毕业论文-浅析混凝土质量缺陷与防治.doc

成都广播电视大学 毕业论文 题目：题目： 浅析浅析混凝土质量缺陷与防治 姓名：姓名： 学号：学号： 专业：专业：建筑施工管理建筑施工管理 教育层次：教育层次：大大 专专 指导教师：指导教师： 试点单位：试点单位：成都成都 二二 0 0 一五年五月十日一五年五月十日 - 1 - 浅析混凝土质量缺陷与防治浅析混凝土质量缺陷与防治 摘摘 要要 混凝土结构构件产生的各种缺陷由于在混凝土工程施工由于思想上 和技术上的疏忽导致。混凝土的质量好坏，影响建筑产品的安全和降低使用 时间。在本文中主要重点说明混泥土裂缝产生的原因及分析，采取措施几处 理方法，预防施工在麻面、蜂窝、尺寸偏差、裂缝等质量的讲解。这些质量 缺陷以目前的施工技术是没办法完全根除的，我们能做的就是在施工时做好 防治工作，才能最大限度地消除混凝土质量缺陷。 本文通过实践和书本知识，分析混凝土产生质量缺陷的主要原因，提出 防止质量缺陷出现的措施和处理方法。 关键词：关键词：混凝土 裂缝 处理方法 - 2 - 目目 录录 一混凝土裂缝产生原因及防治处理措施5 1.1 混凝土裂缝产生现象 .5 1.2 混凝土裂缝原因分析.5 二混凝土裂缝的预防措施7 2.1 预防重要性 .7 2.1.1 混凝土前期预防措施 7 2.1.2 混凝土后期预防措施 8 2.2 混凝土裂缝的处理方法.8 2.2.1 表面修补法 9 2.2.2 灌浆、嵌逢封堵法 9 2.2.3 结构加固法 .10 2.2.4 混凝土置换法 .10 2.2.5 电化学防护法 .10 2.2.6 仿生自愈合法 .10 三混凝土其它缺陷.12 3.1 麻面 12 3.1.1 成因.12 3.1.2 防治的措施.12 - 3 - 3.2 蜂窝 12 3.2.1 成因.12 3.2.2 防治的措施13 3.3 构件断面、轴线的尺寸偏差 13 3.3.1 成因.13 3.3.2 防治措施.14 结 论.15 致 谢.16 参考文献.17 前前 言言 混凝土是一种由砂石骨料、水泥、水及其他外加剂按一定的比例搅拌、 运输、振捣、养护等工序制成的一种建筑材料。其中任何一环施工的好与坏 都将直接影响混泥土的质量等级。随着科学技术的发展和时代的需要,混凝 土已成为建筑物结构形式的主流,混凝土工程质量的优劣直接关系到人民生 命财产的安全及建筑产品的使用耐久性,因此混凝土结构的质量缺陷问题是 比较常见而又难于控制的,也是影响混凝土质量的直接原因。 在我国从事混凝土理论科学与实际工程的研究人员，不断探索，从素混 凝土钢筋混凝土预应力混凝土等混凝土的理论与技术不断趋于成长。既 - 4 - 时这样混凝土的质量缺陷以目前的施工技术是没有办法根治，只能尽可能的 防治，才能最大限度地消除混凝土质量缺陷。 一混凝土裂缝产生原因及防治处理措施一混凝土裂缝产生原因及防治处理措施 1.11.1 混凝土裂缝产生混凝土裂缝产生现象现象 混泥土表面裂缝走向无规律，梁板式或长度尺寸较大的结构，裂缝多平 行于短边，裂缝宽度一般在 0.5mm 一下。 混泥土是一种非匀质脆性材料，在温度和湿度变化的条件下，硬化并产 生体积变形，由于各种材料变形不一致，互相约束而产生初始应力（拉力或 剪力），一般成为微裂。一般肉眼看的见的裂缝宽度约为 0.03mm-0.05mm。 宽度小于 0.05mm 的裂缝对使用无多大害处 。允许存在一定的裂缝，既裂缝 宽度控制在一定范围内是允许的。 混泥土的裂缝比较普遍，目前人们遇到的主要问题是在施工中产生的温 度裂缝。 1.21.2 混凝土裂缝原因分析混凝土裂缝原因分析 混泥土裂缝有很多原因，主要因素是温度和湿度的变化，混泥土的脆 性和不均匀性、结构不合理，原材料质量差，模版变形和基础不均匀沉降等。 混泥土硬化期间水泥产生大量水化热，内部温度不断上升，在混泥土表 面引起拉应力：后期又在降温过程中，使混泥土内部和表面温差大，又会在 混泥土内部出现拉应力。气温的降低也会在混泥土表面引起拉应力当这些拉 应力超出混泥土的抗裂能力时，既会出现裂缝。 - 5 - 许多混泥土的内部温度变化很小或变化很慢，但表面湿度可能变化比较 大或者发生剧烈变化。由于材料质地不均匀，水灰比不稳定以及运输和浇筑 时产生的离析现象，在同一块混泥土中起抗拉强度也是不均匀的，存在这许 多抗拉能力很低，易于出现裂缝的薄弱部位。 