissatisfied with the work. Although there are many reasons, from critical distance to comfort with roundabout ways of phrasing, for medieval writers to have utilized irony in their romances, the primary aim of the irony in ChrÃÆ' ©ten de Troyes Le Chevalier de la Charrette was to subtly criticize the sen with which his patroness had provided him, safely indicating his true values while still abiding by the material he had been asked to work with. Lancelot continues to fascinate us to this day not only because it is the remarkable achievement of a great and highly influential medieval writer, but because it gives the modern reader insight into who ChrÃÆ' ©tien truly was, not only as a willing composer-for-hire, but as a man. ReferencesChrÃÆ' ©tien de Troyes. Le Chevalier de la Charrette: Lancelot. Trans. W. W. Kibler. Harmondsworth: Penguin, 1991. Green, David H. Irony in the Medieval Romance. Cambridge: Cambridge University Press, 1979.Frappier, Jean. ChrÃÆ' ©tien de Troyes: The Man and His Work. Trans. R. J. Cormier. Ohio: Ohio University Press, 1982. Uitti, Karl D. ChrÃÆ' ©tien de Troyes Revisited. New York: Twayne Publishers, 1995.

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Polarity of bonds, electronegativitiesMolecular modelsa. Lewis structuresb. Valence bond: hybridization of orbitals, resonance, sigma and pi bondsc. VSEPRGeometry of molecules and ions, structural isomerism of simple organic molecules and coordination complexes; dipole moments of molecules; relation of properties to structure Nuclear Chemistry Nuclear equations, half-lives, and radioactivity; chemical applications. II. States of Matter (20%) Gases Laws of ideal gasesa. Equation of state for an ideal gasb. Partial pressuresKinetic-molecular theorya. Interpretation of ideal gas laws on the basis of this theoryb. Avogadros hypothesis and the mole conceptc. Dependence of kinetic energy of molecules on temperatured. Deviations from ideal gas laws Liquids and Solids Liquids and solids from the kinetic-molecular viewpointPhase diagrams of one-component systemsChanges of state, including critical points and triple pointsStructure of solids; lattice energies Solutions Types of solutions and factors affecting solubilityMethods of expressing concentration (The use of normalities is not tested.)Raoults law and colligative properties (nonvolatile solutes); osmosisNon-ideal behavior (qualitative aspects) III. Reactions (35–40%) Reaction Types Acid-base reactions; concepts of Arrhenius, Brà ¶nsted-Lowry, and Lewis; coordination complexes; amphoterismPrecipitation reactionsOxidation-reduction reactionsa. Oxidation numberb. The role of the electron in oxidation-reductionc. Electrochemistry: electrolytic and galvanic cells; Faradays laws; standard half-cell potentials; Nernst equation; prediction of the direction of redox reactions Stoichiometry Ionic and molecular species present in chemical systems: net ionic equationsBalancing of equations including those for redox reactionsMass and volume relations with emphasis on the mole concept, including empirical formulas and limiting reactants Equilibrium Concept of dynamic equilibrium, physical and chemical; Le Chateliers principle; equilibrium constantsQuantitative treatmenta. Equilibrium constants for gaseous reactions: Kp, Kcb. Equilibrium constants for reactions in solution(1) Constants for acids and bases; pK; pH(2) Solubility product constants and their application to precipitation and the dissolution of slightly soluble compounds(3) Common ion effect; buffers; hydrolysis Kinetics Concept of rate of reactionUse of experimental data and graphical analysis to determine reactant order, rate constants, and reaction rate lawsEffect of temperature change on ratesEnergy of activation; the role of catalystsThe relationship between the rate-determining step and a mechanism Thermodynamics State functionsFirst law: change in enthalpy; heat of formation; heat of reaction; Hesss law; heats of vaporization and fusion; calorimetrySecond law: entropy; free energy of formation; free energy of reaction; dependence of change in free energy on enthalpy and entropy changesRelationship of change in free energy to equilibrium constants and electrode potentials IV. Descriptive Chemistry (10–15%) A. Chemical reactivity and products of chemical reactions. B. Relationships in the periodic table: horizontal, vertical, and diagonal with examples from alkali metals, alkaline earth metals, halogens, and the first series of transition elements. C. Introduction to organic chemistry: hydrocarbons and functional groups (structure, nomenclature, chemical properties). Physical and chemical properties of simple organic compounds should also be included as exemplary material for the study of other areas such as bonding, equilibria involving weak acids, kinetics, colligative properties, and stoichiometric determinations of empirical and molecular formulas. V. Laboratory (5–10%) The AP Chemistry Exam includes some questions based on experiences and skills students acquire in the laboratory: making observations of chemical reactions and substances; recording data; calculating and interpreting results based on the quantitative data obtained, and communicating effectively the results of experimental work. AP Chemistry coursework and the AP Chemistry Exam also include working some specific types of chemistry problems. AP Chemistry Calculations When performing chemistry calculations, students will be expected to pay attention to significant figures, precision of measured values, and the use of logarithmic and exponential relationships. Students should be able to determine whether or not a calculation is reasonable. According to the College Board, the following types of chemical calculations may appear on the AP Chemistry Exam: Percentage compositionEmpirical and molecular formulas from experimental dataMolar masses from gas density, freezing-point, and boiling-point measurementsGas laws, including the ideal gas law, Daltons law, and Grahams lawStoichiometric relations using the concept of the mole; titration calculationsMole fractions; molar and molal solutionsFaradays law of electrolysisEquilibrium constants and their applications, including their use for simultaneous equilibriaStandard electrode potentials and their use; Nernst equationThermodynamic and thermochemical calculationsKinetics calculations

