วันอาทิตย์ที่ 22 ธันวาคม พ.ศ. 2556

Novel Review: Twingle Twangle By Femi Osofisan - Part Two

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Along the seashore, Kehinde and Digbaro wandered day and night and at last got to the outskirt of a town called Etido where Oba Moluwe, the Olodo of Etido reigns. At the outskirt, the Olodo and other prominent chiefs were coming for a great sacrifice to a demon called Bilisi (a monster of the river), that always demand for the most beautiful virgin every year. However, for this unfortunate year, the poor Olodo's only daughter, Lawumi, happened to be the victim and she is to be offered to Bilisi as sacrifice. At the point of sacrifice, where Digbaro and Kehinde were hiding, the Olodo made frantic efforts not to release his only daughter after disclosing the concealed secret. The daughter not withstanding insisted to offer herself for the sacrifice for the people's sake, with her is her servant, Aanu, who promised to die with her boss.

Sooner, all the people left the scene, leaving the two of them who were waiting for death, for Bilisi to come and prey on them. Bilisi indeed came out and it was about to feed on them when the hiding Digbaro and Kehinde came to their rescue killing the monster.

Taye and Efundunke were not finding it easy in the forest. At last, they got to a small village where they thought they will be able to get food and water, but it seemed to them that it was a ghost village as there was no one in it. Nonetheless, the village was holding its annual festival where the Oba Elenon of Ereko will give out his daughter, Tinuade, and half of his inheritance to any one who dare wins his last examination. The Officer, the business man, the professor lost out as they couldn't gulp the hot soup at once.

Thereafter, Taye emerged from his secret place and as well as Efundunke to contest for the princess, but not with intention of winning but quenching the hunger. Efundunke resisted him, but he refused and he rather preferred to face the trial of which any one that lost would be killed. At last, he won and he was to receive the princess for a wife who he rejected. Rejecting the princess, in the last, was also a grave sin. This insulting habit or attitude landed him in a prison.

In Etido village, Kehinde became the king; a problem arose because of a newly born baby who all the citizens were celebrating for, but Kehinde saw this as idleness coupled by consecutive war wasting the lives of his citizens. He was called a dictator and they rose up against him and plotted his impeachment. He thus decided that before he would leave his throne, he needed to fight against one last village, which is Ereko village.

Taye in Ereko's village became the king after the incumbent king's death and he married the king's daughter Tinuade. He, not withstanding of the news that the most powerful town of Etido is coming to wage war against his village advised his people not to be a coward but ready to welcome the war warriors with foods, drinks, etc. So well they did, pounding, making soup, eating, marrying, while the war came even to their vey door step. Recognizing each other, Kehinde in spite gave series of conditions to Taye for him not to destroy his village that consented to all his offers.

The merriment continued for a long time that all the soldiers got drunk and slept off. All their weapons were packed and gathered with all of them bound - hands and legs, including their leader, Kehinde. So, Taye's village, Ereko won. The twins later went home after their adventure.



วันอาทิตย์ที่ 8 ธันวาคม พ.ศ. 2556

The Theme of the Developed Racism in the Play - Othello the Moor of Venice by William Shakespeare

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Othello is a black man who is introduced and referred to in the play as a derogatory name like the Moor. This reference is a person of Arabic decent living in North Africa who is of a Muslim religion and who is of an uncultured, crude, coarse, and cruel background. In other words a Moor is an unintelligible and barbaric person. But, this is where the mystery begins with this ugly word. Shakespeare expresses this man to be more than just a Moor; he is an honest, noble, and fair Moor. This terminology can easily confuse your thoughts as to determine if indeed there is racism present or not. But do not be swayed by the two because either it is there or it is not.

First of all I will say that racism immediately entered the play from the beginning. It started after Iago was passed up for a promotion in the Venetian military by his superior, Othello. After this action Iago expressed how he hated him to Roderigo for his decision. This is where the fire was fueled and the blaze became racist. Iago did not have a honest or fair reason to hate Othello so he first used Roderigo's lust for Desdemona who has just secretly became Othello's fair Venetian wife. This news ignited anger within Roderigo which caused the first of a series of racist remarks made throughout the play. He stated "What a full fortune does the thick-lips owe." (Act I, Scene I, Verse 66) His indication of thick-lips obviously states to me that there was something different of them and he whom they hated. You would think it was something that was wrong and flaw filled.

Secondly, the two then go to Desdemona's father Brabantio on that very same night to notify him of the marriage that occurred behind his back. Awaking him and asking him if everyone was in his house the two suggest that he does not know what is going on within his house and of his blood. Iago with the help of Roderigo get Brabantio in panic by saying things such as "Your heart is burst, you have lost half your soul. Even now, now an old black ram is tupping your white ewe." (Act I, Scene I, Verse 87-89) To me this proclamation communicates to Brabantio that he has just lost his daughter and that Othello the black ram was taking advantage of her. Iago then submits Othello as "the Devil." (Act I, Scene I, Verse 91) This would probably have any father thinking the worst of the man who has taking the hand of his daughter. "Your daughter and the Moor are now making the beast with two backs." (Act I, Scene I, Verse 115-116) Iago's citation surely put across an obvious message that he hated Othello for personal political reasoning but also and maybe more strongly so because of his ethnicity. He was clearly racist and was in no doubt using his own personal racism to corrupt and manipulate the feelings of others.

Eventually, Iago influenced different characters to act on their emotions by trusting in his open love or hidden hate for the honest and noble Moor Othello. He show many faces such as hatred, jealousy, and the over bearing of the two was his racism for the fellow that many considered to be so noble. Anything to see to his demise, I believe was the true and final goal that Iago had for Othello. He hated him just for existing, in his authority, in his standing, in his country, or even in his world. This hatred so strongly that he would pretend to love him to see his termination in the place where he did not belong. The racism all the way through this play conveys that at any cost it will try to consume everything around it, and no one is excluded when this hatred such as racism takes its place in a life and tries to feed or spread and grow until everything and anything in its path is destroyed.

Shakespeare illustrates to the audience how the one theme goes through a metamorphosis in order to unveil something stronger and more dangerous is lurking in the dark hidden areas of this society. This theme follows through to the end of the play when even after the bloodshed of some of the characters Iago still would rather hold his tongue than to give justification of even soothe the curiosity of the very people who had fallen victim of his malicious and detesting acts. (Act V, Scene 2, Verse 303)

In closing, I will say that this play has shown me how resourceful hatred can be and how it will grow and consume more than it is fed. It also demonstrates how someone like a noble and honest Moor Othello could simply be prey to a falsely portrayed honest Iago with a heart that survives on jealousy, hate, and racism. Be careful about who and what you believe it very well may be the unknown battle of good versus evil. Sometimes what you see is what you get and other times it may not show up in black and white but there may always be the possibility of blood red.



วันศุกร์ที่ 29 พฤศจิกายน พ.ศ. 2556

Trilogy Moments For The Mind, Body, And Soul - By The Spence Family

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I have read the Trilogy Moments for the Mind, Body and Soul, written by Joseph S Spence, Sheila M. Parish-Spence, and Johnathan Clarence Parish-Spence, and I was truly blessed be the content of this book. It was so good to see this family of poets coming together to produce this masterpiece, which the world can enjoy.
I loved the prayers for life events, and will surely use them whenever the need arises. The poems are beautiful and very practical, and the daily devotions are well suited to everyday life.

I love Nature, and truly enjoyed the Haiku poems written in this section "The Seasons of Beauty" to commemorate it. The section on "Reflections of Travel", was extremely interesting, and very informative to me, as I love to travel, but have never visited any of the places that are written about here, so I truly appreciated it. The "love and Romance" pages are just what I needed to read at this Valentine time. Family is very important to me and we should always feel free to let loved ones know how we feel about them as we learned here in the section about family's relationships.

The Epulaeryu poems that are written in Joseph's own form has a unique style, and are always a fascinating and "delicious" read.

All in All, this is a book that should be on every Poetry lover's shelves. I would recommend this book to everyone who needs a blessing in their lives. I got mine while reading this awesome Trilogy and you can get yours too!



วันพฤหัสบดีที่ 21 พฤศจิกายน พ.ศ. 2556

Questions in the Balance, Author: Christopher W Boyden

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While reading Questions in the Balance by Christopher W. Boyden, it became abundantly clear why he has won so many awards and accolades for his published poetry. His work exemplifies classic poetry; bringing together the key elements of an articulate choice of words, wonderful imagery, and existentialism in philosophy and originality within structure; all masterfully put to mostly a sharp iambic pentameter foot. Moreover, Christopher W. Boyden transcends the age barrier; meaning his poems are as interesting to an adult as much as to a child. He shows respect for readers of all ages, as all can comprehend the revealed mature concepts while being entertained by the rhythm of the structural elements.

Questions in the Balance represents 73 original poems, indexed by subject, in Christopher W. Boyden's first published collection. He categorized his work by topics such as: Nature, love and romance, answers to the questions of thought, heaven, and our future as human beings. Although not laden with theological overtones, his beliefs are Christian and have references to God and the belief of creation and eternal life. Christopher W. Boyden candidly reveals his inner personal thoughts, often dedicating a poem to a deceased loved one such as his grandmother or his brother that died too early; in fact there is one poem written about his deceased dog going to "Dog heaven."

