Search results for 'tag:Conversations tag:Paragraphs' matching tags 'Conversations' and 'Paragraphs'

Re: Sentence correction

elcid12345 — Mon, 16 Jun 2008 14:38:39 GMT

Thanks a lot Grammar Geek! Yes, you have got it right. That's what I intended to say. If I had provided the context of the conversation it would have been a lot simpler to understand what I meant. I had this conversation with a friend of mine who had (or has as he is still enrolled there, don't know which one to use) joined a coaching institute for an exam. I am also preparing for the same exam and also had had/taken the coaching for the same in 2004. So, I was telling him my view on the coaching.

By the way, is it wrong to say "what institutes teach you at their classroom sessions."? I guess 'at' should be replaced by 'in' but is there anything else wrong with this sentence and is the personification of institutes wrong?

Kindly mention if I have made any mistakes in the above paragraphs.

With Best Regards,
Rahul

Re: Little detective story-PLS correct it-Urgent!!

Grammar Geek — Fri, 13 Jun 2008 20:45:10 GMT

Another Ordinary Night

It was just another ordinary night at Al's bar. An unlucky fly paced up and down the window, looking for escape. While Al poured in some coffee for the lady and man laughly loudly ~~having loud laughters audiable~~ outside the bar if they are outside the bar, why is he serving them?, he saw~~/sees~~ a dark figure enter~~ing the bar~~. ~~This man~~ He was dressed in a long ~~manteling - I don't know this word black mackintosh~~ dark trenchcoat with a hat pulled low over his face. ~~and a hat bent far over, covering his appearance~~. Without ~~saluting~~ saying a word, he ~~quietly~~ sat down at the far end of the bar, isolated from the ~~rest~~ other patrons, ~~and~~ and signalled for Al~~, the bartender~~ to take his order.

''Give me the strongest of whatever you've got," he growled ~~with his~~ in a low and hoarse voice.

"Right away, sir," replied Al, in his typical, benevolent manner, ~~like he always is~~ and he got ~~gets~~ a bottle of whisky for his mysterious ~~ly strange~~ customer. "So, are you new in this neighbourhood? I haven't seen you before?'' he asked amiably.

Sluggishly, the man turned his face to Al, just enough to cast his a fierce ~~eye~~ gaze on him, making clear that he didn't appreciate attempts at a friendly ~~chat/~~conversation ~~like this~~. Al moved away from this anti-social ~~mystique~~ figure and took the bill of the laughing couple, who were still mischiviously flirting. The couple gave Al a big smile for his hospitality and left the bar hand-in-hand looking intimimately to each other. When the door closed with a bang, Al turned around to wash the dirty glasses.

Without turning to his enigmatic customer, a strange feeling grew ~~crawls~~ within him. He didn't find it pleasant being in ~~one~~ the room alone with a chap like this, and half expecting to be grabbed and ripped to shreds, but ~~he didn't let himself get scared/~~calmed himself; ~~because~~ he had served worse. Just as he was about to dry the glasses, he heard the door close with a silent click. He turned around and was able to see the dark man vanishing from sight in the deserted street. He walked back to the place where the man had sat down and his eye caughts sight of a hundred-pound note ~~of hundred pound~~ lying peacefully next to the empty glass of whisky ~~staring at him~~. He was completely dumbfounded! Could it be a mistake? No, of course not, the man just wanted to set right his unmannerly behaviour. Highly ~~satiated~~ pleased, Al looked again to the hundred-pound note.

Then he noticed that the customer had spilled some of his drink on the dark mahogany-coloured bar surface. Al took his piece of cloth and cleaned the spilled drink, but as the smile on his face turned into a look of horror. ~~abomination.~~ The spilled liquid was not ~~didn't turn out to be~~ whisky, but dark-red blood. Frightened Al dropped his rag and looked at the floor, and saw ~~on which~~ drops of blood leading to the exit. Panic stuck him ~~through the head~~ as he realized that this man could have been the serial killer that the police have been looking for weeks on end.

1. You shift tenses from presnt to past to present to past, etc. You much either tell the story entirely in the present, or entirely in the past.

2. When you have dialogue, you must start a new paragraph each time someone speaks.

3. Does a hundre pounds really seem like a likely thing to leave if you've been a bit rude? That seems excessive. Al should be more suprised than he is, and more pleased - he shouldn't just say to himself "Of course he left it because he wasn't very polite.

