Search results for 'tag:Constructions tag:Metaphors' matching tags 'Constructions' and 'Metaphors'

Re: rephrase doubts

Clive — Sat, 03 May 2008 14:56:56 GMT

Hi,

(1) What has sensitized me in more recent years from this metaphor is to also say to us that everyone faces storms. Sometimes, those storms come out of huge systems. They may be a tornado or an avalanche or maybe a car accident, when "there is innocence"---no control, vulnerable to the context. No blame, just pain. Other storms come from bad choices, from addictive behaviors.

Is the usage " is to also say to us" ok? No, it's not. Please rephrase. The intended meaning of this phrase, and in fact the meaning of the whole sentence, is not clear. For example, what does it mean to say that something sensitizes someone from a metaphor?

If you wrote this sentence, you need to say it in another way.

(2) And so as I live and move and have my being on the face of this planet, I'm helped with this framework, with this paradigm, to say belief is in everyone's spirit. It's not just belief but it then begins to shape us, drive convictions in. And my appeal as we think about this important subject tonight, is that we not just think about belief, but we do so with a sense of humility, a sense of discernment, a sense of respect and regard for the people who believe differently than we believe or I believe.

Is the sentence construction "not just belief but it then begins to shape us" ok? Please rephrase. Again, the meaning is unclear to me. If you start with 'It's not just belief . . ', I would expect you to continue by telling me what it is, and not with a clause that starts with 'but'.

Say I'm helped by this framework, by this paradigm.

(3) So it's a positive initiative to invite people to respond to the good news and to move from outside to inside, in an initial encounter experience response to God.

Can a be inserted? Yes, you need to insert it. Please check whether the phrase "in an initial encounter experience response to God." makes sense and kindly rephrase No, don't make a very lengthy phrase like this by simply adding more and more nouns in front as adjectives. People just have to start guessing what you mean. You are the one who knows what you mean, so you are the one who is best equipeed to rephrase it.

Best wishes, Clive

rephrase doubts

Anonymous — Sat, 03 May 2008 13:48:09 GMT

Is the usage " is to also say to us" ok? Please rephrase.

Is the sentence construction "not just belief but it then begins to shape us" ok? Please rephrase.

(3) So it's a positive initiative to invite people to respond to the good news and to move from outside to inside, in an initial encounter experience response to God.

Can a be inserted? Please check whether the phrase "in an initial encounter experience response to God." makes sense and kindly rephrase

grammar doubts

Anonymous — Wed, 30 Apr 2008 10:30:26 GMT

(1) As I thought about the subject, it seems to me that the teachings of Jesus and the sacred texts of the New Testament would be a good starting point for us to engage tonight’s subject of What on Earth is Evangelism? The text in the New Testament, at the end of what we call the Sermon on the Mount, for me, has become a paradigm for which to frame my own understanding of my own views, my own beliefs, but also how to relate and understand people who come to different conclusions in life than I personally have come to.

Is the usage "my own understanding of my own views" ok? Please clarify.

(2) I spend part of my weeks and months and year in various parts of the world looking at poverty face to face, where some people live with horrific circumstances, not because they've created those circumstances, but, more often, they have inherited them.

Can spend replaced with have spent? Please clarify.

(3) What has sensitized me in more recent years from this metaphor is to also say to us that everyone faces storms. Sometimes, those storms come out of huge systems.

Is the usage " is to also say to us" ok? Please clarify.

(4) And so as I live and move and have my being on the face of this planet, I'm helped with this framework, with this paradigm, to say belief is in everyone's spirit. It's not just belief but it then begins to shape us, drive convictions in.

Is the sentence construction "not just belief but it then begins to shape us" ok? Please advise.

(5) So it's a positive initiative to invite people to respond to the good news and to move from outside to inside, in an initial encounter experience response to God.

Can a be inserted? Please check whether the phrase "in an initial encounter experience response to God." makes sense.