What I felt from his poetry was his gentlemanly respect for all of his readers, and his intrinsic enjoyment of writing poetry. Unlike some poets whose ego personifies arrogance by breaking all established rules of poetry, Christopher W. Boyden "plays within the rules" of established poetic prose, and thusly commands the respect for his ingenious wordsmithing of English. He enables his words to dance off the pages into the reader's mind. As I have learned some of his poems have been scored to music, one can see the beautiful imagery and chivalry he portrays as being within a class of writing analogous to masters who come to my mind such as Robert Frost, James Joyce or even Ogden Nash.

Questions in the Balance is an ideal gift book to give to anyone for any occasion, or to keep for your own home library so your friends and family can enjoy over and over. It is a book that can be picked up, read, and then placed down until a future time; as each poem is merely a page or two in length. After reading this book from cover to cover, I did something I don't often do ~ I read it all again. After all, with so many of my own memories being triggered by Christopher W. Boyden's lovely writing, how could I resist an encore performance of such cerebral stimulation?

Reviewed by: Gary R. Sorkin

Gary R. Sorkin is the Senior Editor for Pacific Book Review. Please visit Pacific Book Review at: http://www.pacificbookreview.com/



วันศุกร์ที่ 8 พฤศจิกายน พ.ศ. 2556

My Love For "The Awakened One Poetics"

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I received this book in the mail, and excitedly I delved into it, in anticipation of the good meal that I have come to expect from Joseph Spence Sr, the Epulaeryu Master.

I have read and enjoyed this, "The Awakened One Poetics" so much so, that it has awakened my love for the Haiku form of poetry, that was laying dormant within me. This book has shown me inspirational Haiku in a new light, and with all the translations, it has made this a pleasure to read. These poems are translated into Spanish, Japanese, Polish, and Chinese, some in French and Arabic. This made it such an interesting read, then on top of all of that I got a taste of the Jameikan Patwa, which I thoroughly enjoyed, as I read and re-read each verse, trying to sound Jamaican.

I came in hoping to see some good Epulaeryu poetry, and I was not disappointed, as Joseph filled us, and tantalized our senses with his tasty and enjoyable dishes written in his own created style.

Another highlight of this lovely book, is the art work that is scattered throughout the pages, making this book complete in every way.

At the end of the book, Joseph gave us another treat with his Jamaican Delight of "Dumplings with ackee and salt fish, A dish you don't want to miss," since I'm from the Caribbean, I could relate to a lot of the things stated here, and I was smiling from beginning to end.

I will smile at the world, because who I am, makes a difference, and would enlighten others. Thanks Joseph!



วันพฤหัสบดีที่ 31 ตุลาคม พ.ศ. 2556

Red Oleanders by Tagore: A Discussion in Symbolism

The Red Oleanders of Tagore at once stands out as a major milestone in the career of the modern Bengali drama; impregnated with a deep, sustained symbolism, the drama abjures the more mundane dialect of conversational prose, and speaks in a language charged with poetry and mysticism, a language that invariably matches the deep ecstatic nature of the message of the drama... Ranjan and Nandini have that great elusive duality which make them at once our comrades and yet transcendental beings... The duo belongs not so much to the world of flesh and blood as to the realm of symbolism - allegorical illustrations of Tagore's vision... Nandini, the protagonist of the play is a remarkable innovation, who trudges across the stage as freely as air. She has a most elemental vitality which she owes to another self and stands as an idealized emblem of love and its reassuring virtues-youth, spring inspiration and revolution. Ranjan and Nandini do not have strict separate identities, although Ranjan is the thematic abstract ideal of freedom through bondage and Nandini is the grand priestess, who helps us achieve the goal by breathing love into us.

The Red Oleanders contains a plethora of symbolism interpenetrating one another... Though Tagore was not obviously intending the play to be a socialist manifesto, industry, capitalization and the co-related exploitation of labor find footages in the play. At the heart of the play, lies the class struggle. The arbiters of Yaksha town ruthlessly set out to exploit nature and common man, have a most spiritual nexus between them, but now their very life and soul are at stake under the deep mass of mechanized civilization. The quiet rural existence in the bosom of nature now looks like an embarrassing relic of an older life style in collision with the nature, which is now threatened by the devouring menace of the king and his associates. The king ransacks nature and rifles its bowels with an eccentric frenzy... He has the most deadly touch which tortures everything to destruction and sucks out the life sap of everybody so as to leave them in the state - "life in death and death in life". Nandini, the fresh flow of life radicalizes a spiritual glow of freedom, which naturally frightens the king whose cells of mind are closed. The king is both afraid and attracted by Nandini and her Red Oleanders for they are the token of love, liberty and the coming change.

Nandini, the great emissary of nature, is the sweet heart of Ranjan, very appropriately, even in terms of symbolism. If Ranjan stands for the message of liberty, (Irresponsible in its approach, because he is likened to the wind) then Nandini is the great spirit of love in nature and hence the votary of alter eyes of Ranjan... She is an incarnation of nature with those garlands of red oleanders. The oleanders are read, because they emit love and liberty and liberty must be hatched through a most impersonal kind of love. Ranjan wisely gave the red oleanders to Nandini, love because, as an passion has red for its natural color and red looks forward to revolution.

The Yaksha town is a lucid illustration of the chain of bondage... The capitalist industry makes an attack upon the innocent helpless people from the first retiring villages and compelled them to a huddled existence in the industrial slums and shanties. Divorced from the domestic, pleasure and freedom, these ill-fated laborers forfeit their humanity by dredging all day long in the dark prison houses symbolized by the mines. Victims of the capitalist greed, these men are reduced to mere 41v numbers-or 69ng. They thus wear badges of abject slavery. Their tears invite Ranjan and Nandini into the scene. The drunken eyes and drooping heads of such hapless creatures like Bishu, Chandra, Phagulal and others receives a thrust of rejuvenation at the appearance of Nandini into the scene. She is a soul who contains in her the life forces-softness and indomitable willpower, love and fearlessness, girlish enthusiasm and matronly wisdom. She touches everything back to life... As her name warrants, she is the very quintessence of the aesthetic pleasure in man, destined to enthrall everybody. Bishu can go mad for her. The most choric professor shakes off his abstract impersonality and sings refrains of love... Even the dehumanized Sardar cannot escape her attraction, although like Gossains, his passion is of a different nature. Because of her poor comprehension of the other characters, she is often misunderstood in her vacation.

Chandra mistakes her as a libertine, for messages of change are not always well received. We are afraid of change sometimes, even when we need it, because it tends to lead us into regions of uncertainty, to which we are not used to... Our pettiness stands in the way of proper understanding, juts as Chandra's jealousy blinded her vision temporarily.

The height of Nandini's conquest is when after the splendid encounter with the king, she succeeds in transforming the self. But symbolically again it is not before his blindness snatched a great price-the herald of youth love and spring is killed by his own hands out of ignorance. Nandini takes up the unfinished work of Ranjan and carries on the torch of change with the belief that Ranjan can't die, though it is a great regression. Of course Ranjan ceases to be a man anymore here in this sense, just as Nandini, remains as a becoming star to guide us through the civilizational ups and downs.



วันเสาร์ที่ 19 ตุลาคม พ.ศ. 2556

Shel Silverstein - Outstanding Poet

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Shel Silverstein was born in Chicago, Illinois, in 1932. He began writing poetry when he was young. He was not familiar with the work of any famous poets, so he invented his own style. This turned out to be a good thing, because style is one of the most distinctive things about Shel's poetry.

Although he was best known for writing children's literature, Shel was creative in many ways. He began his career in the arts as a cartoonist. He also was a talented singer, songwriter, composer, and illustrator. In fact, Shel illustrated all of his children's books himself. This is one reason the pictures seem to accompany the poetry so perfectly.

Where the Sidewalk Ends, first published in 1984, is one of the most beloved children's books of all time. But what makes Shel's poetry so timeless and popular? His poems are often hilarious, and young people love Shel's type of humor.

In one poem, he told the story of a girl who refused to take out the garbage. It piled up higher and higher until it finally threatened to take over the town. Many kids have experienced the feeling of not wanting to do a chore. They love how out of control the author let the situation get because they know that it would never happen that way in real life.

In another popular poem, a girl pretends to be sick so that she will not have to attend school. Shel made fun of the situation by having the character exaggerate her symptoms to the point where they became ridiculous. The punch line of the poem occurs at the end. The girl discovers that it is Saturday, and she would not have had to go to school anyway.

Shel also liked to play with language in his poetry. He often used elements like alliteration in his work. Alliteration is the use of words that begin with the same sounds. In the poem about the girl who refused to take out the garbage, the character's name is Sarah Cynthia Sylvia Stout. This type of alliteration can make poetry fun to read aloud. Shel's poems also often rhymed and had a good rhythm, two more elements that make his work easy and interesting to read.

