My handout complexity A teacher; if one contemplates the nature of the profession hard enough, one will be sure to encounter conflicts where idealism and utilitarian rooted from the profession battle incessantly. Take the most direct problem, the giving handout, which I am bizarrely forced to face in every class for example. The handouts are given out by me spontaneously, because I wish to share with my students how readings elicit various sentimentalities to cry, to smile, or even to feel lonely in me. Although I, of course, on the other hand can't deny the very practicality which students come here for, I still can't refrain myself from wanting them to indulge in the romance rather than utilitarian aspect of how language learning could offer to us. To them, my giving handout always brings a little bit theatric touch to itself, and it is not so hard to picture that they must find it rather hysterical that I always give them the handouts in a way only seen when James Bond so often infiltrates into some heavy-guarded HQ and saves the world from some paranoid psychopath. (The worrying of a possible ultimate punishment by XXX because of my illegally giving away handout has turned itself to a pleasure to which, I think I am sickly addicted and the pleasure especilly climaxes when the inspector downstairs finishes her routine observation of my class.) However, one thing that ought to be clarified here first is that in spite of all these unexpected theatric and pleasing effects my class may appear to its participants, my giving away handouts has never included a cheap way to ingratiate the crowd, but it is, to sadly put it, a way to beg a very humble and mere survival as a teacher. To better facilitate my howling about handout problem, I shall first account for that the ecology for the cram education in Taiwan. It is quite unique compared elsewhere in the world, and for its uniqueness, it shared a mixed reputation, which varies from a most efficient aid to the insufficiency of school education to a vulturous profiteer scavenging parents' phobia on their children' future and threatening students with the inferiority which keeps them hypnotized of their inability unless they attend cram school. However, whichever reputation above cram school is recognized, whenever students fail to embody the value cram education is based on, the meanest criticism will definitely soon avalanche. Furthermore, cram education and school differ significantly in how it is financially founded. That is, how well or worse each of them carries out the task they are given to do necessarily conclude their fate equally. On the basis of that, to the cram education, the idealism in education is sadly but inevitably lost, what replaces it and becomes the priority is purely all about ffectiveness and profit. Each time I distribute my handouts furtively, knowing that class could be my last here, I feel sunk into an old and dramatic puzzle; "To be or not to be" . A puzzle once led *Socrate to shine with his ultimate character at an ultimate price any human being could render before injustice; a puzzle that made *Hamlet struggle between his earnest craving for vengeance and his conscience to innocence whose lives were to be his stake to fulfill his vengeance. I know it's unfair, but in the insane world, being a fence sitter seems to me the sanest choice. 苏格拉底:（希腊文：Σωκρ?τη?，拉丁文：Socrates，前469年－前399年）， 古希腊哲学家，和其学生柏拉图及柏拉图的学生亚里士多德被并称为希腊三哲人。 他被後人广泛认为是西方哲学的奠基者。身为雅典的公民，据记载苏格拉底最後 被雅典法庭以引进新的神和腐蚀雅典青年思想之罪名判处死刑。尽管他曾获得逃亡雅典 的机会，但苏格拉底仍选择饮下毒堇汁而死，因为他认为逃亡只会进一步破坏雅典法律 的权威，同时也是因为担心他逃亡後雅典将再没有好的导师可以教育人们了。 哈姆雷特: 是位丹麦王子。他在剧中第三幕第一场的经典独白 「生存还是毁灭，这是个问题」（英语：To be, or not to be; that's the question） 是戏剧史上流传最广的台词之一，也是许多现代演员恶梦般的表演难点。 在剧场中，哈姆雷特是在西方各国扮演最多的角色之一，也对成熟的男演员提出了 巨大挑战，因为哈姆雷特在剧中是一个初出茅庐的年轻人。 Reference: Wiki --

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