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Question: Discuss about the Target Market Of The Wild Atlantic Waves Adventure Centre. Answer: The Wild Atlantic Waves Adventure Centre is owned by Bradley Johnston and is a company that offers a varied range of tourism activities and services for both children and adults. Bradley Johnston has been the owner of the premises from the beginning of 2017 where he plans to locate his venture with some help from the Local enterprise office. Target market A major part of the target market would include tourists as Ireland West Knock Airport has increased inward flights and the company hopes in increasing their marking investment such that they can ensure that the activities offered by them become a major part of any tourist visiting Ireland. Another essential market includes the primary and secondary schools around the region that can be encouraged to use the company venue for summer schools, outdoor camps, birthday parties and transition years. A large population of holiday homes in the surrounding region is another lucrative target. The company plans on approaching the W.B Yeats enthusiasts and local business owners to encourage the silver surfers, that is, the tourist surfers of the 40-50 age groups to add the activities offered by the company into their bucket list for the things that they can do in Ireland. They also plan to develop networks with various language schools in order to improve international links. Popular sports in the area include cycling and triathlons and the company wants to approach and encourage these sports clubs to use their venue as training retreats preceding the competitions that take place. These are the range of target markets that the company plans on approaching. Media Planning Digital media is an excellent place formarketing where a large population of travelers can be reached (Stelzner 2014). Water and adventure sports is already trending in various social media platforms (Tiago and Verssimo 2014). The company can attempt at promoting themselves through various digital platforms as an interesting venue to visit and have fun for people traveling in Ireland and want to experience the wild Atlantic on the Irish coast .. The lonely planet guide has indentified the region as one of the top destinations to visit in the world, which encourages people to visit the area while exploring Ireland . Social media Using social media can use these regional promotions as an added asset for appealing to a large population of people (Jussila, Krkkinen and Aramo-Immonen 2014). A company page needs to be made in every popular social media like facebook, instagram, twitter and others. Numerous travel sites can be approached for promotions Paid promotions can be carried out on Facebook and Instagram which will help in spreading the awareness about the activities they offer. A company page for online bookings needs to be made and promoted on all of their social media pages, so that people can make bookings while planning their itinerary. A youtube page can be made where promotional videos displaying the fun activities offered by them, can be posted (Gardner and Lehnert 2016). This way the people can visualize the experiences they are going to have. Investing is good photographers and videographers. Sharing various user generated content from people who have already visited the area talking about their experiences (Richter and Torstensson 2016). Holding numerous give away promotional contests on social media. Introducing interesting components The company should plan to introduce some more components in order to develop better business from both local as well as international tourists (Becker 2016). A tourist office in the company venue can prove very beneficial, as there would be a huge influx of local as well as international tourists, most of whom might want to experience the uniqueness of the location and the exciting adventures too. Another interesting component would be to introduce gym surf schools where locals as well as visitors would be able to enroll themselves to learn surfing and that would definitely be beneficial for the business. Another appealing component can be added to the list of adventure sports and that is standup paddling. It is a kind of water sport, which has recently become very popular and involves a surf style board with a long paddle. A number of people are very much into this particular watersport because it is mix of surfing and canoeing. This initiative would attract a lot of clients interested in trying out new things. Last but not the least, an aesthetic as well as energy filled logo needs to be designed for the company. A company logo has a lo t to it than just aesthetics. Many customers judge an entire organization solely on the basis of the company logo. So it is essential to hire a good graphic designer to be able to design an appropriate logo that would speak out about the amount of fun they could have if they availed the company services. Short term expectations 1st year- Promotions through social media would reach at least 10 percent of the local population and about 0.5 percent of the international population Qualified graduated from local institutes will be employed. Collaboration with Failte islands. Long term expectations- 4nd year- A large customer base will already be established. Promotions through social media will increase by 5 percent in case of local market and 0.25 in case of international population. Employments made from local IT institutes will have helped in understanting sales patterns, making new strategies. A group of loyal employees will work towards a better future of the company. Influx of international customers due to social media promotions. 5th year- A slight increase in sales. Improved reach through promotions. Introduction of new adventure activities that would spike up the customer base. Contribution towards Irish tourism. Increased visibility of the company in international as well as local markets. Larger development. References Becker, E., 2016.Overbooked: The exploding business of travel and tourism. Simon and Schuster. Gardner, J. and Lehnert, K., 2016. What's new about new media? How multi-channel networks work with content creators.Business Horizons,59(3), pp.293-302. Jussila, J.J., Krkkinen, H. and Aramo-Immonen, H., 2014. Social media utilization in business-to-business relationships of technology industry firms.Computers in Human Behavior,30, pp.606-613. Richter, F. and Torstensson, C., 2016. Strategic management of social media: How to design content on Facebook and Instagram to promote interaction from followers.Stelzner, M. (2014). 2014 Social Media Marketing Industry Report.Social media examiner, 1-52. Tiago, M.T.P.M.B. and Verssimo, J.M.C., 2014.Digital marketing and social media: Why bother?.Business Horizons,57(6), pp.703-708.