In 1999, Shel Silverstein died in his home in Key West, Florida. Children and adults will miss his quirky humor and incredible imagination. But a bit of Shel Silverstein is captured in his work, which will live on and bring joy to children for many generations to come.

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วันศุกร์ที่ 4 ตุลาคม พ.ศ. 2556

The Thematic Analysis of The Poem "Do-Gooders" By Olu Obafemi

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The poem titled DO-GOODERS was written by Olu Obafemi to portray the weaknesses and atrocities of the religionists who instead of being the last hope of a common man are threats to people's life. He tries to condemn the attitudes of the religionists who are using their position as a man or messenger of God to blindfold the people and exploit them. They use their position to tell people lies and demand exorbitantly from them; they deny them their belongings and turn those wretched (lines 14-17).

The central theme of the poem is CONDEMNATION. Olu Obafemi tries to expose what is happening in our present environment where people dabbled into church, mosque or palm grooves only to save themselves from the escalating unemployment problem. When the people eventually discover these anomalies of the people of God, they tend to be aggressive. This has led to desertion of many churches, many mosques have been damned and some grooves are no more in existence (lines 10-13)

The poet shows his anger or agony when he said that Horror begets horror, to nullify horror, meaning that whenever these type of people are caught, they must be dealt with without an iota of mercy, just as thieves, tied to the stakes, and set on fire (lines 18 and 19). He emphasized that pity should not be allowed to come in because they have destroyed many lives already; many have been turned to wretched beings, with bloated stomach, smelling like the stinking gutters and sucked thin (lines 1-5).

The poet ended it by lamenting saying, Woe be on them, who cheat in the name of God, even an unending woe.

POETIC DEVICES IN THE POEM

Let's examine jus two (2): Poetic License and the figures of speech used in the poem.
Language used (Poetic License)

Poetic license is the permission given to a poet to use unconventional language i.e. free to use language in whatever way it pleases him in order to achieve his desires. He can violate the grammaticality of language.

They include in this poem the following:

1. Bloated - swollen in an unpleasant way (line 1)
2. Hoot - funny situation of a person/short loud laugh of a person (line 5)
3. Flatulent - sound important in the way that exaggerate truth (line 9)
4. Damnable - bad or annoying (line 12)
5. Stakes - host on which somebody to be burnt is first tie (line 18)
6. Wretched - extremely bad or unpleasant (line 13)
7. Flakes - small pieces of something larger
8. Blazed - mount brightly and strongly
9. Do-gooders: those who do good/believed to be doing good

Figures of Speech

Expressions used to polish any piece of writing and to embellish it in a poetic ornament so as to make it elaborate, vivid, picturesque and interesting (Roy Omoni)

1. Assonance:
Line 1: bloated stomachs
Line 7: horror begets horror
Line 19: blazed in flames and flakes

2. Consonance:
Line 7: horror begets horror
Line 19: blazed in flames and flakes

3. Alliteration:
Line 4: of sprawling skeletons
Line 7: horror begets horror
Line 19: blazed in flames and flakes

4. Repetition:
Line 7 & 8: horror begets horror to nullify horror

5. Rhyme:
Line 18 & 19: must be tied to stakes
blazed in flames and flakes

6. Enjambment:
Line 7 & 8: horror begets horror to nullify horror
Line 3 & 4: the naked ribs of sprawling skeletons



วันพุธที่ 25 กันยายน พ.ศ. 2556

An Unfolding of Robert Frost's "Design"

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"I always wanted to be very observing," Robert Frost once said, after reading his poem "Design" to an audience. Then he added, "But I have always been afraid of my own observations". What could Frost have observed that could scare him? Let's observe the poem in question and see what we discover.

Starting with the title, "Design", any reader of this poem will find it full of meaning. As "Webster's new world dictionary" defines "Design", the word can denote among other things, a plan, or "purpose; intention; aim". Some arguments for the existence of god (I remember from Sunday school) are based on the "argument from design"; that because the world shows a systematic order, there must be a designer who made it. But the word design can also mean "a secret or sinister scheme" - such as we attribute to a "designing person". As we shall see, Frost's poem incorporates all of these meanings. His poem raises the old philosophic question of whether there is a designer, and evil designer, or no designer at all. Frost probably read William James on this question, as a critic has shown convincingly.

Like many other sonnets, "Design" is divided into two parts. The first eight lines draw a picture centering on the spider, which at first seems almost jolly. It is dimpled and fat like a baby, or Santa Claus. It stands on a wild flower whose name, heal-all, seems ironic: a heal-all is supposed to cure any disease, but it certainly has no power to restore life to the dead moth. In this second line we discover, too, that the spider has hold of another creature. Right away we might feel sorry for the moth, were it not the simile applied to it in line three: "like a white piece of rigid satin cloth." suddenly the moth becomes not a creature but a piece of fabric - and yet satin has connotation of beauty. Satin is luxurious material used in rich formal clothing, such as coronation grows and brides' dresses.

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วันศุกร์ที่ 13 กันยายน พ.ศ. 2556

The Awkward Love Songs of J Alfred Prufrock, the Catcher in the Rye, and Smells Like Teen Spirit

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The word "wooing" doesn't get used very much anymore. Not just because the word itself sounds outdated, but because the relationship scene has changed a tad over the last hundred plus years.

Newfound social flexibility has taken a lot of the ritual out of love, which is great if you don't want to be exchanged to the neighboring villager for a goat but less great when you're trying to figure out how long to wait before you call someone back. Or what to say when you do call. Or whether there's anything to call about in the first place. OR, dare we speculate, if the call might somehow result in marriage, children, and a fixed 10/30 mortgage.

Suffice it to say that the relationship between modernity and love is "complicated." If you struggle with today's mating rituals, raise a toast to these awkward wooers across the twentieth-century: J. Alfred Prufrock, Holden Caulfield, and Kurt Cobain. In addition to being tongue-twisted, evasive male lovers, all three figures arise during particularly fat and happy times in American history - which certainly doesn't help if you already feel like a loser.

J. Alfred is the original guy awkwardly crushing on the girl at the party. His entire 132-line "love song" is a speculation about whether or not to approach his love interest, whose identity he doesn't even have the guts to divulge. There are several alternate interpretations of The Love Song of J. Alfred Prufrock, including the following:
Prufrock approaches the woman he loves, loses his nerve, and gives up without saying anything.Prufrock wanders through the city streets imagining approaching said woman, then anticipates rejection and gives up without saying anything.Prufrock spends the entire poem at home, where he imagines wandering through the city streets imagining his fantasy self approaching said woman, being rejected, and then giving up without saying anything.Prufrock isn't even in love with anyone specific and just likes to torture himself.Folks, welcome to modernism. It doesn't get any easier from here.

Fast forward thirty years to The Catcher in the Rye: the heyday of Ford Mustangs, drive-in burger joints, the nuclear family, post-war purposelessness, and an unbelievable pressure to conform. Then imagine trying to date.

Although Catcher might not strike you as a love story so much as the disillusioned ramblings of a na?ve seventeen-year old, once you strip away all the criticism of phonies, meanness, adulthood, and popularity, you're left with... not much of anything. Which is why we can't ignore the fact that the two areas of Holden's life that remain unscathed are his (deceased) little brother, Allie, and his (absent) crush, Jane. These are the rulers by which Holden measures everything.

Of course, Holden never works up the nerve to go through with calling Jane - any of the times he tries - but he does violently attack his roommate after suspecting him of "giving her the time" (possibly by coercion). As far as Holden goes, that's quite the display of knight-in-shining-armor-ness. Unfortunately, the fact that the book ends with Holden in some sort of institution gives us the distinct impression that things with Jane never quite work out.

Jump ahead another forty years for the disjointed, jilted love story of the breakout 1991 hit Smells Like Teen Spirit. In it, Cobain describes a woman - "over-bored and self-assured" - that automatically makes his mind jump to "a dirty word." He then says "hello" several times before asking, "how low?" You smooth talker, you.

Next comes the chorus, which assures us that "with the lights out, it's less dangerous." In case you're not already feeling uncomfortable, Cobain then rattles off the following items like they somehow belong together: "a mulatto, an albino, a mosquito, my libido." Yup. Nothing puts a gal in the mood like a pejorative racial term, a pigmentation disorder, a blood-sucking insect, and talk of the ol' sex drive. We can't say we're surprised that the song ends in a famously repeated "denial."

For someone so romantically inept, it's only fitting that Cobain be dubbed the "self-hating icon of the inarticulate generation" by the UK Telegraph. Then again, if they think the 1990's were the only inarticulate generation, the joke is on them.

Shmoop is an online study guide for Love Song of J. Alfred Prufrock, Catcher in the Rye and many more. Its content is written by Ph.D. and Masters students from top universities, like Stanford, Berkeley, Harvard, and Yale who have also taught at the high school and college levels. Teachers and students should feel confident to cite Shmoop.