Re: Recipe Writing assigment

Cleo — Mon, 12 Dec 2005 14:09:35 GMT

Nona The Brit wrote:
Did you have to do everything in the order given or just through the poem? IT would be easier if not in order. Anyway, working through the requirements you seem to have met them (in my humble opinion that is) apart from the comments below. This was a difficult assignment and you have done well!

1. Begin the poem with a metaphor. - you have used a simile not a metaphor.
2. Say something specific but utterly preposterous.
3. Use at least one image for each of the five sense, either in succession or scattered randomly throughout the poem.
4. Use one example of synesthesia (mixing the senses--see the example in the lecture this week).- this is not synesthesia.
5. Use the proper name of a person and the proper name of a place. Still use titles not tittles.
6. Contradict something you said earlier in the poem.
7. Change direction in the poem--digress from the last thing you said.
8. Use a word (slang?) that you've never heard in a poem before.
9. Use an example of false cause/effect logic.
10. Use a piece of "borrowed talk"; that is, eavesdrop on some people, write down a sentence or fragment of a sentence that they say (out of context--it's best if you don't know what they're talking about) and use it in the poem.
11. Create a metaphor using the following construction: "The (adjective) (concrete noun) of (abstract noun)..." Don't think this works
12. Use an image in such a way as to reverse its usual connotation. Not sure about this line.
13. Make the persona or characters in the poem do something he/she/they could not do in real life.
14. Refer to yourself in the third person and using a nickname.
15. Write in the future tense, such that part of the poem seems to be a prediction.
16. Modify a noun with an unlikely adjective. a pimple shaped bump is not unlikely.
17. Make a declarative assertion that sounds convincing but ultimately makes no sense.
18. Use a phrase from a language other than English.
19. Make a non-human object say or do something human. (Personify something.) Its not it's
20. Close the poem with a vivid image that makes no new statement, but "echoes" an image from earlier in the poem.

On #5, did you mean #8?

Re: Recipe Writing assigment

Cleo — Mon, 12 Dec 2005 12:43:08 GMT

Nona The Brit wrote:
Did you have to do everything in the order given or just through the poem? IT would be easier if not in order. Anyway, working through the requirements you seem to have met them (in my humble opinion that is) apart from the comments below. This was a difficult assignment and you have done well!

1. Begin the poem with a metaphor. - you have used a simile not a metaphor.
2. Say something specific but utterly preposterous.
3. Use at least one image for each of the five sense, either in succession or scattered randomly throughout the poem.
4. Use one example of synesthesia (mixing the senses--see the example in the lecture this week).- this is not synesthesia.
5. Use the proper name of a person and the proper name of a place. Still use titles not tittles.
6. Contradict something you said earlier in the poem.
7. Change direction in the poem--digress from the last thing you said.
8. Use a word (slang?) that you've never heard in a poem before.
9. Use an example of false cause/effect logic.
10. Use a piece of "borrowed talk"; that is, eavesdrop on some people, write down a sentence or fragment of a sentence that they say (out of context--it's best if you don't know what they're talking about) and use it in the poem.
11. Create a metaphor using the following construction: "The (adjective) (concrete noun) of (abstract noun)..." Don't think this works
12. Use an image in such a way as to reverse its usual connotation. Not sure about this line.
13. Make the persona or characters in the poem do something he/she/they could not do in real life.
14. Refer to yourself in the third person and using a nickname.
15. Write in the future tense, such that part of the poem seems to be a prediction.
16. Modify a noun with an unlikely adjective. a pimple shaped bump is not unlikely.
17. Make a declarative assertion that sounds convincing but ultimately makes no sense.
18. Use a phrase from a language other than English.
19. Make a non-human object say or do something human. (Personify something.) Its not it's
20. Close the poem with a vivid image that makes no new statement, but "echoes" an image from earlier in the poem.

Yes, I had to do everything in that order. I don't understand what you did. The poem I did is the second one, unless this applies to my poem. Are the ones in red the only ones I need to correct, and the rest are good?

Thank you for your help

Re: Recipe Writing assigment

nona the brit — Mon, 12 Dec 2005 10:23:41 GMT

Did you have to do everything in the order given or just through the poem? IT would be easier if not in order. Anyway, working through the requirements you seem to have met them (in my humble opinion that is) apart from the comments below. This was a difficult assignment and you have done well!

