The English Miscellany

When s tudent reader s s truggle with poetry, it' s often the relation s hip between s ound and s en s e that pre s ent s a high degree of difficulty. It' s very ea s y to be overcome by pitter-patter rhythm s and arcane name s for metrical technique s and poetic form s . But picking s ound pattern s may help to open up a variety of interpretation s . Thi s mean s s hifting from the identification of a local effect to the elaboration of more complex and nuanced s emantic po ss ibilitie s . The fir s t s onic ta s k for the critical reader involve s the s potting of s imilar s ound s s uch a s alliteration. A higher level of creative reading require s s en s itivity in order to link the s e s ound clu s ter s to the poem' s que s tion s , and it s an s wer s . A great poem hold s together, in tight compre ss ion, the different element s of form and technique, tone s and s tyle, form and content. Critical writing - the expo s ition and appre

Do you find that you waste time wondering how to start the next sentence? Do you find yourself lost for words when you are required to link your ideas coherently and persuasively? Do your sentences flow together and support the larger structure? Do you want your writing to communicate more effectively and efficiently? The Art of Connection: the Social Life of Sentences is an innovative practical book that explains the Nine Arts of Connection: Location, Timing, Comparison, Contrast and Difference, the Supplement, Disputation, Sequence, Example and Illustration, and the Summary. By following the easy to use guides and examples provided in this book, writers can learn how to write fluently and begin to enjoy the process of composition. Whether you are a student or learning English for the first time, this book will assist you to write successfully to achieve your goals. By dividing the common words and phrases used to signal transition and connection into nine cat

Connected Brain Zones § 371. IV. The use of connectives . The words of connection and transition between clauses, members, and sentences, may be made, according to the skill or the awkwardness of the writer, sources of strength or of weakness. It is always a source of weakness for two prepositions, having different antecedents, to be co-ordinated in connection with a common subsequent . This mode of expression has been called "the splitting of particles;" a name not very applicable to it as it occurs in English construction. The proper name for it is the one implied in the italicized words above. The following is an example. "Though personally unknown to, I have always been an admirer of, Mr. Calhoun." The way to correct it is to complete the first clause, and let the last, if either, be elliptic; thus: "Though personally unknown to Mr. Calhoun, I have always admired him," or "been an admirer of him." It is pro

The witty banter and rivalry that we encounter in the plays of William Shakespeare or Oscar Wilde, or the novels of Jane Austen, often presents difficulties for students who are unsure how to write about it. It's not enough just to say that a speech is funny or humorous. Even 'witty' is at times quite vague given the complexity of rhetoric and style that characters had available to them. First, there are the professed attitudes to love and relationships. Typical roles taken up by characters include the scorner of love, and the woman who rejects her suitors. Whether the underlying motivation is authentic, realistic, or psychologically coherent and credible often matters less than the sheer pleasure to be had from the verbal battles that ensue. Second, audiences are expected to enjoy the 'badinage' of witty courtiers. This is an opportunity for malicious sentiments to be expressed with wit. Communication shifts in mood and tone from shrewdness and wisdom to ext