วันพุธที่ 4 กันยายน พ.ศ. 2556

With A Silver Wing Tanya Pens

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"With Silver Wings And A Golden Quill"
Tanya writes as her emotions spill
Words written to make emotions rise
As you read through you will be surprised
Page by page poems are filled with grace
Emotions stare you right in the face
Mature audiences must read this book
Her love views are just off of the hook
Thoughts will guide your imagination
Leaving you desiring temptation
"With Silver Wings and a Golden Quill"
A legacy for the heart to fill

Tanya Campos Gracia has certainly shared with her reading great poems of emotion and love. Her imagery are etched upon each page in this heartfelt book. May your imagination guide you to heights unknown as Tanya shares from her heart.From Across The Room, you will see how, Feelings of You all Whispers from Tanya's heart as she pours out of her soul to the readers.

Many will be able to identify the essence of love as only Tanya can captivate her readers with these beautiful pieces. I can truly say, what comes from the heart-reaches the heart. Tanya certainly has done this well.

You will also find beautiful graphics throughout the book by Daveda Gruber.

I would certainly gear this lovely poetic book to mature readers who have experienced the amazing languages of love as Tanya's golden quill spell out in her poetic pieces. Page after page your imagination will expand as you read through the lovely poetic pieces as Tanya golden quill continues to guide her line by line.



วันอังคารที่ 20 สิงหาคม พ.ศ. 2556

Shakespeare Love Poems - A Lover's Complaint Analysis

One of the four full-length Shakespeare love poems, this poem is written in seven-line stanzas and is written in rhyme royal, just like another Shakespeare love poem, the Rape of Lucrece. The rhyme royal rhyming scheme is (aba-bb-cc). This full length poem is 394 lines long, and has 2,579 words... so if you haven't read it yet and don't have the time to do so, have a look at my summary below.

The poem tells the story of a young maid who laments over her seduction by a persuasive, womanising young man. He eventually dumps her and breaks her heart. The story begins with her weeping and wailing by the river, and an old shepherd hears her and takes pity, and goes over to console her. He finds her throwing love tokens into the river as she weeps, all given to her by the same man, old love letters (some written in blood) and jewellery... The shepherd notices that although she looks bedraggled, she is still young and must have been pretty before she became in such a state.

She tells the story of how she was an innocent and chaste young woman, not to be easily seduced by red-blooded men. This young man had a reputation as a notorious womaniser, and the young maid was wary to begin with. Eventually his charms and popularity seduced her. Shakespeare goes on to describe the young man's many qualities, he was very handsome, and had wit and charm and a twinkle in his eye. He had a "subduing tongue" and could "make the weeper laugh, the laugher weep" and she accepted them and almost believed her loved her, He gave her gifts and love tokens from his previous lovers to show how much her loved fer... Perhaps he did, it is not made clear in the poem, but soon the young maid started to fall in love with the young man, even though she knew of his nature as a womaniser and a cheater.

Eventually the young man started becoming untrue and deep down she knew it, but she was so in love that it blinded her and she ignored it. The young man eventually left her to pursue other woman, and now the young woman is sad and alone.

Shakespeare explores two different themes of the nature of love here, both are very dangerous. In this Shakespeare love poem, there is firstly the power of love to blind all to sense. The young maid was at the time a chaste and good young lady, and she knew that the young man was a fickle seducer, but yet at the time she was blinded by love and it robbed her of all reason.

Another theme is the cruelty of love, how this young woman was cheated and dumped unkindly by this man. Sometimes people have very little concern for other peoples feelings... This could also be interpreted as a theme on how fickle men's hearts are... In this poem, we are unsure whether the man really over loved the young maid or whether he was just using her, but some lines portray him in a bad light. I particularly like this very clever description near the end of the poem "...though our drops this difference in bore, His poison'd me, and mine did him restore..." This is my favourite line in the poem, and it describes how the seducing young man's false tears tricked the young maid into falling in love with him, but her real tears gave the young man the strength and boosted his ego. The use of the word poison almost gives an evil edge to the young man's motives I like this poem's description of each character's flaws and qualities... The young maid's description invokes pity in the reader "Her hair, nor loose nor tied in formal plat... Hanging her pale and pined cheek beside ", this description makes her seem very plain in appearance, almost as if she could be pretty, but has no strength or energy to care about her appearance. We could all learn from Shakespeare's romantic writings here.

This in my opinion is one of the best Shakespeare Love Poems to learn poetry from because of its simple themes of the dangers of love... Many of you may be able to relate to the story of the young maid in this poem, but if you're looking for clever description, this is one of the best poems to look at.

Cluivee Lee is interested in Shakespeare love poems, especially learning about them, discussing them, and reading them.

http://www.shakespearelovepoems.com/



วันพุธที่ 7 สิงหาคม พ.ศ. 2556

Spiritual Enlightenment - Uplifts the Mind, Body and Spirit

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Christina R. Jussaume, a spiritual poetic writer has published her sixth collection of poetry entitled, "Spiritual Entitlement: Healing of Mind, Body, and Spirit." Jussaume is a wife, mother, grandmother, and is a founding member of the poetry site "Poetry and Publishing" located in the UK. She dedicates this book to God from whom she gets her inspiration and to her friends for their encouragement.

Spiritual Entitlement begins with the poem "God's Enlightenment," which is written in the Shadow Sonnet form (page 1). The inventor of this poetic form is Amera M. Anderson. This form is similar to the American Sonnet which does not use end rhymes and has a syllable count of unequal lines. Reflecting on the first poem, the words of her late mother resonates in her soul as she pens the poem "Pass No Judgment," which in written in the Monchielle form (page 4). This poem sends tribute to her mother for the lessons she learned from her as a daughter. The creator of this poetic form is Jim T. Henriksen. Additionally, the poetics lines send a clear message that such an act of judgment rest only with God the Creator.

The poem, "Offering of Peace and Joy," is written in The Tree format (page 14). The creator of this poetic form is Dorian Peterson Potter. It is actually a concrete poem since it outlines the form of a tree. This poem brings the essence of peace and joy to the heart of the reader. Her poem which is entitled, "Stairway to Heaven," is written in the Linked format (page 67). The creator of this poetic form is Erich J. Goller. This poem gives some insight regarding the path to Heaven and what it takes to walk the "Stairways to Heaven."

The book continues with another concrete poem entitled, "The Lighting Bugs," which is written in The Butterfly Oclet form (page 117). The inventor of this poetic form is Joree Williams. Each individual stanza in the poem is in the form of a butterfly's wings. This poem sends images of angelic wings reflecting stars as a guiding light.

Jussaume has not forgotten her parents. She also gives credit to her late father in the poem "To My Father," written in the Pruntiform poetic style (page 181). The creator of this poetic form is Randy Prunty. The author's plea to God in this poem is for everyone to live in faith and grow in love. She ends her poems on page 181 with another poem written in the Monchielle form and is entitled, "Believe in Me to Be Well." This poem stems from the Book of Exodus 15:26, and is based on the voice of God which states, "I am the Lord who heals you."

The book also has a glossary of over 80 plus poetic forms and styles for greater understanding of the poems. Following the glossary is another section with the front cover of the books written by Jussaume. The last section of the book has a list of books in which she contributes her poems for the betterment of others and world peace.

Joseph S. Spence, Sr. (aka "Epulaeryu Master"), authored "The Awakened One Poetics" (2009), published in seven languages, "A Trilogy of Poetry, Prose and Thoughts for the Mind, Body and Soul," and "Trilogy Moments for the Mind, Body and Soul." Joseph is a Goodwill Ambassador for Arkansas, and is a US Army veteran.

http://www.TheAwakenedOnePoetics.com/



วันอาทิตย์ที่ 28 กรกฎาคม พ.ศ. 2556

Shakespeare Love Poems - Analysis of Sonnet 18 (Shall I Compare Thee?)

Analysis of Sonnet 18: 1st quatrain

Sonnet 18 is the most famous of Shakespeare's love poems... In the story of the Shakespeare sonnets, the main character directs this message to the fair youth, with whom he shares a special love. Whether the love is platonic or sexual, has been debated over the years, however the romantic and loving nature of this sonnet cannot be debated. The writer begins by asking, Shall I compare you to a summer's day?, and is comparing the fair youth's beauty, youthfulness and vitality to that of a summer's day... The writer also says that the fair youth is more lovely and more temperate than a summer's day-possibly saying the fair youth is more calm, kind and gentle.

But the last two lines of this quatrain say that summer is far too short, and begin to question the fair youths good looks will they last forever

2nd quatrain

In this quatrain, negative thoughts and worries start to fill the writer's head. He begins by carrying on with his thoughts that the summer lasts very short... You can sense a a rather pensive and doubting mood as he talks about the summer being too hot, and at other times being too cold-the nasty extremes of summer. So even though the fair youth is lovely, at times the fair youth can also be angry, and he can also be harsh. He then starts to question nature, "...every fair from fair sometime declines"-even fair and beautiful things such.as the fair youth will lose its beauty to "nature's changing course".

quatrain 3 rd

But a new sense of vigour seems to have overtaken the writer at the start of this quatrain, "thy eternal summer shall not fade as he says firmly,"... He says that the fair youths beauty and vitality shall not fade... He says you will not lose your youth, or the beauty you possess, and death will not claim you for his own. The writer could be saying that the fair youths in inner beauty shall not fade, and there is certainly an element to that with these poetic words, but the moreover the writer is also saying with the words "with eternal lines" that the fair youth's beauty is immortalised in the words of this sonnet.