1. Begin the poem with a metaphor. - you have used a simile not a metaphor.
2. Say something specific but utterly preposterous.
3. Use at least one image for each of the five sense, either in succession or scattered randomly throughout the poem.
4. Use one example of synesthesia (mixing the senses--see the example in the lecture this week).- this is not synesthesia.
5. Use the proper name of a person and the proper name of a place. Still use titles not tittles.
6. Contradict something you said earlier in the poem.
7. Change direction in the poem--digress from the last thing you said.
8. Use a word (slang?) that you've never heard in a poem before.
9. Use an example of false cause/effect logic.
10. Use a piece of "borrowed talk"; that is, eavesdrop on some people, write down a sentence or fragment of a sentence that they say (out of context--it's best if you don't know what they're talking about) and use it in the poem.
11. Create a metaphor using the following construction: "The (adjective) (concrete noun) of (abstract noun)..." Don't think this works
12. Use an image in such a way as to reverse its usual connotation. Not sure about this line.
13. Make the persona or characters in the poem do something he/she/they could not do in real life.
14. Refer to yourself in the third person and using a nickname.
15. Write in the future tense, such that part of the poem seems to be a prediction.
16. Modify a noun with an unlikely adjective. a pimple shaped bump is not unlikely.
17. Make a declarative assertion that sounds convincing but ultimately makes no sense.
18. Use a phrase from a language other than English.
19. Make a non-human object say or do something human. (Personify something.) Its not it's
20. Close the poem with a vivid image that makes no new statement, but "echoes" an image from earlier in the poem.

Recipe Writing assigment

Cleo — Mon, 12 Dec 2005 07:53:28 GMT

I was given this assigment, kind of a nonsence poem. Here is the list:

Recipe Writing

1. Begin the poem with a metaphor.
2. Say something specific but utterly preposterous.
3. Use at least one image for each of the five sense, either in succession or scattered randomly throughout the poem.
4. Use one example of synesthesia (mixing the senses--see the example in the lecture this week).
5. Use the proper name of a person and the proper name of a place.
6. Contradict something you said earlier in the poem.
7. Change direction in the poem--digress from the last thing you said.
8. Use a word (slang?) that you've never heard in a poem before.
9. Use an example of false cause/effect logic.
10. Use a piece of "borrowed talk"; that is, eavesdrop on some people, write down a sentence or fragment of a sentence that they say (out of context--it's best if you don't know what they're talking about) and use it in the poem.
11. Create a metaphor using the following construction: "The (adjective) (concrete noun) of (abstract noun)..."
12. Use an image in such a way as to reverse its usual connotation.
13. Make the persona or characters in the poem do something he/she/they could not do in real life.
14. Refer to yourself in the third person and using a nickname.
15. Write in the future tense, such that part of the poem seems to be a prediction.
16. Modify a noun with an unlikely adjective.
17. Make a declarative assertion that sounds convincing but ultimately makes no sense.
18. Use a phrase from a language other than English.
19. Make a non-human object say or do something human. (Personify something.)
20. Close the poem with a vivid image that makes no new statement, but "echoes" an image from earlier in the poem.

Here is what I wrote. Would you please check my answers, and those with the three stars next to them I had difficulty with. Thank you so much for your help. Any suggestions will be greatly appreciated.

Recipe Writing

Travel

1.My brass bed is like a multidimensional portal.

2.Nodding, to avoid paying fare.

3.Eyes turn of their light as hands hold pillow of reality. Soothing lullaby on radio, and aroma of clean sheets give security. Starchy taste of sleep envelops me.

4.Brass bed feeds the mind, eyes record all.***

5.Diana in New York City enjoys travel.