4. Is there a reason to think that just because someone is bleeding, he is a serial killer? Had Al seen sketches of the suspect on TV? Did he leave behind a bloody knife? If he had someone else's blood on him, does it seem like it would keep dripping after all this time? It sounds like the poor man himself was bleeding.

Re: Correct the grammar of the paragraphs.

Anonymous — Wed, 21 May 2008 22:28:38 GMT

Right away, it's nearly 11:00 pm. I've just got through replying to a friend , the letter is quite long, so I it took a long time to write. She's Taiwanese, quite nice and very kind. She's extremly curious about Vietnamese culture, activity, attitude with foreigner.... She also wants to travel to Vietnam and have specialities. While I was writing, Tuan buzzed me, gave me a website and asked me to him some advice about choosing which model of shoes he should buy. I gave him my advice, and he had chosen.

I kept on writing into the day. A short while later, Huynh Anh said hi to me. I told her to wait a moment. Then, I continued my business. When I finished, she went off-line for a long time, hey.... sorry for this.

I tried to find someone to chat with, but no one was online. Today, my friend went back to his hometown. He was hoping to get some speciality from his hometown after his return. hehe.

Hmmm, let me remember whether there was any conversations which happened today to relate to you. Ah, Sea Games 24. This afternoon, after finishing the class, my friends and I went to a coffee shop to watch the football match between Vietnam and Malaysia. This match, the Vietnamese team played not very well although beating the Malaysian team. I was quite disappointed; were you ?

Well, I'm getting sleepy. Tomorrow is Sunday, and i wish everybody a beautiful weekend.

Goodnight

Re: collected stamps

Clive — Sun, 27 Apr 2008 11:25:56 GMT

Hi,

Yes, that's good advice from New2grammar, Vincent.

He collected his stamps in the stamp album. Focuses on the idea that the album is the place that he put them.

He collected his stamps for the stamp album. Focuses on the idea that he was building up, trying to complete, his collection. (ie it sounds a bit like the album wants/needs the stamps.)

In a real conversation or paragraph, you'd commonly omit the repetition of the word 'stamp', and you'd say 'his album'.

I recommend, again, that you try to write a paragraph, in order to give your sentences some context.

Best wishes, Clive

Re: I want to learn to speak clearly-What do I have to know/do?

Anonymous — Fri, 25 Apr 2008 08:35:36 GMT

I also have also had problems speaking clearly and coherently, making me seem less intelligent that i think i am. And as a result i have lost opportunties for relationships i had very much hoped for, so i had to be determined to work out my speaking problem. I think there are many reasons for me rambling non-sensically in person, some are:

1)feeling shy/inadquate/self conscious compared to those i am speaking with, and trying to impress too much (probably from having bad experiences with my fumbling language and social skills).

2) not having much experience/practice at expressing my thoughts verbally

3) not really sitting down and thinking my thoughts through logically and forming them well to myself before i go and sprout my opinions off.

4) not being formally taught the right way to structure my sentences. i dont know why i can speak so much more clearly on paper than in person.

But the way have attempted to fix this problem is by writing down on some paper some rules for me to follow when i am having my say in a conversation. (i collect these rules from books i read on communication at the library). and reading over those rules every night before bed, and asking myself: did i break any of those rules that day?, and what happend when i did?, and how could I have done it differently?. and trying to do better the next day.

Some of the rules on my list are these:

1) When a comment is made to you that was meant as a conversation starter, do not give one word answers, and NEVER EVER just start and continue talking until the other person interrupts you. Give brief responses, with clear pauses in it for interruption. You will either look like a mute or a babbling fool if you do anything else. Give brief but complete answers with a definite pause at the end to hand the conversation back over clearly. Donât just talk until you are interrupted. Give pauses for people to interject, and also this sounds much more powerful and simple. Most people are taught to not interrupt. and it can make people feel distressed if you donât, and then frustrated and bored. many people either talk too much or too little as their response. dont make your message too long or too short.

2) dont try to say too many things at once. make one point at a time, decide what is the most important thing you want to say is, and say that, and then hand the conversation back over.

3) when you tell a story or make a point, say the main idea first, and then add supporting detail afterwards (usually just one supporting detailafterwards, not 600). eg an example, a statistic, a story to support your point. keep it short and simple and you will have more weight to your words. and sound more powerful and authoriative and easy to listen to. dont make it hard work for them to listen to you. be economical with your words.