Final rhyming couplet

The final rhyming couplet of any Shakespearean sonnet, this reinforces the writers previous assertion. That as long as there are people on this earth to read these words, the fair youths spirit and beauty lives on in this poem.

Here is the Shakespeare love poem, Sonnet 18. I have even separated this poem out into quatrains for you...

1st quatrain

Shall I compare thee to a summer's day?

Thou art more lovely and more temperate;

Rough winds do shake the darling buds of May,

And summer's lease hath all too short a date;

2nd quatrain

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm'd;

And every fair from fair sometime declines,

By chance or nature's changing course untrimm'd;

quatrain 3 rd

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow ' st;

Nor shall Death brag thou wander ' st in his shade,

When in eternal lines to time thou grow ' st:

Final rhyming couplet

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.

If you want to learn more about Shakespeare love poems, or indeed, anything to do with romance and Shakespeare, have a look at some of my other posts at Shakespeare love poems

Hi! I'm Cluivee, and I'm interested in all things Shakespeare! I especially enjoy reading and writing about Shakespeare love poems and the famous Shakespeare love sonnets.
If you want to know more about Shakespeare love poems, check out my site at http://www.shakespearelovepoems.com/



วันอาทิตย์ที่ 14 กรกฎาคม พ.ศ. 2556

Lanval: Ladies Man or Girly Man?

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Abstract: In Marie de France's Lanval was Lanval truly a homosexual and alluded to in the following verses, and what were the punishments for homosexuality in the Middle Ages?

"That women are not what you prefer".
But you have many little boys,
With whom you take your joys" (lines 278-280).

In Lanval, by Marie de France, Lanval is accused of being a homosexual by Queen Guinevere after Lanval refuses to accept Guinevere's advances. Although Lanval explains to Guinevere that he had saved himself for his fair lady and is loyal to his king, it seems as if Guinevere thinks that Lanval is lying and accuses him of being a homosexual. She then puts him on trial for turning down her advances even though he had done so out of love and his loyalty to the king. This paper will seek to research the medieval outlook on homosexuality and common punishments that were handed out from being found to be a homosexual in medieval times and the social ramifications of being accused or found guilty.

First, in medieval times there was an ecumenical council that condemned homosexual couplings. This council was established in 1179 and was called Lateren III (Blogged.the-protagonist.net). This council was attended by 302 bishops and presided over by Pope Alexander III. This council also dealt with other social stigmas such as heresy and sodomy. The church took allegations of homosexuality very serious and the condemned could have faced beheading or being burnt at the stake. There were specific torture devices used on a condemned homosexual. One such device was called the Pear of Anguish. It had the shape of a pear and, as the handle was turned, the spoon shaped lobes flowered open causing major damage to the intestines of the victim when inserted into the anus. This apparatus was rarely washed so that the victim would surely succumb to infection if he managed to live through the intestine damage. This device was used widespread as punishment for a plethora of crimes, one of them being homosexuality.

Being found guilty of homosexuality in the Middle Ages for a person of noble status could bring forth excommunication from the church and exile from the kingdom. Although it was not a death sentence, being exiled could be far worse than death. Being cut off from one's land and court could be a fate worse than death for nobility. The exiled would be subjected to loss of status, land holdings, and any wealth that was accumulated through wills. This punishment of exile leaves the accused alone and far from familiar surrounds and people.

Next, one could argue that the queen's ego was bruised so badly that she had no recourse but to accuse Lanval of homosexuality. Lanval was bound by secrecy not to reveal his lover's name for fear that he would lose the hand of his beloved. Guinevere was so offended by her pass being discarded by Lanval that she took him to trial. Offending nobility was often a death sentence in itself. Taking Lanval to trial was a way to expose what she had perhaps heard others say about his sexual behavior. The line "But you have many little boys" (line 279) (de France) could not only insinuate homosexuality, but pedophilia as well. It is often overlooked that the reason that Lanval is put on trial to begin with is from the Queen's improper advancements. It was her improprieties and Lanval's refusal to betray his love and King that ends him up on trial. The Queen was the one that threw herself at Lanval and it was Lanval that refused. This is never brought up in open count; perhaps Lanval is so noble that he still wants to protect the honor of the Queen. However, this protection could very well cost Lanval dearly --either his life, exile, or his love. Perhaps it is Lanval's devotion to the King and his refusal to smear the name of the royal family and mark it with infidelity that makes Lanval endure the court proceedings.

Lastly, Lanval was put in an awkward situation by being bound by secrecy by his lover. The one thing that could exonerate Lanval from the charges of homosexuality is disclosing his relations with his beloved. Instead, he has to endure the stress of trial at the hand of the Queen. It is only at the last moment that he is saved from judgment being passed on to him by his beloved. His beloved could have, at any time, made her way to the Queen's court and exonerated Lanval. Her testimony of their sordid times in her tent would have quickly dissolved any thoughts of homosexuality from anyone that had an audience with the King and Queen at the court proceedings. Instead she waits until the last moment to save Lanval; letting him deal with the accusations and stress from the court proceedings with no way to exonerate himself without breaking his oath to his lover. This oath of secrecy does not help his case and Lanval's refusal to give up his lover's name for his innocence shows his passion towards her. The King's court, and the Queen, could view him as a homosexual that is making up lies of heterosexual intimate escapades to try and cover up the fact that he is truly a homosexual. In the end Lanval's lover came to his aid and it seemed as if there was no stigma put on him at the end of the poem. It is slightly ironic that throughout this whole story, even at the end where he is exonerated, the Queen is not brought forth before her King, and husband, to answer for her role in this whole ordeal.

In conclusion, homosexuality has been prevalent since ancient Roman and Greek times. These acts weren't punished as harshly back in ancient times as they had been since the conversion to Christianity in the Middle Ages. The act of homosexuality was brought against Lanval by Queen Guinevere although no first hand evidence is brought against him except the refusal of Guinevere's advances by Lanval. It is hearsay and a bruised ego that leads Lanval to stand trial. Whether the trial was truly based on the Queen thinking that Lanval was a homosexual, and thus going against God's will, is never really openly discussed other than the aforementioned quote and the beginning of this text. It is more reasonable to assume that the Queen was furious out of her own vanity and lack of rejection coping skills that made Lanval a target for homosexual accusations to cover up her own improprieties. This argument stirs questions within the author of this paper as to how many people were put to death, or exiled out of vanity or the inability to cope with rejection throughout the ages.

Sources Cited
De France, Marie, "Lanval." The Norton Anthology. Ed. Stephen Greenblatt. Eighth Edition. Vol. One. New York, NY: W.W Norton and Company, 2006. 142-157. Print.
Homosexuality: The Queer Fight for Equality. 1 Dec. 2005. Blogged. 2 Nov. 2010 < http://blogged.the-protagonist.net/2005/01/25/homosexuality-the-queer-fight-for-equality/ >.

Written by Dominic Sobieralski, November 3rd 2010



วันเสาร์ที่ 29 มิถุนายน พ.ศ. 2556

Save Lost Childhood

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Joree Williams has written a book that is a must, in society today, to read. 'Lost Childhood' has just been released by Publishing with Passion.

It is in the hopes that some child or children somewhere will be helped that this book was written.

Many of us have had difficulties in life. We usually try to make the most of them. Sometimes we come across another human being who we deeply care for, and in bits and pieces we are permitted to learn the past complexities of their earlier growth. I have not yet met Joree Williams in person, but I consider her to be a close friend. That is possible in this day and age by the Internet.

Joree has had a horrendous childhood. Where other people do and have not made it, Williams has. It is sometimes thought, that occurrences such as Joree has experienced, only could have taken place in a movie. It does not seem possible that she could have survived what she has.

This story, told in poetic style and some story type of writing done in paragraphs, tells of abused children. One little girl is the main focus. It tells of sexual abuse and violent physical abuse. The story unfolds the beginning of a very young child, a baby's life, and re-lives her growth.

Williams lets you explore the mind of an abused child through many different aspects. You will explore the fantasy places an abused child creates in her own mind to help herself not face reality.

'Lost Childhood' tells of crimes that we should all be aware of. Joree Williams has given us a view into the most inner depths of her being. She tells this story so that we may learn from it. Child abuse happens far too often. Kidnapping and the murder of children happen and must be stopped. There are ways to help end it.

A story, such as this, will help many to recognize the signs of a victim of a vicious attack on her very existence. If you have strong emotions about those who would hurt an innocent child, read this book and learn how you could help one instead of turning away and being part of the problem. We must learn to step in and report when we suspect there is child molestation going on.

Daveda Gruber, owner of Publishing with Passion and Poetry with Passion as well as, author of fourteen books including: "Magical Moments," "Bruised but Not Beaten," "Death of a Daughter," "Steelers Cheers," "Red Barn and Other Short Stories," "Cling to the Magic Mere Mortals," "The Blonde Who Found Jesus," "A Blonde View of Life," "Tales of a Tiny Dog," "More Tales of a Tiny Dog," "Castle of Ice," "More Snapshots from my Family Album" and "Snapshots a Blonde View." I am a professional graphic art designer and I produce professional video productions.