6.I paid the fare.

~~~~~~~~~~~~~

7.Reading a book is safer, and you can get them free at the library.

8.Kewl tittles.

9.Reading made me forget the use of words.***

10.It's fundamental, and half price.

11.Small word teach.***

12.Pensive pen takes notes from the bottom up the page.***

13.Diana grows wings, and flies claiming it's the only way to travel.

14.Di, she always preferred flying.

15.Her wings will be matured, and ready for flight in the year 2030.***

16.All she feels is a pimple shaped bump wing where it's growing.***

17.I will stop touching them, and serve them coffee.

18. Esto esta loco en el coco.

19. Shiny brass bed standing on it's front legs screams, "don't grow wings".

20. Diana in her new pink nightgown slips her slender legs inside the covers, and resting her head on her pillow prepares to travel.

burning of the leaves- can anyone analyse it plz??

TheGreenEyedMonster — Sun, 30 Oct 2005 15:27:33 GMT

can anyone read this poem n tell me what i have written about it correct or not? plus can u plz answer the questions below?

BURNING OF THE LEAVES

LAWRENCE BINYON

chemas-microsoft-com:office:office" />>Now is the time for the burning of the leaves.
They go to the fire; the nostril pricks with smoke
Wandering slowly into a weeping mist.
Brittle and blotched, ragged and rotten sheaves!
A flame seizes the smouldering ruin and bites
On stubborn stalks that crackle as they resist.

The last hollyhock's fallen tower is dust;
All the spices of June are a bitter reek,
All the extravagant riches spent and mean.
All burns! The reddest rose is a ghost;
Sparks whirl up, to expire in the mist: the wild
Fingers of fire are making corruption clean.

Now is the time for stripping the spirit bare,
Time for the burning of days ended and done,
Idle solace of things that have gone before:
Rootless hope and fruitless desire are there;
Let them go to the fire, with never a look behind.
The world that was ours is a world that is ours no more.

They will come again, the leaf and the flower, to arise
From squalor of rottenness into the old splendour,
And magical scents to a wondering memory bring;
The same glory, to shine upon different eyes.
Earth cares for her own ruins, naught for ours.
Nothing is certain, only the certain spring.

He wrote this poem after World War II.

He begins the poem with a description of forest fire and its effects on nature. He says that with a forest fire comes the time for the dead and decayed leaves in the forest to burn. As the fire spreads everything catches fire and we can smell smoke everywhere as it spreads all around slowly forming a mist. He presents a gloomy picture by saying that the mist is âweepingâ. The fire starts because of the hot weather and the friction between the dead and decayed leaves and then catches everything in its way.
He tells how the leaves catch fire. The leaves have been dead for so long that they have become brittle and hard. They resist at first but finally give in and make a crackling sound as they break.
In the first stanza he says how the fire starts from decayed leaves n burns them. In the second stanza he talks about how this fire destroys even fresh flowers and vegetations and everything beautiful in the forest.
Hollyhock is a flower with a long stalk in its centre and the poet symbolizes it with a tower which has fallen and now because of the fire has burnt into ashes. Everywhere there is a stench and a stinking smell of decayed and burnt leaves and flowers. All the vegetations have been burnt and destroyed. Rose which is the eternal symbol for beauty has become a ghost. It means it has been burnt that it cannot be recognized anymore. There is no beauty anywhere. There is fire everywhere and sparks go high till they vanish in the sweeping mist.
The last line of the second stanza âfingers of fire are making corruption cleanâ shows how this fire which is destroying everything is in fact cleaning the forest of the dead and decayed leaves and all the rotten things which were once part of the beauty of the forest but now only add gloom and ugliness to the forest. Furthermore, they stop new growth and regeneration of nature.
After describing how a forest fire helps to regenerate growth and birth of nature, in the third stanza he says that now that the war is over and the days of destruction and misery are over its time for us to look inside ourselves and start from the very beginning just like after the fire everything begins from the very start. Its time to forget unnecessary wishes and comfort and work for reconstruction of the world. Itâs not a time to cry over spilt milk or to think who has won the war because in fact nobody has won the war. A war never ends in anyoneâs victory. Everybody loses after a war because there is so much destruction. Forget everything and let go of everything. The world is no more the same as it was before the war. The war has changed everything. All of us need to make efforts to make the world a safe and peaceful place free from corruption and hatred.