4) dont say anything without saying why you think that, so they understand why you feel that way. or else it sounds bossy, and opinionated, and not worth listening to.

5) pause before you speak, it sounds authorative. and also gives you time to think. think before you speak, dont just regurgitate information, its amazing how much structure you mind can give to your thoughts in 2 seconds.

6) The value of information depends on its relevance, how up to date it is, how complete it is, the timing that it is received, its impartiality, and its presentation.

7) becareful how you end your message. dont weaken your point by saying anything that could contradict your message, at the end of your message. just leave nothign at the end. to give your message structure, my english teacher used to say "tell them what you are going to tell them, tell them, and then tell them what you just told them". there should be a beginnign a middle and an end to your paragraph.

8) know what the purpose/goal of your message is before you give one. all communication is desgined to either inform, entertain, or persuade, or all.

9) make sure you use correct grammar, and use downwards inflections with your voice when you talk to sound more authorative and you can show if you are about to end your message or keep going talkign or not. keep it simple, with a main point first, and some kind of examples to help them understand, and then let them have their say.

* body language plays a large roll as well, but i am just saying some points about how i try to structure my messages now.

these are just some things on my list.

i hope it helps.

Sentences disarranged

Anonymous — Sun, 20 Jan 2008 08:44:22 GMT

Hello,

Please approve my answers to the following long questions. My answers are at the bottom of the page.

Rearrange the twelve sentences below in their proper order to make a story. The story should consist of three paragraphs, each paragraph containing four sentences:

As time went on, however, she became too old and weak to catch as many mice as she wanted.
She called all the mice together and told them she was very sorry for her past cruelty.
There was once a cat who lived in a large farm-house.
She sat down and thought of a plan to get her food without any trouble.
She promised to be more kind in future and allow them to run about as they pleased.
On hearing this, the mice were delighted.
The plan worked well until two clever mice began to miss their friends.
There were plenty of mice for her to eat and she lived a very pleasant life.
Thus the cunning old cat was never able to catch another mouse.
They had, however, to pass in procession before her each day and bow as they passed.
Later, the mice passed in single file, each bowing low as he passed, and the cunning cat seized the last mouse without the others noticing what had happened.
They decided that one should lead the procession, the other being at the end, and at the same time carry on a shouted conversation.

Paragraph 1: (3, 8, 1, 4)

Paragraph 2: (7, 8, 11, 12)

Paragraph 3: (2, 5, 6, 9)

help!! help!!!

MissUAE — Mon, 12 Nov 2007 20:50:28 GMT

hi everyone,

could any one check my body paragraph about " hypertext fiction ",plz??

i did already, but i need to improve it more because the teacher put many comments in it?

the teacher wants from me to fix the resources??

i tried hard to express my opinin but the teacher said write more you opinion, so could u fix this problem too

the teacher commnt that i should i used a background based on length citation and my own analysis and voice is absent

Also, she wants from me to use APA for reference. and use MLE style

Thats all and wish your help..

here the teacher doesnt want this introduction which underlined"First of all, I will talk about a hypertext poem "as a type of hypertext fiction which published in websites (Electronic hypertext poem). The definition of electronic poem as "Lillington Karlin" says is a new genre of literature that uses the computer screen as medium, rather than the printed page. The literary works rely on the qualities unique to a digital environment, such as linked World Wide Web pages or effects such as sound and movement. Also, hypertext "poetry" can consist of words, although not necessarily organized into lines and stanzas, as well as, sounds, visual images, movement or other special effects. Although the poem may great" teacher didnt accept this sentence, i dont know why?? with sounds, perhaps of a lawnmower, while the words "mowing," "stop," "Sunday," and "morning" floats across computer screen in pseudo-three dimensional letters, one will have be hard pressed to identify the use of any formal poetics." Lillington, Karlin."