二混凝土裂缝的预防措施二混凝土裂缝的预防措施 2.12.1 预防重要预防重要性性 “安全第一，预防为主，综合治理”是我们党和国家的安全方针。其中 “预防为主”，应是安全工作的重中之重。混凝土的质量问题直接影响着我 们生活的安全，所以预防混凝土问题是必须要解决的问题。 2.1.12.1.1 混凝土前期预防措施混凝土前期预防措施 (1)合理选择原材料和配合比，采用级配良好的石子；砂、石含泥量控 制在规定范围内；在混凝土中掺加减水剂，降低水灰比；严格施工，分层浇 筑振捣密实，以提高混凝土的抗拉强度； (2)细长结构构件，采取分段间隔浇筑，或适当设置施工缝或后浇带， 以减少约束应力； (3)在结构薄弱部位及孔洞四角、多孔板板面，适当配置必要的细直径 温度筋，使其对称均匀分布，以提高极限拉伸值； (4)蒸汽养护结构构件时，控制升温速度不大于 15/h；降温速度不大 于 10/h，避免急冷急热，引起过大的温度应力； (5)加强混凝土的养护和保温，控制结构与外界温度梯度在 25范围以 内。混凝土浇筑后裸露表面及时喷水养护，夏季应适当延长养护时间，以提 - 6 - 高抗裂能力。冬季应适当延长保温和脱模时间，使缓慢降温，以防温度骤变， 温差过大引起裂缝。基础部分及早回填，保湿保温，减少温度收缩裂缝。 2.1.22.1.2 混凝土后期预防措施混凝土后期预防措施 混凝土在施工过程中由于温度 、湿度变化 ,地基不均匀沉降 ,拆模过 早 ,早期受振动等因素影响都有可能引起混凝土裂缝发生。 1 预防措施。加强混凝土早期养护 ,浇筑完的混凝土 要及时养护 , 防止干缩 ,冬季施工期间要及时覆盖养护 ,防止冷缩裂缝产生 ; 大体积 现浇混凝土施工应合理设计浇筑方案 ; 加强施工管理 ,混凝土施工时应 结合实际 ,采取有效措施 ,确保混凝土的配合比、塌落度等符合规定并严格 控制外加剂的使同时应避免混凝土早期受到冲击。 2 处理方法。当裂缝较细 ,数量不多时 ,可将裂缝用水冲洗后 ,用水泥 浆抹补 ;如裂缝开裂较大较深时 ,应沿裂缝凿去薄弱部分 ,并用水冲洗干净 ,用 12. 5 水泥砂浆抹补。此外 ,加压灌入不同稠度的环氧树脂溶液补缝 ,效 果也较好。 2.22.2 混凝土裂缝的处理方法混凝土裂缝的处理方法 裂缝的出现不但会影响结构的整体性和刚度，还会引起钢筋的锈蚀、加 速混凝土的碳化、降低混凝土的耐久性和抗疲劳、抗渗能力。因此根据裂缝 的性质和具体情况我们要区别对待、及时处理，以保证建筑物的安全使用。 混凝土裂缝的修补措施主要有以下一些方法：表面修补法，灌浆、嵌逢 封堵法，结构加固法，混凝土置换法，电化学防护法以及仿生自愈合法。 - 7 - 2.2.12.2.1 表面修补法表面修补法 表面修补法是一种简单、常见的修补方法，它主要适用于稳定和对结构 承载能力没有影响的表面裂缝以及深进裂缝的处理。通常的处理措施是在裂 缝的表面涂抹水泥浆、环氧胶泥或在混凝土表面涂刷油漆、沥青等防腐材料， 在防护的同时为了防止混凝土受各种作用的影响继续开裂，通常可以采用在 裂缝的表面粘贴玻璃纤维布等措施。 2.2.22.2.2 灌浆、嵌逢封堵法灌浆、嵌逢封堵法 灌浆法主要适用于对结构整体性有影响或有防渗要求的混凝土裂缝的修 补，它是利用压力设备将胶结材料压入混凝土的裂缝中，胶结材料硬化后与 混凝土形成一个整体，从而起到封堵加固的目的。常用的胶结材料有水泥浆、 环氧树脂、甲基丙烯酸酯、聚氨酯等化学材料。 嵌缝法是裂缝封堵中最常用的一种方法，它通常是沿裂缝凿槽，在槽中 嵌填塑性或刚性止水材料，以达到封闭裂缝的目的。常用的塑性材料有聚氯 乙烯胶泥、塑料油膏、丁基橡胶等等；常用的刚性止水材料为聚合物水泥砂 浆。 2.2.32.2.3 结构加固法结构加固法 当裂缝影响到混凝土结构的性能时，就要考虑采取加固法对混凝土结构 进行处理。结构加固中常用的主要有以下几种方法：加大混凝土结构的截面 面积，在构件的角部外包型钢、采用预应力法加固、粘贴钢板加固、增设支 点加固以及喷射混凝土补强加固。 - 8 - 2.2.42.2.4 混凝土置换法混凝土置换法 混凝土置换法是处理严重损坏混凝土的一种有效方法，此方法是先将损 坏的混凝土剔除，然后再置换入新的混凝土或其他材料。常用的置换材料有： 普通混凝土或水泥砂浆、聚合物或改性聚合物混凝土或砂浆。 2.2.52.2.5 电化学防护法电化学防护法 电化学防腐是利用施加电场在介质中的电化学作用，改变混凝土或钢筋 混凝土所处的环境状态，钝化钢筋，以达到防腐的目的。