In the last stanza he again comes back to the scene of forest. Here he uses a hopeful and optimistic tone and says that after the fire new flowers and leaves will bloom. They will grow from the present rottenness to their old glory and beauty and then everything will be the same. There will be pleasant fragrance of flowers everywhere. We have witnesses this destruction but our future generations will see these changes.
However the last two lines of the poem hold the most important part of the poem: the destruction caused by the forest fire will be forgotten because nature will take care of that. It will regenerate life and beauty in the forest as it takes responsibility to revive whatever it has destroyed, but it does not take responsibility to redeem our faults! Whatever destruction we bring upon ourselves, nature is not going to make it right. We have to do it ourselves. Spring is certain to come and it will set right everything the fire has destroyed but what about the spring for the mankind, who is destroying its world by its own hands and doing nothing to make it right?

Alliteration: >>

1^st stanza, 4^th line, âBrittle and blotchedâ, âragged and rottenâ.
1^st stanza, 6^th line, âstubborn stalksâ
2^nd stanza, 4^th line, âreddest roseâ
2^nd stanza 6^th line, âFingers of fireâ, âcorruption cleanâ

> >

Rhyme Scheme: Four stanzas of six lines each with rhyme scheme of abcadc.

> >

Personification: >>

Mist in st. 1 line 3 â âweeping mistâ.
Flame in st. 1 line 5 â âflame seizesâ¦â
Fire in st. 2 line 6 â âfingers of fireâ
Earth in st. 4 line 5 â âearth cares forâ¦â

> >

Theme:>>

Lawrence Binyon, in this poem criticizes the war, and says that people fight these wars to gain power but ultimately no one wins. Everybody loses because of the destruction and loss of lives. Through this poem he is saying that while nature takes care for its own destruction it does not do so for us. We have to think about it and let the go of the past. What is gone is gone. But now is the time to bring some changes in the world. We can make this world a beautiful place again, but for that we will have to make efforts. Just like nature sets everything right which it had destroyed, we have to build our world again, by ourselves.

> >

Imagery: >>

On stubborn stalks that crackle as they resist.>>
All burns! The reddest rose is a ghost;
The last hollyhockâs fallen tower is dust.
Now is the time for stripping the spirit bare.
Time for the burning of days ended and done,

> >

Symbolism: >>

spices of June â fragrances in the month of June
different eyes â future generation.

> >> >

QUESTIONS:

In the first line does âNowâ mean autumn or a forest fire?
Why does he use the word weeping in line 3? If for the mist then what does he mean by the mist?
In the first stanza he talks about dead leaves and in the second about fresh flowers?
What does âspices of Juneâ mean in second stanza?
What does âstripping the spirit bareâ exactly stand for?
The hollyhock in the second stanza was dead before it caught fire or was destroyed because of fire?
What does the last line of the poem ânothing is certain, only the certain springâ mean?
What is the metre in this poem?
Are there any more metaphors or symbols?
What kind of poem is it- an elegy?

> >

Re: Would you mind proofreading this? (It's short)

Clive — Tue, 04 Oct 2005 04:09:22 GMT

Hi again,

In my view / In my opinion / From my point of view, Buenos Aires is less expensive than many cities in Europe. This may be Â´[*I'm not sure about the use of may be here, it could also be: This is (perhaps) ]... because our currency is cheaper than the euro or the British pound. As a South American capital, Buenos Aires looks far more Eurpean [I don't think either Europeanish or Europeanist are suitable here, I don't even know if they exist. They don't, they are terrible To convey a similar idea, I'd rather say "Europeanized". OK I'd like to know more about the uses of the suffixes -ish, -ist] than Sao Paulo or the Mexican DF. In addition, Buenos Aires is still smashednot a good word at all. Find another. Crushed? by the economic [If not, it gives the idea of "being cheap" rather than relating to Economy] crisis, but remains you need to omit 'being' being as captivating as it used to be. Taxi [not "Taxis", for it is a noun modifying another noun] drivers are as crazy as Mexican ones [otherwise, we would be referring to the entire population of Mexico. Anyway, "ones" doesn't