Bill Seaman is one example of electronic hypertext poem. If we observed that there are many differences between electronic Bill Seaman Poem and the written ones. There are many qualities available in the electronic poem which help people to interest in it and trust it " the teacher said i should change this word" trust" it. Also, electronic poem provide for us digital action like music, picture, light,â¦,etc. In addition, there are more details about poem information like the author life, the reason of the poem and some comments or critics about the poem. Also, there are some linked words which are difficult and the site provides the word translation. A poem form or style is very organized way which attract the reader. At the end of electronic hypertext poem there is analyzing of the poem as in Bill Seaman poem" my teacher said i should provide a print screen qraph for that and give a summary of content what does it talk about the Bill Seaman poem and i dont know how. There are more than 1030 poems which published as electronic poems.

Although there are many people depend on it, but there are many critics which say that electronic poem assaults readers with floating neon fonts and crude literary strategies, if any literary skill is present at all and critics view hypertext as a threat to the overall integrity of literature because most anyone, without any training or editing, can post hypertext "poetry" .(3)

So, Poems and collections of poems, can be composed as, or into, hypertext, using the many specific capabilities of hypertext software, which itself comes in many flavors .As Stephanie Strickland describes how he composed his book of poems, True North, into hypertext in a moment, so he says becomes possible in an electronic environment, and it is only possible.

The best known example of a hypertext is the World Wide Web, an enormous structure, almost biological in the way it communicates and publishes by proliferating links. The electronic space, often called cyberspace, has some very unusual qualities, to judge by pre- electronic categories. It is characterized as tidal sea, web, sky, and solid. Thus, people surf it, send out web-crawlers to explore it, gophers to tunnel through it, engines to mine data from it, and they fly through and above it in game simulations. They establish "home" pages in it, as though it were rooted, although at their own location distance has disappeared--New Zealand, New York, St. Paul, equally present, and equally speedily present.

In brief, as Stephanie says when a set of poems is composed in or into hypertext, the space in which they exist literally opened. Released from the printed page into this floating space, readers are often uneasy. With print, does encounter pages 1--85 differently at each reading because of being in a different frame of mind, but in hypertext, the pages change too--both you and your counter player, the hypertext, bring difference to the table. What you find are not really pages, of course. In hypertext, the unit that replaces the page is called the writing space which not only holds text as does a page, but unlike the page, has its own title and also an embeddable interior. New little text spaces can be implanted in it to the memory depths of the program. Rather roughly, what pages and their numbering are to books, writing spaces and their titles are to hypertext. In Stephanie poem True North he says, and why hypertext was appropriate for it. True North, as a manuscript, rings the changes on two image/themes--that is, themes which are also images. He plays with image/themes across five different registers, so of course each of them imitates the other.

Second, electronic hypertext novel is similar to electronic hypertext poem. It relies on the qualities unique to a digital environment, such as linked World Wide Web pages or effects such as sound and movement. As Philippa J Burne says, he worked in electronic space, he felt the book come to resemble an album, whose chronology may be strict or casual or a combination of both, its main use being to prompt conversation about shared experiences. Movement through the electronic screens, by comparison with print, was more whimsical, more riffling, more waiting for something to catch your eye, more like riding melodies through silence, and less like lockstep. One of the most interesting pieces was based on Goethe's novel, Elective Affinities. Four separate pedestal stands were erected in a pattern representing the four seats of a car. On each pedestal was a screen on which was projected a film of a person speaking. On the wall behind the four, a moving highway was projected, giving the convincing sensation that "the car" was moving. Coming close to any one pedestal enabled you to hear that person's voice tape. As we came to understand, each was a member of one, or more, of the possible couples. These cinematic images that don't leave their separate pedestal screen stands but do continuously "move" in their car, that appear to glance at each other, refer to each other, but never touch, never engage in conversation, made a powerful and disquieting image of electronic "connectedness." Overhearing was the main action permitted the spectator in this case. We have an example of electronic hypertext novel which is Patchwork Girl novel Blok who says in his book Reinventions of the Novel the hypertext novel gives readers a spatial model of narrative. It offers writing made of parts or pieces that can be manipulated and layered and organized and re-organized according to the reader's interests or needs. If, for example, a particular student wishes to see every instance of character L in a text, as well as the ways those instances link to each other and writing spaces not immediately about L but immediately connected for some reason (as in one link away), she can do so. She can have all the relevant writing spaces open simultaneously on her screen, if she wishes, and she can choose from several different charts that will illustrate the ways the writing spaces circulate around each other. And she's not limited to character, but can track down plot points, settings, allusions, and so on. What's the value here? The student can literally take a finished, polished text apart to see its constituent elements and where they emerge in the work as a whole.