Daveda@Roadrunner.com

publishingwithpassion@gmail.com



วันจันทร์ที่ 17 มิถุนายน พ.ศ. 2556

Semicolons and Other Signs of Savvy Writing

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An editor friend of mine tells me that when he first begins working on a manuscript he often likes to do a search for semicolons, and more often than not, he isn't surprised when the results turn up that the entire book is completely devoid of their use. Why is that? I think it's because people don't know how to use semicolons so they avoid them.

I've heard, along with the many arguments to get rid of punctuation, and especially the comma, that the semicolon is no longer needed. I beg to differ. I think of punctuation as being like road signs in a text. The period is equivalent to a stop sign. The semicolon is more like the yellow light that tells us to proceed with caution; we can keep going, but the yellow light alerts us that the situation has changed a little. Similarly, a semicolon tells us one sentence is ending and another beginning, but we can proceed on to the new sentence knowing it has a connection to the previous one. Think what would happen if there were no yellow lights. The result might not be as many accidents as if there were no stop signs, but it would be the next worse thing. Similarly, the semicolon's power is almost as great as the period's. Perhaps it should be more aptly named the semiperiod, but in any case, it does serve a need.

Certain situations are appropriate for semicolon usage while others are a matter of taste and style. Let's look at three common rules for when semicolon usage is appropriate and preferred.

Semicolons in a series. This usage is probably the least common and only results when a series of items is referred to and commas are already used, so the semicolons have to separate items and another barrier is needed beyond the commas. It's somewhat similar to why when writing an outline we use a. b. c. because we've already used 1. 2. 3. We can't use 1. 2. 3. again because it would confuse people. For example:

I went to the store to buy milk, licorice, apples, and coffee.

Here is an example of a series that uses commas to separate multiple items. Now let's look at an example of a series with multiple items that also uses commas to the extent where semicolons are needed.

We broke the children into three teams: John, Mary, and Judy; Sam, Nate, and Beth; and Marsha, Wesley, and Tom.

In this example, we have three groups, but then in each group are three children so we use the semicolons to separate the groups, and the commas to separate the children. A more complicated example would be:

When doing the dishes, remember to wipe all the grease, sauce, and meat off the plates before you put them in the water; use the dishcloth to wash the plates, but use the scrubber for troublesome residue; and remember to rinse the dishes off before placing them in the rack.

In this example, there are three steps to the process, so the semicolons are used to separate those three steps.

Semicolons and Subordinate Conjunctions. This rule may be the easiest to remember. Use a semicolon before the subordinate conjunction and a comma after the subordinate conjunction when that conjunction combines two sentences.

I know; you may not know what a subordinate conjunction is. First, let's look at coordinating conjunctions. You know those. They are words like: and, but, or, so. We use coordinating conjunctions to connect two sentences as one. For example:

I like apples. I don't like applesauce. We can change to: I like apples, but I don't like applesauce.

A subordinate conjunction does the same thing, except it usually has a bit more emphasis. There are many subordinate conjunctions, but they tend to be big words like:

therefore, however, furthermore, nevertheless, hence, moreover

They might also include phrases such as:

for example, for instance, as a matter of fact, in that case

If we inserted a subordinate conjunction into the example above, we could say:

I like apples; however, I don't like applesauce.

The difference here is we put a semicolon before the subordinate conjunction, and then, we put a comma after it. That doesn't mean, however, that we put a semicolon before every subordinate conjunction. Look at that last sentence and you'll see I used "however" with only a comma before it. That's because it doesn't separate two complete sentences. We couldn't say, "That doesn't mean. That we put a semicolon before every subordinate conjunction." If we wrote that, we wouldn't have two complete sentences if we removed "however;" however, we would have two complete sentences if we removed "however" from my earlier example and were left with "I like apples. I don't like applesauce."

Here are a few more examples of subordinate conjunctions used both with semicolons and with just commas, the difference depending on their placement in the sentence. Note that each of these sentences has the correct punctuation. Also note that you can use a period instead of a semicolon with the subordinate conjunction. It just depends on the sentence and how much emphasis you want to give it.

I decided I wanted to be an English major; therefore, I brushed up on the rules about semicolons.
Your brother, John, is going away to college; therefore, you can have his room.

I like to read; however, I don't like to write.
Most writers, however, prefer to use pen and paper over a typewriter.

Stealing is a crime. Furthermore, everyone who steals deserves to go to prison.
Stealing is a crime; furthermore, it is not fair to the storeowner.
(Note that a period is appropriate in the first example here because the second sentence has a stronger emphasis than the first.)

Mark is a good boy; hence, he did not steal the candy.
While you may like chocolate, nevertheless, it will give you acne.

I think painting the room green would be a better choice; for example, it would clash nicely with the purple curtains.
So you would rather go to the movie than clean your room; in that case, I would rather watch TV than make dinner.

Semicolons in place of periods. The final way to use semicolons is when you wish to connect two closely related thoughts that may really feel like one thought, but they are, technically, two complete sentences. Let's look at a few examples of where a semicolon would not be appropriate and where it would.

John and Mary will get married in the spring. The wedding will be in North Carolina.

The wedding, in North Carolina, will be convenient; both John and Mary are from that state.

In the first sentence, no reason is given for North Carolina being the setting of the wedding so a clear relation between the sentences isn't apparent; however, in the second example, the first sentence tells us the wedding's location is convenient and the second sentence tells us why-in this case we could have used "because" in place of the semicolon because there is a relationship between the two. Here's another example:

I hate going into the bathroom after Edna has been in there; she really stinks it up.

This sentence wouldn't be as effective if we used "because" or a period where the semicolon is placed. It just would cause the sentence to lose a bit of its humorous punch.

Frank is the best football player on the team; even when he was a little boy, he would practice five hours a day.

Again here, the second sentence completes the first by giving an explanation of why Frank is the best player; the semicolon really completes the thought or answers the question the first sentence raises.

Those three simple rules for semicolon usage will help you remember when to use them, and perhaps also encourage you to use them when appropriate or effective to make your sentences flow more smoothly. Polished writers know how to use semicolons; now, so do you.

Irene Watson is the Managing Editor of Reader Views, where avid readers can find reviews of recently published books as well as read interviews with authors. Her team also provides author publicity and a variety of other services specific to writing and publishing books.



วันจันทร์ที่ 3 มิถุนายน พ.ศ. 2556

The Journey Through Grief As Told In Widowed Dreams

Widowed Dreams
By: Helen McManus

Helen McManus shares her story of grief in this dynamic book entitled Widowed Dreams...

Written through tears as she shares from her heart reliving the loss of her dear spouse... It was a sudden loss and one that many will be able to relate too. The readers will be able to connect with Helen through the beautiful pages of poetry she shares with her readers.

Through sharing this story the author knows that God will get the glory and her readers will also find healing in their own lives also. You will see that this journey through grief is not appealing and you will certainly wonder why is there so much pain just as Helen felt as she releases her hurts through poetry many, many sleepless nights.

Line after line we find Healing Rain as Helen cries out Oh Lord please heal! The reader will also find comfort in the memories the writer shares with her readers as they flow with her through the land of tears... The author shares with her readers poems describing the different stages of sorrow she experienced. The grieving, the coping and finally the healing.

"Widowed Dreams In" we see a young woman now left with so many fears as she faces her day by day activities. She reaches out to her audience as she picks up the pieces and begins to live her life again... This time not as a married woman but a widow... Step by step through the pages of the book the author carries her readers on this journey...

So many questions this young lady had to face and endure as she journeyed through this new season in her life... One that was not invited but suddenly showed up as an uninvited guest. Her world was now shattered but she knew she had an undying love and with the help of the Lord and her dear friends she would make it through. It was not easy for this author but I noticed she certainly had a strong support system of friends and family to help her each step of the way.

Her book shares beautiful graphics and encouraging responses from her cries by her dear friend J. Elwood Davis... This certainly is a must and great healing tool for anyone suffering a loss.
I truly, truly, enjoyed this book form beginning to end. But beware... keep a box of tissues close by...



วันจันทร์ที่ 20 พฤษภาคม พ.ศ. 2556

Love is Not Love - In Shakespeare's Sonnet 18, Anyway

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Sonnets 18 and 116 are two of Shakespeare's most quotable love poems. If you're a fan of weddings, rose-petal-filled baths, or Kate Winslet in Sense and Sensibility, you'll probably recognize the lines "Shall I compare thee to a summer's day?" and "Love is not love / Which alters when it alteration finds." The problem with quotes, however, is that they lack context. Let's do a quick line-by-line overview of Sonnets 116 and 18. You might be surprised to find that one of these so-called "love" poems is very much not like the other.

Sonnet 116

Let me not to the marriage of true minds
Admit impediments.