阴极防护法、氯盐 提取法、碱性复原法是化学防护法中常用而有效的三种方法。这种方法的优 点是防护方法受环境因素的影响较小，适用钢筋、混凝土的长期防腐，既可 用于已裂结构也可用于新建结构。 2.2.62.2.6 仿生自愈合法仿生自愈合法 仿生自愈合法是一种新的裂缝处理方法，它模仿生物组织对受创伤部位 自动分泌某种物质，而使创伤部位得到愈合的机能，在混凝土的传统组分中 加入某些特殊组分(如含粘结剂的液芯纤维或胶囊)，在混凝土内部形成智能 型仿生自愈合神经网络系统，当混凝土出现裂缝时分泌出部分液芯纤维可使 裂缝重新愈合。 三混凝土其它缺陷三混凝土其它缺陷 - 9 - 3.13.1 麻面麻面 3.1.13.1.1 成因成因 模板表面粗糙或粘附水泥浆渣等杂物未清理于净,拆模时混凝土表面被 粘坏;模板未浇水湿润或湿润不够,构件表面混凝土的水分被吸去,使混凝土 失水过多出现麻面;模板接缝不严, 局部漏浆;模板隔离剂涂刷不匀,或局部 漏涂失效混凝土表面与模板粘结造成麻面;混凝土振捣不实, 气泡未排出, 停在模板表面形成麻点。 3.1.23.1.2 防治的措施防治的措施 模板表面杂物要清理干净,浇灌砼前,模板应浇水湿润,模板缝隙,应用油 毡纸、腻子等堵严,模板隔离剂应选用长效的,涂刷均匀,不得漏刷;砼应分层 均匀振捣密实,至排除气泡为止。表面作粉刷的,可不处理,表面无粉刷的,应 在麻面部位浇水充分湿润后,再用原混凝土配合比去石子砂浆, 将麻面抹平 压光。 3.23.2 蜂窝蜂窝 3.2.13.2.1 成因成因 混凝土配合比不当或砂、石、水泥材料加水量计量不准,造成砂浆少、 石子多;混凝土搅拌时间不够,未拌合均匀,和易性差,振捣不密实;下料不当 或下料过高,未设置串筒施工,使石子集中,造成石子砂浆离析;混凝土未分层 下料,振捣不实,或漏振, 或振捣时间不够;模板缝隙未堵严,水泥浆流失;钢 - 10 - 筋较密,使用的石子粒径过大或坍落度过小。 3.2.23.2.2 防治的措施防治的措施 认真严格控制混凝土配合比,经常检查,做好计量,拌合均匀,坍落度适合;混 凝土下料高度超过 2m 时应设置串筒或溜槽;应分层下料,分层振捣,防止漏振， 模板应堵塞严密,浇灌时, 应随时检查模板支撑防止漏浆。小蜂窝:洗刷干净 后,用 1:2 水泥砂浆抹平压实;较大蜂窝,凿去蜂窝处松散颗粒,刷洗净后,用 高一级细石混凝土填塞捣实, 较深蜂窝,如清除困难,可埋压浆管、排气管, 表面抹砂浆或浇灌混凝土封闭后, 进行水泥压浆处理。 3.33.3 构件断面、轴线的尺寸构件断面、轴线的尺寸偏差偏差 3.3.13.3.1 成因成因 看图有误或施工测量放线有误 ,模板支设的刚度、强度不够 , 稳定性 差 ,使模板产生变形和失稳 ,混凝土浇筑顺序不当且浇筑时一次布料过多等。 3.3.23.3.2 防治措施防治措施 1施工前认真进行图纸会审和技术交底 ,严格施工测量放线的程序 , 做到放线与复核相结合。2.支设要充分考虑其刚度、强度和稳定性 ,对高支 模构件必须要编制模板装拼施工专项方案并进行验算论证。对于直接坐落于 房屋基土上的模板支撑系统 ,基土必须夯实并于竖向支撑底部满铺 6cm 木板。 - 11 - 3.凝土浇筑前拟定浇筑方案 ,混凝土浇筑时严格控制一次性布料量及一次性 浇筑高度 ,混凝土在振捣时不宜过多振动模板 , 以防模板位移、变形或倾 斜而改变构件几何尺寸。 结结 论论 通过对混凝土凝土质量缺陷的研究，它的危害性和处理方法有存在的 不稳定，得出一下结论： 1.在施工过程中对症防治的，且以防为主。 2.治理原则：凡已涉及安全问题，应停止施工，迅速采取相应对策，加 固补强或作拆除返工处理；反之，如仅与外观和评定有关、修复后不影响使 用，则重点放在表面处理上。 3.对于混凝土缺陷的防治是一个综合性的问题，需要经过设计、监理、 施工及使用方等多方面的配合。 致致 谢谢 行文至此，我的这篇论文已接近尾声；岁月如梭，我三时光也即将敲响 结束的钟声。离别在即，站在人生的又一个转折点上，心中难免思绪万千， 一种感恩之情油然而生。 生我者父母。感谢生我养我，含辛茹苦的父母。是你们，为我的学习创 造了条件；是你们，一如既往的站在我的身后默默的支持着我。没有你们就 不会有我的今天。谢谢你们，我的父亲母亲！ - 12 - 育我成才者老师。感谢我的指导老师罗晓峰老师，这篇论文是在徐老 师的的悉心指导与鼓励下完成的。