In addition, the hypertext novel brings our attention to the medium, which is, in no small part. Also, the hypertext novel invites and encourages different reading experiences that lead to different conclusions. It helps a student discussion of not just the text, but how she or he has engaged the text, so the relationship between reader and hypertext is only an exaggerated version of a necessarily interactive relationship between a reader and conventional print texts. "Bluk"

Finally, I will talk about electronic hypertext story. Hypertext allows the story to develop in different ways, a kind of exploration. The writer can improve their works in creative ways. They can publish their works in a way which is different from the one. In electronic hypertext story the writer can change the style, organization and form of a story. In electronic hypertext fiction the writer can publish further information for example, details about him, summarize the story in easy way, and put pictures to explain an idea. It will be more interesting if the reader use electronic hypertext story because it will avoid boring as most people answered in my questionnaire. Also, the most people use this kind of fiction to spend their leisure time in advantage way.

Could you help me to proof this essay?

Cheese1987 — Sun, 30 Sep 2007 18:28:50 GMT

Analyse the formality of the article in SCMP

It is indispensable for us to use an appropriate style when writing. There is no doubt that formal style should be practiced for newspaper as objectivity and impersonality are important. South China Morning Post is one of the most prevalent newspapers in Hong Kong. It is believed that the language style of its article is formal. There is an analysis of the formality of a newspaper article in the SCMP.

High Formality can be revealed when looking at the articleâs choice of vocabulary. Instead of using âa lot ofâ or âlots ofâ, the writer used âthe number ofâ and âmanyâ. âjustâ is also replaced by âonlyâ. However, some informal words can also be found in the article. For instance, âjobâ and âgetâ are less formal words. In order to be formal, âpositionâ and âacquireâ should be used insteadâ. Somehow it is reasonable to use these less- formal words because these words are used in the conversation. In this article, two-word verbs and words from old English are not used. Therefore, It is clearly that SCMP has high formality.

Complete sentences, complex sentences and passive constructions should be used when writing in a formal English style. In this article, every sentence is written in complete sentences. Take the second paragraph as an example. â The study results, released by Oxfam yesterday, showed about one in eight workers made less than HK$5000 a month last year.â this sentence is completed. It is also a complicated sentence because it included complementary meaning. Passive construction is used in the paragraph. Hence, high formality of the article can be seen from its sentences and constructions.

The formality can also be shown by the use of transitional words, phrases and the use of punctuation. . Some of the words such as âmoreoverâ, âwhileâ, âdue toâ, âasâ are often used in a formal article. However, only âbutâ can be found in this article. Also, no semicolons are in it. Although there is only a few âformalâ words or punctuations used in the article, the âinformalâ punctuation such as dashes and parentheses are nowhere to be found too. From this point of view, it is believed that it is a semi-formal article.

Abbreviations and short forms are informal. To write a formal article, they should be avoided. Indeed, there are no abbreviations and short forms in this article. Hence, this article should not be treated as low formality. Instead, it should be seem as semi-formal or highly formal.

In conclusion, South China Morning Post is written in a formal style to a large extent. Its high formality can be shown when looking at its choice of vocabulary, sentence, construction, transitional words, phrases and the use of punctuation. Formal style should be used in the newspaper. SCMP does it well in this aspect it is a good newspaper and worth reading.

Tricky 'Relative Pronoun'

Stenka25 — Thu, 27 Sep 2007 10:09:37 GMT

Can you give me a precious tip from the following two paragraph?

1. Less than a decade into the new millennium, the separation between art and ordinary life is diminishing. ... Art is not a phase of life apart from the work-a-day world, to which one may turn in moments of leisure or perhaps in the name of so-called "culture,' or in a spirit of worship.

2. Whatever the reason for such behavior, unbalanced conversations usually remind us that turn taking is a fundamental part of the give and take that we expect from others in our everyday interactions.

I think,in 1, the underlined 'which' represents 'phase' and in 2, the underlined 'that' represents 'part.'

I want to know if I am right or not in my reasoning.

And I also want to know if someone asks me, why can't it be 'life' in 1, and why can't it be 'the give and take' in 2, how can I explain?

Re: 3 short paragraphs on the story, The Monkey's Paw

julielai — Sun, 23 Sep 2007 21:30:03 GMT

Highlighted some glaring errors.