This is Shakespeare's equivalent of saying "Mum's the word" to the ol' "Speak now or forever hold your peace" bit of the marriage ceremony. In fact, Shakespeare won't even admit the word "impediments" to the line that talks about marriage. Love: 1; Impediments: 0.

...Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:

In other words, he's not one for pulling any of this "you've changed" crap.

O no! it is an ever-fixed mark
That looks on tempests and is never shaken;

Psh, tempests.

It is the star to every wand'ring bark,
Whose worth's unknown, although his height be taken.

The star to every wand'ring bark? That'd have to be the North Star, which never appears to move from its place in the Northern Hemisphere. The reason its "worth's unknown" is because Europeans didn't know a whole heck of a lot about stars back in Shakespeare's day, what with still being bitter about the Earth's roundness and all.

Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:

Love: 2; Rosy Lips and Cheeks: 0. On a side note, remember that this is Shakespeare, meaning that anything a 12-year old could possibly construe as dirty probably is. Feel free to laugh, therefore, at the image of Old Father Time's "bending" sickle.

Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.

Love: 3; Edge of Doom: big ol' goose egg. If love could speak, it'd be saying "booya" right about now.

If this be error and upon me proved,
I never writ, nor no man ever loved.

Did Shakespeare just take an oath upon his own poetry? Them's fightin' words. If you're not sure why, it'll all make sense when we get to Sonnet 18.

Like Sonnet 116, Sonnet 18 is ranked high up there on Sappy Poetry lists... usually by people who go for explicit rather than implicit meaning. If you've ever considered including a reading of Sonnet 18 at your anniversary party, the last three or so lines will probably change your mind. (If you're a really careful reader, the first two will do the trick.) Let's start from the top.

Sonnet 18

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:

Aww, how sweet! We think... To be sure, let's read it again - aloud. Remember to stress every second syllable, like so:

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:

Ah hah! Notice how "I" is emphasized but "thee" and "thou" aren't? Sneaky. Let's continue.

Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:

Can't argue with that.

Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance, or nature's changing course untrimm'd;

Yeah yeah, we get it - everything in nature fades. Go back to that "thou" person already.

But thy eternal summer shall not fade,

Woohoo! And the "thy" is emphasized! We knew Shakespeare would come around eventually!

Nor lose possession of that fair thou ow'st,

We like where this is going.

Nor shall death brag thou wander'st in his shade,

Good, good. Keep it coming!

When in eternal lines to time thou grow'st;

Uh oh, we've got ourselves a conditional. So let's get this straight: all that not fading, getting ugly, or dying business depends on growing in some eternal lines to time? What does that even mean? And please don't tell us it has anything to do with the fact that Sonnets 1-17 are also known as the "procreation sonnets." If Shakespeare's saying that the best way to bottle up all them good looks is by creating genetic blood lines, we're going to go ahead and turn down that second date.

So long as men can breathe, or eyes can see,

Another conditional?!? Okay, okay: "so long as men can breathe, or eyes can see" is actually a decent amount of time, so we'll let it slide.

So long lives this, and this gives life to thee.

At last! - an emphasized "thee"! But hold the phone: what's giving thee life? Some unnamed "this"?? Is Shakespeare referring back to those eternal lines? To give him a little credit, he probably knows enough about grammar to use the pronoun "these" when talking about something plural. Dare we ask... if "this" is the sonnet itself? Might Shakespeare be suggesting that being featured in his work immortalizes you? Are those eternal lines the lines of the sonnet itself? Is the final thee only emphasized because it's the end result of Shakespeare's awesome, immortalizing poetry skills?

Probably. After all, being Shakespeare is like being an Elizabethan rockstar: you can bully the roadies, sleep with the groupies, trash the hotel rooms, and still be the world's darling. And let's face it: if you went down in history as The Bard, you'd probably swear by your own poetry too.

Shmoop is an online study guide for Shakespeare, Sonnet 116 and many more. Its content is written by Ph.D. and Masters students from top universities, like Stanford, Berkeley, Harvard, and Yale who have also taught at the high school and college levels. Teachers and students should feel confident to cite Shmoop.



วันศุกร์ที่ 10 พฤษภาคม พ.ศ. 2556

Golden Spotted Deer - Based On An Episode In The Epic Ramayana

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The great philosopher Socrates taught his disciples, never to accept anything without questioning. The question why has to be answered truthfully without flinching and requires great moral courage and indomitable spirit of adventure to pursue matters to a logical conclusion, which may be unpalatable and invite violent reaction from uninformed public, especially if religion is involved. May He grant me the toughness! I seek sincere apology, in advance. The theme involves Sita, whom I respect most, Ram, the maryada purushottam, venerated all over India and Lakshman, the faithful brother, who sacrificed his family life, to protect his brother and sister-in-law, in their long and tortuous journey through the subcontinent, disregarding the threat from wild animals and asuras who dominated the wilderness. Let us be extremely cautious!

All went well, until the fourteenth year of their picnic-like excursion, enjoying the splendor of virgin forests and emerald green hills. Then tragedy struck as in a Hollywood film.

A lovely golden deer appeared near the cottage, where the princely trio were camping. Its beauty and innocent eyes captivated the Princess. She just wanted to have it! They told her that it was no ordinary animal; it was some evil being, with ulterior motives, sent to harm them.They had already incurred the wrath of Shoorpanaka (in the South it is Surpanakha) and killed her brothers who attacked them. They were expecting trouble.

But Sita won't hear. She wanted the golden deer. Ultimately, her husband yielded. Entrusting the safety of his spouse to his faithful brother, Ram went after the animal.

Oh help me Lakshman: I am in immediate danger-When Sita heard these cries, she urged Lakshman to go and help Ram. On being told that Ram is capable of defending himself and that this is a trick of the evil spirit that came in the guise of the animal, Sita was infuriated, became wild, accusing Lakshman of entertaining dirty motives to posses her after Ram fell dead. That was the last straw! Lakshman left instantly, leaving Sita undefended. In comes a sanyasi (a hermit) asking for alms. Every Hindu respects and welcomes such people. Unsuspecting Sita comes out of the cottage and is kidnapped by Ravana, in order to avenge the ill-treatment of his sister Shoorpanaka. The seed is sown for the epic Ram vs. Ravana war.

In this single episode, the poet Valmiki exhibits his superlative qualities with regard to plot, characterization and human psychology! We are concerned with certain fundamental questions arising out of the whole sequence of events.

1) The first question is: why Sita behaved like a nine year old girl crying for a Barbie doll?

Sita is no ordinary woman. She forsook the pleasures of life in the palace and went along with her husband with bare clothes into the forest. This shows her high moral standard and extreme devotion to her beloved husband. During their sojourn through the forest, they must have come across hundreds of deer and fondled them. Therefore, the sight of the golden deer should not have excited her. When told that it is no ordinary deer but some evil spirit masquerading as deer with definite motives for revenge, Sita should have been convinced. In fact, any dutiful wife with some sense of responsibility would readily agree with her husband and forget the deer. Why did Sita of such high standard and integrity of character, fully devoted to her husband, insist on her demand for the pet?

2) As a responsible husband, Ram should have convinced his wife about the futility of seeking to capture the illusive deer. Why did he fail to do this? When he was fully convinced that the deer is a mirage, he should have refused to budge. Why did he fail? He could have thrashed his wife for being so silly and adamant, why did he not do it?

3) When Lakshman left his wife and accompanied the princely couple, he had only one thing in his mind: protection of his beloved brother and sister- in- law. He should have clearly told Sita that Ram is quite safe and there is nothing to worry about. If he could not countenance the vulgar insinuations of Sita, he could have pretended to go but actually hidden himself in the nearby bush. Why did he not do this?

4) Ravan was a very powerful and valiant fighter. When his sister Soorpanaka was insulted and her breasts and nose cut off (did they have to do this to a woman?), he should have challenged the princes for a fight and not sneak into the hutment like a thief

and stolen Sita. His wife Mandodari had actually advised Ravan against this heinous crime. Did he entertain finer sentiments for the lovely princess and was only waiting for an excuse?

The Unpredictability Principle

Every human being is subject to unreasonable and mysterious reaction some time or other. It is difficult to quote instances from my own life.Most of the time I have been carried away as by a current, as if I have no will of my own. It is recently that I have started writing and feel a bit nervous. We were not badly off when my father broke off from our ancestral home and wandered from one place to another. When he, at last, built a house and settled down, He called him. Mother, a young widow and we four children, all under sixteen, were left in the lurch with practically no earnings. Why did he break away in the first instance? Napoleon Buonaparte was a great statesman. He has written a lot during his last days in prison in St.Helena Island. It is worth reading even today. Why did he want to conquer the world? Hitler could have remained unbeaten, had he not attacked the USSR. Why did Kamsa not put Vasudeva and Devaki in separate cells in jail?

Every human being carries an invisible burden, which I call the spiritual baggage, consisting of the things he has seen and experienced, which is stored in his computer called his brain. It works even when he sleeps. Poets and writers try to dissect it. Scientists are far from even guessing what goes on there. We always blame something or other without understanding anything. This baggage vitiates our judgment at critical moments.