徐老师渊博的学识、严谨的治学态度、精 益求精的工作作风和诲人不倦的高尚师德，都将深深地感染和激励着我。在 三年的大学时光里，徐老师不仅在学业上给我以悉心指导，同时还在思想、 生活上给我以无微不至的关怀，在此谨向徐老师致以诚挚的感谢！ 感谢施管 2013 级的同学们。三年来，是同学让我的大学生活变得更加 丰富多彩，我们一起亲历了大学的别样生活，愿同窗友谊之树长青。 参考文献参考文献 1 伍建明. 谈混凝土的质量缺陷和防治J. 重庆职业技术学院学报 , 2015,(04) 2 张继承. 混凝土的裂缝及处理方法J. 河南机电高等专科学校学报 , 2015,(05) 3 魏敬. 浅析对工程质量缺陷的处理J. 中国水运 , 2008,(08) 4 林旭健. 混凝土的高性能化与可持续发展J. 福州大学学报(社会科学 版) , 2009,(02) 5 许慧. 混凝土质量缺陷的产生原因及防治和处理措施J. 山西建筑 , - 13 - 2013,(19) 为你提供优秀的毕业论文参考资料，请您删除以下内容，为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O 谢谢！谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. “I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs,“ Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. “The nomadic people were very excited about our visits,“ Nasun recalls. “We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in.“ For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as “red burgeon“, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. “Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged,“ Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.“Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root,“ he says. “Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled.“ The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sa le rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. “The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. “Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that - 14 - illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the only life worth living. I agree with him. This essay was written during a time of social upheaval in America, and it is rather odd that Emerson authored it, as he was a part of the upper crust of society at the time. It just so happened that he looked around him, at the indolence and the wantonness of the people in his circle; he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his excommunicatio