seem a far better option, any suggestions?].their Mexican counterparts In the end, it is [or Buenos Aires is... (if not, we have a subjectless construction), but does "it" have a clear referent?] I'd say Buenos Aires a nice place to spend a holiday (in) [I think we need the preposition here, if not, the construction dangles]No, you don't need 'in' , but you must be awake / alert alert is good, awake is not to avoid [I don't know what he meant by "slalom", do you use the word in this sense? it means to avoid in the sense of moving forward while going around obstacles. The metaphor is from skiing, where slalom racers swerve around flags I think "avoid is the meaning he's trying to convey] the negative points. [I somewhat restructured the sentence for I think it sounds more natural, but I don'k know if the correction is necessary].

Once again, you've done an excellent job.

Clive

Re: Different than?

paco2004 — Sat, 21 May 2005 21:01:13 GMT

Hello

I was taught in school we should not use "different than". But now I am getting inclined to believe "different than" is not so bad. I feel "different than" is more versatile in use than "different from" because the latter should be followed by a noun phrase.

OED says about this issue in the entries of "different" and "than" as follows.

different
1. Having characters or qualities which diverge from one another; having unlike or distinguishing attributes; not of the same kind; not alike; of other nature, form, or quality. It was construed with "from"; also "to", "than", "against", and "with". [Note] The usual construction is now with "from"; that with "to" (after unlike, dissimilar to) is found in writers of all ages, and is frequent colloquially, but is by many considered incorrect. The construction with "than" (after other than), is found in Fuller, Addison, Steele, De Foe, Richardson, Goldsmith, Miss Burney, Coleridge, Southey, De Quincey, Carlyle, Thackeray, Newman, Trench, and Dasent, among others.
(Quotes)
[1526] His light is much different and unlike to the light of the holy ghost. [1588] If they could write any other language that were different to theirs. [1590] This week he has been much different from the man he was. [1603] Oh, my dear Grissil, how much different art thou to this cursed spirit here! [1624] Humane wisdom, different against the divine will, is vain and contemptible. [1644] We make use of them in a quite different manner then we did in the beginning. [1649] She (=hatred) has this of different with love, that she is much more sensible. [1711] Tunes different from anything I had ever heard. [1737] It's quite a different thing within to what it is without. [1769] The consuls had been elected for very different merits than those of skill in war. [1790] The different prosperity of the country which they conquered with that of the countries under English rule. [1848] It has possessed me in a different way than ever before. [1852] The party of prisoners lived with comforts very different to those which were awarded to the poor wretches there. [1861] Warehouses and wharves no way different from those on either side of them.

than
2. "Than" is regularly used after other, else, and their compounds (another, otherwise, elsewhere, etc.). Hence sometimes after adjjectives or adverbs of similar meaning to âotherâ, as different, diverse, opposite, and after Latin comparatives, as inferior, junior: usually with clause following. Now it is mostly avoided. [Note] Different(ly) than is not uncommon, especially in the U.S., but continues to be regarded by many as incorrect.
(Quotes)
[ca.1400] They had also diverse clothings than other folks had. [1566] If the lord of Mendozza were inferior in quality, nobility, and goods than he is. [1642] He was now made overseer of the building a much inferior place than the other. [1754] They employ their wealth to quite opposite purposes than were intended. [1822] Such a design has a right to a far different head than mine. [1857] Things were conducted very differently now than in former times. [1902] (Question) How about the following sentence? "Unless the London members behave differently about the bill for London than the country members about the bill for the country, reasons for postponement and consideration will begin to look weighty." If "than" is excluded, how is it to be said? (Answer) Put "otherwise" for "differently", and retain "than". [1912] It's different with me than with other girls. [1962] Both come from a different world than the housing estate outside London. [1970] Geoffrey and Erasmus are concerned with classifying metaphors along quite different lines than is Quintilian. [1980] Mule deer bucks behave differently than whitetails in a few other ways.

paco