I am a strong believer in Him. My reason tells me that He is everywhere.It is not necessary to go to a temple. But I enjoy the trip to any temple It is very soothing. My Christian friend may like, if it is a church A Malayalam Muslim poet has written a beautiful hymn in praise of Sree Guruvayoorappan (there is one temple of the deity -Krishna in Delhi) ending with the plea that, at least in the next janam, he may have the chance to have a darshan of the temple deity. (If I am empowered, I shall allow all devotees free access to the temple as in gurudwaras)

To return to Sita.

She will have to answer a number of inconvenient questions. Why did she not resist as soon as she realized that he was not a sanyasi? Ravan had a curse. If he touched a woman against her wishes, he would perish. Without touching her, how could he drag her into the helicopter? (Pushpaka viman).Why did she not jump out and commits suicide as any chaste school girl could do now? Why did she not go on fast unto death even as Medhaji would do now? Ultimately, she ended her life when a repentant Ram requested her to come back to Ayodhya from the forest where she was unceremoniously and sneakingly cast away, merely because some worthless washerwoman made some derogatory comments about her stay in Ravan's custody. Why did she not show the same spirit at that time?

Ram:

He never behaved like a gentleman. He hid himself and killed Bali when the latter was fighting Sugriv, his own brother. (What a curse on humanity! Brothers rarely remain friends- Ambani vs Ambani).When the dying Bali confronted him with the question: why did you kill me like a coward, Ram, instead of expressing sympathy for the dying hero (Bali was a remarkable fighter. He once humiliated Ravan by holding him with his tail and dipping Ravan again and again in the sea!) abused him right and left: "Who are you to question me? Do you know that I belong to the Ikshuki race? You are only a monkey. You illegally took away your brother's wife. You deserve to die". A gentleman ought to be more polite to a dying hero. Will George Bush use such words to a dying Bin Laden?



วันอังคารที่ 30 เมษายน พ.ศ. 2556

New Book Explores Life in 600 Entertaining and Enlightening Limericks

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Limericks can be fun to read and even to compose. I've composed a couple of my own over the years, but never could I have conceived of writing over six hundred of them. But Harold Richter has done so with a purpose, and he states on the back cover of "Love, Life, and Laughter in Limericks" that publishing this book of limericks has been a "long time ambition." He states that "A few years back, I listened to some audio books, directed towards enlightenment.

Though I didn't agree 100% with the authors' views on everything, they did put into words clearly, how they felt love and life work, in a fashion that, for the most part, didn't contradict my own outlooks and experiences."

After feeling he knew more about life and love from listening to these books and his own experiences, Richter wanted to write his own insights about them, but he wanted to do so "in an acceptable, enjoyable, and easily understood method." Since he had long been writing poetry, he settled on using the limerick form to convey his ideas to readers. A lot of self-help books are out there, but "Love, Life, and Laughter in Limericks" isn't one of them. Nevertheless, readers might become better people from reading this book-at least, they will feel lighter and happier, and they may come away with a new viewpoint about different aspects of life. And best of all, Richter's use of the short limerick form gets to the point of various matters, often with a sharp twist at the end of the poem, a turn that is often humorous or meaningful or both. Richter's poetry is sometimes sarcastic, sometimes just funny, now and then a bit sad, and frequently insightful; it is never cruel, biting, nor distasteful-he does have a few poems relating to body functions, but nothing too gross or grotesque. It's all in good fun.

In case anyone doesn't know what a limerick is, I'll quote a few of my favorites from this collection so readers can get an idea of Richter's style and some of his themes. The book is divided into several sections on different themes, and they appear at first glance to be lengthy poems, but each section is actually composed of numerous five line limericks. The section titles are: "What is Love?" "What is Life?" and "What is Laughter?" Each of these sections begins with a short essay on the topic. Several of the sections are further broken up into groups of poems with such topics as: Ego, Health, Smoking, Government, Cold and Flu Season, and Holidays.

Here are a few samples. Two of my favorites from the "Love" group, which reflect serious or philosophical aspects, are:

Love is magical when it's imparted.
Its mystical traits are uncharted.
You can take love today,
And just give it away,
And have more than you did when you started.
Some people pass judgments, with zeal,
In their minds, there is no appeal.
To add to distractions,
When you judge someone's actions,
It makes their love harder to feel.
Two of my other favorite poems come from the Christmas selections. The first one is an example of Richter's humor:
In his sleigh, Santa said a quick prayer
As his reindeer zig-zagged with a flair.
See, Rudolph, the bright,
Ate baked beans that night,
And the others were gasping for air!
And this other Christmas limerick is one of several limericks in the book that speak a bit to politics and current events (with humor):
The white house had a Christmas of drama,
When rockets shot past the first mama
They were fired at saint Nick,
Thinking terrorist trick,
He left nothing but coal for Obama!

I could quote several more, but I think those are fair representations of the variety of humor and seriousness in Richter's limericks, some of which made me laugh out loud, while others I went back to read over as they made me pause in thought.

Richter adds a few "Extras" at the book's end, poems not in limerick form, one of which pleasantly surprised me for what it reveals about Richter-I'll leave it up to readers to discover what that is for themselves. Richter concludes the book with "A Final Point," a thoughtful essay that asks us to think about how we define ourselves and how we think of others.

Overall, the book is thoughtful while being fun and easy to read. It's not Shakespeare, but it succeeds at what it aims at, and while I initially thought a book of limericks might grow tedious after reading a few dozen, it kept my interest throughout. A person could read just one limerick a day and have enough to be entertained for nearly two years, or read the book in a few sittings without being bored. Again, I cannot imagine writing so many limericks. I think I will have their rhythms in my head for many days to come and I will have to try to make up a few more of my own. I recommend "Love, Life, and Laughter in Limericks" for anyone who wants a fun, light, but meaningful book to read. I hope Harold Richter lives to write more limericks and give his readers more laughs.

Tyler R. Tichelaar holds a Bachelor's and Master's Degree from Northern Michigan University and a Ph.D. from Western Michigan University. His family's long relationship with Upper Michigan and his avid interest in genealogy inspired Dr. Tichelaar to write his Marquette Trilogy: Iron Pioneers, The Queen City, and Superior Heritage. Dr. Tichelaar is also a professional book reviewer and editor. For more information about Tyler R. Tichelaar, his writing, and his author services, visit:

http://www.marquettefiction.com/



วันพฤหัสบดีที่ 18 เมษายน พ.ศ. 2556

The Fire Diaries - An Awesome Accumulation Articulating Actual Fires

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This is such an excellent poetry book regarding "Fire Diaries" by Matt Schumacher. Some of the poems are historical and very educational regarding time and place analysis (Pages 22, 24, 29, 33, 37...and 93). The use of figurative language brings out the sensory details of the poems in many ways. Reading the book after hearing his recital highlights another dimension to his creative writing style.

Schumacher uses similes and analogies for comparative analysis in an effective and efficient manner. They are very ingenious and remarkable in helping one to understand the poems in more depth (Pages 31, 32, 57...and 89).

The paintings of colors in the poems are vibrant. The sensory reflection of seeing glows of fire, smelling smoke, hearing the crackles, seeing sparks, and feeling the corresponding heat are vivid and places the reader at the scene (33, 55, 59, 64, 73...and 91).

It is also interesting how the thrust of the poems is elusive regarding the fire investigators. The fire setters are always gone, never caught red-handed, or display a confessional character; however, they are always taunting and haunting (24, 37, 62...and 65).

The sprinkling of Greek Mythology throughout the book is wonderful. This adds another flavor to the poems, thus bringing out the diversity of styles in Schumacher's arsenal of creativity regarding the penning of poetic style, language, tone, vibrancy, and other elements (Pages 31, 35, 56, 61...and 95).

The book is divided into four sections as follows: 1) Grey; 2) Ochre; 3) Green; and 4) Vermillion (relating to the variation of colors from and/or of fires). Each section has its own flavor of styles and documentation for a particular effect. One will also find corresponding entries from The Diary of Fires in each, except the last section.

There is also a variety of poetic forms and styles used throughout the book. For example, one will find the following poetry forms: concrete, freeform, narrative, prose, tercet, letter, couplet, and double columns, just to name a few. The forms and styles of the poems are calm on the eyes and they can be followed quite easily based on their alignment on each page (23, 33, 55, 57, 77, and 81).

Schumacher uses the rhetorical question as a poetic technique which leaves an array of thoughts for any reader to consider. They will stimulate inquiry in the mind of the reader. Some of these are listed on pages 35, 52, and 74.

The book ends with a picture and short biography of the author and some of his publications (Page 99). The Fire Diaries is an excellent poetry book. It is also a compilation of actions one would have never thought about until reading this excellent poetry book penned by Matt Schumacher.

Joseph S. Spence, Sr. (aka "Epulaeryu Master"), authored "The Awakened One Poetics" (2009), published in seven languages, "A Trilogy of Poetry, Prose and Thoughts for the Mind, Body and Soul," and "Trilogy Moments for the Mind, Body and Soul." Joseph is a Goodwill Ambassador for Arkansas, and is a US Army veteran.

http://www.TheAwakenedOnePoetics.com/