You need to be more consistent with your tenses.

Jeremychen wrote:

Hey guys, I am bad at english. Do you guys mind going through my paragraph correcting the grammar and other mistakes i made, and give me a review thanks

Character Chart

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Sergeant-Major Morris is the catalyst in the story: he brings the monkey's paw to the Whites home. He is âa tall, burly man, beady of eye and rubicund of visage(pg1)â, âwhose eyes get brighter after his third glass of whiskey(pg2)â at the Whites' hearth. Morris is both familiar and exotic. Morris and Mr. White began their lives in approximately the same way; Mr. White remembers his friend as "a slip of a youth in the warehouse," But in his twenty-one years of travel and soldiering, Morris has seen the world and has brought back tales of "wild scenes and doughty deeds; of wars and plagues and strange peoples." Morris also carries with him the monkey's paw, which changes ~~all~~ the Whites' lives forever.

Mr. White is the protagonist of the story, he is the father of the family. From the story, it did not display a lot of his physical characteristics ~~of him~~, but a lot of indirect personalities. When Major Morris threw the Monkeyâs paw into the fire, White reacted strongly by snatching it back quickly from the fire. Mr. White has a lot of interactions between Herbert, they played Chess and games together, This show that Mr. White is a very real person who loved his son and Mr. White and Mrs. White suggests using the paw to bring back their son, and Mr. White is against it, we know it is because of fear and not because he didn't love Herbert.

Herbert is the son of Mrs. and Mr. Whites who works in a factory of Maw and Meggins, he was the first person that asked Morris about if he ever used the power of the Monkeyâs Paw. "Well, why don't you have three, sir?" said Herbert White cleverly. He suggested his father to wish for 200 pounds, which leads to the death of Herbert "If you only cleared the house, you'd be quite happy, wouldn't you?" said Herbert, with his hand on his shoulder. "Well, wish for two hundred pounds, then; that'll just do it.â From these facts, Herbert is a clever and thoughtful kid, he wanted to give advise and help the family to have a better living.

Mrs. White is the wife of Mr. White, she plays an important role of the story because she brings the resolution of the story. The 200 pound caused the death of Herbert, so to revive Herbert, she must use the Monkeyâs Paw again, but she missed thought the consequences that will happen. "No," she cried triumphantly; "we'll have one more. Go down and get it quickly, and wish our boy alive again." another quote will be "Wish!" she cried, in a strong voice." It is foolish and wicked," he faltered. "Wish!" repeated his wife.

Theme

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In âThe Monkeyâs Pawâ Mr. Morris, a old friend of the Whites, returns from India with strange tales of his life and with a strange object--- a monkeyâs paw. This paw has a spell put on it by a Fakir (a holy man), he tells the Whites. Morris goes on to say that the fakir wanted to show that âfate ruled peopleâs lives, and that those who interfered with it did so to their sorrow. He put a spell on it so that three separate men could each have three wishes from itâ As the story unfolds, Jacobs provides hints that, indeed, the Monkeyâs paw does posses some strange powers, and that temptation to make three wishes is a grave mistake. First, Herbert asks Morris is he has made his three wishes âI have, he said quietly and his blotchy face whitened.â After the conversation between Morris and Mr. White. We begun to know more about the Monkeyâs Paw, from Mr. Morrisâs facial expression, we know that Monkeyâs Paw is not something thatâs good to use. Later, Morris told us about the first owner of this Paw, the last owner wishes for death, this fact gives us a weird thought. As the story flows, the Whiteâs wished for 200 pounds, Herbert died in the next day because he was caught by a machine in the factory, The company paid the whites 200 pounds as a indemnification. The moral of the story tells us if you are in desire of wanting you must also sacrifice in order to balance your needs.

Conflict

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In âThe Monkeyâs Pawâ two major conflicts appears in the story, person versus fate, and person versus himself. Person versus fate because the Whiteâs do not know what will happen next, since they already lost Herbert, they donât know what will other two wishes bring to them. Person versus himself because Morris was afraid when he saw his wife telling him to revive his son âEven his wife's face seemed changed as he entered the room. It was white and expectant, and to his fears seemed to have an unnatural look upon it. He was afraid of her.â He was also in fear when he donât want to see the mutilated body of his son. âShe ran to the door, but her husband was before her, and catching her by the arm, held her tightly.â